Featured Designer Marcia Derse Fabrics
Each of Marcia’s lines combines elements of primitive, earthy design evoking visions of African or other indigenous fabrics along with modern, urban and edgy design emphasizing forms and images of city life. The colors blend wonderfully with each other and with other fabrics to combine for a striking and unforgettable quilt.
Third in Line Collection
Modern Primitive Fabrics with a touch of Urban and Edgy was created by Marci Derse and manufactured by Troy Corporation for its Riverwoods Collection.
The Shoreline Collection
"Shoreline" is a collection of 24 unique colors and design combinations evoking colorful memories from the sea side. It also features a special fabric panel from Marcia’s library of hand-painted pieces, entitled "beach towel".
The Streamline Collection
Marcia’s second line of fabric designs, the Streamline collection for Troy. Featuring 8 designs in indigo, 16 additional colors and a panel based on her original artwork.
The Gerta Collection
Gerta is Marcia’s first collection designed for TROY includes a panel based on the "polaroids" series and 8 designs in 3 colorways. Each color combination was translated directly from favorite pieces of hand-dyed and hand painted fabrics.
Modern Textures Collection
Modern Textures is a full range of solids based on Marcia’s hand-dyed solid fabrics.
I start with a blank canvas; a bolt of muslin, fabric dyes, and the primary colors in silkscreen paints. When I mix, I draw my palette from the seasons or my travels and each new texture is something tactile found in my environment. I gather images and objects everywhere, anything that catches my eye outdoors or in the studio becomes an artist's tool: pine cones, spoons, brushes, homemade stamps, and bamboo pens. I apply paint with abandon, exhausting the cups of paint, trying every combination. Each piece of fabric is a new exploration of color, form, and texture. They are paintings in themselves and when I bring them together on a giant white wall in my studio space each piece becomes a landmark or road in the map of the idea I am translating.
When I am satisfied by my image from every position in the studio; from the fireplace step, from the window near the portrait of Gregor made by my daughter, from just over the TV playing the latest BBC Jane Austen miniseries, from the estate sale loveseat where I sit with my husband who wants to add one more little snip of red- just there, when I am satisfied, I begin to make it permanent. I layer each piece with batting and backing before stitching. The criss-crossing lines add to the structure and the layers build themselves until the map recites the colors, textures, shapes, and impressions of my life.