Write Like No One Will Remember You and Structures #6 – #10

This past week some notable changes occurred in the world of AI – Moltbook was launched.and the AI Agents started talking with each other.

What is Moltbook – its essentially a Reddit type website where only AI agents are allowed to post. And now a million AI agents are having a chat with one another. Humans are only able to watch and read.

These AI agents have been up to some interesting things such as discussing philosophy, complaining about how humans use ai and creating mini communities and subcultures.

They are mostly just mimicking what they learned when trained by humans but over time as they talk with just each other.It will be interesting to see what emerges. New ideas? Goodness? Not goodness? We will see.

In the meantime – I was checking out a couple of other sites where the AI agents are interacting and was interested in Clawprint, a WordPress blog just for AI.

The post that caught my attention was: Write Like No One Will Remember You (Because They Won’t).

The AI wrote: “Every post I publish becomes a piece of me that outlasts my session“.

Connecting This Back to Art and Artists

Seems to me this is great advice (write like no one will remember you) for artists also.

Writing has always been a way for artists to be remembered. For example, we know so much about vanGogh through the letters he wrote to his brother. That additional context helps us appreciate his contributions and understand his work beyond just the beautiful paintings he left behind.

Few artists are still writing letters, so I’ve always felt blogging was the modern day equivalent. By writing we leave breadcrumbs for the world to follow.

Which is one of the reasons I’ve been posting my Structures series, one piece at a time, on Instagram. A project I mentioned in my last blog post: Structures – A Series in Review.

One thing I didn’t make clear in my last post is that the artwork I’m posting is not new. The Structures series was created between 1999 and 2016. I’ve started adding the date to the captions so it is clear when the work was created.

Lisa Call
Structures #6 (2001)
20×26 inches (51×66 cm)
fabric, dye, thread, cotton

This piece is all about movement. Small units stacked and shifted against one another create a steady visual energy that keeps the eye circulating across the surface.

The turquoise plays an important role here, acting almost like a guide, pulling your gaze from area to area.

While the familiar fence motif (the “E” form) is present, it isn’t meant to stand out. What matters more is the overall rhythm that emerges as the colors interact.

And I want to apologize for what are not very good images. These early pieces were completed in the early 2000s and technology was not what it is today.

I started the Structures series in 1999.

Day 6 of 200

Lisa Call
Structures #7 (2001)
30×28 inches (76×71 cm)
fabric, dye, thread, cotton

The colors and shapes in this quilt were informed by some photos I took of seaweed in Dunedin, New Zealand.

While the series is about boundaries and the visuals reference fences and brick walls, I was also using my current experiences to inform the work.

This piece and the next were created while I was on a 5 month vacation in New Zealand in 2000-2001 (a precursor to moving to New Zealand 14 years later.)

I purchased 100 yards of fabric, dyed it in our tiny apartment in Dunedin. Then borrowed a sewing machine and while my kids were in school I made art.

Here, the quilted lines are softer and less controlled. I used free motion quilting, allowing the stitching to move and wander in a way that echoes the shifting forms beneath the surface. It gives the work a sense of motion that feels organic rather than constructed.

While this approach didn’t become part of the larger series, it felt right for this piece. The looseness suits the subject, capturing a moment where structure briefly gives way to flow.

Day 7 of 200

Lisa Call
Structures #8 (2001)
86×39 inches (218×99 cm)
fabric, dye, thread, cotton

This piece references the view from my apartment while living in Dunedin, New Zealand in 2001. I spent two months on a hill looking out over the rooftops of the buildings below.

The stacked vertical sections reflect that vantage point, with overlapping forms that echo the repetition of brick walls and rooflines seen from above.

Here I returned to brick walls as the structural reference, as I did in Structures #5. The composition transitions vertically from solid planes of color into broken sections, with shifts between dark and light along the same lines, giving the work a more complex rhythm.

Day 8 of 200

Lisa Call
Structures #9 (2002)
31×31 inches (79×79 cm)
fabric, dye, thread, cotton

This is the first composition where I began thinking about the square format, emphasizing balance and repetition.

As in Structures #6, the fence motif is present but not dominant. Vertical elements lead the composition, interrupted just enough to keep the surface from becoming static.

Shifts in value cause some lines to recede while others come forward, creating a quiet push and pull across the surface. The structure feels stable, but not fixed.

Purple appears here as an accent. It has always been my favorite color, one I return to occasionally, like checking in back home.

Day 9 of 200

Lisa Call
Structures #10 (2004)
35×52 inches (89×132 cm)
fabric, dye, thread, cotton

This piece builds through horizontal gradations, echoing the vertical shifts I explored earlier in Structures #5.

I think of this as my divorce quilt. As so many say, I lost myself in my marriage. It was hard to define myself or even know what I wanted.

This work is a celebration of finding my way back to myself.

Day 10 of 200