QuiltCon/Quilt Show Fun

Road Booths1I’ve been entering quilt shows since about the time I moved here to Southern California.  The closest one was Road to California, and in those days, I always was accepted.  Schooling interrupted my quilting, and when I got back to my craft, the ground had shifted underneath me.  I couldn’t get my quilts accepted any more.

I felt pretty badly about this the first time it happened, especially since the quilts I saw at the show seemed to be all spangle and sparkle and glitz and flash, along with quilting that was perfection, due to the advent of the longarm-quilted piece.  To say I was discouraged would be an understatement.

Grading Research Papers

I kept trying, and kept getting rejected. It felt a lot like grad school, where I’d write up my short story, or poem, and take it into workshop and they’d get out their figurative knives, blades, guns and other weapons and slash my pieces to bits, then shoot holes in them.  I think I cried all the way home that first time, but it got easier to separate myself from my work, and take the critiques in stride.  Some were helpful.  Some were NOT helpful.  I had to know that my writing still had value and worth, and to keep going.  It was the work that mattered.

Fast forward to this week, watching the feed blow up on Instagram as people cooed or moaned about their acceptances/rejections to QuiltCon.  Whether the organizers like it or not, they have created a couple of problems and I was watching the fallout happen in realtime, in people-time, as comments started flying.  The problems most prevalent appeared to be:

Sign Quilt Show

1) Too many entries.  This came about because there was no limit on how many quilts could be entered.  I haven’t checked every show, but the ones I’m familiar with limit how many quilts you can enter.  Because QuiltCon had 1300+ entries, and maybe only space for 400 quilts, well. . . you do the math.  But the odd thing was this line in the rejection letter (yes, I got rejected on all three of my quilts): “Please do not be discouraged. We received more than 1,350 quilt submissions and the jurors had to make many difficult decisions.”

This was weird how they commented on the recipient’s emotional state and then flipped it around so that the person being rejected should feel sorry for the jurors and their difficult work of wading through over a thousand quilts in order to chose the ones they wanted for their show.  Just the facts are necessary: “You didn’t get in.  It was a good effort.  Try again next time.”

TarrSnapshots
Timna Tarr’s Valley Snapshots

2) The perception that there is a mysterious criteria that determines who gets in and who doesn’t.  The key word is “perception.”  And the perception, judging by what I read on IG, is that this mysterious set of rules is not given out to mere mortals, but only those in the inner circle, the claque, the clique, the friends and buddies of those running the show.  I can hear the snorting going on now.  Yep.  But this problem persists because the modern quilt movement can’t figure out what it thinks is a modern quilt enough to be able to describe it, or communicate it to the masses.  People like me.  And then they hold a contest in which we are all supposed to submit, which feels very much like going to the top of a busy freeway overpass and throwing our quilts over the edge, watching them sink down into the morass.

On top of that, there seems to be an overabundance of graphic artists at the helm, or with some graphic arts training.  Might this not mean that the graphic punch, that visual snap, the elements of high contrast off the grid have become ascendent?  Maybe.  Then put that into the judging/juror criteria and disseminate it.

When I entered, I was surprised to see there were really no categories to select into.  Yes, there are categories, but I didn’t get to nominate my entries into any of those; the assumption is that those on the other end of my internet connection will do that for me, further confusing the experience.  So I don’t know if my quilt was judged against other similar quilts, or if it was thrown into the pool of 1300+ entires, with bleary-eyed jurors watching quilt after quilt pass by their eyes, until the whole thing collapses into Let’s Get This Done, sort of like I feel when I’ve graded too many papers in a row.  I have total empathy with the jurors, but perhaps there are some solutions that might rectify this difficult situation. I hope they find them.  And I hope the show I’m about to see in Austin in February will put aside some of my concerns and be a great experience.  I am happy for those who got in, and can’t wait to see the quilts.

Sol LeWitt's Patchwork Primer_finalone of my rejected quilts

But in the end, what matters?  Are you only as good as your last rejected quilt?  Or are you the sum total of your work, the cutting, the sewing, the creating?  Given the number of times I’ve been rejected, I could have melted into a puddle on my floor.  But my training in grad school, although sometimes painful, gave me stories like this one:  a famous author used to mutter to himself “I’ll show them this time,” every time he started a new novel.  And the knowledge that I am more than just my latest quilt.  And that I won’t melt if someone tells me “no,” although it feels really good when they tell me “yes.”

colorwheel blossom beauty shotanother rejected quilt, soon to appear here on the blog for the first time–stay tuned!

One lovely side effect of all this sturm und drag (storm and stress) is that I have loved the reading on the #quiltconreject and the #rejectedbyquiltcon hashtags on Instagram.  I’ve been introduced to some fine new quilters, and fallen in love some new works from familiar quilters. It’s been quite the wild ride.

JosephCampbellBigQuestion

Yes, the modern quilt movement may or may not survive the problems I mentioned above.  But it’s not really my concern.  My concern is to get going on the next quilt, to say a hearty yes to this creative adventure.

Road to California Quilt Show 2013—part III

This is the final post on the quilts I saw at Road.

BuckleyQuilt

Fiesta Mexico was made by Karen Kay Buckley and quilted by Renae Haddadin.

BuckleyBack

The back was amazing, with all the colored thread.  Details of the front are below.

Buckleydetail1

Buckleydetail2

Chromaticquilt

Chromatic Transitions.  Rachel Wetzler adapted a late 1800s Minton tile pattern to make her quilt.  Four tiles pivoting on center makes one block and there are 25 blocks in the quilt.  She played with the placement of values to de-emphasize some shapes and empasize others.  Details below.

Chromaticdetail1

Chromaticdetail2

This quilt fascinated me by the way she appliqued it.  Some swirlies were turned-under (freezer paper method?) and then appliqued using a small zig-zag.

Chromaticdetail3

And then there’s this section which is raw-edge appliqued.  I love the combo of both in one quilt.

Cranes

Cranes in Motion was made by Gloria Gilhousen and quilted by Jean McDaniel of Oregon. So you’re thinking: nice birds, nice autumny background.  And then you realize that the background is all flying geese, set on the diagonal.  Clever.

Cranesdetail

Inspiration came while she was vacationing in Florida where “cranes are ubiquitous and sunsets are an extraordinary visual experience.”

Cranesdetail2

FantasyLandQuilt

Sheil Frampton-Cooper is the one who put together the Perspectives exhibit where you saw lots of landscapes yesterday. This is her quilt, Fantasyland.  She writes: “Created during an emotionally challenging time, working on this quilt was an escape to a fun place.  It was my ‘amusement park’ and regardless of what I had to deal with, as soon as I entered my studio and felt its vibrant energy, I was comforted and full of excitement.”  She is from California.

FantasyLanddetail
GreenMiles

I included this quilt because when was the last time you ever saw a cream and green quilt?  Green Miles was made and quilted by Peggy Kragnes of Minnesota.  She writes that it was made “using green fabrics gathered on a 7,000 mile road tip with patient husband.”  No kidding.  There are many different fabrics in here and the quilting is wonderful, too.  Detail shots below.

GreenMilesdetail1

GreenMilesdetail2

GuerreroConverge

Annette Guerrero made two solid-fabric quilts.  This first one is titled Convergence.

GuerreroConverge1

GuerreroIris

This quilt is titled Iris.

GuerreroIrisdetail

She included a quote from Emile Zola on her sign: “If you asked me what I came into this world to do, I will tell you: I came to live out loud.”

HexiesQuilt

Lily Pad, made by Patti Van Oordt and quilted by Cory Allender (both of St. George, Utah) is a paper pieced design that had its origins in a class by Claudia Meyers.  Since I’ve been working on a hexie-shaped quilt for eons, I was interested in how she displayed the pieced hexies against the rusty-orange background.

HexieQuiltdetail1


McTangerine

This little stunner, titled McTangerine Rose, was the 2011 Block of the Month patter by Sue Garman for “The Quilt Show.”  Lynn Droege, the maker, added an additional border.  It was quilted by Lisa Sipes; both are from Kansas.

McTangerinedetail

MiniLogCabin

For a change of pace, here’s a miniature quilt.  Kaye Koler of Ohio, “set out to see how small I could make a log cabin.” Each block is ONE AND ONE-HALF INCHES!!  Which means, my thumb (and yours) would just about cover one log cabin.  She used 172 different fabrics.  All of the miniatures were amazing, but because of the plastic tape, I couldn’t really get in to see them.

MiniLogCabindetail

Moose

Pam Hadfield, from California, saw a trivet in the airport, and used it as inspiration for her quilt We Moost be in Yellowstone.  I have a Christmas ornament similar to this from when I visited Yellowstone: a moose filled with designs.

Moosedetail

PowerSuits1

Another exhibit in the show was something called “Power Suits,” and each quilter used their own ideas to depict the theme.  I liked some of these very much.

PowerSuits2

Someday I aim to make a pineapple log cabin quilt!

PowerSuits3

The annual awarding of The Ugly Quilt came from this exhibit, but this year we had a tie.  You’ll find them at the end of this post.

rarebirds

Remember the swirly quilt above in yellows and blues?  Well, Rachel Wetzler did it again: Rare Birds is a quilt depicting the six of her friends in a their quilt critique group: (l to r) Denise Havlan, Rachel Wetzler, Annette Hendricks, Beth Gilbert, Ann Fahl and Robbi Eklow.  That’s quite a group!

Along the front wall of the ballroom was a Route Sixty-Six quilt.  It consisted of large panels with lots of small quilts adhered to the “road,” showing off the sights in the area of the cities along the route.  Here are some of the panels, with some close-ups of the mini-quilts as well.

Rte66-1

Rte66-3

Rte66-5

Rte66-6

Rte66-7

Rte66-8

Rte66-9

Rte66-11

Rte66-12

Rte66-13

I included this one because my daughter used to live in Kingman Arizona, and I’m pretty sure the movie Cars was based on some of the scenery around there.

Rte66-14

We have a giant orange stand like this in Riverside, in our State Citrus Heritage Park.

Rte66-15

Rte66-quilt

Rte66

sleepingcats

Let Sleeping Cats Lie, by Cheryl Giovenco (quilted by Sheila Osbrink, both of Corona, California).  This quilt is made of 19 different batik fabrics, and was designed by Helene Knott.

starrynightquilt

Vincent–Haunted Genius was made and quilted by Danna Shafer of Temecula, California and is her interpretation of Van Gogh’s “Starry Night.”  She used fused appliqué, secured with monofilament thread; it was five years in the making. Detail below.

starrynightdetail

TeaPartyQuilt

This is for you applique fans.  Joan Lebsack made Welcome to My Tea Party, based on a pattern by Verna Mosquera.

TeaPartydetail1

ThelmaChildersFlag

The sign next to this quilt was wrong, so I have no idea who made it or what the title is.  It’s really lovely.

ThelmaChildersREDquilt

A couple of years ago (March 2010), there was an exhibit of red and white quilts in New York City, “Infinite Variety: Three Centuries of Red & White Quilts,” which took us all by storm.  Thelma Childers made this quilt as an homage to that amazing show, but also as a way to show many different quilts, and how one might have obscured the other as a person walked through that show. I’m a fan of Thelma’s, so was really excited to see it in person, as I read about on her blog as she made it.

ThelmaChildersREDdetail1

The beautiful quilting is by Connie Lancaster.

ThelmaChildersREDdetail2

ThelmaChildersREDdetail3

ThelmaChildersREDdetail4

ThelmaChildersStarquilt

This is another Childers’ quilt: Two Score and Seven Stars, and it is quilted by Judi Madsen (both are from Illinois).

ThelmaChildersStardetail

TreeLifeQuilt

Tree of Life, by Allison Lockwood of California, was based on a trip to Thailand, where she was “enthralled with the color and sparkle of Thai Buddhist temples.”

TreeLifedetail


TwoCrows

What made this quilt by Gayle Pulley stand out for me was not only the coloring of her hand-painting on a whole cloth, but also where the color isn’t, and how the stitching fills in.  Two Tenacious Crows are certainly having their feast in a cornfield.

TwoCRowsdetail

And now I bring you my truly subjective category: Ugliest Quilt.  One is easy and you’ll probably agree with me.  This first one, however, may make you howl, especially if you loved this Award-winning Quilt.  I couldn’t find anyone who did, so I think there are more that might give me a thumbs’ up on my awarding of this quilt one of two in the Ugly Quilt category.

UglyFeathers

I like red.  I like gold.  I’m not opposed to feathers.  But I couldn’t make any sense of this one, other than it was one of those quilts that was just a show-off for technique, and not for design, or cohesiveness.  It’s made by a couple of big-name artists (I never reveal my Ugly Quilt makers), and while a lot of times I see their quilts up here on Winners Row at Road, this one just made me scratch my head and realize that my puny efforts will NEVER get in, if this is what the winning quilt looks like.

UglyQuilt

This is just all wrong on so many levels: the art, the composition, the appliqué wads of dyed cotton batting for hair.  It has nothing at all to do with the subject matter, just like the quilt above.

I guess I look for quilts that have some intrinsic beauty, when I pick out my favorites, or colorations or design elements that are interesting.  I also appreciate technique, but “over” technique is just as big of a sin to me as is “under” technique.

Other observations: The people that hang the quilt show still have that affliction of hanging subjects together, such as all the flowers together, all the birds together, all the zombies together (I didn’t show any but we did have some Halloween quilts) so that you don’t let the quilts interact in a more natural way.  Wish that would go away.

I think the show overall was better than last year (it could only go one way), but I was not as charged up about the vendors as I usually am.  Perhaps that’s just because I’ve gone too many times and seen everything that is brought to the show (or maybe I have just too projects on the back burner with too many yards of fabric home in the closet).  I did buy a bead bracelet (quilt shows are a great place for jewelry), and some solids from Ginger’s, but other than a few bits here and there, it wasn’t a Big Haul.  I think the group that we were with didn’t buy as much as usual, either.

I do appreciate having a quilt show nearby, and look forward to Long Beach the first week of August.  The best time of all was with my friends–both new and old–eating together, doing Show and Tell, taking a break. See you all next year!

And that’s a wrap for 2013.

Road to California 2013–part II

The next two posts are photo-heavy, but I decided to put the quilts I wanted to show you up in two, rather than three posts. (BTW, these are in no particular order.)

AmerSpirit

Laurie Wozniak’s American Spirit, was one of several done for the American Spirit batting display, and for which they handed out calendars with photos of the quilts.  I liked the postage stamp theme.

ColoradoQuilt

Lynette Hallmark’s Colorado Evening was the other one in this series that caught my eye.

Bubble1

Bubble-Licious was made and quilted by Karla Dahms of Minnesota, and was inspired by the Beatle’s song “Octopus’ Garden,” from A Yellow Submarine.

Bubble2

Bubble3

ChignikQuilt

Artists Mark McDermott and Cat Larrea of Alaska, participated in a curated exhibit titled “Perspectives: Fantasy and Reality.”  This piece, Chignik Bay Lagoon, is a digital image of an original watercolor, which was then enlarged, printed on fabric and quilted.  Both artists have geoscience backgrounds.

Chignikdetail

CircularReasoning

Road to California always has a section of Faculty Quilts, and this very well-known quilt, Circular Reasoning, is by Emily Cier, and is quilted by Angela Walters.

CircularReasoningdetail

CityEdge1

City Edge 1 and 2 (this quilt and the next one) were made by Gerri Spilka and Delia Dungan and are from the Perspectives exhibit.  Both are from Philadelphia, Pennsylvania and were inspired by their cityscape.

CityEdge2

FromStone

This quilt by Hollis Chatelain, From Stone, was inspired by a trip to beach near Brisbane, Australia. (from the Perspectives Exhibit)  Confession: I’m always in a love-hate relationship with her quilts.

MidTown1

MidTown A and B (this quilt and the next) were made by K. Velis Turan of New York.  She used fabric, dyes, textile paints, and. . . shrink plastic (what we used to call Shrinky-Dinks) for the cars.  Since so many of us have a love affair with big cities (but often are glad to retreat to the ‘burbs), I thought these quilts were terrific at showing the compressed space of buildings side-by-side, but sited on river-like boulevards.

Midtown2

Midtowndetail

CrazyPlaidQuilt

Allison Aller, another member of Road faculty, made Crazy for Plaid, her version of the traditional Gothic Windows pattern.  She used machine and hand embellishment (below, sorry for the blurry photo).

crazyPlaiddetail

GirlPearl

The main reason I was fascinated by Girl with a Pearl by the Sea, was because of that incredible mass of textured silk on the quilt.  Detail below.  Quilt made and quilted by Sandy Winfree. Can’t decide if I like it or not.  It’s a novelty quilt, and I think sometimes Road goes overboard on those.  Overall, I have to say I think this year’s Road offerings are better than last year’s.  Fewer sparkles for sparkles’ sake, for starters.

GirlPearldetail

GoneFishin1

Another sea-themed quilt (there were a lot of them this year) was this young boy swimming in a school of fishes.  Sylvia Clary of Florida, titled this Gone Fishing, and is apparently inspired by her real-life young grandson Carson.  It’s the details and whimsy of this quilt which drew me in.

GoneFishin2

Check out the use of selvages in this waves. The fish were made of her hand-dyed fabric, and this quilt included hand-painted, hand drawings duplicated for use, along with thread play, crystals (this is one quilt that I didn’t object to them being attached to, as they were used in the design, not to overwhelm the design) and lastly, photo collage.  It was a real treat, but as usual, my favorites don’t always get the ribbons.

GoneFishinBack

Ignore the words floating above this postcard, which was the back of the quilt.  Fabulous.

GoneFishingDetail

JenningsQuilt

Suzanne M. Riggio, maker and Terri Kirchner, quilter, both of Wauwatosa, Wisconsin (say that quickly) put together this “slice quilt” by the Milwaukee Art Quilters of an old home where they held their meetings.  The Jennings Homestead has applique, fusing, painting, inking, embroidery and discharge techniques.  Is anyone else wanting to do a “slice quilt”?  They are fascinating to me.

Jenningsdetail

JumpingQuilt

Jumping Off the Cliff with Freddy Moran, made by Kathryn Bernstein and Pam Dransfeldt of Los Angeles, California.  It’s fun to see Freddy influences in a quilt again.

Jumpingdetail

LoneStarburst

Another faculty quilt.  Lone Starburst was made by Kimberly Einmo and quilted by Birgit Schuller. Einmo wanted to create a quilt “one Jelly Roll Bundle plus one background fabric.”  She succeeded.

MonetQuilt

Monet in Pasadena, was made and quilted by Melinda Bula of California.  She used fusible applique and heavy thread play to create this quilt from her hand-dyed fabrics.  The inspiration was the Huntington Museum and Gardens in Pasadena, CA. Details below.

MonetDetail

Monetdetail2

Monetdetail3

NYStateQuilt

Two sisters, Sue Nickels and Pat Holly, made this quilt together (Sue quilted it).  It’s titled New York State of Mind, and is part of the faculty exhibit. Didn’t we used to call this orange color “cheddar”?

NYStatedetail

OldChina1

Old China was made and quilted by Nita Markos, and was inspired by a photo from her childhood.

OldChina2

OneFineDaydetail

I’m showing you the detail first on Cynthia England’s quilt, because it’s made of so many teeny tiny pieces.

OneFineDayQuilt

One Fine Day (from the faculty exhibit) was inspired by a photograph she took of Lake Tahoe, spending a day there with friends and her family,  a good “day to remember” she says.

OrganicLogCabindetail

The pieces in Organic Log Cabin #3, made and quilted by Jennifer Emry, were “scissor-cut. . . without measuring to get that ‘organic look.”

OrganicLogCabinQuilt

This one was fun to study.  Until I went to the other ballroom to see the quilts, it was about the only “modern” quilt in the exhibit.  Road trends toward the traditional, so I was happy to see a bit of a break-out here.

OutBoxQuilt

Another from the Perspectives exhibit was Out of the Box, by Sandra E. Lauterbach from Los Angeles California, and is based on a map of Shanghai, China.

PocketPaisley

Lorilynn King’s Pocket Full of Paisleys had a “private name” for the quilt while she was working on it (she called it her LOUD quilt).  She decided to learn her embroidery software, and used turquoise thread when testing.  She kept going and this was the result.  (As you may have noticed, some of these quilts are hard to photograph, because they either have signs on stands in front of them, clear plastic tape strung across, or the lighting and/or angles are a struggle to work with.)  I liked hearing that she had an “official name” for this quilt, and a “private name.”  I do the same thing, feeling like giving a quilt a name is sort of like naming a child–you can’t really know what that name is until the quilt is finished.

PocketPaisleydetail

Remick

Helen Remick had an alcove all to herself, showing off some of her quilts.  The one that caught my eye was YoYo 11: Reflections on Changing Technology.  She writes: “As one technology replaces another, some things are preserved, others lost.  CDs in yo-yos hold manuscripts, family history, rituals and vacations.  The collage on the back side is made from images and documents on these CDs.”

RemickQuilt1

RemickQuiltBack

RemickQuilt2

I also liked this one, but didn’t catch its name.  It evolves into yoyos at the border.

SecretGardenQuilt

Deborah Sorem’s My Secret Grandma’s Flower Garden has many allusions and references to her grandchildren in the quilt, and “represents three generations.”  Detail below.

SecretGardendetail

SolidsSign

Lupine designed and made by Emily Cier, quilted by Cathy Kirk

SolidsExhibit

I finished the exhibit in the main ballroom, and slipped over to the smaller ballroom, where I found this gem of a display by Robert Kaufman.  Of course, I read a lot of blogs by modern quilters, and this past weekend was QuiltCon–a modern quilt convention (next one is in two years!), so have been surprised that the organizers of Road haven’t yet made a nod to the influences of these quilt.  But here was a small exhibit of some amazing modern quilts.  One frustration was that none were labeled: not the maker, nor the title, which is a glaring oversight, I think. Enjoy the modernism of these quilts. Update:  Leanne of She Can Quilt emailed me all the correct titles.  I’ve amended the blog to add in this new information.

Leanne writes: “The quilts are all from the book called We Love Color, compiled by Susanne Woods, published by Stash Books.”  The one quilt not shown below (but shown above) is TV Color Bars Quilt, designed and made by Betz White.  I hope I put these in all the right places!

Solids1

Stepping Stones, designed and made by Lisa Call

Solids2

Orbit, designed and made by Jennifer Sampou, quilted by Angela Walters

SolidsQuilting

Solids3

Stacked Blankets, designed and made by Valori Wells

Solids4

Think Big, designed and made by Jacquie Gering, quilted by Angela Walters

Solids4a

Solids5

Sanibel designed and made by Weeks Ringle and Bill Kerr

Solids6

Modern Cross, designed and made by Kathy Mack

Solids7

Centered, designed and made by Cherri House, quilted by Angela Walters

Solids9

Color Frames, designed and made by Amy Ellis, quilted by Natalia Bonner

Solids10

Ladders, designed and made by Elizabeth Hartman

Solids11

Keys, designed and made by Alissa Haight Carlton

SolidsVendor

One of the vendors also had a touch of the modern in her display. This was Ginger’s Quilt Shop in Ontario, California, which I found a week later was closing its doors.  I was sad, because they’d been so helpful when I was making my Scrappy Stars quilt, in helping me figure out which color to use to back the stars.  I did go up to one of the closing days, picked up a slew of solids (I’d purchased a stack from them at the show), and said my good-byes to a great quilt shop.

Next post: last of Road to California quilts.

 

Road to California 2013–part I

Okay, here’s a truth.  When you are sewing your brains out, you aren’t  blogging much.  And since I’ve been on a tear with a couple of quilts, I haven’t yet given the recap of Road to California 2013 version.  I’ve been remiss.  Let’s begin.

Group1

As we’ve noticed this week at QuiltCon, the connections we make with other quilters are valuable and as invigorating as creating new quilts, and so I want to start the post by acknowledging my debt to some of my quilty friends–thank you all.  Here we are at the first day’s lunch: Leisa, me, Laurel and Lisa.

Dinner

Dinner that night was at our local El Torrito, where Jean, Laurel, JoDy, (me) and Leisa ate chips, chewed over the quilt show, inhaled the guacamole.  We sort of do this every year, so if you come, join us.

Lunchgroup

Last group shot: Debbie from Miss Luella, Cindy from Live A Colorful life and the rest of us.  I am happy to have such great friends.  Now here’s some other people we saw at the quilt show.

queenmermaid1

Queen of the Nereids: Deborah Levy was the quilter and maker.  This was a lot of fun to look at, ooh over and find the interesting details (like how did she keep those shells on?)

queenmermaid2

  She’s from New Orleans–the quilter, not the mermaid–so she does know water.  I love the texture in that hair, and she used some of my favorite thread: Superior (I’m a fan!).

Saint

Laurie Tigner made and quilted this fascinating homage to ancient religious icons, Silver Madonna -1 .  First she painted silver spandex, then quilted it.  She said the fabric was stretchy in four direction, “but worked beautifully.”

saint2

saint3

The quilting made me swoon.

samson1

Samson and Delilah, by Jerry Granata from California (near me!).  This was such an interesting image, prompted by his love of Art Deco and the art by Erte.

samson2

He quilted it all on a regular sewing machine.

Vixenfishmaid

Sirena has a secret.

vixenfishmaid2

This quilt, by DeLoa Jones (who was on the faculty of Road) lit up this quilt with LED lights and sparkley things that we buy at Disneyland.

visenfishmaid3

visenfishmaid4   Very ingenious.

Grandmafishing1

I couldn’t get a great shot of this, but it was wonderfully made by five different quilters of the Collective Visions quilt group: Kathy Adams, Joan Baeth, Susan Massini, Louise Page, with Kathy Adams as the quilter.

grandmafishing3

Grandma’s Big Fish was based on a photograph taken in 1959.  Don’t we all want to be like this woman?

Celise

Celise, by Carol Swinden, melted my heart, but then again, it was a picture of Swinden’s granddaughter that prompted it.

Celise detail

The quilting was really amazing, drawing in the contours.  I apologize for the harsh lighting, but the colors were more delicate in person.

Celise quilting

Hope you can see this background quilting.

surrender

Surrender was a quiet quilt, tucked in among some showier ones, but took my breath away for the depiction of a mother saying good-bye to her newly deceased newborn. Maria Elkins of Ohio, paid homage to all those moms who have had to say farewell at birth.  She dedicated it to her grandchild, “who was given into the loving hands of her daughter and son-in-law.” I studied it for a long time.

Pink Display 2

One of their special exhibits was “Pink,” a lovely collection of quilts with pink as their predominant color.

Pink Display1

Makes you want to go out and get some pink, right?

Long Beach–Final Post

It’s the final post because it’s time to move on, maybe moan about the first week of school where my classroom was 83 degrees.  Whose idea is it to begin school in the middle of August, anyway?  Okay, enough moaning.  Here is the final set of quilts.

I wrote some time ago about the Masters Books, and my lucky day arrived, for they had sample albums related to the published works.  The quilts could jump off the page and I could touch and see and figure out how they did things.

Alice Beasley’s wonderful portrait.

On the left, are some pieces of fabric that Beasley used, and on the right, Beatrice Lanter’s sample.

There’s my thumb on her sample, just so you can appreciate the scale.  Teensy-weensy little squares.

This sample on the right is from my favorites: Gayle Fraas and Duncan Slade.  If this post weren’t so photo-heavy, I’d paste in some more of their work, but use the link above to the Masters Book to see more.

ConText, by Pat Kroth

I keep thinking that little white strip of text looks like the flag in a Hershey’s kiss candy.  Maybe it was time to break for lunch, which I did.  While eating a (lame) salad (the food at the convention center is in dire need of an overhaul!), I received a text that my son had gotten a job!  So the title of this quilt, based on the idea of texting, had resonance for me.

Ladybug Garden, by Collen Harvey in the Hoffman Challenge series of quilts.

Detail of the quilting and fabric use.

This quilt is from where my mind was feeble and I completely forgot to get info about it.  If anyone knows, leave a comment and I’ll update.  It’s a shame not to acknowledge such an interesting quilt.  Please forgive.

My Friends Made Me Do It, AKA Starlight Garden, by Betty Brister
She has great friends, if this is the result.  Detail below.

In her artist’s statement, it comments on the supple stems and perfect circles. Here’s a detail version of those.

M. C. Bunte was driving across the Indiana countryside during an approaching storm.  As she watched, a shaft of sun lit up a small church and the surrounding trees.  In this quilt, Shelter in the Time of Storm, she felt it was a message that even when “situations appear threatening, hope — God’s protection for the spirit — exists.”

She had quilted what looks like text into the fields of crops, but I can’t decipher what it says.

Pamela Druhen created this exquisite small quilt that just pulled me in like some of the larger, showier quilts can not.  She used the techniques of dye-painting, free-motion embroidery and free motion quilting to create Vas-Y, which according to her artist’s statement means “Let’s go!” in French (since it is a French bicycle).

Detail of Vas-Y.

This quilt, titled Totally Insane, is from the Nearly Insane book by Liz Lois.  The maker, Loretta Duffy, wanted to recreate the 1879 Salinda Rupp quilt that, according to her artist’s statement, is composed of 98 blocks.  Working with such small pieces, like block #18, which contained 229 tiny pieces, was quite a challenge, but nothing compared to the satisfaction of seeing the completed work.”   I’d be totally insane, too, if I tried this.

I don’t know which one had 229 pieces, but all of them are heavily pieced blocks.  It was an amazing quilt and always had a crowd around it.

Carol Bryer Fallert became famous for her impeccably pieced flying geese in loop and swoops and swirls over the face of her quilts.  She continues her pristine piecing in Checks & Balances, which is machine pieces, machine quilted and painted.

Did I mention she was known for her machine quilting, too?  Amazing.  Those cloth shadows really make the figures feel dimensional.

First, notice the interesting binding — it’s turned to the back, leaving a clean edge on the front.

Since Connie Fahrion’s quilt has a lot going on (but it was wonderful to look at in person) I think her choice of the clean edge was masterful.  She says the design source for A Fine Pastry came from “the desire to depict how it feels to be part of a communication gone wrong. . . . A poor choice of works, misunderstanding all around and, voila! you have created, as my Italian neighbor would say, ‘un proprio pasticcio’ — a fine pastry.”

I’m a sucker for text in art.  Yessirree.

Since I’m the kind of person who always wants to know “how did you do that?” I tend to focus on technique.  Sometimes this frustrates, like when I’d like to create a text quilt like the one above and I don’t feel I have the artistic chops to do something like that, but other times my interest in technique lets me appreciate a quilt like this one by Helen Godden, titled Good Onya Sonya Onya Bike!  This hand painted, whole cloth quilt allows the free motion quilting to really shine.

Annette Guerrero in her quilt, Gridlock, used a two-line motif in the shape of a modified T to create her quilt.  From the smallest to the largest piece, you can see the T-construction.

Cool quilting, too, carrying out the theme of the grid.

Mrs. Lindberg’s Neighborhood, by Martha Lindberg.
Apparently she designed this quilt, then started a house swap with some friends, inspired by a quilt she saw at the Dallas Texas Quilt Show.  Her friends’ blocks, and her own houses, populate this neighborhood.

Nice quilts we weren’t supposed to photograph.  Or maybe it was okay to photograph them, but I was too tired to get all the info about them.  Even though you might feel like you’ve seen every quilt in the exhibit, trust me. . . there were a lot I didn’t put in these posts.

Danielle Reddick, from Picton, Ontario, Canada was inspired by the fields in rural Prince Edward County to make Sunflower Heart for Alice, in honor of her daughter’s 21st birthday.

I’m including two detail shots because it’s not until you look at for a while that you realize you are seeing cut-up cast-off shirts.  Note the button-front, above, and the pockets, below.

Eat Your Vegies, by Judith Roderick, a long time vegetarian.

I love her quilt even though she misspelled “vegies.”  It’s veggies, if you are going to abbreviate it, but I have to admit that’s one of my “fingernails-scraping-on-the-chalkboard” words.  I hate it.  But I love this quilt!

Springtime in the Garden, by Mary Schneider, uses raw edge machine appliqué along with hand appliqué to create this sublime field of flowers.  She made some changes to a pattern, to put her own stamp of originality on this creation. (I wished she’d given us the source of her inspiration, though.)

Pretty sure there was an exhibit on text, as there does seem to be quite a few quilts using letters and words in the design.  This one, The Word Gets Around, by Louisa Smith, uses commercial fabrics that she manipulated by painting, dyeing and overdoing to obtain the colors she wanted.  Her idea for the quilt came from the fact that “our lives are surrounded by text. . . [in] newspapers, advertising and street signs.”

The backside of her quilt.

Gaudi Star, by Lisa Walton  Influenced by the architecture of Anton Gaudi in Barcelona, Spain.

This is one of those quilts where the the parts are greater than the sum.  The parts (above) are fascinating, both in the use of shape and color and the screen printing which she did. Really beautiful, up close.

Terry Waldron is a favorite quilter of mine, a local gal who has had some fame and success, but still found time to write me a congratulatory note when she saw my quilt hanging in a show.  So I thought it good to end these few posts with not only a lovely quilt, but a lovely quilter.  The title of her quilt is A Gentle Heart, based on George Herbert’s statement, “A gentle heart is tied with an easy thread.”

This quilt is hand appliqued, hand beaded and machine quilted.

What do you feel like after you leave a quilt show?  A lot of times my wallet and my hands hurt from gathering up treasures from the vendor malls.  But aside from that, are you inspired?  Overwhelmed?  On overload?  Me, too.  And then it’s time to climb back into our lives, into the reality that we don’t have enough time or energy to make all those quilts we dream about, so we just choose what we can and make what we can.

But it’s always great when a quilt show comes around.