Contemporary QuiltArt Association: 20th Anniversary

Contemporary QuiltArt Association:

20th Anniversary

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Ode to WaterLike sand and snow you are a languagesome learn in order to survive.

You bring rain, salmon, clams and cholera.Consort of the moon, you retreat

from tide pools, stranded dreams,our first experience of reality.

It is August and the black cottonwooddrops leaves just beyond

where you fold yourselfagainst the hard fact of ground.

They float like flowersat a Hindu funeral, a response

to your need for never-ending sacrifice.You wash away lies, yet,

as a veil, a shroud or stretch of skin,conceal so much. You shudder

in the breeze like the back of an animal,where a fly has landed, thoughts

on this blue planet where everythingreturns to that ball of mud

molded from dust and water.

Diane Westergaard

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seI wanted to work with surface design techniques to evoke the surface of water without being too literal. The poet I collabo-rated with, Diane Westergaard, and I had agreed to this topic, thinking it would be challenging for both of us.

Lorraine Edmond

The Surface of WaterCotton fabric, hand-dyed, screen-printed, and

monoprinted by the artist, machine pieced and quilted

70”w x 31”h

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Garden ofI close my eyes and see that purple-leafed tree. It wasn’t hard to findthe doorway in. Enchanted gardens: these days,a dime a dozen. Trees of knowledge:the preferred landscaping at theme parks.

I pay a flat feeto the gods of technology and I am pixilatedwith 21st century dust.Technology makes me Eve.

And they put me here, dancing around the tree, draping the serpent around melike Britney goddamn Spears.

What did He want to be when He grew up?It never turns out like you’d expect,I guess.I dance and dance.

Monique van den Berg

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seRich color and the tactile, touch-inviting qualities of fabric are two of the main attractions of quilts for me. I am more and more drawn to making quilts that combine materials from other worlds, and the four pieces included in Visual Verse are the first steps I took into mixed media work. The juxtaposition of the twigs and the fabric spoke to me, with the hardness and linearity of wood contrasting with the rectangular planes and colors and touchability of the fabric.

Karin Carter

I Dance and DanceCotton fabric, wood twigs.

Thread “drawing” on machine, one small quilt in center applied to larger quilt. Machine quilted.

24”w x 36”h

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Find the gold “X” s. They appear and disappear depending on the lighting and the viewer’s perspective.Jo Van Patten

Double CrossedThis piece uses mainly commercial cottons

which were cut, fused, recut, re-fused several times. Some sections were block printed, some

had additional decorative stitching. The quilting threads were pulled through to the front at random

intervals for an added design element. 26”w x 48”h

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The fabrics are hand-dyed cottons and it is machine pieced and quilted. It is backed with a very colorful fabric. 48”w x 64”h

“Red sky in the morning, sailor’s warning.Red sky at night, sailor’s delight.”

I recalled this old adage as I was gazing out the window at the

sailboats in a marina while working on this quilt.

Pat Hedwall

Sailor’s Delight

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Radiant Heat: the glow from within.Cory Volkert

CalienteHand-dyed cotton fabric, dyed by the artist,

machine pieced and free-motion quilted.45”w x 45”h

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Whole-cloth cotton fabric, cotton batting, fabric paint, paint markers, hand painted, hand quilted with embroidery thread.30”w x 38”h

The Titan Arum is indigenous to Sumatra and grows 12 feet high. It may bloom once every 10 to14 years and only lasts 24 hours before completely collapsing. This botanical giant can weigh 100 pounds and is also known as the corpse plant because it smells like rotting flesh when in bloom. Can you imagine coming upon a forest of these magnificent blossoms

in their native habitat? A world of stinky wonders!

Patty Hieb

Stinko Plant

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I have lived in eight decades and have celebrated birthdays in seven decades. I made eight blocks for this quilt to represent the decades and then realized that if I had celebrated with a cake and candles every year I would have blown out 2701 candles.

Janet Steadman

2701 CandlesMachine pieced from hand-dyed cottons. Machine

quilting is used on the piece.37”w x 36”h

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Cotton sateens hand dyed by the artist. Machine pieced and quilted.55”w x 47”h

The movement of this piece reflects the crossroads experi-enced as we travel through our lives-sometimes gently

moving along, and sometimes encountering a “y” in the road with new choices and experiences.

Lynn Woll

Crossroads I

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Cotton fabric, machine strip piecing, machine quilting in flower shapes with rayon thread,

archival ink pen for drawing the ants.24”w x 45”h

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A single branch heavy with blossoms hangs across a back-ground shimmering with leaves and grass.Barbara O’Steen

Plum Blossoms

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The outside is wool, and the inside is made of strips of pole-wrapped fabric dyed by the artist. It is heavily sewn with Sulky color-blocked thread.5”w x 6”h x 4”d

A walk on a beach at low tide reveals the beauty of the creatures in the sand. Deborah Gregory, Juror

Reveal VI

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A constantly crowing rooster that belonged to a thoughtless neighbor announced morning over and over again!Marie Jensen

Rise and ShineThe face is entirely made of cotton duck that was

painted with fabric paint and then pieced and appliqued by machine and machine quilted.

43”w x 17”h

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Paint, Timtex and a sewing machine. Approximately 8” high

These pieces are just for fun!!! Jo Van PattenTriumvirate

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This vase evolved after making dozens of fabric bowls. The shape is wing-like; the hand painted fabric suggested the embellishments.

Katy Gollahon

Fringed VaseMade from purchased, hand-painted and

commercial cottons, Timtex and beads.12”w x 20”h x 12”d

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Hand-dyed cottons and machine stitching. Fuschia is made much like a traditional quilt, with a backing, batting, and pieced top. The difference is that it is shaped as it is sewn with the structural strength coming from the machine stitching without additional structure. 13”w x 12.5”h x 6”d

Blurring the boundary between quilt and basket, this piece draws the eye to the center much like a bee is drawn to the

nectar at the center of a flower.

Cameron Anne Mason

Fuschia

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My “Silk Flower” series keeps me garden-focused in the winter. Getting into it with paint and stitch can be even better than digging in the dirt.

Marianne Burr

Lovely LilyWhole-cloth, hand-painted silk; hand stitched, machine quilted.

25”w x 26”h

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geRaw-edge and fused appliqué, commercial and hand-dyed cotton fabric, hand and free-motion machine quilting, couched yarns. Tentacles are painted silk organza and fused cotton. The base of the anemone is upholstery fabric covered with painted silk organza. 31”w x 26”h

The small and delicate Moonglow anemone with translucent, white-banded tentacles was an unexpected treasure sheltered

in a pocket of sand between tidal-worn cobblestones.

Carla Stehr

Moonglow Anemone

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“Patina” is one in a series of experiments involving metal and fabric. Metal is changed by exposure to the elements and develops a unique patina. Cotton fabrics were exposed to rust, bleach, dyes, and paint to find what sort of patina they would develop.

Debi Harney

PatinaRust, paint, hand-dyed and discharged fabric,

machine quilting and hand beading.12”w x 14”h

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gePainting, hand applique, and hand quilting.25”w x 32”h

For thousands of years people have gone on pilgrimages, and for each of those pilgrims the experience has meant

something different. “Supplications/Expectations” marks the motivations for those first steps.

Gayle Bryan

Supplications/Expectations

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The strong vertical movement of alternating waves suggests the shimmy of belly dancers.

Sharon Rowley

ShimmyCommercial and hand-dyed cottons and silks.

Fused and machine quilted with metallic thread. 27”w x 20”h

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geHand-dyed fabric, machine pieced and quilted.26”w x 36”h

I made this piece during the farmers’ market season, when plums of all colors were tempting me.

Janet Kurjan

Plum Tango II

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