21 Nov

Inspiration Sunday

I almost forgot!! To continue from last Sunday’s inspiration:

From photo…

to sketch…

to quilt…

It’s even got a rainbow, just like the real place (click to see this, and all the photos, bigger):

I like the little sawtoothy triangles too:

I’ve titled the quilt “Kunia Road” because every time I drive this road this is what I see. It’s working title was “the red dirt quilt” because that’s what I wanted to capture most. I even went on a special quest for red dirt fabric. In my stash I had found a small piece of shot red/orange cotton which was looking pretty great, but it wasn’t nearly enough. So, I sent a bit of it to Kathy at Pink Chalk Fabrics and she found a similar cross weave in her shop. Three cheers to Kathy for indulging her customers!

customer fabric matching

And yes, if this quilt looks familiar, it’s because I’ve shown it in progress here, here, here, and here.

21 Nov

Lines 11

Lines 11

Back to the mono prints. Fun, fun, fun. The one on the right is the first one I did: chicken scratch with the other end of a paintbrush, into textile paint on a piece of glass. Before pulling a print, I cut a leaf shape out of freezer paper (’cause it’s non-porous) and set it over the paint.

I wasn’t wild about the sharp definition between the leaf shape and the chicken scratch, so I made the print on the left. I rolled out the paint with a brayer and then used a palette knife to move it around and scratch into it. They are short lines, but ones with character.

20 Nov

The Army Wife

The three “quilts” accepted into Beyond Comfort are part of a series I’ve been working on for the last year or so (and I hope to continue working on). They grew out of the “War Sucks” quilt I made and deal with various aspects of being an Army Wife. My intent is to present my personal experiences, but to hopefully in a way that is essentially universal.

I love the way they all look on the laundry line.

They look good just hanging out together too. The center three are the aprons that I entered into Beyond Comfort and were accepted. I entered all five as a set to Quilt National and I think that may have contributed to their rejection. Square pegs and all. That’s just conjecture though. Anyway, for Beyond Comfort, the unconventional format was one of the aspects pushing beyond the comfort zone. The premise of the series is new for me too, and I hope that it will take viewers out of their comfort zones as well.

Finally, since this is a daily thing, here’s Lines 10 (for fans of Lines 6):

Lines 10 -- ruling pen and acrylic paint

I said I was going to put away the ruling pen, but I figured I owed the chicken scratch a try with it.

19 Nov

Lines (9) and names


Plaid! I was working with plaid fabric this morning and thought, “why not.” Indeed. I used my ruling pen, with and without a straight edge, and acrylic paint.

I also participated in Sherri Lynn Woods‘ Virtual Sewing circle. She sent me five coffin shapes and five names of the fallen in Iraq. I embroidered the names and sent them back to Sherri and she will sew them onto a banner commemorating those who have served. One name in particular hit close to home for me. Four were young soldiers and marines in their early 20s. One was an Army Command Sergeant Major. He was about the same age, and in a similar leadership position as my husband. I usually consider my man to relatively safe when he deploys as he’s not one who kicks in doors, but seeing a CSM on the list reminded me that no one is really safe. Participating in this project seemed apropos though as we’re on the eve of another deployment, and the art quilts accepted into “Beyond Comfort” deal directly with my experiences as a military spouse.

18 Nov

Lines 8


The jar of paint and piece of glass from yesterday’s monoprinting called to me. I just stuck my finger in the jar, made a line, and pulled a print. It’s fat, it’s mushy, it’s fingerpainting, but it’s still a line. And a pretty primal one at that.

17 Nov

Lines 7 and more

I’m taking a break from my ruling pen. Melanie gave me some good tips on how to recognize when the paint is the right consistency, which pretty much breaks down to spending a little time getting it right. I have to get over spending more time mixing the paint than actually making the lines! Perhaps I need to extend my line making session into a journaling warm-up, or something, where I continue on to working with the same materials on something else…

Anyway, ever since Melanie posted her white on black drawing a few days ago,  I’ve been jonesing to do a monoprint or more.

I kinda like the background texture the brayer left on the first one, but on the second one it had dried a bit and rolled more evenly. There wasn’t enough ink/paint on either one for a more solid background — I think a foam roller may work better than my rubber brayer. Either way, I enjoyed this process of reductive line making and will definitely return to it.

The “more” in the title is not just more than one line exercise today, but an announcement that my newest art quilts have been selected for SAQA’s “Beyond Comfort” show which will be shown at England’s Festival of Quilts next August! I haven’t shown them yet because I had also entered them into Quilt National (obviously, they were rejected). Here’s a sneak peek now:

“The Army Wife: Hanging By a Thread” detail, 2010

“The Army Wife: Issues Public and Private” detail, 2010

“The Army Wife: Home Fires” detail, 2010

16 Nov

Houston 4

There seemed to be a bajillion categories of quilts in Houston, and a half jillion exhibits, so it was sensory overload trying to keep everything straight. It did seem to me though, that most everything was “recognizable.” Lots of landscapes, flowers, portraits and things that looked “quilty” (though they’d never actually be used as quilts, what with all their intense stitching and devices to lay flat).

The following are the rest of those which stood out to me for one reason or another.

I thought this artist captured the light and modeled the parrot exquisitely through her use of batik fabrics.I loved the bit of blue under the beak.

Ruffled Feathers
“Ruffled Feathers” by Roxanne Nelson


More lovely use of color:

Port of Cassis
“Port of Cassis” by Lenore Crawford

Digital Imagery is becoming popular. I only liked one:

Return of the Grackle
“Return of the Grackle” by Diane Rusin Doran. Since the majority of what makes this image work is the work the artist did with Photoshop, I’d be just as happy to see it in photographic print, or blank card form.

There was great emphasis on baroque style stitching. More was definitely seen as more. I thought the use of lots of stitch was appropriate here — it shows speed well:

In a Flash

“In a Flash” by Allison Lawrence.

Simple elegance:
Eye of the Peacock
“Eye of the Peacock” by Judy Kriehn

And more interesting use of stitch (though I think this would be just as lovely as a colored pencil drawing on beautiful paper).


Nice lines!

Seeking Peace
“Seeking Peace” by Pamela Morris

The quilting didn’t wow me but I liked this little abstract bird or leaf.

I really liked this one:

Stone II
“Stone II” by Jean Wells Keenan.

It has such nice colors and lines, and lovely fabrics. There is an intriguing play between the larger fabrics and the areas with small pieced bits and the skinny bits.


Florals were very popular. This one was kind of different:

Schizo Rose
“Schizo Rose” by Judy Robinson Ehrnst.


I liked the graphic quality of this one:

“Crocus” by Maggie Weiss.

I liked that this one was both painterly and “fabric-y:”

Iris in My Garden
“Iris in My Garden” by Maryanne Williamson

There’s a lot of thread in there, but also a lot of recognizable fabric, not just color.

I liked the doodle quality of this one:

Multiple Personalities
“Multiple Personalities” by Cynthia Goodwin.

It was different, and fun to look at. Though, I think that the best stitch that looks like a drawing are “FLK” by Alison Whittemore, and “Dreams” by Faye Anderson, a yearbook page in the form of portraits on little pillows. She also did “Famous Women in Art with Quilting Backgrounds.” I can’t find these on the web, but the first two were in Quilt National several years ago.

And here’s one last, more quilty, one:

That's Graphic!
“That’s Graphic!” by Diana Sharkey.

I thought I was over the selvedge craze. For me, it pretty much begins and ends with Jodie of Ric Rac’s Selvedge Frock. I ‘ll also admit to liking spiderweb quilts that feature selvedges, but they are kind of “seen one, you’ve seen ’em all” and don’t seem so fresh anymore. But, this quilt grabbed me. I liked it’s simplicity. I think what made it attractive to me is the counter balance of the “real” fabrics in the center against the selvedge fabric edges. It respects the fabric.