Smithsonian Craft Show

I went back to DC on Saturday, this time was to visit the Smithsonian Craft Show so I left the kids at home. Being the height of Cherry Blossom Festival, I decided to use a Park and Ride and take the metro into town. There was a HUGE line waiting to buy Metro tickets, but luckily I already had one and zipped right in. Perks of being (kinda) local. I kept seeing cute little kids everywhere, and the gregarious toddler on the Metro who wanted to fist bump was adorable. But, the winner of them all was the little guy and his red trombone rocking it out with the rest of the guys in this raucous brass band.


Inside the Building Museum at the craft show, it was much more sedate, but no less interesting. I recognized a lot of artists/craftspeople I admired from the Baltimore Craft Council show, like wood sculptor Michael Bauermeister and ceramicist Justin Rothshank, but this wasn’t nearly as huge a venue. It was kind of a “best-of,” which was really quite enjoyable. I also saw two artists I recognized from my visit to Snyderman Works — paper masters Jiyoung Chung and Lucrezia Bieler. I looked for my favorite from Baltimore, Gustav Reyes, since I had told myself I’d buy one of his bracelets if he was there. He wasn’t, but a bracelet was in the online auction, so maybe he’ll be at the Craft2Wear show in October…

There was plenty of other lovely jewelry, to include pieces made from zippers by Kate Cusack. I was close to buying a Bubbles necklace.

After my weaving and knitting work with plastic bags, I was inspired by coil baskets by Jackie Abrams, and pod shaped basketry by JoAnne Russo.

Faith Wilson was there with her moody floorcloths. I really want one, but could decide on a size or color since I have no idea what our next kitchen or entry will be like. Something to put on the someday list…


I liked the whimsical jewelry made from musical instrument parts by Lisa Cylinder, but ultimately went home with irreverent mugs from Beer’s Pottery.


I had a nice chat with Chris Roberts Antieau whose work I admired at the Visionary Arts Museum in Baltimore. Her more recent work is a lot more realistic and detailed than her usual comic-like panels, but it is wonderfully magical and still very narrative. I liked her masks of stitched memories on taxidermy. The javelina reminded me of our time living in Arizona.


I also had a nice chat with Lisa Call. Having been to her booth in Baltimore the first year she was there, it was interesting to talk about the similarities and differences. It looks like the Smithsonian is a good match for her. No photo here since the light in my photo of her in her booth was fighting us. She’s got much better photos on her blog.

In the Art Quilt world there is always this Art versus Craft debate, and I have to say, if this is the kind of craft I could be associated with , I don’t mind at all. In fact, I aspire to the level of craft I see at these type of shows. I also aspire to have my work called Art, but really, I’d be happy with either moniker.

Since the Smithsonian show wasn’t huge, I wandered over to the National Portrait Gallery to see a little more than Brenda and I had on our overview several months ago. I still think the presidential portraits are the best part of the collection. The collection just wouldn’t be as at home any place outside a national gallery in a capitol city. I noticed that while there were a lot of paintings of American Indians, I didn’t notice any BY American Indians. Also, most everything pre-Modern was very white, although the more contemporary galleries had a lot of African Americans represented. With all the American landscapes, I was hoping that there would be at least one painting of Kilauea, or something Hawaiian, but nothing I could find. I guess I was hoping, in a National gallery, to see the diversity of our nation a little more thoroughly represented.

There was certainly beautiful and thought provoking art to be seen and enjoyed though. I was drawn to a portrait of Leonard Wood, a founder of the Rough riders with Teddy Roosevelt and an iron fisted leader in Cuba whom I care little about, but was drawn in to find that it was painted by my most favorite portraitist, John Singer Sargent. Walking down a hall I was grabbed by a large, contorted, Spanish dancer, and sure enough, she was painted by Sargent. Then, there was a portrait of a man with a cat in his lap that looked Sargent-esque. Giggling to myself, I though, “well he doesn’t look like an evil genius.” Much to my pleasure, I discovered that the painting was by Cecilia Beaux, and the label read “at a time when few woman could, she carved out a career for herself as a portraitist, and was thought to rival John Singer Sargent. It was the best of all worlds — Sargent-like in style and skill, by a woman, and including a cat! Be still my beating heart.

AprilDC5 Man with Cat


Finally, I took myself out to dinner before heading home.


DC Day

Way back when, I used to post a lot (or it seemed a lot to me) about the German fests and sights we used to visit. There was a lot of cultural fun to post about in Hawai’i too. But lately, I’ve been feeling like I haven’t posted much about life outside my sewing basket. Part of it is that we haven’t been nearly as adventurous here in Virginia. We may also have binged on too much Monticello in our first year, if that’s at all possible.

However, Sunday took us to DC, to see if the cherry blossoms had bloomed. Not quite, but it was a fabulous spring day and we thoroughly enjoyed being outside.


The cherry trees are concentrated near the Tidal Basin, which is also the site of the Thomas Jefferson Memorial. He’s our guy.



The pink trees hadn’t burst out in flower yet, but some of the white varieties had. So pretty!


There was food at the Cherry Blossom Festival, but what looked good to us was horribly over priced, so we went to the Museum of the American Indian for lunch because we had heard their cafeteria was pretty good. It was. Far more interesting and tasty than what we’ve sampled at Air and Space or the Museum of American History. If you’re going to pay too much, you might as well enjoy it.

We also wandered around a bit. I have to say, it’s not a great wandering museum. I think there’s a narrative to be followed and it all makes much more sense when given the time to be taken in properly. We were kinda tired from walking around the Tidal Basin though, so we’ll have to return another day for a real visit. It caught my attention that native Hawaiians were included in the mix, with an outrigger near the lobby and a photo in the cafeteria of a woman harvesting taro. We tried to find the Hawaiian parts of the native American story, but were a bit disappointed that even the Hawaiian creation myth was not included in the panoply of beginnings at the start of the tour. Oh well, I guess it’s part of America by hook and crook, not by geography like the mainland First Nations cultures.

One of of other things I noticed, was Nations, a beaded flag by Jenny Ann Taylor Chapoose. It’s fantastic both in its fine detail work, and in the overall message. The juxtaposition of the comparatively few American states with the many many native tribes is both subtle and wrenching. Take the time to click the link.

On the less serious side, the kids really enjoyed a display of animal themed artifacts, which included these net floats in the shapes of seals and walruses which I found absolutely charming.


On the drive home, we stopped at the Moo Thru, an absolute must for anyone traveling on Highway 29 between DC and at least Charlottesville, if not Lynchburg. The ice cream is locally made and seriously yummy! We always see people we know there, and I’ve seen customers stop on cold November days, so you know it’s gotta be good.


It was a terrific Sunday.

First Friday

First off, thank you to everyone who has come to visit and comment for Lynn’s Intentional Printing blog hop. It is so much fun to see all the new visits to my blog. Keep the hop rolling — there’s another week of the blog hop and then I’ll draw a random winner at the very end.

In other news, I wasn’t able to attend First Friday at McGuffey last week, but I had stopped by earlier in the week to see the Art and Ecology show.

art Eco 1

Kate got lots and lots of images for her “quilt” of animals affected by marine debris. There were watercolors, acrylic and oil paintings, drawings, photos, cut paper, and mixed media.


Art Eco 2

This block contains my Black Noddy and Natalya’s Northern Fur Seals!


Art Eco 3


My plastic bag fish trap hangs nicely with a school of CD fish


Art Eco 4

The dance group that was going to wear the plarn wings I knit was unable to, but apparently Kate’s niece had a great time with the wings and they were a big hit!


Intentional Printing Blog Hop

I first “met” Lynn Krawczyk through a mixed media exhibit she organized and curated about five years ago. Since then we’ve followed each other’s blogs and she’s even purchased several of my smaller artworks. Last year, Lynn invited me and a half dozen fiber artists with very different styles and approaches to contribute to her first book. I was impressed and intrigued by the variety, so of course I said yes!

Intentional Printing - jacket art

Now the book is out, and I may be a bit biased, but I think it is a treat. Intentional Printing is an easy read, but by no means simple. Lynn’s convivial tone belies tons of tips, techniques, projects, and best of all, encouragement. As the title suggests  it’s all about intention. She gets right to the point and leads the reader through her favorite printing techniques with purpose and focus in mind. It’s a book about printing on fabric, but it’s also so much more with insight into creative temperaments, strategies to avoid piles of ugly fabric you won’t ever use, and projects as a jumping off point. Plus, each chapter is introduced with something one of the invited artists made which Lynn custom printed with each of us in mind.

Grandmother’s Hospitality Book project
My contribution was this pillow featuring a swirly, root-like fabric from Lynn and a subtle organic line grid fabric.

For a little fun and insight, I asked Lynn a few questions about the book and her inspiration.

1.  I like the way you guide readers to associate color with feelings. Do you find that your own color choices change with seasons or moods?

Good question! For the most part my colors are consistent but I can easily track certain periods of my life in my artwork. Things get a little darker during harder times and I experiment more with brights that I don’t normally use when things are more upbeat. I think it’s unavoidable, that fluctuation. Our work is bound to reflect our feelings because we are so closely bound to it.

2. You say that you try to be aware and to create with intent – that you usually have use in mind for your fabric. Do you also have a favorite artist or inspiration?

That’s a toughie because there are so many artists I admire. One artist at the very top of my favorites list is Lee Krasner. I’m a huge fan of abstraction (obviously) and she was pretty regular at consuming completed artwork by recycling it into new projects. That’s something I do all the time as well and her strength and determination really speak to me. Just find her energy inspiring all around.

3.  My favorite project is the table runner. What is yours?

I have to say that I am a sucker for the desk weights/beanbags. They are an instant gratification kind of project – print the fabric, assemble, do a little stitching and boom – done! I actually use beanbags a lot and honestly? They’re cute! Can’t help myself!

4. Reading your book is like having a friend come and spend the day with you, encouraging, guiding, coaching you through your artmaking. Have you had a friend or mentor who guided you? Or, if you were to come to my house in real life, what would we work on or do if we had an art day together?

Studio time together! Yes! I LOVE working alongside other artists. There is a definite shift in work environment when more than one creative is kicking around.

I can guarantee that I would be super nosy and want to see all of your artwork. I’m borderline compulsive about holding work in my hands, love that connection. I think the biggest thing we would do is share as we work – meaning nothing would be off limits. I’m open about sharing how I do things because I believe that there is room for everyone in the art world. We all have our own spin.

There would also be chocolate. Lots of chocolate.

5.  One of the techniques in your book is to stamp with box lids. I would have never thought of doing that. Besides lids, what is the strangest thing you have tried to print with (successfully or unsuccessfully)?

My feet. Yeah, that was a great move. I got this idea in my head for a piece I was making that I could print footprints on it. So I set about painting the bottom of my feet but I didn’t pay attention to how far away I was from the piece of fabric I intended to walk on.

There was scooting across the floor on my bum and then an incredibly ungraceful shimmy to my feet. By the time I made I finally had my feet where they needed to be, the paint was mostly dry and unwilling to transfer to the fabric.

Needless to say, I’ve since decided to stick with inanimate objects for print tools!

6.   I know you love love love your coffee. Have you ever printed with it?

Yes – on purpose and sometimes by accident!

Coffee is a great way to tone down or antique colors. I don’t find it to be something that I like to use on it’s own because it’s hard to get really bold color with it. But it’s certainly useful. (And smells great too!)

Funny story – I haul a coffee cup around with me constantly and have the bad habit of leaving them everywhere, even on my print table. Once I ended up dipping a sponge brush in one without realizing it until I swiped it across the fabric!

 7.  The book seems to be geared mainly to art quilters, but you mention that printed cloth is also great for modern or traditional piecing.  I think paper and mixed media artists could get a lot out of the book too. Have you seen anyone who’s done something really unexpected with your printing techniques?

Honestly? Not yet so far but now that the book is heading out into the big world, I know someone will really goes for it!

The techniques can definitely be used on paper and mixed media art. That’s because they are all paint based and paint will stick to nearly anything!

I’ve been selling Thermofax screens for years and have made screens for all kinds of projects – fundraisers, beer clubs, underpants, baby onesies, invitations. I’m always in awe of the things that people think of to make.

What a Home Needs
With my leftover fabric, I made this little piece of wall art, repeating my favorite house with roots (and wings) theme.

Draw, stamp, screen print and more to create gorgeous art cloth with the help of surface design artist Lynn Krawczyk’s new book from Interweave/F+W Media, Intentional Printing: Simple Techniques for Inspired Art Fabric .

Leave a comment by April 25th and I will pick a random commenter to win a free copy of Lynn’s book.

Take part in our blog tour with more stops along the way at:


If I had a newsletter, this month’s issue would proudly announce that in addition to Zeitgeist winning best of show at Art Quilt Elements (see previous posts), I have sold several artworks recently!

The first is “Staufen Vineyard,” a little landscape that I love. It reminds me of a lovely weekend with friends in a picturesque German town. We returned with my dad a few years later and had an equally lovely time.


The buyer is a friend of my sister in law’s and she also has a connection to the town of Staufen. This was a Christmas present to herself.

The second was a trade. After showing my work in the New Members exhibit at McGuffey Art Center here in town, one of the other artists offered a trade. We swapped one of my wall quilts for one of her wood block prints. I still need to frame hers, but I love this kind of barter!


Finally, my most recent sale was to a collector who found my work via, drum roll please, Pinterest!

Am Rand von Oma's Weizenfeld sm

For all the Sturm und Dramm over Pinterest, I have come to the realization that it is here to stay, that it is good organic marketing, and that I should embrace the future that is increasingly online.

Speaking of the future online, I think there could be an entire separate conversation about marketing, online presence, social media, attracting collectors and enthusiasts, and keeping work fresh versus keeping work secret as a means to those ends. My experience of late is leaning towards embracing social media. I have things I’d like to show peeks of to let people who like my work know that yes, I’ve been busy, and yes, it’s more than just knitting.

On the secret side, I have a piece that has been accepted into the SAQA regional show Tarnish, so I’m looking forward to unveiling that soon.

I have a piece that was rejected for a book project, but will remain secret until the book is published as it still has a part in the greater event. I have another piece that I’ve been keeping secret because I’d like to enter it into Quilt National, but now an even better opportunity may have arisen, so I could be sharing that soon. There are a few other pieces in secret limbo too.

And, I’ve got two secret pieces that were part of another book project, and that book is out so I can finally share — come back tomorrow for my blog post and giveaway for Lynn Krawczyk’s wonderful book, Intentional Printing! Yippee!

My Takeaway

Art Quilt Elements 2014

Click on the link above for an overview video by Lisa Ellis. I didn’t take any photos of the artworks, but they can be seen in the video and of course in the catalog and hopefully on individual artist’s blogs.

In conjunction with Art Quilt Elements 2014, Wayne Art Center hosted a SAQA regional symposium and a talk with AQE artists and jurors. The symposium and talk are over, but the AQE exhibit will be up until May 3rd.

I skipped the symposium because it cost money and I already felt like I had spent enough entering the show, paying for shipping of my artwork, driving to PA, and two hotel nights. Besides, My mom and I wanted to see a little of Philly while we were there. But, I am really glad we went to the gallery talk.

One of the jurors was from the art quilt world, which is good for technical insight, trends, and context. The two other jurors were from the greater textile art world, which brings in a fresh view, broader context, and an eye towards artists concerns rather than technical ones. Unfortunately the art quilt juror wasn’t present, but i thoroughly enjoyed hearing what the other two had to say.

These jurors liked large scale. There were no really small artworks in the show, and there were several comments about wanting to see some of the selected art being even bigger. They appreciated good technique but were not nearly as charmed by it as so much of the art quilt world seems to be. The jurors wanted proof of content and intent.

I was struck by a difference between what the jurors saw and what the artists spoke about. In the pieces the jurors wanted to speak about, they saw stories and points of view. They were drawn in by intriguing details (Eleven 3 Thirteen by Marianne Burr and Random Thoughts by Elizabeth Brandt), by mysteries that needed unraveling (Greek Revelation by Kristin Hoelscher-Schacker, by plays and modulations of color and pattern (Hostas by Jill Ault, Call for Entry by Sandy Gregg). They wanted to be taken on a journey and to have that journey mean something (Anxiety No. 8, David by Judy Kirpich). They liked when there was a provenance (Home at Valley Forge by Lois Charles). They looked for the concept that drove the work.

When the artists spoke about their work, many seemed to focus on their process or technique. It was about arranging fabric until it seemed right, or focusing on details. It was attention to surface design or patterning. Any concept or intent imbued in the work seemed to have been serendipitous. Of course, we didn’t hear from all the artists and there were few that did start with specific intent, and us artists are not always good at explaining our inspirations or motivations on the spot. But I did find the differing points of view to be noteworthy.

Another area to think about, brought up by the jurors, was dimension and breaking the plane. Things could wrap, or move in and out, or just suspend away from the wall.

Context came into play. Thinking more in terms of installation and including other non-fiber elements to further the story. Asking why cloth? What is the best medium for the message? Of course, these are questions I ask myself all the time so I just ate up all that they were saying. I’ve been frustrated of late with the constrictions of many quilt exhibit venues, so this validated my desire to break away from the 4″ sleeve and move out onto plinths or forms, to work extra large, or to just hang away from the wall.

What the jurors liked about my quilt was what it said about our world right now. It’s provenance is here and now in our world of memes and social media. It’s current. They also appreciated it’s visual impact, bold use of color and patterned fabric, and the way the zig zag border became an integrated frame as well as referencing the quilt medium. Things to think about would be what hangs with it outside of a survey show like AQE. What else could I make? Where else would it work? Get it out of the quilt world and into the milieu of pop and other current art. (Although I do think that QuiltCon needs it.)

Some of the pieces that interested me personally:

From further away, Complements by Naomi Adams looks textural and complex. Up close, it’s beyond textural — it’s dimensional. And its also simple. I liked it’s contrasts.

From Stone drew me in with it’s organic shapes and fissures created with denim and dense stitching that modulates the colors. The big surprise was that it was by Hollis Chatelaine who is known for her portraiture.

Diane Firth’s work is pristine as always. Low Tide‘s contrast between sheer tulle and subtly dyed felt is softly serene. Her play of substance and shadow by use of sheers is very elegant.

I enjoyed meeting Benedicte Caneille. She is so friendly and charming. Her work is beautiful too. Benedicte’s Units 27: Sunburst and Julia Pfaff’s Contrast XIII hung next to each other and played off each other’s acid greens, deep blacks, clean construction, and contrast of busy and relatively quiet to a marvelous effect. Kudos to Susan Hirsch for hanging those two together. Fun for me to get to meet Benedicte and to see Julia again to represent Virginia art quilts!

My favorites were Random Thoughts by Elizabeth Brandt and Otaru Winter by Cynthia Vogt. The shapes in Random Thoughts reminded me of Robert Motherwell, but remain in a quilty context, and the quilting itself is fantastically scribbled and patterned. It has to be seen, not described. Otaru Winter is very simple and the most like a traditional quilt in that it is made up of many small white log cabin blocks. But all those blocks are made of silk and the way they are quilted really accentuates the subtle shimmer of the whole piece.

I also liked the way Greek Revelation by Kristin Hoelscher-Shacker plays with foreground and background. First it looks like interesting pebble-like shapes on a green ground, but then you notice that the shapes are really little windows into a scene in the background and all of a sudden you are looking through them trying to puzzle out the story. This is also one of those rare instances where I like the use of the digital imagery.

Stroke by Lori Lupe Pelish: commercial fabric as paint!

Finally, for Deborah, some statistics:

  • 43 quilts in total, chosen from over 600 entries
  • Six Figurative (four humans, one robot, one cat)
  • Seven that looked like recognizable things
  • 30 purely or predominantly abstract
  • Nine utilizing digital prints
  • Five using repeated quilt blocks
  • One constructed of plastic bags, two using Tyvek, one predominantly denim.
  • Two artists named Kristin — and we both spell our names the same!

Excellent Arty Weekend

The weekend actually started on Wednesday afternoon when my mom and I packed up a large portion of my Army Wife Series, and all it’s accompanying and borrowed display gear, and drove to Yorktown, VA so we wouldn’t have to be up at the crack of dawn on Thursday. Besides, my friend JoAnne, who, in typical Army wife fashion, I had met in Hawai’i and will now keep in touch with whenever our paths cross, is a wonderful hostess.

The Army Wife all packed up

Our occasion was a Joint Services Luncheon at Ft Eustis, VA. The speaker was Tanya Biank, so JoAnne, who was on the organizing committee, suggested my artwork as a compatible display. I enjoyed the opportunity to share my work with an audience who might not normally take the time to see it in a gallery, yet would very much identify with it.

The Army Wife

I enjoyed talking to many of the ladies and sold a few catalogs and card sets. It was a lot better than letting the artwork sit in my dark closet. On a whim I brought my Square credit card reader which I had never used. It was so convenient to have on hand!

Selling The Army Wife cards and catalogs

The main event though, was for my mom and I to spend two days in the Philadelphia area to attend the Art Quilt Elements opening night reception and related Saturday events. My Grumpy Cat inspired quilt, Zeitgeist, was in the show and I thought it would be a fun outing for us to go see it, to visit another gallery or two, maybe a few Philly sights, and hear the juror/artists talks.

Art Quilt Elements 2014

I knew my cat was huge, especially since someone noted when it was hanging at my local McGuffey Art Center that it was seven feet tall, but I kind of assumed it would look normal sized in Wayne Art Center’s large gallery and surrounded by other large art quilts. Wow! It stood out as huge from the moment you walk in the entrance.

But the REALLY BIG surprise was that Zeitgeist won Best in Show! I was flabbergasted. I absolutely love the quilt, but I was even surprised that it was accepted into AQE. It doesn’t really look like what comes to mind when one thinks Art Quilt show, and it definitely wasn’t what I assumed would be considered prize-winning.

Me and Zeitgeist

I floated for the rest of the evening. I texted and FaceBooked with my friends and family, and let Sara Wood, who long arm quilted the beast know the good news.

We had Saturday morning free, so I decided we needed to see the fiber art mecca, Snyderman-Works Gallery. Their Fiber Biennial had just started and so the gallery was filled with a wide variety of top-notch fiber work. I took a few photos, but really, one needs to check out the much better photos at Snyderman-Works’ website or the individual artists’ websites. Aside from the wonderful artwork, I really, really enjoyed that everyone at the gallery was friendly, informative, and readily available. Frank was our docent without hovering too much, and I even had a chance to chat for a bit with the founder, Ruth. Everyone was warm and charming. I wish I had a million dollars so I could support the gallery and the artists they feature.

Snyderman-Works Gallery Philadelphia

My favorite may have been Richard Saja’s work. I’d seen it online before and it really does stand up in person. So quirky, so well executed, and so unique. I loved the red hair on this lady:

Scenes from a Marriage by Richard Saja (detail)

Scenes from a Marriage (detail) by Richard Saja

Compound by Norma Minkowitz

I also liked the work of Norma Minkowitz. One piece upstairs was frieze- or headstone-like with bird-ish forms and downstairs was this piece entitled Compound, which tells the story of the capture (and killing) of Osama Bin-Laden. The work is knit and then stiffened with resin, which intrigued me since I’ve been knitting a lot lately. It was at once cozy and hard.

Petal Edge by Piper Shephard (detail)

Petal Edge (detail) by Piper Shepard. I’m always attracted to cut paper art.

At The Sea by Pamela Becker

There were several vessels by Pamela Becker, like this one entitled At The Sea. They were exquisitely made, and the contrast in sheen between the linen and the rayon threads she uses is subtle and elegant. The patterning and surprise flowers in the bottoms of the bowls was beautiful too.

After Snyderman-Works, we walked over to Independence Hall, but didn’t have time for a tour or the Liberty Bell. It was nice to see the historic neighborhood though and Independence park.

Our next stop was the Art Alliance of Philadelphia to see some funky work by Caroline Lathan-Steifel.

Caroline Lathan-Steifel "Greenhouse Mix"

After Snyderman-Works, this was kind of a let-down. It was so crafty in comparison. But I did like the way the viewer could interact with the pieces by walking around them or looking through them, often at another piece. With fabric being a wrapping, enveloping media, I think we should be thinking more in terms of installation work.

The rest of the afternoon was back at Wayne Art Center to hear the jurors’ comments about some of the works, and to give the artists present a chance to give a little insight too. I’ll save that for another post though since this is pretty long.

Sunday’s drive home was punctuated by a stop at Historic Savage Mill, MD for the annual Homespun Yarn Party where I helped my friend Elisabeth sell her wonderful color changing yarn. Long day, but she appreciated the help, and I had fun being surrounded by yarn goodness. My mom and I came home with beautiful scarf pins and a skein of Elisabeth’s yarn to make next year’s Christmas present for my mom.

Just Checking In

I feel like it’s been too long between blog posts. I’ve been keeping busy so I actually do have some blog fodder, but it’s kind of a whirlwind so I don’t actually feel like blogging. My mom is here and we to Fredericksburg a few days ago to pick up display stuff from a friend and do a little sightseeing. Then yesterday we went to the Ft Eustis area (Yorktown/Newport News) in preparation for displaying my work at a military luncheon today. After the luncheon, we drove back home and then tomorrow we’re off to the Philly area for the Art Quilt Elements reception on Friday and Meet the Artists event on Saturday. We may stop at a yarn fest in Maryland on the way back Sunday. So, lots to talk about, but no energy to upload what few photos I have, and too many words without photos is boring. So, I’ll catch my breath next week, process it all, hopefully have fun photos from Philly, and report back here with a real blog post soon. OK? OK.