12 Nov

IQF Houston 2016

Here’s where I was last week (or was it two weeks already!). This was my fourth visit to the International Quilt Festival in Houston, TX. (Here’s a link to lots of posts about previous shows and a few tangential things).convention-center

Quilt Festival is a huge event. Between the exhibits and the vendors and the potential classes it’s overwhelming. I’ve found that over the years, having a plan and a buddy has helped to make the event manageable. This year, Quilt National ’15 was one of the special exhibits and included my quilt ‘Murica. Seeing my quilt in this venue was the main reason for going, but I also wanted to support my friend Deborah as she promoted her new book and taught at Festival for the first time. And, since I was a bit at loose ends, I also took the opportunity to work for The Craftsman’s Touch Books. Working for the book shop had the unintended benefit of giving me a behind the scenes look at the Festival, and early access to the show (which I could really see during normal hours since I was working).


It’s a little surreal to be dodging forklifts and drivable vacuum cleaners in the aisles of the vendor area.


Day one was unpacking boxes. It’s a brutal day for vendors. They set up their booths on Tuesday and then fill them on Wednesday. Some booths just had a little work on Wednesday, but many worked 9-5 to fill inventory. At 5pm, the show opens and visitors fill in, shopping until 10pm. I was lucky to have only worked until 7 and then previewed the exhibits for a few hours. I left hungry and tired, but excited.


There’s a lot to cover! I did not have the time to browse the vendor mall, but I did ping around, checking out things that caught my eye, and looking for inspiration for The Pine Needle where I work in Portland.


The unveiling of the major prize winners is always a big part of the excitement of the show. October Sky by Bethanne Nemesh is my favorite. The silk just glows, and her stitched drawings are expertly rendered.



Old Denim Square by Noriko Nozawa also won a prize. This one grew on me the more I looked at it. I love the denim log cabin blocks. Then I grew to appreciate the deft use of custom machine embroidery in the details and the way she incorporated the pockets and brads and various parts of the denim clothing used in the quilt. Deborah predicts that custom digital embroidery will be the next big thing. We saw several examples at the show.



Denim must have gotten to me, because I was also attracted to Just Before the Lights Come On by Ana Buzzalino:



Another winner, The AEIO Ewes by Janet Stone charmed me. It’s clear design and sweet (but not too sweet) colors look great in photos and holds up in the cloth as well.



Skinny lines were on display in many ways. Fire in the Stone by Kimberly Lacy just blew me away. The color, the composition, the construction — gorgeous!


Look, more tiny strips — this time in Bobby Dole’s Blue Jeans by Chawne Kimber (my finger for scale, and hey, more denim in concept at least).



Machine quilting and long arms have finally come into their own in regards to whole cloth quilts. This one, Don’t Tell Me it’s Not a Dream by Ximo Navarro Sirera, is deceptively simple technique-wise, but strikingly elegant in design.



Deborah’s miniature art quilt won a prize too. I didn’t get a photo of her or it, but it was so exciting to be with her at the awards ceremony when she found out she won first prize in the category!

One of my favorite categories is Traditional Pieced. I particularly  liked this section with bold, fresh, quilts (from left to right, Flight Path by Mary Menzer, Amsterdam View by Carolina Asmussen, and Wall of Sound by Maria Shell)



Here’s a closer look at Maria’s. She’s doing exciting work in my opinion.



There were several quilts in various exhibits which were simple one-patch blocks, in bold colors, with a combination of machine and hand quilting. I really liked them all. Diamonds Quilt #2 by Tara Faughnan was one I returned to again and again.



This sample for Sizzix by Victoria Findlay Wolfe is a great example of how great she is at taking a traditional block and “removing” parts (often by matching it to the background fabric). I thin this is a variation of the Arabic Lattice.



I like the movement on this one too, though I think the hard work was done by mid century Dutch designer Wim Crouwel whose design was inspiration for Betsy Vinegrad’s Mod Blocks.



I’m thinking 2017 might be the year of the scrap quilt for me. I also have a ziplock bursting with half square triangle blocks. Obviously I was inspired by Chesapeake by Aline Joulin.chesapeake


Homespun by Mary Kerr and Donna Ferrill James reminds me of my own quilt, Partisan. It’s part of an exhibit of quilts marrying vintage blocks with modern settings.twisted


I find myself drawn to Baltimore Album quilts and almost as much to Whig’s Retreat quilts. I may actually get around to making a Whig’s Retreat some day. Sunshine And Bluebonnets by Laverne Matthews is a variation. sunshine-and-bluebonnets


And in another exhibit was this interesting contemporary variation, Spot On by Karen K. Stone, which caught my eye as well.spot-on


And a detail:spot-on-detail


One of my favorite “traditional made contemporary quilts” is New New York Beauty by Katherine Knauer, which I saw a few years ago at the Texas Quilt Museum.  Here’s another of Katherine’s quilts, Solar City, which contains all kinds of fun fabrics, including some fantastic ones she designed herself. solar-city


Look, fuzzy fabrics and cabs and green streets!solar-city-detail


Zinnias in the Rain by Martha Wolfe has the loveliest transparencies and line work.zinnias-in-the-rain



Finally, me with my quilt, ‘Murica. It was great to talk about the quilt with people, and see it getting attention from a new audience. The best reaction might have been the one a friend relayed to me of a genteel southern woman who was so shocked and unprepared to see this that she had to go sit down in a quiet place and pull herself together (particularly after witnessing another person identifying with the quilt in a guns are good kind of way). Apparently, she had no problem with the two quilts with nudes as “nudes are in museums,” but guns at a quilt show was a step too far. The experience led to a really interesting (and nonjudgmental) conversation between my friend and this lady, so the quilt has done it’s job of opening dialog.murica-and-me

10 Jul

Sisters 2016

Stitching Post

W00t! I did something totally fun and blog-worthy. At the last minute, I took the Fabric Depot bus to the Sisters Outdoor Quilt Show. It was a serendipitous combo of having the day off work and making a new friend who had an extra ticket.

Sisters is about three hours from Portland, so it was quite nice to turn over the driving (and parking) to the coach. Once at the show, I buddied up with an Instagram friend and we ended up spending the whole day together wandering from eye catching quilt to eye catching quilt. We found out that we had very similar tastes (probably why we follow each other on IG). It was a pleasure, as always when seeing exhibits of any sort with a friend, to talk about what we were seeing and why we liked (or didn’t like it). Overall SOQS is pretty traditional. This year though, Quilt Con had a special exhibit of some of it’s most favored quilts so there was definitely a big Modern influence. The Portland Modern Quilt Guild had a small exhibit too, in which my “Partisan” was hung. Interestingly, I was not that wowed by the art quilts. I think it was because most were literal and for some reason that doesn’t do much for me. SAQA’s Central Oregon pod had an exhibit of their Doors exhibit which was easily the best of the art quilts on display.

Here’s some of my favorites of the day:

Marks DisplayInside The Stitching Post, Valori Wells’ new fabric line Marks was front and center. I have a big ol’ crush on this fabric and I love this display which is chic and naive at the same time. My only purchase besides lunch was a fat quarter set of the blue color way.

Colors 2 The show organizers do a fantastic job of organizing the quilts so that they flow well together, and very often they are enhanced by the colors of the buildings on which they hang or the plantings in front of them. “Daybreak” by Marsha Savage looked particularly nice with the golden sedge grass in front of it.

ColorsA detail of “Freddy Dot Com” by Susan Brennan. This quilt looked so good with the poppies and other flowers in front of it.


Buscemi The green and the purple! It was a fun surprise to discover that this one in one of my favorite color combos was made by my friend robin Buscemi, who had given me the bus ticket!

Me and Petal

A big reason for going to the show (besides it being relatively close to me, and the world’s largest outdoor quilt show) was that my quilt, “Partisan,” was part of a special exhibit of The Quilt Block Abstracted by the Portland Modern Quilt Guild. Hanging next to me is “Fallen Petal” by Karen Lee.

DavidsonI’m a sucker for flying geese, so of course I like Heather Davidson’s “Two by Two Dancing Geese” which was also in the PMQG exhibit.

HobbsI also liked this variation on a Lone Star, “Carkai Quilt” by Meredith Hobbs.


BondSpeaking of flying geese, I’ve been drooling over this one by Sarah Bond online for what seems like ever. It absolutely holds up in person. It’s beautifully executed and even looks great hung sideways (which I didn’t even notice until a fellow traveller pointed it out to me. This quilt was one of many which represented the best of Quilt Con 2016.

Burnett Two color quilts can be so dramatic, and so classic. The gradation in this one makes it particularly attractive too. “Horseshoes and Hand Grenades” by Rebecca Burnett.  I’m pretty sure it was part of the Quilt Con exhibit too.

ParkesQuilt Con quilt “Night Flight #1” by Heidi Parkes. Big stitch hand quilting and lots of little free pieced bits made this one a lovely mix of rustic and refined.

PeakI failed to get the name or maker of this one but I was struck by the way it echoed the building on which it hung.

Tuazon I also liked “Flounce” by Melanie Tuazon

Royle We rarely get a chance to see the backs of quilts at shows, but outside, and on a breezy (becoming windy) day we caught many glimpses. The richly glowing “Embers” by Stephanie Royle uses all solids on the front but has a fun patterned fabric on the back.


Price “Embers” by Mary Kay Price just glowed too.

RabyAnd, in the teacher’s tent, this richly colored quilt by Pam Raby glowed due to the sun behind it. I had the chance to see this one at work and it has such delicious color without the sun, but this outdoor addition added an extra dimension.

ShawAnother teacher quilt was this cheeky “Curious Duck” by Ann Shaw. I see the influence of Ruth B McDowell, who’s work I love, especially in the bold choice of background fabric.


Beebe “Eichler Homes” by Mickey Beebe. I think this was part of a special exhibit of quilts using Moda fabrics. The whole quilt is made from the Grunge line, which is one of my favorite blenders. I think this design might have been too stark with simple solids, but the subtle colors in Grunge add just enough variation. I also loved all the little trees between the houses.

ModaAnother Moda quilt was this one titled “Just a Speck/Lolies.” I love that this is a Pineapple Log Cabin but the charcoal line and the fantastic circular quilting move the focus away from the center of the pineapple and out to the corners creating an unexpected secondary focus that becomes the primary.


Cobb This one was so simple, but so intriguing. At first I thought the floral was more concentrated in the center diagonal of the quilt, and scattered toward the edges, but it was just a trick of the effect of the turquoise blocks. The way the squares advance and recede is really fun. Plus, the quilting was simple, but perfect.

SchmidtI’ve seen versions of this X and + quilt in more Modern or novelty prints where it’s bubbly and fun. I enjoyed seeing it in mostly batiks for a slightly more grown-up look.

Cobb 2 This one, “Patches in Light” by Susan Cobb caught my eye because of it’s clever use of a Marcia Derse fabric. Usually Derse’s hand painted-looking fabrics are used more like one would use batiks. But pairing them here with a solid looking background and the navy accents (not to mention the little citron surprises) gives a much lighter, modulated look.

BlaylockFun “Dots” by Myra Blaylock. All hand appliquéd.

Fellows I love the quilting on “Love and Gillies B-17” by Colin Fellows. It so perfectly accentuates the quilt and is beautifully executed. By the way, out in the sun, quilting really shone.

Potter I liked the simplicity but intricacy of this one, “A Wink of Red” by Terry Potter.

Goose FootThere were quite a few vintage quilts, like Goose Foot from the collection of Sally Rogers. With different fabrics it could be very Modern.

Moran B There were lots of quilts by Grande Dame Freddy Moran. Most were raw edge appliqué, loosely free-motion quilted, and had barely finished edges. But they were exuberant and so obviously about the color and composition and the fabric itself (oh, the fabric! Where does she find these wild things? I want to shop with Freddy!). I could’t help but get the feeling that her quilts were saying, “Hey, I’ve been quilting forever and I’ve earned the right to do whatever the hell I want!” And I love that.

DyerAnother quilt that bucked tradition was this one coordinated by Wynde Dyer. It is made of tarp and was created by at risk youth at Caldera Art Center under Dyer’s tutelage. It was rejected by the quilt show for technical reasons (weight, materials?) but a local bookshop was kind enough to give it space.

And finally, The One That Shouldn’t Work, “Not So Lone Star” by Patrick Wilson.WilsonI just love this more is more Lone Star. I found Australian aboriginal print fabric, Erin Michaels paint by number designs, stripes, Kaffe Fasset, novelty sunflowers and more. Only the very brave would pull that variety out of their stash or a quilt shop’s shelves and know they’d work together.

Wilson det

I talked to others about whether the corner stars were necessary, or if the floral background really worked. I noted that without one or both of those elements, it would just be a classic Lone Star. There’s something about the way everything is competing and yet blending that, in my eyes, make this so striking.


08 Nov

Houston Quilt Festival 2014 (Part 1)

It’s a little hard to explain or wrap up Quilt Festival. It’s big and overwhelming, and I think it’s different for everyone. The first year I attended, it was mostly about curiosity, and a little bit to thank sponsors for supporting my husband’s IBOL project to get sewing supplies to women in Iraq. I was completely overwhelmed and definitely had the feeling that everyone else knew what was going on and I was clueless. The second time I attended was when Twelve by Twelve, the online quilt challenge group i belonged to, had a special exhibit. I had a home base at the exhibit and a bunch of good friends to experience the show with. It was much more fun and I know I got a lot more out of the experience. This year, I went for three reasons: one, I have a piece in this year’s Dinner@8 special exhibit and I wanted to experience being part of that group of ladies; two, it was a great excuse to visit my bestie Deborah and spend time with her; and three, I’m at a point in my “career” where making contacts is important to moving forward and Houston is a good place for that (though I suspect Market is better than Festival, but I’ll take what I can get).


IQF Ruby Jubilee exhibit of red and white quilts


2014 is/was Quilts Inc’s 40th Anniversary so they celebrated with a Ruby Jubilee. Overall I was super impressed with the look of the show. I think there was great use of vertical space and an unexpected variety in ways of exhibiting work. As soon as Market opened a week before Festival, it seemed everyone was posting photos of the dramatic vortex of red and white quilts. I was curious as to whether it was part of the Infinite Variety show that had been in New York a few years ago, or not. Info at the show confirmed that this collection was very much inspired by Infinite Variety.

Impressive display of red and white quilts


I’m not entirely sure what this photo exhibit was about. It may just have been to fill some space and/or show that quilting is worldwide. What I did like was that it was floor to ceiling. All that use of vertical space broke up the rows and rows of eye level quilts in a nice, and surprisingly unobtrusive way.

IQF Houston 2014


The Tristan Boutis was probably the most inspired exhibit I saw. A boutis is a french style of quilting with only two layers stitched together and stuffing in select spots to accentuate the design. This is a reproduction of a historic boutis showing the story of the knight Tristan. I love the way the glowing display highlights the construction of the textile.

Tristan Boutis


There were a few other plinths too. As a viewer, it was very engaging to be able to see things at eye level, but also to look up and down and way up.

I was impressed by the variety of ways quilts were exhibited


Here’s one side of the Dinner@8 exhibit with my friends Deborah and Sarah discussing the work. The colors story on this wall was gorgeous.



Much fun was had taking selfies in front of my Dinner@8 quilt, Selfie. I was so excited to see “the Donnas” and Cheryl from the Hawaii Quilt guild. Here’s Donna E and I with my quilt.

Houston Donna


Deborah and I participated in The Quilt Alliance’s Save Our Stories project and filmed three minute interviews with our quilts. She talked about her piece in the Festival of Art Quilts: Home exhibit and I brought my pop art Zeitgeist to hang just for the interview.

Me and my Zeitgeist


Open Studios is a nice place to rest one’s feet and pick up a few tips and tricks. Betty Busby has charmed a big group of ladies with her paintstick on silk technique (and her bubbly personality, of course). I seem to run into Betty everywhere and it’s always a joy.

Houston Betty OS


In addition to the exhibits and the Open Studios, Houston is all about the vendors. I am sorry to say that I did not budget my time appropriately (maybe my wallet isn’t so sorry) and I did not get the chance to do any of the shopping I wanted to do. I actually had a list of fabrics and threads to check out. I did stop by Aurifil’s promotional booth and won a few spools at their gaming tables. Good fun — these guys know how to maximize promotion. I also took the opportunity to talk long arm options with a half dozen sewing machine vendors. I’m not ready to invest, but it may be the answer to the project I’m brewing.

Gaming for Thread


Of course, the socializing is a big part of the experience, and this year I went with the intention of matching names of people whose work I admire and their real-life selves. Dinner with Deborah, Chawne, and Sarah was so much fun. Not only did we have intelligent and interesting conversation, but we’re compatible on the goofiness scale too. here’s where we see that we all share the ability to roll our tongues.

Houston Silly


After Quilt Festival, Deborah and I continued on to La Grange, Texas to the Texas Quilt Museum to see an exhibit from the John Walsh collection. The trip was sooooooooo worth changing my flight and making the detour. John Walsh is the preeminent art quilt collector of the day and I have admired many of the works in his collection. Just about every art quilt I’ve ever looked up to as where I would like to be on my path is owned by John Walsh. It was great to see these pieces in the cloth. Some were surprising in the details and construction that one just can’t tell from a photo. All of them stood up to in person inspection. My favorite was New New York Beauty by Katherine Knauer (a new name and quilt to me), and Deborah’s was Tim Harding’s Surf Swimmers (deft use of simple folded and stitched bits of fabric to evoke water scenes).

Houston TQM



After the Quilt Museum, we continued on to San Antonio where we watched Deborah’s daughter’s high school band compete. It was quite the spectacle and they won silver in the state championships. All in All I had a fantastic five days in Texas and I definitely look forward to my next fiber art adventure with friends. My next post will be about some of the quilts I saw and liked at the show.


04 Nov

Thoughts on Houston

As the big quilt show in Houston wraps up, I’ve been doing some post-show ruminating. No, I didn’t attend this year, or last, though I have been twice (2010 and 2011). I am recognizing a kind of love hate reaction to the show.

I love seeing everyone’s photos of the quilts and reporting from the wholesale-only market days. Kathy Mack and Team Pink Chalk always do a great job reporting each year’s trends from Market. This year, I especially enjoyed seeing Market and Festival glimpses from Facebook and Instagram friends, Victoria Findlay-Wolf, Cheryl Sleboda, Judy Coates-Perez, Jamie Fingal, and Kathy Nida who did a thoughtful review on her blog. While not at all like being there, it was definitely fun for the last two weeks to see what all the excitement is about and what quilts and fabrics people were responding to. It’s also worth checking out the big winners on the IQF page here.

I look at the winners each year, and am always in awe of the craftsmanship in these pieces. The style or subject matter is not always my cup of tea, but I can never disregard the passion, skill, and care taken in creating the most oft seen quilts at the show each year. I could get discouraged that my own quilting is not so perfect or that my pieces are not so small, or that my appliqué not so meticulous. However, seeing these quilts tends instead to be a push for me to constantly improve my work. I may not see my work fitting in a venue like IQF Houston, but it keeps me striving to make sure that it’s not for lack of craftsmanship. I love a good traditional bed quilt (especially a scrappy one), and I appreciate good craftsmanship and intent, so for any poo-pooing I may do of predictable subject matter, or styles that have jumped the shark, overall, I am far more inspired by what I see from Houston than not. In fact, I spent all morning warming up my machine quilting skills on a pair of scrap quilts, just to remind myself to be mindful and meticulous (as much as I can be), because when it comes time to quilt that piece with 900-something 2-inch squares, I want to do it and it’s concept justice.

So what’s the hate side of the equation? It’s the part where I see all the fabric designs from Market, and promotions like the video from Cotton and Steel, and lovely young women being entrepreneurial and passionate, and pro-active about what they want to be doing, be it fabric design, pattern design, online shops, teaching, inspiring, whatever. That always makes me feel like a lazy bum. Granted, designing fabrics and sewing patterns is not my thing or my strength; so while I may be jealous that these people are achieving their goals, I don’t actually want to be in their shoes. But what their stories do is make me ask myself where I want to be in five years. What are MY goals? And that question always stumps me. It’s hard, and I never put in the effort to figure it out. My go-to excuse is that I don’t even know where I’ll be living in five years, but in our interconnected, online world, that shouldn’t matter.

I feel like I may have made some baby steps this year. When I left Hawai’i, I told myself that in our new locale I would try to connect more with the local arts community. I wanted to do life drawing again, and I felt like my Army Wife series was just about ready to share. Now, 15 months later, I actually accomplished all these things, and there’s still forward momentum. So, where to take it next? What fabulous, exciting, Houston-worthy, goal do I want to set my sights on? I’m not sure just yet. I’m excited about a new series of work with social commentary, and I want Michelle Obama to see my Army Wife show, and I’d love to sell a piece or two to a serious collector, but are these actual goals that I have control over? That I can shape into something ongoing? I don’t know. But I’ll use the general excitement of what I’m seeing around me to keep pushing me to consider the possibilities.

26 Feb

What is it? And does it matter?

This is going to be quick and dirty and kinda rambly because I’ve already wasted enough time on the computer and MUST get back to my knitting. (No really, I’m totally obsessed with knitting a shawl because I’ve already finished knitting it, but knew I could do better so I frogged it and started over and now must play catch-up with myself.)

Portfolio Books
(My portfolio books, because even I can’t define what I do)

I’ve been following blogs, emails, and Facebook posts of reports from QuiltCon this last week and I’m trying to wrap my head around it. It seems that there was a lot of discussion over the definition of Modern Quilting. On the one side was talk about what it isn’t and on the other is very cogent thoughts on what it could be if we’d get beyond the defining. Then there’s reactions to what was shown there: all too similar? too quilt police-y? not enough quilt police? not appropriate for the context?

I wondered then, does all this questioning and defining happen at the “regular” quilt shows? I had to ponder for a moment because I’m closer to that world and therefore a bit immune to it. Yes, there is far too much defining going on at the usual quilt shows too. The big one is whether one came to see art quilts or bed quilts and why are there art quilts anyway? Then there’s the unending discussion online of what is and isn’t art when it comes to quilts. Are photos on fabric art? why isn’t pictorial more accepted in the art quilt world? why are viewers so attracted to the pictorial and don’t “get” the abstract quilts? can one make art quilts with commercial fabric?

I remembered when I followed the crafty blogs and how it seemed that there was a formula for that too (something involving toddlers, robin’s egg blue studios, and book contracts). Is all this defining, labeling, and putting in boxes a female thing? Maybe just a human thing.

Why do I even care? I care because it makes me think about my own work and how I fit in. I am inspired by traditional quilts — that’s where I started. I am inspired by “maverick” quilts (something along the lines of traditional, but wonkier in construction) — that’s where I jumped over to my art brain. I enjoy Modern Quilts — to me they are an extension of the previous two appealing to a different aesthetic. I am inspired by fine craft (I’ll need to post about the Craft Council show we went to) — I always bow down to superior quality. I get a kick out of bloggy craft — give me a good geeky, meme-inspired, pop culture reference and I’m hooked. I’m inspired by conceptual art — why can’t I think of stuff like that? I love textile art of all types. I will always refer back to my art school training — it’s my foundation.

Given all of these influences, I struggle with where to show my work, or even where to go with it. Crafty blogging didn’t go anywhere. My work looks drab and out of place at quilt shows like IQF Houston where it’s surrounded by jewel tones and sparkle. I’m not interested in having a booth and traveling to art fairs (I’d have to change my work drastically if I realistically expected anyone to buy it for over their sofa). Right now I’m trying the gallery route. I’m excited to see where that goes. So, I follow the conversations in these circles I’m tangentially attached to, looking for a deeper connection for myself. Hoping that somewhere the definitions will break down a little and instead of closing doors between them, we can open doors and appreciate things like the foundations of Modern Quilting being in traditional quilts and that art quilts CAN celebrate the fabric at their foundations.

I’d love to see a show that travels between Quilt Con, IQF and the Mancuso shows that includes Civil War era antique quilts, classic Amish quilts, Baltimore Album quilts, Anna Williams, Gees Bend, Gwen Marsten, Jean Wells, Tonya Ricucci, Bonnie Hunter, Luke Haynes, Nancy Crow, Diane Firth, Wendy Huhn, Pamela Allen, Carole Taylor, Joe Cunningham, Sherri-Lynn Woods, Chawne, Victoria Findlay-Wolf, Jaquie Gering, Thomas Knauer, Ashley Newcomb, and you get the idea… I can connect a thread between all of these quilts and quilters, and I’d love to see others make connections too.

23 Jul

Long Beach

This weekend is the Quilt Festival in Long Beach, California. If you happen to be there, please see the special exhibit “Tactile Architecture 2009” and say hello to my quilt, “Aquifer.” (I am also happy to report that I’ll have two quilts in the next Tactile Architecture  — which will debut in Houston in the Fall.)

And while you are enjoying the Long Beach show, be sure to also see “Beneath The Surface” featuring quilts by my Twelve by Twelve friends Gerrie, Deborah, Karen and sorry, I was remiss and forgot to add her — Terry.

02 May

Hawai’i Quilt Guild Annual Show

It’s been a big week or so. Twelve by Twelve has an exhibit at the Australasian Quilt Convention in Melbourne right now. All I had to do was mail my quilts to the appropriate place and Brenda took care of the rest, but it’s been great fun to hear her and Kirsty’s reports from the scene!

Closer to home, I have been working on the Hawai’i Quilt Guild’s annual show. I’m the show chairperson this year, though the real work has been done by all my great committee volunteers. The show is from April 30th until May 9th, so if you’re on Oahu, please take the time to go see it. The show has been getting rave reviews from guild members and others alike. Last Thursday was the opening reception which is always nice since one of our members always makes sure there’s a good spread of food and wine and entertainment. The challenge quilts are judged and ribbons placed, and everyone gets a first look at all the quilts.

This is not a juried show — it is a celebration of all levels and all types of quilts made by guild members. This year we had more quilts entered than ever, which we take to mean that members appreciate the venue and the opportunity, which is a good thing. Besides, we’ve got plenty of quilts to be proud of.

Me in front of the Art Center’s Linekona gallery.

A peek at the yummy food on the lanai from the first photo.

This year’s Featured Artist, Patricia Lei Murray, and I welcoming everyone.

The info table and the opportunity quilt (someone will win this at the end of the show).

Hawaiian style entertainment from the Murray ohana.

Local students played their music for the second hour.

Signing teh guest book and reading our quilter bio book.

Lots of quilts to look at.

And even more to see.

14 Oct

Quilt Festival

The quilt/craft blogs have been a-flutter for the last few days with all the Quilt Market excitement. Maybe some day I will be able to attend  as an exhibitor or retailer and join in all the fun (and hard work!). I’m not holding my breath though. On Thursday, the Market turns into the Festival, which IS open to the public. This I would also like to attend someday — which actually could happen. For now though, I am content that at least one of my quilts is there.

Rooted VII: Aquifer  ©2009 Kristin La Flamme

If you are at the Festival, please stop by the Tactile Architecture exhibit and say hi to my quilt!

UPDATE: Vicky is in Houston and sent me a photo of my quilt with it’s neighbors:


Thank you so much Vicky.