New Work - Fever Dream

 

Fever Dream

It's time to share the final new work! This is Fever Dream. It's one of the quilts making its debut at the Virginia Quilt Museum in my solo show, Beyond the Blue: Contemporary Narrative Quilts by Sue Reno. The exhibit runs from August 16 - October 23, with a reception on September 23.

Fever Dream, detail 1

At times in the past several years I felt as though I'd been experiencing a fugue state, combining fear and anxiety with isolation and boredom. I worked through it with fevered print making, using botanical materials close at hand. I was not reticent in my embrace of bold shapes and even bolder colors. The top print in this quilt is a wet process print made with cyanotype and solarfast solar dye chemicals. The leaves are white mulberry and sumac, which I've worked with before, and big red mulberry leaves, which are also in the bottom panel. 

I have a childlike admiration of big leaves and use them whenever I can. White mulberry leaves are easy to recognize because they have three shapes all on the same branch--an oval, a mitten, and a double mitten. The trees were brought here in Colonial times to feed the nascent (and ultimately unsuccessful) silk industry, and they easily escaped cultivation. Today they are often found on verges and disturbed ground. The berries are much loved by birds and quilters out on a hike. The larger leaves of the native red mulberry have been a bit more elusive to find, for me, so this was a score.

Fever Dream, detail 2

As my days were spent printmaking, my evenings were spent obsessively hand-stitching hexagons. I've loved working with this shape ever since working on my James Webb Space Telescope quilts, and of course it's a common shape in traditional quilt design.

Fever Dream, detail 3

With all these big bold shapes going on, I thought it prudent to sneak in some quiet little wet cyanotype prints of snowdrops, but immediately set them to vibrating with monoprinted green striated panels I made.

Fever Dream, detail 4

No matter what is going on in my life or in the world around me, I always seem to end up making bright, cheerful, joyous quilts. I don't quite understand it, but I've done it again and here it is. This imagery is my gift to you, dear viewer. I hope in some small way it helps sustain you should you experience the occasional fevered dream.

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New Work - In Dreams I Went Fishing

In Dreams I Went Fishing

It's time to share another new work! This is In Dreams I Went Fishing.  It's one of the quilts making its debut at the Virginia Quilt Museum in my solo show, Beyond the Blue: Contemporary Narrative Quilts by Sue Reno. The exhibit runs from August 16 - October 23, with a reception on September 23.

In Dreams I Went Fishing, detail 1

Sometimes it happens that I feel compelled to make a quilt and I have a clear vision of what it should look like, but I'm not aware as I'm working of its meaning and significance. This was one of those quilts. I've finished it but I'm still thinking about it, and it's still very much open to interpretation. Seeing it hung in the gallery might help. It's large, at 49" x 77", so given the size of my studio I've never stood back at a distance to contemplate it.

In Dreams I Went Fishing, detail 2

I do know it represents a shift from my emphasis on making quilts about the Susquehanna to making quilts about the convergence of the three rivers in Pittsburgh. I visited the 'Burgh for years before I moved here, so I have some experiences and visuals stored up, but nowhere near the familiarity I had with the Susquehanna. I'm still exploring, which is tremendously exciting.

In Dreams I Went Fishing, detail 3

I began with the panel on the left, a print of mullein leaves. (I do adore a good sized leaf, bonus points if it is fuzzy!) The print is a mix of wet cyanotype and solarfast solar dye chemicals, and when finished it reminded me of fish swimming with the current. Next I worked on the needlefelted river panel, a mix of silk, wool, and mylar fibers, with wooly borders, hand embroidery, and hand beadwork. As I worked I thought not of the current urban landscape, but of the past use of the resources of the rivers by indigenous peoples, changes wrought by industrialization, and post-industrialization restoration efforts.

In Dreams I Went Fishing, detail 4

The right panel is made from obsessively hand stitched hexagons, with two colorways merging together, much as the two rivers merge to form a third. The stripes were making me very happy as I worked--there's a lot of movement going on with this one!

In Dreams I Went Fishing, detail 5

I moved across the state for personal reasons, but welcomed the idea that new surroundings would shake up my artistic perspective and practice, and this has proven to be the case. I love delving into the unknown. I'm glad this quilt is still a bit of a mystery for me, and I'm sure I've left plenty of space for the viewer to bring in their own personal narrative. 

In Dreams I Went Fishing, detail 6

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New Work - Sanctuary

 

Sanctuary

I'm happy to share another new work, Sanctuary. It's one of the quilts making its debut at the Virginia Quilt Museum in my solo show, Beyond the Blue: Contemporary Narrative Quilts by Sue Reno. The exhibit runs from August 16 - October 23, with a reception on September 23.

Sanctuary, detail 1

I am particularly fond of the small rock crevices and caves commonly found in the geological formations in Pennsylvania. They form a sanctum sanctorum for all sorts of creatures, from invertebrates burrowing in the leaf litter, to snakes in hibernacula, and small mammals seeking shelter from the elements. There's a few in Lancaster County where I've ventured a short distance inside, to feel the cool air on my skin while on a summer hike. 

Sanctuary, detail 2

The eastern woodlands always feel like an sanctuary to me. I can identify a good number of the trees and plants around me, and can fantasize which ones I would use for food and shelter should the need somehow arise. I live in suburbia and the need is not at all likely to arise, but combined with my gardening skills I am appeasing the spirits of my Germanic ancestors who did indeed live off of the land. The knowledge puts me at ease. 

Like all of my work it has specific meaning to me, but I have left it open ended enough so that the viewer can bring their own story to the experience.

Sanctuary, detail 3

The leaves in this wet cyanotype print are catalpa, green ash, red oak, sassafras, white oak, Joe Pye weed, and maple. I added the leaf veining with stitching, then quilted the background with "pebble" quilting that reminds me of a gentle rain falling. The patchwork is a mélange of cotton and silk fabrics. meant to symbolize earth and sky.

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Spotlight on In Dreams I Found Utopia

In Dreams I Found Utopia

Today I am shining a spotlight on In Dreams I Found Utopia, one of the quilts included in my upcoming solo show Beyond the Blue: Contemporary Narrative Quilts by Sue Reno, at the Virginia Quilt Museum in Harrisonburg, VA . The exhibit runs from August 16 - October 23, with a reception on September 23.

I finished this one in 2019, when I was taking refuge from political realities by spending a lot of time biking the Northwest Lancaster County River Trail along the Susquehanna River. I became very intimate with various sections of the trail, drinking in the lush plant life and the eternal flow of the river, and it gave me some kind of sci-fi hope for a future with egalitarian ideals. 

In Dreams I Found Utopia, detail 1

I now look back on this optimism, post pandemic peak, rather wryly, but still, I am here to spread the beauty and joy to the best of my ability. 

This quilt is part of artist and curator Rob Evans' fabulous project, Drawing on the Susquehanna. It was scheduled to be exhibited in 2020 at Susquehanna University but the exhibit was cancelled, as were so many others. Rob did an amazing job of documenting the catalog online here, and I recommend it highly if you have an interest in the Susquehanna, early American history, or just want to see an example of beautiful artwork excellently curated.

In Dreams I Found Utopia, detail 2

One of the panels on this quilt features leaves I had gathered and dried, used in a wet process cyanotype print. It was made late in the year, so it doesn't have the wild variegations that a midsummer print often produces. But I love the quiet and subtle beauty of it, and I had great fun painstakingly stitching all the leaf veins and adding pebble quilting to the background.

 

In Dreams I Found Utopia, detail 3

The needlefelted and beaded river panel references, in my mind, a very specific section of the trail where in high water events the water breaches the trail and settles in curved depressions around the trees on the other side. But keeping with my "Narrative" theme for the exhibit, it is also general and open ended enough to stand in for any river or stream that is a treasured part of the viewer's personal story.

In Dreams I Found Utopia, detail 4

My experience with the Susquehanna includes not just the idyllic days spent biking its shores, but also the violent surge of floodwaters after Hurricane Agnes and other smaller storms and ice jam events. The patchwork surrounding the panels are bits and pieces saved from other quilts, representing the flotsam and jetsam, some of it quite dramatic and chaotic, that makes its way downriver during a flood. 

This quilt is 67" x 53".

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Spotlight on In Dreams I Saw the Rift

In Dreams I Saw the Rift

Today I am shining a spotlight on In Dreams I Saw the Rift, one of the quilts from my series The River. It will be in my solo show, Beyond the Blue: Contemporary Narrative Quilts by Sue Reno, at the Virginia Quilt Museum. The exhibit runs from August 16 - October 23, with a reception on September 23.

In Dreams I Saw the Rift was previously juried into Art of the State 2020 at the State Museum of Pennsylvania, where it won a second place award in the Craft category. The exhibit was hung in the museum, but due to the pandemic the doors never opened. The VQM will be the first time it's physically displayed to the public. I'm delighted that visitors will have the opportunity to see, up close and personal, the wealth of detail and texture I've put into this quilt.

In Dreams I Saw the Rift, detail 2

This quilt is the latest in a series reflecting my decades-long obsession with the Susquehanna River. It frequently appears in my dreams as my personal uber-river, wherein I hike its shores, learn to swim, and let it carry me away. Here, while still admiring the beauty, I sensed a disturbance in the flow. I finished this one shortly before the pandemic hit, so perhaps I was prescient.

In Dreams I Saw the Rift, detail 3

The center panel is a needlefelted river, with wool and silk and mylar fibers, surrounded by woolen fields and woods that I hand embroidered and beaded. The top panel was made with hand stitched hexagons, done by the English paper piecing method, that I worked on obsessively in the evenings for months. They are arranged with cracks that let the light in, or out, depending on your view. 

In Dreams I Saw the Rift, detail 4

The bamboo panels are traditional cyanotypes, some on silk, some on cotton. At my previous home, neighbors planted a bunch of invasive bamboo, so I was forever rooting it out and got some pleasure from using it artistically. The fern print is a Christmas fern done with the wet cyanotype method; it has just a smidge of variation in while still staying crisp. There is minimal patchwork in this one but it works well to tie the piece together. The size is 66" x 59".

In Dreams I Saw the Rift, detail 5

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New Work - Under the Thunder Moon

Under the Thunder Moon

It's time to share another new work! This is Under the Thunder Moon. It's one of the quilts making its debut at the Virginia Quilt Museum in my solo show, Beyond the Blue: Contemporary Narrative Quilts by Sue Reno. The exhibit runs from August 16 - October 23, with a reception on September 23.

Under the Thunder Moon, detail 1

A common name for July’s full moon is Thunder Moon, in reference to this month’s frequent thunderstorms. These wet cyanotype prints capture the effect of moonlight on some of the perennial stars in my garden borders. Plants used are plume poppy, calla lily, and Virginia creeper. I do love a big dramatic leaf!

My concerns about climate change, our lackluster governmental response, and the increasing frequency of damaging storms have lead me to make an informal series of quilts based on weather phenomenon. Here I am taking a gentle approach, evoking the mood as I stand in my doorway and watch a thunderstorm sweep across my garden beds, refreshing them after a scorching day under the July sun. Perhaps you've shared the experience of waiting until the lightening has passed, then dashing out to dance about a bit in the warm rain--I particularly recommend enjoying this activity with children.

Under the Thunder Moon, detail 2

The patchwork here is a mix of bits and pieces leftover from other projects. I had a lot of fun arranging and rearranging the pieces until they set the right mood. This one measures 39" x 23".

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Spotlight on In Dreams I Slept in a Cabin

 

In Dreams I Slept in a Cabin

Today I am shining a spotlight on In Dreams I Slept in a Cabin, one of the quilts included in my upcoming solo show Beyond the Blue: Contemporary Narrative Quilts by Sue Reno, at the Virginia Quilt Museum in Harrisonburg, VA . The exhibit runs from August 16 - October 23, with a reception on September 23.

In Dreams I Slept in a Cabin, detail 1

This is the only quilt in the exhibit that has been previously shown in a physical gallery space, specifically in the Art of the State 2019 at the State Museum of Pennsylvania, where it won a third place award in the craft category. After that, when the pandemic struck, exhibits shut down for the most part, and quite frankly, a quilt this large, 55" x 94", is always a bit more challenging to find space for. So I am thrilled to have this opportunity to show it--there's a lot of texture and detail that is optimally viewed in person.

The Center panel features a needlefelted wooly cabin, with majestic trees and silky swirly skies, a tumbling river, and farm fields on the far shore. It's based on a stay I had, years ago, in an actual cabin on the banks of my beloved Susquehanna River. It still shows up in my dreams as a green and shady place of rest and refuge. I'm hoping it conjures up similar real or imagined sanctuaries for those who view it.

In Dreams I Slept in a Cabin, detail 2

The ferns grew large and luxuriant in the undergrowth of the woods. These are traditional (not wet process) cyanotypes, crisp and detailed prints in slightly varying shades of that beautiful Prussian blue.

In Dreams I Slept in a Cabin, detail 3

The prints surrounding the cabin are from my experiments with collagraph printing. They were originally step-outs for video I did for Quilting Arts TV, and they turned out so well I wanted to give them further life.

In Dreams I Slept in a Cabin, detail 4

In Dreams I Slept in a Cabin, detail 5

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New Work - Tropical Depression

Tropical Depression

I am happy to share another brand new quilt, Tropical Depression. It's one of the quilts making its debut at the Virginia Quilt Museum in my solo show, Beyond the Blue: Contemporary Narrative Quilts by Sue Reno. The exhibit runs from August 16 - October 23, with a reception on September 23.

Tropical Depression, detail 1

As weather patterns shift and storms become more extreme, around the world and in my corner of it in suburban Pittsburgh, PA, I find myself making weather-related quilts. I spend a lot of time outdoors observing nature, and what may seem like small events taken individually add up to seismic shifts in the way I perceive the world around me. Tropical Depression references weather systems that are often the precursors to tropical storms and hurricanes; even without progressing they can dump a lot of rainfall. From time to time they make they make their way onto land and travel up the coast, and can cause severe thunderstorms.

Tropical Depression, detail 2

Here I am capturing some of the energy of these storms, using native Virginia creeper wet cyanotype prints and a somewhat chaotic summertime palette. The swirl in the main print, and the echo quilting, reminds me of wind contour and flow pattern weather maps.

Tropical Depression, detail 3

Again referencing the "Narrative" part of the exhibit theme, I have my own stories about riding out severe storms and their aftermaths, and I am leaving space for others to bring their own personal perceptions to the viewing experience.

Tropical Depression, detail 4

 In addition the the wet process cyanotype/solarfast prints, Tropical Depression has patchwork made from commercial and artist-painted silks and cottons, and is heavily stitched. The size is 48" x 37".

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