Out of the Woods for the SAQA Benefit Auction

Out of the Woods

 I have been a lucky participant in four SAQA Global Exhibitions, including Light the World which will open in France this autumn. So I am very happy to once again contribute a 12" x 12" quilt for the SAQA Benefit Auction, the proceeds of which help to fund the exhibitions. The auction begins on September 10th, and I will be sure to post updates and reminders. I very seldom make work in this size, so this is a great opportunity to begin or add to a collection.

This began with a red mulberry leaf, a nice substantial leaf, that I collected in the fall of 2020 and pressed. This spring, on the equinox, I used to make one of my experimental wet cyanotype/solarfast prints on cotton. You can read about that process here. I then layered the print and stitched it heavily where the leaf veins would be, and added pebble stitching all around it. On the corners I added some of the hexagons I have been obsessively hand stitching in preparation for my JWST artwork. The final touch was to paint some transparent iridescence on the leaf.

As to the title, here's my statement: It’s been a long, strange path through the wilderness of the unknown, but now we can see our way clear again. The question remains: are we out of the woods? What will our new normal look like? I choose to be optimistic.

New Work - Dew Point

Dew Point

I am excited to share with you my latest work, Dew Point. 

Dew Point, detail 1

Dew point is a meteorological term denoting the atmospheric temperature, varying according to pressure and humidity, below which water droplets begin to condense and dew can form. I made these wet process/solar dye prints of tall blue lettuce and Japanese knotweed in high summer, when the dew point was indicative of the oppressive heat and humidity. The lettuce is a native wildflower, and the knotweed is a noxious invasive plant. I liked the contrast between their differing leaf forms. 

Dew Point, detail 2

Dew Point is 57" high x 55" wide.

Dew Point, detail 3

The panels are stitched to show the leaf veining, then heavily quilted with a pebble stitch. The patchwork is comprised of silks and cottons, with some bits of prints from previous works incorporated. 

Dew Point, detail 4

I am pleased and honored to announce that Dew Point has been juried into Out of the Funk, a Fiberarts Guild of Pittsburgh exhibit. It will be held at the Erma Freeman Center for Imagination in Pittsburgh, PA, from May 7 - 23, 2021. The juror is Bruce Hoffman. There will be an opening night event on May 7th, and artist talks on the 23rd. Bruce Hoffman will present an online lecture on April 22, which is free for Guild members and only $5 for guests; you can sign up here.

Circular Logic for the SAQA Auction

 

I contributed a 12" x 12" quilt to the SAQA Benefit Auction, which begins tomorrow, September 11. You can read all the details about how the auction works, and preview the works, here: https://www.saqa.com/auction

This piece began with a print I made of a plume poppy leaf from my garden. At the time I was experimenting heavily with combining cyanotype, Solarfast, and textile paints, and I thought this one turned out particularly well. For a while it was my "go" project; I carried it around and embroidered on the outline with variegated thread at the odd moment. 

I enjoyed turning the embroidered print into a very intricate small quilt. Here's my statement about the work:

Looking for valid information in the time of pandemic on which to base my decisions, I often run across circular reasoning, where the writer begins with the conclusion they are trying to end with. Searching for scientific accuracy keeps my wits sharp, and making art keeps my sanity intact. This piece began as an experiment using cyanotype and solar dye chemicals to print from a plume poppy leaf. I defined the edges of the image with hand embroidery. The patchwork on the side has heliographic print images of teeny plume poppy leaves. I quilted the main image using a multitude of circles. 

As often happens with fiberart, the picture cannot fully convey the way the silk shimmers, or the depth of texture and line that the quilting adds. It's a little gem, and I hope you are inspired to bid on it!

New work - In Dreams I Saw the Rift

In Dreams I Saw the Rift

 I am pleased to share my new work, In Dreams I Saw the Rift. It's the latest in my series The River, which to date has been focused on my decades of experience living near the Susquehanna in Pennsylvania.

In Dreams I Saw the Rift, detail 1

 I've been working on this piece, off and on, for several years, and as I progressed the theme became clearer and clearer. I finished it just before the corona virus crisis became acute. To me it represents chaotic neutral--whatever comes next could be positive, or negative, or most likely a mixture of both.

In Dreams I Saw the Rift, detail 2

 But as always, I try and leave it up to you, the viewer, to draw your own interpretations of the imagery.

In Dreams I Saw the Rift, detail 3

 The top portion is made from handstitched hexagons of fabric, done in the English paper piecing method. The middle portion is needlefelted and quilted, with lots of hand embroidery on the wool borders. I had a lovely time with all that time consuming hand stitching.

In Dreams I Saw the Rift, detail 4

 The borders are cyanotypes of bamboo, with a wet process cyanotype fern print anchoring it at the bottom. The quilt measures 66"h x 59" w.

In Dreams I Saw the Rift, detail5

You can track it back as a work in progress by clicking here.

As always, thank you for reading, and special thanks to everyone who has shown interest in the progress posts and photos.

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New Work - In Dreams I Found Utopia

In Dreams I Found Utopia

I am happy to share my latest work, In Dreams I Found Utopia. It's part of my ongoing series The River that features my interpretations of experiences and observations, both real and imagined, of life along the river. To date they have all been about the Susquehanna because that has been my proximal point of reference. In Dreams I Found Utopia has a very specific point of reference, a section of the Northwest Lancaster River Trail that's a favorite bike riding locale.

In Dreams I Found Utopia, detail 1

I've spent a lot of my life closely observing the the natural world along the Susquehanna, and yes, it really does show up in my dreams. In this work, it serves as an allegory for a world where all is in balance and beauty abounds.

In Dreams I Found Utopia, detail 2

This work is 67"high by 53" wide. It features a needlefelted river panel, and a wet cyanotype print of leaves from native trees. The supporting piecework is all assembled from leftover strips of previous quilts.

In Dreams I Found Utopia, detail 3

There is a lot of detailed work in this piece, from the tiny pebbled stitching in the leaves panel, to intricate hand beadwork in the river panel.

In Dreams I Found Utopia, detail 4

This one was a pure pleasure to make that went together quickly (by my standards). I hope you enjoy viewing it.

You can track this one back as a work in progress by clicking here, or clicking on the tag below or on the right sidebar.

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New Work - In Dreams I Slept in a Cabin

In Dreams I Slept in a Cabin

I am pleased to share my latest work, In Dreams I Slept in a Cabin.

In Dreams I Slept in a Cabin, detail 1

It features a needlefelted center panel, made with bits of wool and silk, heavily embellished and stitched.

In Dreams I Slept in a Cabin, detail 2

Surrounding the cabin are delicate and detailed cyanotypes of ferns.

In Dreams I Slept in a Cabin, detail 3

It also features collagraph prints made from plates I constructed.

In Dreams I Slept in a Cabin, detail 4

It's a large work, 55" high x 94" wide. You can read about the design and construction in reverse chronological order by clicking the In Dreams I Slept in a Cabin tab in the right sidebar, or go here.

In Dreams I Slept in a Cabin, detail 5

The short version of the inspiration for this one: This piece stems from a dream where I lived a simple life in a cabin near the river, lulled to sleep each night by the sound of it flowing, and awakening to its fresh beauty each morning.

The long version is more complex. I worked on this off and on for many years, and along the way my relationship with the imagery deepened. I think this one is a good example of the adage about putting my ideas into art because words seem insufficient. I leave it to you, the viewer, to examine it and form your own reaction. Enjoy!

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Acceptances to ARTQUILTSdreams

I'm thrilled to announce that both of my entries were accepted for the Professional Art Quilters Alliance – South 14th juried international exhibition ARTQUILTSdreams: a display of contemporary quilts reflecting the artists’ interpretation of dreams. ARTQUILTSdreams will show at Page-Walker Arts & History Center, 119 Ambassador Loop, Cary, NC 27513, March 27 – May 18, 2019. There will be an artist reception on April 26 from 6:00-8:00 PM.

In Dreams I Climbed the Cliffs

I got excited when I saw the theme in the call for entry, as I've been making quilts based on my dreams for several years now, as part of my series The River. In Dreams I Climbed the Cliffs was accepted; it features a needlefelted river panel surrounded by felted, painted, and manipulated fabrics.

 Also included is in Dreams I saw the Colors Change, it too features needlefelting, painting, and fabric manipulation.

In Dreams I Saw the Colors Change

 Like most fiberart, these pieces have details and textures that are tough to capture in photographs, so I am very grateful to have such a fine venue to display them in person.

In Dreams I Saw the Colors Change, detail

Solar Flare for the SAQA Benefit Auction

Solar Flare

Update: I was honored to learn that Solar Flare, as part of the SAQA Benefit Auction, was selected for a special exhibition at the International Quilt Study Center and Museum, in Lincoln Nebraska, April through August. View selected works here: https://www.saqa.com/auction-quiltsIQSCM.php

Here's Solar Flare, a 12" x 12" art quilt I made for this year's SAQA Benefit Auction. The Auction supports the exhibition program, and since I have two quilts currently traveling in SAQA Global exhibits I was extra-motivated to make an auction quilt this year. The auction takes place from September 13 - October 6, and you don't need to be a member to bid. I don't make many works in this size, so it's a nice opportunity to own a piece of my work and support a good organization. I'll post reminders when the time comes.

Solar Flare began  with a solar dye print I made last July using a hosta leaf. I was deep into an experimental printmaking frenzy, and this was one of the more outre prints:

You can read about how it was made on this blogpost. For this quilt, I combined the print with some shimmering shot silks from Mysore, India, then heavily quilted it.

In general I focus on the my enjoyment of the process of making art, and am willing to let things go out into the world when I'm done, but I must admit to a small pang of desire as I mailed this one off. It's so cheerful!

Here's my quilts traveling with SAQA Global Exhibits and the line-up to date.  I could never set up  venue schedules like this as an individual artist, so I am most appreciative of the opportunity.

Heat Lightning

 Heat Lightning, SAQA Season after Season.
Texas Quilt Museum, La Grange, Texas, January 10 - March 24, 2019
European Patchwork Meeting, Sainte-Marie Aux Mines, France, September 12 - 15, 2019
Prague Patchwork Meeting, Prague, Czech Republic, April 3 - 5, 2020

Squirrel and Locust

Squirrel and Locust, SAQA Metamorphosis.
Quilt Festival Houston: November 8 - 11, 2018
Quilt Festival Chicago: March 28 - 30, 2019
Quilt Canada Ottawa: June 12 - 15, 2019
AQS Quiltweek Grand Rapids MI: August 21 - 24, 2019
AQS Quiltweek Fall Paducah KY: September 11 - 14, 2019
AQS Quiltweek Charleston SC: September 25 - 27, 2019

New Work - Low Pressure

Low Pressure

I am delighted to share with you my latest work, Low Pressure. It's the fourth quilt I've made using my wet process cyanotype prints. This time I used prints made in late fall, as the weather took a dramatic turn into winter. (Previous wet cyan quilts are Storm Watch, Heat Lightning, and Heat Index. I've got a meteorological theme going on, which seems appropriate as these prints are very weather-reactive.)

Low Pressure, detail 1

The prints were made with leaves foraged in my garden that had not yet succumbed to frost, along with some sweetgum leaves I had preserved in glycerin.

Low Pressure, detail 2

Several batches of prints were subject to freezing temperatures in overnight exposures, and one batch had a light snowfall obscuring the light for a few hours. They were all great fun to do, and to observe developing.

Low Pressure, detail 3

Overall, the effect of the cyanotype chemicals breaking down was much more subtle than with the summer prints made in high heat and humidity, but still more complex than a traditional cyanotype. I think they are beautiful, complex, and worthy of contemplation.

Low Pressure, detail 4

The quilt measures 78" high x 37 inches wide.

Low Pressure, detail 5

As always, thanks for reading and commenting.

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New Work - Heat Index

Heat Index

I am pleased to share my latest work, Heat Index. It's constructed using four of the prints I made in this past summer's wet cyanotype frenzy, combined with silk patchwork. The size is 54" high x 51" wide.

Heat Index, detail 1

I talked about the basic construction of this work in blog posts Part 1 and Part 2. The plants used are (clockwise) Queen Anne's lace flowers, tulip poplar leaves, red maple leaves, and tall blue lettuce leaves. Tall blue lettuce is an elegant wild plant, Lactuca biennis, typically found in disturbed landscapes.

Heat Index, detail 2

The leaf prints are heavily stitched, to add detail and texture. The silk patchwork is also heavily stitched, and reflects light in beautiful and subtle ways.

Heat Index, detail 3

I made this work in response to the abnormal/new normal weather patterns I experienced in Pennsylvania this summer, with torrential downpours, soupy humidity, and high temperatures contributing to an almost daily high heat index warning.

Heat Index, detail 4

A reminder that you can also follow along on your social media of choice:

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New Work - The River Ran Deep

The River Ran Deep

I am pleased and excited to share my newest work, The River Ran Deep. It's part of my ongoing series on the Susquehanna River. I was asked to join four other artists--Rob Evans, John David Wissler, Mark Workman, and Ann DeLaurentis-- to contribute work for the "Dine On Harvest Moon Gala" auction for the Lancaster County Conservancy I was happy to make this specifically for the cause. I and my husband are long time supporters of the Conservancy, and benefit greatly from the trail system they have put together and maintain. Many of my works about the river have been inspired by hikes taken on Conservancy properties.

 For the top portion of this work, I made wet cyanotype prints of leaves from native trees, tulip poplars and chestnut oaks. If you've been following my work, you've seen that wet cyanotype printmaking is an ongoing obsession. It's delightfully unpredictable, and dependent on the time of year and the weather conditions. Making these prints connects me to the natural world and my micro-environment in a direct way.

For the imagery representing the river, I turned to the same needlefelting technique I've used for In Dreams I Drifted Away and In Dreams I Flew Over the River, among others. Layers of wool and silk fibers are integrated into a wool base, providing great detail, movement,  and texture.

 The surround of the river panel is made from individually hand-pieced hexagons. This type of work is very slow and meditative.

 The further surround is made from fabric that I mono-printed to in waves and interlocking geometric/geological patterns. At the base, the whole work is grounded by thick, earthy woolens. The work is 44" high by 42" wide.

I've lived near the beautiful Susquehanna most of my life and have observed it over the years cycling  through droughts and flood stages. This summer I've watched as potent storms and historically heavy rainfalls have made it run high and run deep. I'm here to chronicle this and future conditions.

You can contact the Conservancy for information about the auction and advance bidding: https://www.lancasterconservancy.org/contact/