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labricoleuseIn the first post on this exhibit, i covered the wearable art/accessories and their "Studio Art" category. This post concentrates more on the works shown that took their compositional cues from traditional quilt patterns and sizes.
Blue and White with a Twist, pieced by Ellie Holbein and quilted by Lilly Lucier
3rd place, Duet Quilt division
A Duet Quilt is made by two artists, one piecing the top and the other quilting the layers. I loved the use of all the different indigo-dyed batiks in this, and the shock of the lime thrown into the "Square in a Square" pattern.
Rotary Madness by Janet L. Hall
1st place, Large Wall Hanging division, and a Judge's Choice winner
Detail of its intricate quilting patterns done in variegated thread
This piece was inspired by the artist's frustration with rotary traffic circles in Massachusetts. I love the juxtaposition of values and the earthy color palette, and i had to take that detail shot in the hopes that i could convey the depth and density of the stitchwork and dimensionality of the piece.
One of my criticisms of nearly all quilt shows i've attended is that, due to the size of the works compared to the size of the venues, the common mode of display is rows of alcoves, which for the larger pieces makes it difficult to view them with any kind of direct distance--you wind up stepping back for an oblique view, like this photo illustrates.
Crystal Coast Waves pieced by Faith Smith, quilted by Thearica Burroughs
Detail of Burroughs' stitchwork in contrast threads
This piece was an experiment with free-form curved piecing. I'm interested in how, from a distance, i'm not sure the color palette is successful, yet from a closer range, it works wonderfully.
Hidden Depths pieced by Darlene Silverman, quilted by Cathy Kirk
Honorable Mention ribbon winner
This one is an excellent manipulation of a traditional pattern, Storms at Sea, into which Silverman incorporated that watercolor-blended vortex of differing values of purple and green.
Indian Summer pieced by Linda Baker, quilted by Cathy Kirk
Another example of how you can't really get a good distance view of quilts hung on the side walls of display alcoves--i tried to frame it so you can see what the borders were like as well. The interior of this one is a really great example of the kaleidoscope hexagon cutting and piecing technique, and the effect it generates here is something like, what if Louis Wain had taken up quilting late in life.
My Iris Garden by Beverly Cochran
This large bed quilt is a variation on a traditional iris block; in general i love iris imagery, and Cochran's use of mottled hand-dyed cottons for the applique work provides much more depth than solids would have.
Many, Many Flowers by Joan Lenora Cole
1st place, Large Bed Quilt
I am such a sucker for modern riffs on historical styles and traditional patterns, and i loved this one which pays tribute to 1930s prints and Victory Garden quilt designs of the 1940s, utilizing a combination of modern fabric scraps and actual vintage feed sacks. It's easy to see why it was a favorite of the judges as well.
The Hanky Blanket, also by Joan Lenora Cole
I hate the title of this piece, but i love the concept--Cole's program notes state that she found a bundle of vintage printed ladies handkerchiefs at an antique mall in Indiana, and used them as inspiration for this modified Flower Basket pattern.
Strings and Stars pieced by Diane Wold, quilted by Jan Struble
1st place, Duet Quilt division
This one grows on you the more you look at it, or it did me--the perfectly-replicated imbalance of the 8-point star blocks, the strong directional motion of the diagonals and the strings, the dozens of colors in the hand-dyed backgrounds of the string blocks...really subtly complex.
Wedding Gown Quilt, group quilt by Marsha Edwards, Teresa Fitzgerald and the Thimbleminded Quilters
What a great variation on the Victorian Crazy-Quilt style. This queen-size quilt (and i feel that even the choice of dimension is symbolic) was made as part of a charity project to benefit metastatic breast cancer patients. All the inherent symbolism vested in a white wedding gown--purity, new beginnings, luck, transformation--takes on new significance when considered in light of a work like this one, intended to comfort and possibly even enshroud women stricken with cancer.
Schizophrenic by Mary Ann Kotas
I enjoy how this one references the brightly-colored tiled portrait series work of Andy Warhol.
Burning Ring of Fire by Betty Burginsky
1st place, Studio Art division
I love Johnny Cash, and i wanted to love this quilt, except that it's got a misspelling embroidered into it ("it makes a firery [sic] ring"), which is a pet peeve of mine. Apparently it didn't bother the judges as much as it does me, though. The rings scattered across it of tiny dots: those are heat-set rhinestones in progressions of flame colors, red, orange, and gold, hello Nashville. And why the Virginia Reel blocks as such a stark element? I dunno, it has all the elements of an interesting piece, but doesn't quite come together cohesively.
Circles I by Kim Frisk
3rd place, Studio Art division, Best Machine Quilting
Detail of stitching intricacy.
This one was so striking, in its spirographic complexity of quilting, everyone stopped in front of it and just stared.
That's all i documented, and thus, all she wrote, so to speak. Every time i attend a quilt symposium or exhibit or gallery show, i'm so moved by the artwork, the craftsmanship, and the elements of cultural significance the quiltwrights incorporate in their designs, inspirations, and intended use or destination of their works.
Blue and White with a Twist, pieced by Ellie Holbein and quilted by Lilly Lucier
3rd place, Duet Quilt division
A Duet Quilt is made by two artists, one piecing the top and the other quilting the layers. I loved the use of all the different indigo-dyed batiks in this, and the shock of the lime thrown into the "Square in a Square" pattern.
Rotary Madness by Janet L. Hall
1st place, Large Wall Hanging division, and a Judge's Choice winner
Detail of its intricate quilting patterns done in variegated thread
This piece was inspired by the artist's frustration with rotary traffic circles in Massachusetts. I love the juxtaposition of values and the earthy color palette, and i had to take that detail shot in the hopes that i could convey the depth and density of the stitchwork and dimensionality of the piece.
One of my criticisms of nearly all quilt shows i've attended is that, due to the size of the works compared to the size of the venues, the common mode of display is rows of alcoves, which for the larger pieces makes it difficult to view them with any kind of direct distance--you wind up stepping back for an oblique view, like this photo illustrates.
Crystal Coast Waves pieced by Faith Smith, quilted by Thearica Burroughs
Detail of Burroughs' stitchwork in contrast threads
This piece was an experiment with free-form curved piecing. I'm interested in how, from a distance, i'm not sure the color palette is successful, yet from a closer range, it works wonderfully.
Hidden Depths pieced by Darlene Silverman, quilted by Cathy Kirk
Honorable Mention ribbon winner
This one is an excellent manipulation of a traditional pattern, Storms at Sea, into which Silverman incorporated that watercolor-blended vortex of differing values of purple and green.
Indian Summer pieced by Linda Baker, quilted by Cathy Kirk
Another example of how you can't really get a good distance view of quilts hung on the side walls of display alcoves--i tried to frame it so you can see what the borders were like as well. The interior of this one is a really great example of the kaleidoscope hexagon cutting and piecing technique, and the effect it generates here is something like, what if Louis Wain had taken up quilting late in life.
My Iris Garden by Beverly Cochran
This large bed quilt is a variation on a traditional iris block; in general i love iris imagery, and Cochran's use of mottled hand-dyed cottons for the applique work provides much more depth than solids would have.
Many, Many Flowers by Joan Lenora Cole
1st place, Large Bed Quilt
I am such a sucker for modern riffs on historical styles and traditional patterns, and i loved this one which pays tribute to 1930s prints and Victory Garden quilt designs of the 1940s, utilizing a combination of modern fabric scraps and actual vintage feed sacks. It's easy to see why it was a favorite of the judges as well.
The Hanky Blanket, also by Joan Lenora Cole
I hate the title of this piece, but i love the concept--Cole's program notes state that she found a bundle of vintage printed ladies handkerchiefs at an antique mall in Indiana, and used them as inspiration for this modified Flower Basket pattern.
Strings and Stars pieced by Diane Wold, quilted by Jan Struble
1st place, Duet Quilt division
This one grows on you the more you look at it, or it did me--the perfectly-replicated imbalance of the 8-point star blocks, the strong directional motion of the diagonals and the strings, the dozens of colors in the hand-dyed backgrounds of the string blocks...really subtly complex.
Wedding Gown Quilt, group quilt by Marsha Edwards, Teresa Fitzgerald and the Thimbleminded Quilters
What a great variation on the Victorian Crazy-Quilt style. This queen-size quilt (and i feel that even the choice of dimension is symbolic) was made as part of a charity project to benefit metastatic breast cancer patients. All the inherent symbolism vested in a white wedding gown--purity, new beginnings, luck, transformation--takes on new significance when considered in light of a work like this one, intended to comfort and possibly even enshroud women stricken with cancer.
Schizophrenic by Mary Ann Kotas
I enjoy how this one references the brightly-colored tiled portrait series work of Andy Warhol.
Burning Ring of Fire by Betty Burginsky
1st place, Studio Art division
I love Johnny Cash, and i wanted to love this quilt, except that it's got a misspelling embroidered into it ("it makes a firery [sic] ring"), which is a pet peeve of mine. Apparently it didn't bother the judges as much as it does me, though. The rings scattered across it of tiny dots: those are heat-set rhinestones in progressions of flame colors, red, orange, and gold, hello Nashville. And why the Virginia Reel blocks as such a stark element? I dunno, it has all the elements of an interesting piece, but doesn't quite come together cohesively.
Circles I by Kim Frisk
3rd place, Studio Art division, Best Machine Quilting
Detail of stitching intricacy.
This one was so striking, in its spirographic complexity of quilting, everyone stopped in front of it and just stared.
That's all i documented, and thus, all she wrote, so to speak. Every time i attend a quilt symposium or exhibit or gallery show, i'm so moved by the artwork, the craftsmanship, and the elements of cultural significance the quiltwrights incorporate in their designs, inspirations, and intended use or destination of their works.
