Color! Texture! Movement! Using Repurposed Materials!
Author: Ann
Ann Baldwin May was born and raised in Palo Alto, California. She received her education from University of California, Irvine (History, BA Elementary Teaching Credential, Masters in Teaching Spanish) Her first quilting class was in 1975. She retired in 2012 after working 30 years as a bilingual teacher and Bilingual Resource Teacher in Watsonville.
After making over 300 bed quilts, she turned her attention to art quilts. Ann is passionate about using repurposed materials often from the San Francisco Design Center. She has won several awards for her work. Kaiser Permanente has purchased five pieces for their Santa Cruz County facilities. Her work has been juried into shows all over the country including San Francisco and Chicago. She participates in the juried Santa Cruz County Open Studios Art Tour.
She is married and has two daughters.
Ann Baldwin May
Santa Cruz Art Center, 1001 Center St.#4 Santa Cruz, CA 95060
baldwinmay49@yahoo.com
831.345.1466
annbaldwinmayartquilts.com
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Racism: In the Face of Hate We Resist,the show of art quilts at the Textile Center of Minneapolis was originally planned to take place during the one year anniversary of the murder of George Floyd. Dr. Carolyn Mazloomi,the curator along with the Textile Center planned a full week of activities. Artists were encouraged to attend. Safety conditions were in place.Racism:In the Face of Hate We Resist was only one of seven shows curated this year by Dr. Carolyn Mazloomi. However, the unforeseen timing of events necessitated changes.
Let Us Breathe,37″ x 35″ 2020
Minneapolis in the News
Racism:In the Face of Hate We Resist
Various news stories from Minneapolis graced the front pages these last few weeks of April, 2021; accountability for the murder of George Floyd and the passing of a great American leader and favorite son, Walter Mondale. At the very last minute the Center scaled back the events. The curator agreed due to the tense atmosphere.We are all grateful that events proved peaceful in Minneapolis.
Moving the Show Forward-
The Smithsonian Museum plans on exhibiting selected pieces from the Racism:In the Face of Hate We Resist show. The show could not include the large number of art quilts. Purchase of several art quilts by the Smithsonian is also in the works!!!!!
On with the virtual show,
Racism:In the Face of Hate We Resist
From the Virtual Exhibition of Racism:In the Face of Hate We Resist at the Textile Center, Minneapolis, MN from their website
An international juried exhibition featuring 63 quilts, Racism: In the Face of Hate We Resistshares stories of resistance and fortitude that have been integral to the survival of Black people in America.
This exhibition is part of Textile Center and Women of Color Quilters Network’s We Are the Story initiative. The exhibition took place in 2021.
Lime sea dragon art on a throw pillow 14″ x 14″ 35cm x 35 cm
Marine Life in Art Quilts
Above all,marine life is front and center in my home town of Santa Cruz,California. For example,this is where three young princes of Hawaii first surfed in North America on July 19, 1885 on large redwood boards. In addition,Santa Cruz is at the top of the Monterey Bay with the world class aquarium just an hour away. The area is also home several national marine research facilities. Surf City, U.S.A takes its marine life seriously.
Art Ranks High too.
However,Santa Cruz is also listed as fifth in the nation as an artistic destination. That is to say that many artists live in the county. That is to say that marine life and art come together in this newer genre of art quilts. Come be inspired to try it yourself!
A Visit to the Monterey Bay Aquarium
In the beginning when I first started making marine life art quilts, I visited the Monterey Bay Aquarium. In other words, I wanted to observe the fish. What do their mouths look like? What shapes are their tails? My intention was to create a accurate picture of the sealife. However, that idea went out the window very quickly. In conclusion,there is no one way that a fish’s mouth looks. The variety of shapes and forms is endless. My underwater fantasy portfolio was born. In addition, I was free to create an animal in any way I wanted because there was probably a fish that looked that way somewhere.
Deep Blue Sea,37″ h x 24″ w 94cm x 61cm
Sea Dragons at the Aquarium
Similarly, I saw my first sea dragon at the Monterey Bay Aquarium. I couldn’t believe my eyes. Was that a plant? Was that an animal? It was impossible to tell. I was fascinated. Ever since that day, I have been incorporating sea dragons into my art.
Technically,sea dragons are cousins to the sea horse. What? It is hard to believe. Sadly for us humans, the sea dragon display is not longer at the aquarium. Happily for the sea dragons, they have been returned to their natural habitat in the waters of the Monterey Bay Marine Sanctuary. However, they may be on display at another aquarium.
Swimming With Sea Dragons, an art quilt, 26″ h x 22″w
I explored creating marine plants and animals using the fabric layering technique. In the same way, I added texture and movement to each piece! Color,texture and movement lead the way! Lots of thick decorative threads add texture and life to the underwater rocks. In addition, in Sea Dragons in the Golden Kelp, I created the animals by thread painting on Sulky water soluable fabric stabilizer.This thread painting technique creates lacy and leafy animals. Use one’s imagination to see animals among the plants.
Seadragons in the Golden Kelp 32″ x 22″ 81cm x 56cmLife Among the Seaweed, 26″ h x 22 ” w 66cm x 56cmViolet Seascape,33″ h x 26″ w 84 cm x 66 cm
Furthermore, underwater fantasies lend themselves to the use of sheer fabrics. Who knows what shadowy beings are lurking in the depths? Shiny, reflective fabrics cut into the shapes of fish and marine life add a dimension that often only becomes visible is a certain light. What a surprise! What fun!
Large Spotted Fish, 17 ” x 17″ 43cm x 43 cm
In Conclusion
In conclusion, underwater seascapes lend themselves to different colors, textures, and techniques. Create a fun marine world!
In addition you may read more here about the actual fabric layering technique I use. Follow the step by step procedure to make your own underwater seascape.
Birds fill our world with color, sound and movement. One of my favorite places to be is outside, the natural habital for birds.True confessions time-Drawing is not one of my best skills. However,I can copy an outline of a bird. So that is how I often incorporate birds into my art quilts. At this point in my life, I am working with my strengths.
Big Brown Owl,14 ” x 15″ 36cm x 38cm
Shelter in Place Art
Westlake Coot, Big Brown Owl and Westside Egret were created during the first Shelter in Place. I only had limited materials with me,a large bag with small squares. Created the background first, before I considered what would do on the top. Fabric is my first motivation. How will the fabrics play together? Many times the subject matter, comes later. What subject would work with this background? Birds against a sky was my first thought. Size and scale required a smaller scene. Why do a whole body of an egret when a neck supplies the viewer with enough information?
Westlake Coot, 14″ x 15″, 36cm x 38cm $120.Westside Egret, 15″ x 16″ 38cm x 40cmNight Migration,20″ x 24″ 51cm x 61cm
Never miss an opportunity to add texture.
A bird’s habitat is full of texture, trees, grasses and underbrush. Threads and found materials lend themselves well to creating an impressionistic view of an avian’s favorite place to be.
Snowy Egret,34″ x 24″ 86 cm x 61cm
Break Your Own Rules
Pelican in the Mist and Nesting Pelican break my rule for just doing bird outlines. Looking at the light and dark stripes of redirected piece of fabric reminded me of feathers. I cut the fabric and used the same fabric to make the wings,legs and the body of a pelican. An artist never knows where inspiration will come from. Take a chance.Sometimes things just work.
Pelican in the Mist,25″ x 23″ 64cm x 66cm
Water Fowl and Coastal Birds
Inspiration often comes from one’s locale. I live on the Central Coast of California. The second largest wetlands in the state, Elkhorn Slough is not far away. Westlake Park with a spring fed pond is adjacent to the local elementary school.
Staying close to home is what we all did this year. Be inspired by where you are.
Beginning steps to creating art suggests some new ways of thinking about making our world beautiful. Creating comes naturally to humans. We are innately artists. We try to make our world beautiful. Some of us draw; while some of us paint. Others create beautiful food and table settings for our loved ones to enjoy. Others create beauty in their gardens.
Unfortunately, many of us do not feel that we are artistic. I certainly didn’t for many years. Yet, each of us can create beauty in our unique way. Here are some suggestions for beginning steps to creating a more beautiful everything or whatever you choose.
Beginning Steps to Creating Beauty
Part of my career as an elementary school teacher was spent at an arts infused school. We brought in special artists to teach across the arts curriculum from drawing, painting to theatre and dance. I had been at this school before this program started.
When the program began, the whole school adjusted its focus. I witnessed sn incredible shift in students’ attitudes. We told the children that we are going to try and make all of our work beautiful. We would not criticize the work of others. Trying to do one’s best was the important part. The attitude of the whole school changed for the better. It was so powerful to witness that change.
Think Differently.
Looking outside the box. Many times it is our own perspective that keeps us from seeing things in a new way. Often we acquire materials or fabric with a particular idea in mind. Then it is difficult to get rid of that idea or to envision a new use for the item.
Do these look like coffee beans?
When I got this green fabric, it reminded me of coffee beans. That is the image that stuck in my head. I wasn’t sure how to use the fabric. It sat on the shelf for a long time. Then I began to think differently about it. How could I use it a different way? I decided to use the ovals as bit of motion in the truck of a tree. What little bits of color could I highlight to pull those colors to the forefront and diminish the greenish colors ? A peachy orange shade would do the trick. As my county recovered from the largest forest fire ever, my art quilts reflect that new growth.
Rebirth of a Forest,art quilt,29″ x 22″
Turn the Fabric Around
Another way to look at a piece of material or fabric in a new way, is to turn it around. If it has definitite figures on it ,what will they look like from another direction? New and unrecognizable is what I would be going for. When an abstract artist finishes a work, they often turn the art upside down and sideways to see if it might look better from a different angle. The original fabric for the trees and branches in Skyward was a black,white and gray fabric that had greyhound dogs on it. The movement of the fabric caught my eye before I noticed that there were actual dogs on it.
GreyhoundsSkyward, an art quilt
Imagining Shapes
While working on my nature quilts, I cut out shapes for trees, branches, fish, rocks, or waves. I look at the fabric to see if the shapes on the fabric tell me what it would like to be in my piece. Does a swervy line imply a wave? Maybe a mountrain will appear from the shapes on the fabric? If no shape strikes me on the fabric, then I create my own mountain or a river. The idea is not to find a piece of fabric that has a river on it. But to create a river from lines that the original fabric artist had not thought about..
Visualization
As I am creating, I try to visualize what the piece is lacking. What color or shape needs to be in a particular spot? This often guides me to a hue or textile choice. This is a newly acquired skill for me. I surprised myself when I realized visualization was happening. You can make it happen for you too.
Activities to Practice Beginning Steps to Creating
Here are a couple of powerful skills that can be practiced with no materials at all. Look at pieces of art in the real or virtual world. There certainly are many examples available on social media. Ask yourself, do you like this work? What do you like about it ? How would you make it better? If it were your piece to change, how would you modify it?
Keys to my Heart, 9″ x 7″
Another practice activity is to think of how many different non traditional ways an item could be used. I recently acquired a box of antique keys. I am venturing forward into assemblage, putting repurposed items together in unusual ways. What could the keys be used for? The possibilities are endless; a nose? hair? or other body parts or just purely decoration? While I searched the internet for inspiration, I came up empty. Left to my own devices,I have sprinkled this post with the ideas that I came up with.
Face with a Key Nose
In Conclusion
Start with baby steps. Create small bits beauty in your life. Practice helps. I took an assemblage class over two years ago. It took me this long for the ideas to perculate through my brain. Be kind to yourself during the learning process. Trying in the first step. There are no mistakes just whether you as the artist likes it or not. If not, modify it. Dip into your humanity and make the world more beautiful.
Viewing art made with mostly black and white colors is engaging. Furthermore, the contrast with just one other color attracts the viewer’s eye. While this is true of all art genres, I make art quilts. This post is about the quilts that use mostly black and white with possibly one or two other colors.
Classic Decor
Black and white decor is a classic look that is currently enjoying a rebirth in popularity. Black and white floors are common in Europe. One art fan compared my art quilts to tapestries. One time someone asked me to line the walls with my largest quilts to improve the acoustics at a film festival. The small dash of color is easily accommodated. Limiting the colors to just black and white and one more, insures flexibility that the piece will fit easily into many different places.
Adding Texture in Decor
Adding a cozy traditional quilt has been a a long time go-to idea for adding texture. Building on that,consider adding texture in the form of wall art to your decor. Wall art quilts are a new and modern way to accomplish that. It may seem subtle but a piece of fabric wall art is not as flat as a poster or a painting. An art quilt brings an added dimension to a room.
Easy Care Art
Art quilts are easy to hang. They generally weigh about a pound. MIne come with a handsewn fabric sleeve(tube) sewn on the back of the piece, a dowel and fishing line. Simply hang the invisible fishing line on a push pin or a nail. The edges of my art quilts are completely finished with a facing hand sewn to the back.
There is no reason to add a heavy frame. A frame just adds cost to shipping and unnecessary weight to the piece. Hanging a quilt rather than a heavy painting over a bed is an added advantage in earthquake country.
Fabric is a material that we are all familiar with. It is long lasting and adds warmth to a room. Keeping a piece out of the direct sunlight is necessary to prevent fading. Other than that, textiles are an easy care product.
Larger Wall Art
Gridlock I, 33″ x 31″Gridlock II,42″ x 36″ Juried into MAYHEM show at the ARC Gallery in San Francisco, 2013
Smaller Wall Art
Petite Madness,12″ x 9″ ,$125.Art quilt,Petite Limeade,10 ” x 10″ SOLDPetite Carbon Footprint,12″ x 9″,$125.
In conclusion,black and white art is classic.Adding a pop of color makes it fresh and modern.
Recent attempts at assemblage came about from my interest in fiber and 3D objects. Sometimes it can be scary to try a new direction. Moving in a new direction is something that I generally do very slowly.The assemblage art form utilizes found objects that appeal to my deep sensibility for using redirected or upcycled materials. I had been adding 3D found objects to my art quilts since the beginning of my art career. The time came for me to further my skills by taking a class on assemblage. If I can try something new, so can you.
Under the Beautiful Redwoods-2018
Back in the Fall of 2018, I participated in an assemblage class taught by local artist, Janet Silverglate. The day long class met at her house outside under the beautiful redwoods of Felton, California. She introduced us to many new materials and skills. She was generous with both of them. Practicing with an electric drill was a new experience for me. The class learned the importance of working backwards on each piece. Figuring out how to hang or display the piece was one of the first necessary decisions to be made.
The Piece I made in Class
This is the piece that I made. I contributed the fiber background and the metal rim. Janet graciously offered the other parts including the green paper, and large button on the top. She also helped with the process of adjoining all pieces together that I was having trouble accomplishing. While I am pleased with the finished product, I recognize that I had a lot of help.
Piece made in class,2018
I thoroughly enjoyed the day completing my first assemblage piece. As with many beginners, I was in awe of the teacher’s skill and proficiency. She had a large room full of materials that she had gathered. I could relate to that process. I also gather materials without considering their future use. However, due to a lack of extra space,I wanted to restrict myself to the materials that I already had. I couldn’t imagine gathering materials for assemblage projects as well as a wide variety of materials for art quilts. Luckily, my inheritance supplied me with a variety of interesting items I could use.
Several Recent Attempts at Assemblage
I took a long while before I felt the creative juices flowing to try something on my own. Maybe the shelter in place helped in that regard. My thoughts were also that a successful piece begins with an interesting framework or support system. I was waiting to find a worthy object.
My husband supplied me with a wooden drawer from a small piece of furniture of his mother’s. The drawer was from some sort of a sewing unit. It had a wooden tray that originally was used to store thread and small items. I turned the tray on its side.
Making Decisions
My inheritance included many sewing items. I found the idea of covering the edges with fabric measuring tape appealing. First, I added screw in hooks to the top for hanging. Then I glued the fabric measuring tape to the sides. Here are some of my other first choices. I moved the buttons around. Eliminating some of the sewing items creates a more general audience appeal.
Trying out ideas with lots of sewing itemsHighlighting the measuring tape glued on the side.
Trying Different Things
Numerous attempts were made before settling on this final arrangement. I had many empty wooden spools that I wanted to use. Yet, previously I had noticed the lack of color in other people’s empty spool projects. I preferred the addition of some thread color. Luckily, my mother and mother-in-law had left me many sizes and choices of colors. Whimsical animals add fun as well as color!
Wooden Spool Assemblage,2020
Another Recent Attempts at Assemblage-A Wooden Spool Wreath
For a long time I looked for inspiration on what I could do with my empty wooden spools. I did have a lot of them. Finally I saw a unique wreath that inspired me to try to make a wreath using them. I happily found red beads to alternate for a holiday look. The framework is a fiber paper plate holder. It is turned upside down so that it will lay flat against the wall. I found a metal clip with a circular ring that I had. It attaches like a clothes pin. How easy was that!
Wooden Spool Wreath,2020
How to String the Spools
I bought several sizes of small width dowels to see which size would fit best. I chose the smallest one possible, less than 1/4″ wide to string the spoons and beads on. At first I tried to have all lengths equal. But I broke a dowel so I had to make do. I think that the different lengths are actually an improvement. Mistakes can be good. The tiniest dab of glue holds each bead and spool in place on the dowel. I repurposed a burlap bow I had received on a recent gift. How serendipitious was that! The finished product hangs in my studio window.
Black Lives Still Matter
Black Lives Matter Decoration,2020
What would 2020 be without a sincere homage to Black Lives Matter! I made several similar pieces using patriotic red,white and blue ribbons. On the white part of the ribbons, I wrote A Violation Should Not Be A Death Sentence and Black Lives Matter. It has been obvious to me for years now that black people were shot and killed rather than just arrested or ticketed for a violation. Now another variation piece has Equal Rights For All written on the ribbons.
Indigenous Inspirations, 2020
In conclusion, this year of Shelter in Place gave me the time to set aside any fears that I may have had about trying something new. Recent attempts at asssemblage helped me develop my new portfolio. Thanks for letting me share them with you.
Foggy Skyline,inspired by the colors of the sky after a rain storm.
The Making of an Abstract Quilt
In this article you will learn about the steps to create an abstract art quilt.
Introduction
Making abstract art quilts touch my soul. The use and cost of redirected upscale fabrics motivate me. I know that am doing something good for the planet. Choosing colors and textures to piece together my art quilts makes my heart sing. Scribble Quilting adds movement to the piece.
The genre of art quilting is a newer art form. I share my process with you by explaining how I create an abstract piece of art. There are many other ways that artists make art quilts. Fusing fabrics, painting on fabrics, dyeing fabrics to use are just a few techniques. The website of international art quilters organization, SAQA(Studio Art Quilt Associates) is full of resources for those who are interested in learning more. Saqa.com Many times I look at quilts and ask myself how did they do that? I consider myself an advanced quilter. However, variations abound. The sky is the limit.
Topics Covered:
Use of a Design Wall
Where to Find Inspiration
Choosing Materials
Creating Details
Thinking ahead towards Quilting
Beginning Piecing
Sewing the Top Together
Quilting the Top
Use of a Design Wall
A design wall is essential for this type of art project. One wall in my studio is covered with a large white piece of flannel fabric. The pieces of fabric adhere to the flannel. I begin by randomly placing pieces of fabric on my design wall. Then I move them around to see where I want them to be. Sometimes I haven’t settled on where I want them to be until I start sewing the pieces together. Once sewing begins, pinning the pieces to the flannel may be necessary to help them adhere to the flannel as the weight of the piece increases. There are other possible types of design wall that my better suit your needs. Maybe you need a portable setup or other type of special need. I prefer to keep things on the simple side. A large flannel piece of fabric works for me.
Where to find Inspiration
Inspiration for colors or designs can come from anywhere. Many artists keep a notebook to write down or sketch interesting things that they see in their daily life or travels. Inspiration often come from nature. Colors of the desert, a bird or the color of the sky at sunset or after a storm can inspire me. Actually, inspiration can come from anywhere and anything, a building a floor, a pet. It is the spark that catches the artist’s attention. The finished art project does not necessarily match something at all. Guessing an artist’s inspiration is not easy especially for an abstract piece. The point is to be inspired to create.
Splendid Fairy Wren
A friend who loves birds posted a photo of an Australian fairy wren. The blues and purples were incredible. I ended up making two abstract art quilts using those colors.
Splendid Fairy Wren, abstract art quilt,30″h x 35″wAmerican Democracy,2019, a black and blue abstract art quilt,28″h x 27″w
Inspiration can come in the strangest of places. Once scraps of fabric I had randomly tossed in a pile caught my attention. The lime green, white and grey worked well together. I decided that I had to use them for a future project. Here is the subsequent quilt I made using this modern color palette inspired by a random pile of fabrics.
Because art quilts don’t need to be washed, a variety of textures and materials can be used. I started sewing clothes in junior high and high school. I would choose colors that would go well with my skin and hair tones. When I started making bed quilts, the focus was on the design on the fabric that would go with a room décor. One hundred percent cotton is necessary for ease of washing of bed quilts. Art quilts expanded my world. A variety of fabrics and textures opened up. I freed myself from the bonds of what matched a room or looked good on me. Following patterns went out the window. True Liberation !!
Consider the Style
Sometimes I begin with a piece of fabric or material that I would like to use. Often it is one that I have had for a while that I think I should use up. I consider the style of the fabric, is it a thick, rustic material or a shiny,synthetic fabric? What would it bring to the piece? Does it fit the mood that I am creating? Fabrics with colors that might not complement the piece have been eliminated because their style doesn’t match the intented style outcome. These are subtle decisions that the artist makes.
The Gathering of Materials
Generally I gather my materials without any idea of what I will use them for. If I am honest with myself, I think this comes from my being a bit overwhelmed from seeing so much fabric in a fabric store. I have to have an well defined idea of what I want or need before I go into a store. Otherwise, it is difficult for me to make a choice. Matching colors or styles is difficult without actual items in front of me. It feels easier for me to decide if I like something or not in the moment. At a later date, I can see how the material goes with other items that I have. Maybe this is part of being a visual learner.
FABMO and Other Places
I obtain my fabrics mostly from a nonprofit, FABMO.org that obtains fabric and materials from the San Francisco Design Center. I find high end new decorator samples and more. Furthermore, I get fabric from my local guild’s Bargain Garden, flea market. I learned a long time ago that shades of colors go in and out of fashion. Forest green is a family favorite. But if it is out of style it is impossible to buy. A quilter’s stash or collection of fabrics reduces the need to purchase a particular fabric in the middle of a project.
Creating Details
In the past few years, I have begun to add more three dimensional details to my work. Quite a few years ago, at the Pacific International Quilt Festival, I saw a quilt that had a big pile of yarn sewn on the top. In my opinion, it was a mess. I didn’t like the effect. However, it did inspire me to add yarn or decorative threads to my art quilts. My choice is decorative threads that would lie flat. I began to couch(zigzag) decorative threads to create contrasting details for my art quilts. Surprisingly, the decorative threads has since become one of my favorite techniques.
Using my chosen colors, I think about the items that I want to make to add texture or interest. Sometimes a particular found object, like a piece of jewelry guides my decision to incorporate it into the piece. Which techniques do I have in my toolbox? I can couch yarn to create straight lines, parallel lines, curvy lines. I can make tucks to add texture. What materials do I have that would work? What does the detail bring to the piece? Sometimes it is necessary to save a detail for another project for some reason. The style or effect just isn’t what I want for this art quilt that I am working on.
Thinking ahead towards Quilting
My usual method of creating an art quilt is to start without much consideration of the next steps like how I will quilt the piece. However,sometimes it is necessary to consider the whole process and the order that I need to follow to complete the art. When would it be best to add the detail? Can I quilt over it? Or will I need to wait until after quilting is completed to add hand sew it on? With ATLAS in Rose, I wanted to highlight the oval pink and white beaded necklace in the middle of the quilt. Yet, I would have to sew it on after the quilting was completed. Quilting over beads wrecks the beads and could possibly damage needles and my machine.
work on design wall,ATLAS in RoseATLAS in Rose, 32″ x 32″ finished art quilt
Serendipity Happens
The patterns of stripes and circles happened rather serendipitously. Some quilters would say, I wanted to make a stripes and circle quilt. That is not the way I usually work. Yet, as I looked at my black and white fabrics, I saw the oversized circles contrasted well with the stripes and checked fabric. The stripes and circles created the movement I wanted. I mirrored them by couching decorative threads to create my own form of stripes. Hand sewn repurposed white buttons added more circles to the beaded necklace, front and center upon completion.
Back to the Design Wall
The work that happens on the design wall is in many ways is the most important part of the project. My main purpose is to make sure that the colors and fabric pieces are well balanced on the wall. It is not too late to eliminate items that would work better in another piece. Often I begin by placing the most eye catching pieces on the design wall first. They need to be placed in various spots across the piece and not all in one area. Balance is a crucial part. Then I continue with other important standouts. Only then will I continue adding with other pieces of fabric. I make sure there are places to rest one’s eyes. Plain fabric balances out wild details.
Sewing the Top Together
I begin sewing once the main pieces are in place. I make sure that pieces of fabric are larger than I expect the finished piece to be. One can always cut away fabric but it is harder to add fabric. That said, one thing I love about creating abstract art quilts is that there is less matching of seams and more flexibility if you need to add a different fabric than in traditional quilting.
Start Small
In general, I start by sewing smaller pieces together. I will sew together several pieces from one area. Then I will do the same in another part of the quilt. I have learned the hard way that I should not completely sew all of the pieces in one area together. More flexibility for fabric additions is allowed by rotating the spots I sew together. Then I wait until the very end to sew all of the pieces together. In that way if I need to add more fabric to a spot, it is easy. I prefer to not rip out seams if at all necessary. This is another advantage to creating art quilts. If something doesn’t work or I want to change it, I just cut it off instead of spending time ripping out seams.
Foggy Skyline,inspired by the colors of the sky after a rain storm.16″ x 16″
New Eyes
Critically seeing eyes are necessary. I mean critical in the sense of seeing what works well and what doesn’t work well. Only the artist can make that decision. Our eyes can miss what is directly in front of us. Sometimes taking a break or even returning the following day is what we need to see clearly. In other words, so that you will look at a piece with fresh eyes. This is so important. After some time has passed, I often see immediately what needs to be changed to improve the art quilt.
The design wall also allows the artist to step back at look at a piece from a distance. Close up views and distant views differ. Ideally, a piece will work for both distances although probably in different ways.
Other Considerations
When I begin to sew the pieces together, I want as much flexibility to change their places as possible. Therefore, I begin by sewing small pieces together in one area, the upper right hand side. Then I do the same in another spot, say the lower right hand side. This allows me to move pieces or add pieces if I need to. Of course, when sewing pieces together the project becomes smaller. If a finished piece needs to be a particular size, mark the design wall with pins or yarn to help you be aware of the desired size.
Focal point design details should probably not be placed directly on the edge. I learned the hard way that when they may be trimmed off at the end when squaring up the finished quilt. Another thing I try to avoid is having heavier fabrics directly on the edge. I like to finish my quilts with a facing sewn to the front and turned to the back to be hand sewn down. Thicker fabrics made the turning more difficult. Even sheet fabric with a high thread count is hard on the fingers when hand sewing.
green yellow bits on design wall, a work in progressfinished top Sunset Through Forest 34″ x 34″ after quilting
When the top is finished. It is time to make the quilt sandwich. The quilt sandwich is made up of the three layers, the top, the batting and the back fabric. They need to be laid flat and taut and pinned or basted together.
Finishing with Quilting
In general,I don’t think about which technique I will use to quilt a piece until the top is finished. Sometimes I regret this lack of planning. For me, the quilting must add movement. I have to decide how much more visual action this quilt needs. Is there a lot of movement already in the piece? Will quilting add more interest? Maybe a less visible stitch in the ditch technique is what the piece needs. Only the artist can make these personal decisions.
I have settled on three styles of quilting that work for me. Stitch in the Ditch is quilting inside seam lines. Scribble quilting that I named is quilting by moving the quilt line from one side of the piece to the other side. Doing this repeatedly creates wavy lines that may cross over one another. I use the free motion quilting technique to quilt my fabric landscape or seascape collages. Those with access to a computerized long art have lots of other options to choose from.
In Conclusion
The genre of art quilting is a newer art form. I share my process with you as a way of explaining how I create an abstract piece of art. This article advances the understanding of the decisions that need to be made while creating an abstract art quilt. Hopefully, inspiration for the art quilter follows or the collector will gain some perspective on how this artist works.
Suggestions for Newer Art Quilters
If you are looking to advance your art quilt techniques, these are my suggestions.
Take a class in some technique that excites you.
Join a guild or group to learn from.
Visit quilt shows and museums to view art with a critical eye.
Practice, practice, practice your skills.
In Responce
Gentle Readers, since this post, How to Create an Abstract Art Quilt was published it is by far the most read of all of my posts. Just wondering if you found this info helpful or not so much.
Read More.
You may find out more about how I create texture and movement in my abstract art quilts at these links.
First of all visual arts are diverse art forms. For example painting, drawing, printmaking, sculpture, ceramics, photography, video, filmmaking, design, and architecture are visual arts. Furthermore,many artistic disciplines such as performing arts, conceptual art, and textile arts also involve aspects of visual arts. Wikipedia
Something New-Visual Art Network to Support County Artists
For 34 years, each October artists across Santa Cruz County have opened their studios to the public. Above all,the Arts Council Santa Cruz County sponsered these Open Studios Art Tours. As a result of COVID, the methods changed. Nonetheless,their support has not faltered. The county created the Visual Arts Network, an online space for artists to display their art. In addition,the Network showcases the work of the many creatives that call Santa Cruz County their home. https://annbaldwinmayartquilts.com/2018/04/new-visitor-rack-card/
How The Visual Art Network Supports Artists
First of all,the Visual Arts Network of Santa Cruz County is a directory of over 300 artists. For example, you’ll find a wide variety of creators from painters, sculptors, woodworkers and much more. Furthermore,each artist has their own page. In order for the public to learn about their process and their creations. In addition, one can connect with them directly. That is to say that one may search by name, location or medium, explore all the artists, or meet featured artists.
Finally, local artists are so lucky to have the support of the county. In addition,the Open Studios Event Director, Ann Ostermann is a masterful, innovative leader. Furthermore,her bright personality welcomes everyone to the delight of art. In conclusion, inclusivity reigns supreme.
The Visual Arts Network is no longer active. Arts Council Santa Cruz continues to support artists through the annual Open Studios and in other year long activities.
First of all,trees in art quilts are my most popular pieces.Everyone loves trees. Above all,everyone can relate to the shape and various colors of trucks and leaves. Vacant Lot, is an early example of one of my tree art quilts. Furthermore,five of my art quilt trees hang in local Santa Cruz County Kaiser Permanente Medical facilities.
Tree Friendly Town
I live in a tree friendly town. That is to say that Santa Cruz, California is part of the Tree City USA program. My county is full of fruit tree orchards as well as redwoods. Furthermore,the Spanish explorers saw their first redwood tree in Santa Cruz County. In addition, California’s first state park, Big Basin is also in my county. That is a lot of trees for the second smallest county in California.
Of course,many locales are tree friendly places even if they not they are enrolled in the national urban tree program. We can all relate to trees and leaves; the forms they take and the shapes they make. Creating trees lets me explore and expand my use of texture, color, and movement. Let me take this opportuntity to share my love of trees.
Adding Color
Young children and other people know what color a tree should be. We understand the general shape of a tree including the wide variety of sizes and forms. Adjust the color of a tree to an unnatural color. Our brains will still recognize that it as a tree. This is what makes it fun for an artist.
Palo Colorado,34″ x 32″ 86cm x 81cm
Red and White Challenge
In 2013, my local quilting guild had a Red and White Challenge. Participants receive certain fabrics that must be used. Notice the red and white polka dot fabric. Additional fabrics and details were encouraged. I placed the red tree, Palo Colorado on a background of various pieced white fabrics with red hand stitching for accents.
Along the Path,34″ h x 22″ 86cm x 56cm
Teal colored tree trunk and branches ? Not so common,nor are violet branches. I have received such a positive response from the movement of leaves extending beyond the edges of the art quilt that I have continued to do that.
At the Edge of the Grove,29″h x 26″ 74cm x 66cm
What could be more fun than orange branches!
Tree Along Creek,32″ x 27″ 81 cm x 69cm
This tree along the creek has pale colored branches with bluish green tint from couched yarns and decorative threads. The pop of medium green comes from a piece of dress fabric from the 1940s.
Adding Texture
Celebrating Fall has branches made from a highly textured yet, loosely woven fabric. I couched decorative threads are on top of the fabric to add more interest. This same couching technique is also visible in Tree Along Creek and At the Edge of the Grove.
Celebrating Fall,33″ x 31″ 84cm x 79cm
Adding Movement
In Looking up at Dusk,flying leaves and twigs are carried along by the wind. While creating this piece, I actually toss some pieces onto the quilt top. Great fun! Great serenpidity!
Looking up at Dusk,31″ x 24″ 79cm x 61cmOverlook,35″ x 26″ 88cm x66cm
In Overlook, I choose a green and white patterned fabric for the trunk and branches. I couched decorative threads and yarn to the fabric before cutting out the shape of the tree. The white spaces on the fabric create movement. The curvy line quilting in the sky also adds action. The sky fabric is from an indigo dying class. Can you see the clouds moving across the sky?
Conclusion
My art is all about Color! Texture! and Movement! Tree art quilts are a perfect theme for me to showcase this mantra. Repurposed decorative threads and yarns are a natural fit as well to add more texture and movement.
First steps towards assemblage occurred before I was even aware that I was moving in that direction. Assemblage is a newer art form of putting different items together in a new and unusual way. That is to say that with a new focus on recycling and redirecting art takes on new forms.
In addition, it can take on many different forms including metal, paper and fiber. Materials are often found objects. Furthermore,they can either being used as found or taken apart to highlight intricate usually unseen pieces.
First Steps -Ready to try Something New?
Aboriginal,black and white assemblage 18 ” x 14″ 2013
In 2013, I completed my first 3D collage piece. For example,some black and white objects called to me. At first, a figure I had made using decorative details were arranged on a redirected piece of fiber. Above all if we consider aboriginal to mean the first, maybe the title is prophetic.
Mexican Inspired Fiber Assemblage
Later in 2018, more redirected fiber directed me to make some Mexican inspired fiber assemblage pieces. Here is my Fun with Fiber series.The sizes are generally smaller than 15″ wide. First of all one must consider how to hang the piece before continuing with the design process.Moreover,you may recognize small decorative details, fabrics and found objects in these pieces.
Native Sunset With Cats, soldBracelet of Beaded FriendsFun with Fiber 5Memories of the HuntWorry Dolls
My Artful Fabric Business Cards reflect my art quilt business. Business cards generally give basic information about a business; location, phone number and email . Yet, I take my business cards a step further. They are small art quilts. For people who do not know what an art quilt is,the business card gives them an actual example to choose and take with them.
Reducing Waste
Reducing waste is a major motivation for me. My cards are made of fabric that most people would throw away. I use a fabric pen to write on a plain piece of fabric. The batting inside has no other use either. I also found that as my business grew my info changed. Because I hadn’t printed out my cards, I was able to adjust easily without wasting paper.
I started with this info on one side.Later I needed to add more information as my business changed.
Each card is unique. Most people enjoy choosing their favorite colors or patterns. My cards are a committment statement about my work.
Making the Cards
People often say ,”Doesn’t it take a lot of time to make the cards?” I use the assembly line approach to production. First, I write the info about 20 times on white or plain fabric. Then, maybe at a different time, I sew small pieces of left over fabric together. At another time, I baste the three layers together with a glue stick. Followed by sewing two curvy lines, horizontally across the pieces. Zigzagging the edges comes last. I generally find that there are times when I don’t feel top notch or I need a break from creating. Those times are when I turn to making my fabric cards. So it is not as if I am taking productive time away from actual work.
My First Fabric Cards
I made my first cards when I was still working full time. I tried different things and learned from people’s responses. When I shared my card with a coworker, she actually shrieked. That was a surprising response. But I took it as a yes, I was on the right path! My first attempts were to make each card extremely special, like a real art quilt. I soon learned that that was not really necessary. People were thrilled with a simpler more random piece. So I simplified my process.
Starting Out
I admit that these cards to require more effort than a paper printed card. It was my decision to give them away. Yet, another early experience made me make adjustments. At a gallery show I was in, a woman proudly came up to me and shared that she had taken four of my cards and used them as coasters. I was such a newbie I didn’t know how to respond.
Now I would say, the first one is free. The others are $10. Because of that experience,I found a finer tip fabric pen that would let me write smaller. I reduced the size of my cards also so that they were closer to 3 or 4 inches rather than 5 inches.
Another benefit was that I could easily change the information on my cards. When I moved my studio downtown,I made new cards with the address on it. Later I decided to add my phone number. These changes would have been costly and wasteful if I had used paper business cards.
In conclusion, fabric business cards do take longer to make. However, I make them with fabric and batting that many would throw way. They allow me to reuse and reduce while making a memorable art quilt.
I am honored to be the first Featured Fiber Artist at the Santa Cruz Art League’s (SCAL)virtual interviews. This posting represents my memory of the interview as well as combined with the notes I made beforehand. Val Miranda, executive director of the Santa Cruz Art League narrated . During a technical glitch, I lost sound. Val engaged with the audience at that time.
Featured Fiber Artist
Let Us Breathe, Ann Baldwin May
First Featured Fiber Artist
Val Miranda: Ann Baldwin May,art quilter As Execuive Director of the Santa Cruz Art League I am pleased to have you as our first Featured Fiber Artist.please inroduce yourself. How did you come to art?
Ann: Thank you, Val. I am very honored to be the first Featured Fiber Artist at the Santa Cruz Art League.My sewing career reaches back to high school where I took 2 years of sewing. The focus was on clothes construction. In the 1970s I started quilting. My focus was bed quilts.
Exploring other Avenues of Creative Expression
Around 2008-09, I began exploring other avenues of creative expression. So I moved towards art quilts. I took a class on fabric layering from Meri Vahl. During this time I created several large art quilts combining my love of Mexican folk dance with my quilting. These 3D colorful skirts and costumes stand out as Mexican outfits.
My First Juried Art Show
In 2010, I entered my first juried art show. It was the Pajaros show in Watsonville in conjuction with the Birding Conference put on by the Pajaro Valley Arts Council. My work was included on the brochere. The following year, Great Blue Heron at Dusk won an award at another show. So I was encouraged to continue.
In 2016, I opened my studio at the Santa Cruz Art Center downtown,Then I applied to Open Studios for the first time. So for Open Studios and First Fridays, I take over the lobby and fill it with my art.
I am all about Color! Texture! and Movement! I make Nature art quilts; like underwater fantasies, trees and landscapes. Abstract and Mexican inspired fabric collages.
Traditional Quilts versus Art Quilts
Val- Can you tell us a little bit about the difference between traditional quilts and art quilts?
Ann-Most people are familiar with bed quilts. A quilt is made up of three layers sewn together; the back , the batting inside and the top. Being able to wash a quilts is foremost for a bed quilt. 100% cotton is always used for washability and durability.
An art quilt often uses tradional quilting techniques to make wall art. When one is not concerned with washing a quilt, a wider range of fabrics can be used. There is also a wide variety of art quilters and the techniques they use. Many art quilters do not have experience with making bed quilts or even sewing. Some dye their fabrics, paint on their fabrics or print their own designs on fabrics. I don’t do any of those techniques.
FABMO offers an Incredible Variety of Materials
For me there is such an incredible variety of printed fabrics and materials.I choose to use those to create my art. I am a big fan of FABMO, the non profit now based in Sunnyvale. Volunteers go weekly to the San Francisco Design Center. They collect all kinds of materials to keep them out of the landfill. They make these materials available to the public for a donation. PreCOVID they were coming to Santa Cruz about 5 times a year to Harvey West Park. They are having several selection days in Sunnyvale. But I haven’t been to their new location. sign up for their newsletter at https://www.fabmo.org/
Other Local Featured Fiber Artists
Val- That is interesting that art quilters use such a variety of materials. Are you familiar with Consuelo Underwood’s work at teacher at San Jose Statet University. I know her work to be very engaging.
Ann- No, I don’t know her. I wanted to give a shout out to Susan Else. She lives in Santa Cruz. She creates 3D figures out of fabric often with whimiscal themes. More recently she has been adding electricity and lights to her pieces. One of her pieces is of a merry go round with the animals riding the people.
The Piece in the Member Show
Val- Could you tell us a little bit about the piece that you have currently in the Member Show?
Ann- My piece in the Member Show is Let Us Breathe! Physically the art quilt is in Minneapolis. Digitally it is in the Art League show. Several weird random events happened concerning this art quilt.It’s all good.
The Murder of George Floyd
Around Memorial Day when we all witnessed the murder of George Floyd, I was horrified. as many others.The artist buzz on the internet questioned how this would affect one’s art. At first I was too stunned to do anything. Later I thought about what I could create within my own style to address the issue of racial injustice.
So I made an abstract type of art quilt for the background, incorporating African designs to support my view. Then I created a cutout silouette of man and a woman. I dressed them in African fabrics. I made red white and blue hearts to place on their chests. My thoughts were for them honoring thier cultural roots. Including their love for America while America was not returning their love.
A Call for Entry
Then I saw a call for entry from Dr. Carolyn Mazlotti who I had heard speak at a conference before. The call was for Rascism:In the Face of Hate We Resist. I hesitated applying. My thoughts were that this was a moment for black artists to shine. Then I thought of the saying, White Silence Eguals Violence. So I decided to enter the show to show my support for the BLM.To my surprise and joy,my piece was accepted.
I was instructed to send my art immediately to Ohio where Dr.Mazlotti lives.As you can imagine Dr.Mazlotti worked quickly to organize this show. She explained that there would be 7 venues and that she was writing a book about the shows. However, when I sent my quilt off, I had no knowledge of where the venues would be.
The Fires Began
Then the lightening stuck and the fires began. I live near UCSC. So when UCSC was evaculated I was extremely worried that we would be next. When my friend from Watsonville offered me a room in her house, I jumped at the opportunity.I ended up staying there for 4 days. After the second lightening storm passed over SC, I returned home.
A Bit of Disorientation
Luckily, everything at home was fine. However the whole experience was disorienting. It was during that first disoriented week back that I heard from Heidi, a friend from high school who lived in Minneapolis. Her text included a photo of my art quilt. She said that it was in a Swedish magazine.What? I was totally confused. I had no idea how these very different parts of my life had come together. Heidi graciously sent me the newsletter. The random pieces began to fall into place.
Announcement in Posten,the newsletter of the American Swedish Institute.
The First Venue for the BLM Show
The Swedish American Institute in Minneapolis is the first venue for the show. The title of the show morphed into We are the Story. The newsletter chose my art for their article promoting the show. My name was printed prominently. If it hadn’t been, Heidi would not have known that it was my art.
I also learned that Heidi is half Swedish and formerly worked at the institute. Therefore , she was on their mailing list. The number of random events really surprised me. Without one of them, I wouldn’t have learned about any of it. Finally, all of the different parts of my life came together to make sense.
My Process
My process changes depending on which portfolio I decide to make.My nature quilts are the most popular with the public, landscapes, underwater fantasies and trees. I use a table to create these works of art.
Nature Quilts
I lay a piece of backing fabic on a table. Then I cover it with batting, the soft material that goes inside of a quilt. Then on top I create a scene. When I am finished, I cover the scene with tulle netting. I free motion quilt the three layers together. Free motion quilting involves lowering the feed dogs on the machine. This lets the sewer control the movement of the quilt.
Abstract Pieces are made on a Design Wall
green yellow bits on design wall, an abstract piece in the making
My abstract pieces are made on a design wall . I use a huge piece of flannel covering the wall. Fabric adheres to the flannel. I choose 3-4 colors that I want to use. Then I search for the complimentary hues, the light and darker shades of that color. I look for decorative threads or details in that color wave to include to add texture.
Sometimes I couch or zigzag yarns to create fabric that I cut apart to use. Then I put them up rather randomly on the design wall. I balance the fabrics or details that stand out more. Sometimes I choose to do curved line piecing to create movement. I begin sewing pieces together. I keep checking that the piece is balanced for color and texture.
Mexican Inspired Collages or Art Quilts
Mexican inspired collages or art quilts start with me choosing the fabrics that go together or that I want to use. I gather my materials with no plan in mind. So I consider color and what I want to use. I often have to work backwards. Finishing the plain top and then adding 3D objects or found objects.
But sometimes I need to plan where the objects will be placed. I have to wait until after quilting the top to add the 3D found objects. Quilting over thick or hard objects creates problems for the sewing machine. If I add a bright ribbon, I then it can be added while quilting so I don’t duplicate sewing. So lots of forethought goes into these pieces.
Market Day
I have written detailed step by step instructions on these processes on my webstite if anyone is interested.
Val-What do have in store for the future? This is the answer I should have given.
About a year ago , I took Janet Siverglate’s class in assemblage. I have been mulling ideas around since then. I have a piece just about finished using wooden sewing spools and some whimsical items.
Val- I have only been at the Art League for four years now. I am aware that they was a Fiber Show a few years back. Maybe that is something that we can consider doing again in the future.
This whimsical underwater fantasy on a mouse pad includes sea turtles, seadragons, jellies and kelp.
Decorative Mouse Pads
Decorative mouse pads and mouse pads in general serve several important purposes. If speed and precision are important, then a mouse pad will help. Of course,gamers fall into that category. In addition,pads also keep your desk scratch free. The repeated actions of the rubber or plastic feet of your mouse against the surface of your desk will leave marks regardless of the type of surface one has. A mouse pad also keeps dust out of the interior of your mouse .
Enter the Artful Mouse Pad
Above all,an artful mouse pad is an affordable way to add a bit of beauty or uniqueness to your desk. Express yourself. Here are some examples of my art that I have had digitally attached to a mousepad. Each of my portfolios- Mexican Inspired, Nature(trees and underwater fantasies) and abstract art is represented. What a creative conversation starter!
Beautify for Your Desk At Home or Work
La Danza de Los Viejitos, Danza de Michoacán, México
This decorative mouse pad is the male regional dress for Michoacán, México. In La Danza de Los Viejitos(the Dance Of the Little Old Men), young costumed men wear masks and fringed hats. The dancers wobble with canes onto the stage imitating old men.
Then a dance competition ensues to see who completes the liveliest dance steps. Dancers try and knock each other over with their canes. In the end, the dancers all wobble off the stage again.
Market Day mouse pad
A brightly colored Mexican inspired mousepad of a woman off to go shopping.
Nature Art on Mouse Pads
Underwater Serenity mousepad
Another fun underwater fantasy full of plants, animals and fish.
LoneTree mousepad
Trees are one of my most popuar themes. Multicolored leaves overreach the borders.
Vacant Lot mousepad
This tree has a lot of activity and variation in the background.
These artful mouse pads are available for $32. with free shipping from my etsy shop.
Memory quilts I have made have been made out of clothing or special items. Honor a Loved One with a Quilt is a special memory quilt. It could be clothes from a younger time in a person’s life or the clothes of a loved one that has passed. Quilts are a great way to keep someone’s memory alive. It can be a bed quilt, a lap quilt or an piece of wall art. Memorial quilts also honor a commitment to reuse, reduce and recycle items.
A memory quilt is as unique as the loved one being honored. The client can offer input and information. They can even help in the design process if they do so.
Distance is not a limitation. Clients have sent me fabric and items to use. Photos track the progress and keep the client in the loop. Upon completion, I simply sent the completed project to them.
Wall Art
This client’s grandmother’s items became a piece of wall art. The client and I agreed to eliminate certain fabrics that did not fit into the color scheme. Luckily, there was a wide range of materials to choose from. We collaborated a bit in the beginning but then she let me have free range to create an artful memory quilt. We started with her house dresses, other clothing jewelry and some 3D objects.
Part of memory quilt made from a man’s clothes
Lap Quilts
Reversible lap quilts increase the enjoyment of a quilt by double. We all need a change of scenery from time to time. By flipping over the quilt, a whole new quilt appears. These two lap quilts(front and back) were made from a loved one’s shirts and pants. The pockets are completely usable to store something inside.
front, blue commission quiltback of blue commission, Fabric from ties add an accent.front,Beachy Commission
back Beachy Commission
To learn more about my prices see my Commissions and Memory Quilt page.
Recent Random But Good Acts demonstated how divergent parts of one’s life can come together and make sense.
Recent Random But Good Acts
Shelter in Place
During the recent Shelter in Place, I was horrified,like many Americans, to see the murder of George Floyd. How to process forward from such a horrific event! Not an easy task! How to even begin distilling my views? Yet I felt compelled to create something. A decade had passed since I had created political quilts. It had been so long. I hadn’t even remembered that I had made them.
Finally, I created an art quilt with two black figures, a man and a woman dressed in African fabrics, appliqued on a variety of skin toned fabrics in the background. Red and blue hearts on their chests represented the love the black people have this country in spite of the fact that the love is not always returned.
Let Us Breathe, Ann Baldwin May,2020We are the Story , art quilt show venues.
In the past several years, I had refrained from entering national shows. My focus became local. I choose to show at the juried county Open Studios, local shows and First Friday Art Tour.These events have all been cancelled . When I saw a call for entry, Racism: In the Face of Hate We Resist, I considered entering. Yet, I hestitated. My piece is subtle. Maybe it it time for black artists to shine and take the spotlight. Then I remembered the slogan, White Silence is Violence. I needed to enter the show to show my support to the issue. This slogan rang true to me because that is exactly the way I feel about good men who are not vocal enough about women’s rights. So I entered my piece and was accepted.
Dr. Carolyn Mazlotti, curator
Dr. Carolyn Mazlotti, founder of Women of Color Quilters Network, is the curator. I had heard her speak at a Studio Art Quilt Associates(SAQA) conference several years before. She has done an incredible of curating and promoting the show. There will be seven or more venues. However at the time of my acceptance, many were still being arranged. So I was not made aware of the venues at all. That was not a problem for me as I sent my art quilt off. But it set the stage for the random event.
wild fires
Plans for the show in Minneapolis continued while wild fires raged in California. Many fires started due to a spectacular lightening storm with lightening strikes hitting dry foliage. Unfortunately, one large fire was nearby in my county. The large property adjacent to my house was on mandatory evacuation. Firefighters were in short supply due to the overwhelming number of fires through the state. Another lightening storm was predicted in several days. We moved special items to my studio located in a safe spot, downtown. I self evacuated myself to a friend’s house 12 miles away. Luckily, more firefighters arrived and the forecasted lightening storm was uneventful. In general, the weather cooperated. I returned home after the second storm passed over us. Even though we were all fine, it took a week to readjust and recover from the disorientation.
Random Act #1
It was during that first week back home that the first random event happened. I received an email from an old friend, Heidi. She included a photo of my artwork in a Swedish newsletter. What? How did she get my art? How did my art get into a Swedish Newsletter? Heidi and I went to high school together. We had reconnected at a previous high school reunion. As far as I knew she was not Swedish. She graciously slugmailed me Posten,the newsletter of the American Swedish Institute in Minneapolis. Then the random pieces fell together.
Announcement in Posten,the newsletter of the American Swedish Institute.
Random Act #2
Heidi had previously worked at the American Swedish Institute so she was on their newsletter mailing list. She informed me that in fact she was half Swedish and half Finnish.The American Swedish Institute in Minneapolis is the site of the first venue of the shows. My art quilt was the photo chosen to advertise the new show.
Random Act #3
The newsletter had chosen my art quilt out of many. That is random.
Random Act #4
Then they printed my name along side of the quilt. This doesn’t often happen. If the name had not been prominently shown, my friend wouldn’t have even suspected that it was my art.
As an aside the Textile Center of Minneapolis is one of the major sponsers of this show. The Textile Center’s gift shop was one of the first places outside of my local area that I had shown my work. Unfortunately, it was during the Great Depression of 2006-08. The Textile Center will be final venue of the show in June,2021.
In conclusion, if my friend had not worked at the Swedish Institute, she would not have received the newsletter. If the Institute had not placed my name center stage and very visible, my friend might not have noticed it. So it was with much relief that I finally undertood how the different parts of my life had come together recently through rather random connections.
Finally,the theme of this year’s show is “people, places and poetry”. The artists were asked to create a passionate expression of people and places that they have experienced in life. We asked our members to create fresh new and original artwork to make this truly a unique member’s exhibit.
In conclusion,PVA thanks our curators, laura laura and Lyn MacDonald
(If you are interested in purchasing any of the beautiful artwork in the show with a listed price, please contact our Gallery Coordinator at brianna@pvarts.org
Found Torso by Jeff Arnett, $450, Sculpture 14″ x 9″ x 3″Winter of Rain by Jeff ArnettSilence by John Babcock, $2400, Pigmented paper, bamboo, wood & brass 47″ x 24″ x 3″“A special eye is always on you”. Billy Collin’s “All Eyes” by Michael Bashista, $300, Marble Sculpture, 12″ x 5,Green Dew Drops by Jean Sheckler Beebe, $475, Acrylic on Panel with Woodfried Ceramic Cup, 17.5″ x 23.75Poem to accompany Green Dew Drops by Jean BeebeBlanketed Boulders by Mike Beebe, $600, Acrylic on Panel with Woodfried Ceramic Cup, 17.5″ x 23.75″ x 5″Poem to accompany Blanketed Boulders by Mike BeebeFamily – Bound By Memories by Eva Bernstein, $300, Monotype, 15″ x 15″When We Were… by Sarah Bianco, $2100, Mixed Media on Canvas, 60″ x 72″Watsonville at Home by Jeri Bodemar, Color Photograph Poster, 36″ x 24″
Group 2 Pajaro Valley Arts Show
Reborn in Starlight by Brad Burkhart, $850, High-fried Clay Relief, 14″ x 22″ x 3″Sundown by Brad Burkhart with commentsSpring Showers by Ruth Carroll, $1300, Oil on Linen, 18″ x 24″Woody at the Lighthouse by Larry Cohen, $250, Digital, 11″ x 14″Covid Reflections by Kati D’Amore, $500, Oil on Linen, 16″ x 20″Blue by Karen Druker, $575, Mixed Media, 28″ x 22″Happy Haint Studio Spirit (Belle) by Laura Laura, $500, Assemblage, 38″ x 24″Face of the Vase by David Fleming, $1150, Oil on Canvas, 30″ x 24″Cassandra: Face on the Vase by Jeanne Lance (to accompany David Fleming artwork)Magdelena by Judy Gittelsohn, $2500, Golden Acrylic on Linen, 24″ x 18″
Group 3 Pajaro Valley Arts Show
People, Places, Poetry (to Christo) by Jane Gregorius, $300, Mixed Media, 18″ x 18″Le Printemps (Springtime) by Michele Hausman, $1800, Oil on Linen, 18″ x 24″Soil Song by Michele HausmanFlying to Freedom VI by Anita Heckman, $250, Linocut, 12″ x 12″ (Framed: 19″ x 19″)The Poet by Hedwig Heerschop, $750, Color Photograph, 20″ x 24″The English Langue by Derek Walcott (to accompany artwork The Poet by Hedwig Heerschop)Lavender Field by Joan Hellenthal, $600, Pastel, 16″ x 18″Thinking of Miles by Anouk Johanna, Water- soluble Colored Pencil, NFSThe Beauty of a Spring Day at Pleasure Point by Bill Kennann, $750, Oil on Canvas, 14″ x 18″Dickey Bird by Peter Koronakos, $135, Assemblage, 7″ x 3″ x 10″“VOTE” Your Vote is Your Vote by Lucien Kubo, $650, Mixed Media/Assemblage, 16″ x 16″A Conversation by the Sea by Barbara Lawrence, $3000, Oil on Canvas, 30″ x 30″
Group 4 Pajaro Valley Arts Show
Art and Allergies by Carol Worthington Levy, $800, Acrylic on Clay Board, 20″ x 16″Hope For the World by Gaby Litsky, $150, Textile-Quilt, 23.5″ x 19.5″Cuba by Lyn MacDonald, $500, Oil Paint on Cast Paper & Mixed Media, 25″ x 22″Running Mates by Helen Mackinlay, $100, Lino Etching with Monotype, 11″ x 14″ FramedMy Garden, A Never Ending Inspiration by Martine Mahoudeau, $325, 9″ x 12″Art of the Splash by Francine Marshall, $1499, Oil on Canvas, 24″ x 30″Alien Landscape by Marty McGillivray, $150 (unframed), Photography, 12.5″ x 18.5″California Gold by Marlene Mirassou, $250, Archival Digital Photograph with Handmade Redwood Frame, 36″ x 16″California Gold by Marlene MirassouGoing Viral – Black & White by Chris Miroyan, $750, Acrylic on Panel, 36″ x 24″The Border Crossed Us by Ann Baldwin May, 32″ x 26″,$3200.
Group 5 Pajaro Valley Arts Show
Taipei Temple by Don Monkerud, $150, Photo, 16″ x 20″Reflecting in South County by Bruce Nicholson, $350, Multi, 15″ x 18″ (Framed)The End of All Our Exploring by Janis O’Driscoll, $80, Photopolymer Etching on Stonehenge with Eco-print Pieces on Washi Mounted on Wood Panel, 14″ x 11″Woman Emerging by Jeff Owen, $600, Sculpture – Stainless Steel, 35″ x 18″This Place by Rosy Penhallow, $550, Wood, Metal Coil, Gold Pigment, 18.5″ x 6.75″Red Dot by Bela Ravikumar, $200 Digital Print Media, 15″ x 11″Eyes on Fire by Ronit Reznichky, $800, Acrylic on Canvas, 24″ x 24″Tribal III by Vivienne Riggio, $800, Wire, Plaster, Acrylic Paint, 28″ x 15″ x 15″Going Places by Rose Sellery, $1200, Mixed Media & Found Objects, 20.5″ x 8.75″ x 8.5″Sunrise on Hope by Beth Shields, $1200, Oil on Canvas, 40″ x 20″
Group 6 Pajaro Valley Arts Show
Shelter In Place by Judy Stabile, $250, Mixed Media Collage, 12″ x 16″Midnight Glass by Madeleine Stober. $333, Acrylic, 48″ x 18″Midnight Glass by Maddie StoberAt Gortyn, Crete by Lee Taiz, $400, Watercolor, 24″ x 29″This Must Be The Place by Terry Teitelbaum, $96, Photo Print on Metal, 12″ x 12″Back To the Garden by Lynne Todaro, $850, Bronze, Nickel-Silver, Found Object, 10″ x 14″ x 8″Line Dance by Sally Vaughn, $295, Giclèe on Metal of an Original Tempera on Paper, 12.5″ x 24″Looking Back by Lynda Watson, Pencil Drawings on Paper, Sterling Silver, Mixed Media, 14″ x 6″ NFSHarriet Tubman by Melissa West, $85 (unframed), Linoleum Block Print, 22″ x 25″Eureka Dunes 4 by Chad Williams, $300 (on metal unframed), Photo, 10″ x 30″ ($475 on single matt with black frame)Autumn Glory by Sylvia Winsby, $150, Pastel, 9″ x 12″Art and Allergies by Carol Worthington-Levy
About Pajaro Valley Arts (PVA)
Our Mission:“Bringing the community together through the arts.”
Pajaro Valley Arts (PVA) has been successfully carrying out its mission of “bringing the community together through the arts” since 1984. PVA fosters and promotes the arts in this community with professional visual art exhibits in partnership with guest curators, schools, city government, and local organizations. This organization encourages all art forms and helps connect the community to the artists and their work at no cost to the public. PVA believes every person deserves to have access to the arts and conducts year-round programming to fulfill this vision.
History and Accomplishments:
The Pajaro Valley Arts Council, known as Pajaro Valley Arts (PVA), was founded as a nonprofit 501(c)(3) organization in 1984 in Watsonville, California, to promote and foster cultural events in the Pajaro Valley and south Santa Cruz County.
Serving Santa Cruz, Monterey, and San Benito Counties, PVA creates access to high quality visual arts exhibits and promotes arts education to our community. The first class gallery and management office is housed in one of Watsonville’s premier historic dwellings, a 116 year-old structure provided rent-free by the City of Watsonville. We work collaboratively to develop and promote opportunities for public participation in and appreciation for the arts. PVA opened the its first gallery in 1986, and continues to present rotating visual art exhibitions in both the gallery and off-site locations.
Annual exhibits
We produce seven to eight exhibits each year in our gallery and off-site locations. Five annual exhibits highlight the schedule: Take Away’s: Art to Go, our winter fundraising exhibit; our year-long PVUSD Student Art Show in, in collaboration with the City of Watsonville and PVUSD at the Watsonville Civic Plaza; our thematic summer membership show; Sculpture Is, at Sierra Azul Nursery and Gardens; and Mi Casa es Tu Casa showcasing community collaborations celebrating the traditions of Day of the Dead. We support and encourage all art forms and strive to connect the community to artists and their work.
Working with other regional arts organizations
PVA maintains on-going relationships with the regional arts community through membership in the Associates of the Arts Council of Santa Cruz County, Santa Cruz County Alliance for Arts Education, and other local cultural organizations.
A combination of our staff, volunteers, and your support enables us to fulfill our mission. Please consider joining our organization as a member or volunteer.
First of all,We Are the Story represents Black Lives Matter and Art. For example,this is a multi-site initiative of quilt exhibitions. Above all,Dr.Carolyn Mazloomi worked tirelessly to curate these shows. Furthermore,much thanks to the Textile Center & Women of Color Quilters Network for their ongoing support.
Black Lives Matter and Art
Barbara Eady, “Black Lives Matter” – WCQN exhibit “We Who Believe in Freedom”
September 2, 2020 update from the Textile Center of Minneapolis, MN.
First,Textile Center and Women of Color Quilters Network (WCQN) announced extending the schedule for We Are the Story. To clarify, this seven quilt exhibitions is curated by Carolyn Mazloomi, September 10, 2020 through June 12, 2021.
We are the Story, art quilt show venues.
Group and Solo Exhibitions
Above all,group and solo exhibitions build upon symbols of liberation, resistance and empowerment.Similarly,they offer visually compelling accounts of the experiences and struggles of Black history.
During this year,Minneapolis became the epicenter of the nationwide protest movement against police brutality in America following the murder of George Floyd.The Textile Center and Women of Color Quilters Network (WCQN)joined forces to create We Are the Story, a multi-venue initiative in the Twin Cities, September 10, 2020, through June 12, 2021.
Dr.Carolyn Mazloomi, a member of Textile Center’s National Artist Advisory Council is the curator. Previously,she founded the Women of Color Quilters Network. After that,We Are the Story opened in September with exhibitions at Textile Center and the American Swedish Institute.
We are the Story
Due to challenges related to the pandemic, Textile Center extended the timeline for We Are the Story into June 2021. That is to say this will ensure that the quilts can be seen in person by as many people as possible. Furthermore,the exhibition will coincide with the first anniversary of George Floyd’s death in Minneapolis.
Two Juried Exhibitions
To clarify,Gone but Never Forgotten: Remembering Those Lost to Police Brutality and Racism: In the Face of Hate We Resist serve as a centerpiece for We Are the Story. Likewise, given the urgency of these issues in America, quilters from around the nation worked quickly. For instance,the calls were open in mid-June to all artists regardless of age, color, national origin, citizenship status, race, religion, creed, gender, sexual orientation, gender identity in mid-June. In short,four hundred and twenty three quilts were submitted by the July 31 deadline. Mazloomi selected 89 quilts for the two exhibitions.
Dr.Carolyn Mazloomi
The First Venue
As part of We Are the Story, the American Swedish Institute presented the Minnesota premiere of Women of Color Quilt Network’s We Who Believe in Freedom. From September 10 through November 1, 2020. In addition,to honor the 55th anniversary of the Freedom Riders, We Who Believe in Freedom represents works by members of Women of Color Quilt Network.
We Are the Story also includes four solo exhibitions.
First, I Wish I Knew How it Feels to be Free Quilts by Dorothy Burge, Chicago, IL presented at Textile Center SacredInvocations Quilts by Sylvia Hernandez, Brooklyn, NY The Protest Series Quilts by Penny Mateer, Pittsburgh, PA Freedom Rising: I Am the Story Quilts by L’Merchie Frazier, Boston, MA.
Organizations taking part include
1.The University of Minnesota’s Weisman Art Museum, Division of Indian Work in South Minneapolis
2.The University of Minnesota’s Robert J. Jones Urban Research and Outreach-Engagement Center in North Minneapolis
3. Homewood Studios in North Minneapolis, Studio 106 in Burnsville
4.St. Catherine University’s Apparel, Merchandising and Design Gallery.
A series of Zoom Talks
In addition, a series of Zoom talks happened.They included We Are the Story: Let’s Talk about Race presented by Textile Center, Women of Color Quilt Network and Friends. Furthermore,these Zoom presentations focused on issues of police brutality, racism, and inequities in America. Clearly in support of Black Lives Matter. Lastly,they will also introduce the more than 100 quilters featured in these exhibitions. The Zoom talks will be open to the public.
WE ARE THE STORY CALENDAR OF SCHEDULED EXHIBITIONS
Textile Center, Joan Mondale Gallery September 15 – December 24, 2020
To be clear,Gone but Never Forgotten: Remembering Those Lost to Police Brutality is a national juried exhibition.For example,it showcases 26 quilts that honor those whose lives were violently. On the other hand,it critiques the targeting and criminalization of Black bodies throughout history.
Textile Center, Joan Mondale Gallery, Mary Giles Gallery, Community Gallery March 26 – June 12, 2021
Clearly,this international juried exhibition, Racism: In the Face of Hate We Resistbuilds on these narratives. For example by featuring 63 quilts they share the stories of resistance and fortitude. To be clear these stories aret integral to the survival of Black people in America. During this time, quilts from the other We Are the Story exhibitions are to be exhibited.Clearly a community-wide outreach initiative will provide an opportunity for our community to have one last comprehensive viewing.It is planned as our community observes the first anniversary of George Floyd’s death.
We Who Believe in Freedom Quilts by members of WCQN
American Swedish Institute, Osher Gallery September 10 – November 1, 2020
We Who Believe in Freedom presented in 2016 to honor the 55th anniversary of the Freedom Riders. For example,it represents works by members of WCQN that tell the story of the African American experience.
I Wish I Knew How it Feels to be Free Quilts by Dorothy Burge, Chicago, IL
Textile Center, Community Gallery September 29 –December 24, 2020
Similarly,Dorothy Burge, a member of WCQN, is a multimedia artist and community activist. To be clear,she is inspired by both historic and current social justice issues. For example,she is one of the strongest voices in Chicago for police accountability and reparations for survivors of police torture. Dorothy will be a featured guest in our Zoom Let’s Talk About Race conversations.
We Are the Story Quilts by Penny Mateer, Pittsburgh, PA
Weisman Art Museum October 15 – March 14, 2021
Likewise,Penny Mateer is an artist/activist who works with textiles and recycled materials. Clearly,quilting and embroidery take center stage in her work. Consistently she draws from this rich history of creating functional objects that provide warmth and comfort. Moreover,fabric is her primary material to establish a shared experience. After that,discussion sparks around current events. In addition,her social practice centers on a community-made public art project to promote voting.
Freedom Rising: I Am the Story Quilts by L’Merchie Frazier, Boston, MA
Clearly,L’Merchie Frazier is a public fiber artist, quilter, historian, innovator, poet and holographer. Furthermore,she has served the artistic community nationally and internationallyfor more than 25 years.In addition,she has had visual and performance art residencies in Boston, Brazil, Taiwan, Costa Rica, Africa, France, and Cuba. In other words,her social justice artistic work activates youth. Above all,her work with adults involves a model that levels the playing field.
Sacred Invocations Quilts by Sylvia Hernandez, Brooklyn, NY
Lastly,Sylvia Hernandez is a celebrated and self-taught master quilter. She creates timeless, handcrafted works that address community and human right issues. Sylvia is currently the president of the Quilters of Color Network of NYC, co-president of the Brooklyn Quilters Guild. Currently a member of the WCQN,she teaches at El Puente Academy of Peace and Justice. She has worked with AgitArte in Puerto Rico.
The Growth of Art Quilts’ Popularity-Art Quilts: 1980–1999
Art quilts from Studio Art Quilt Associates(SAQA) 1980s-1990s
When did art quilts start?
How did art quilts establish themselves as an art form and move into mainstream gallery showings, exhibitions, and more? How did art quilters band together? Where did the driving force behind textile art come from? Quilting Arts contributor Sandra Sider answers these questions. She explores the history of the art quilt from 1980–1999. In additionMs. Sider to tracks the growth of art quilts’ popularity.
The Origin of Art Quilts
You may be surprised to learn that the term art quilt did not exist until 1983. Robert Shaw explained in his book The Art Quilt(1997). After launching The Quilt Digest, Michael Kile teamed with curator and writer Penny McMorris to organize The Art Quilt. This traveling exhibition of new works by sixteen artists, above all, trailblazers in the field. The catalogue declared. After that the art quilt emerged. It heralded a dramatic and fundamental change in the history of quilts. Art for walls, not beds, created by artists expressing themselves in original designs of cloth and thread.A first step in the growth of art quilts’ popularity
“Forest in New England” • Noriko Endo • 1996 • 55″ x 84″ | Photo by Nagamitsu Endo
New venues for art quilt exhibitions and workshops
Several institutions promoting art quilts were founded from the late 1970s until the mid-1980s. The American Museum of Quilts and Related Arts now San Jose Museum of Quilts & Textiles) started in 1977. Quilt San Diego now Quilt Visions sprung forth in 1985. New England Quilt Museum began in Lowell, Massachusetts, in 1987. That is to say that they are all leaders in the art quilt venue world! Another step in the growth of art quilts’ popularity
Five Quilt Institutions
The following decade saw five quilt institutions founded across the country. Beginning with the Rocky Mountain Quilt Museum in Golden, Colorado, in 1990. The following year, the National Quilt Museum was founded in Paducah, Kentucky. In 1995 the Virginia Quilt Museum was established in Harrisonburg. The La Conner Quilt Museum in La Conner, Washington (now the Pacific Northwest Quilt & Fiber Arts Museum), opened its doors in 1997. The same year philanthropists and quilt collectors Robert and Ardis James were instrumental in founding the International Quilt Study Center & Museum at the University of Nebraska in Lincoln. These venues exhibited quilts of all types.They provided quilt artists with refreshing new avenues to explore. In addition these venues provided spaces where their work could be collected and appreciated. Venues are important for the growth of art quilts’ popularity.
“Four Patch: Hay/Wheat/Rye/Barley” • Dorothy Caldwell • 1994–05 • 96″ x 98″ • Collection of Eleanor McCain | Photo by Gulf Reflections Studio, Inc
Quilt Surface Design Symposium
Quilt artists Nancy Crow and Linda Fowler founded the Quilt Surface Design Symposium (QSDS) in Ohio in 1990.They offered a broad variety of educational opportunitiesadding to the growth of art quilts’ popularity. During the first decade of QSDS, hundreds of students experimented with new techniques and processes in these workshops. Most importantly, the art quilters of the future developed their skills therein.
Quilting By the Lake
By the 1990s, Quilting By the Lake (founded in 1981) in upstate New York had also become a popular destination for quilters in general. Many classes focussed on art quilts by the end of the decade. Empty Spools Seminars in Asilomar, California(1986)and at Art Quilt Tahoe(1998)expanded where quilt artists shared their expertise. Meanwhile, art quilters practiced their skills. All of these increased the growth of art quilts’ popularity.
“Dashboard Saints: In Memory of St. Christopher (Who Lost His Magnetism) • Terrie Hancock Mangat • 1985 • 99″ x 124″ • Collection of the International Quilt Study Center & Museum, Lincoln, Nebraska | Photo courtesy of the artist
Nonprofit Professional Organizations
SDA-Surface Design Association
Several nonprofit professional organizations helped bring momentum and innovation to the Art Quilt Movement during the 1980s and 1990s. Founded in 1977, the Surface Design Association provides a platform for the exchange of ideas, methods, and materials.Theirs is a wide community working in textile media and fiber arts.
Women of Color Quilters Network
In 1985, Dr. Carolyn L. Mazloomi founded The Women of Color Quilters Network. This non-profit group fosters to preserve the art of quilt making among women of color. Today, a few men are members include a few men. The organization offers quilts and fiber art to museums for exhibition. In addition, they research and document African American quilt making.
SAQA- Studio Art Quilt Associates
In 1989, Yvonne Porcella invited 50 quilt artists to join with her to found Studio Art Quilt Associates (SAQA).They organized conferences and exhibitions. In addition they developed a database of artwork by its members. SAQA promoted their members art to galleries and museums. Now SAQA has grown to 3,500 members in 39 countries. It continues to support the art quilt through education, numerous exhibitions, professional development, documentation, and publications. Moreover,the importance of these different organizations cannot be overemphasized.
“Robe of the Dragon” • Yvonne Porcella • 1982 | Photo courtesy of the artist’s estate
In conclusion
In the 1980s and 1990s, art quilts thrived. Makers focused their energy and imagination on this relatively new medium. Museums supported their efforts. Publishers catered to their talents. Artists began to travel to teach workshops internationally. Many of them networked with students and colleagues to share new techniques and exhibitions. They formed a flourishing community of quilt artists that would grow astronomically in the 21st century.
Sandra Sider, a studio quilt artist, has published articles and books concerning fiber and art for four decades. Ms. Sider has a Masters in Art History from the Institute of Fine Arts, New York University. She is a past president of SAQA. In 2012 she became curator for the Texas Quilt Museum. Visit her website here.
Shifting one’s can have a big affect on a situation. All other factors remaining the same except for a change of view. Shift your view!
Love in the Abstract, an art quilt, 26 ” x 24″
Abstract Art Quilts
I had been working on a pink,magenta and purple abstract piece at the time. I liked it so much that I made a smaller one to donate. As this was my first time at this local institution, I was excited. The auction has a two week window. I kept track with several visits. But no one bid on my piece. How embarressing! I was mortified! So I bid on it myself in my mother’s name with my phone number. In the end, I bought back my own piece!
Time passed and I pondered.
Time passed. I realized that I could shift my view. There was another way to look at the experience.First, the money paid went to an organization I wanted to support. It didn’t matter if the donation was money or a piece of art.
A Newer Art Form
Art Quilts are a newer art form. The more the public sees textiles as an art form the better. Hopefully a love and understanding of art quilts will develop with exposure. A better way to view this is to turn it around into an educational opportunity for the public to be exposed to something new .Every time a person views a new art quilt in an accepted venue, it is a win for everyone not just a sale or a donation.
What ideas of your own can be seen differently? How can they be shifted to create a win win situation?
Here is the link to the Santa Cruz County Art Council. They work year round to support artists and art education throughout the county.
It has been said for example that if you don’t care about politics, then you don’t care about life. Politics and life are inseparable. I made these Political Quilts 2020 this Spring in response to the Black Lives Matter movement. In addition,they also speak to the call for attention to the human treatment of immigrants and respect for the essential workers. Similarly,the positive messages of these quilts are of brotherhood and respect.
For a Juried Art Show
For example,Let Us Breathe,(Political Quilts Twenty Twenty)shows a black man and a black woman dressed in African fabrics on a background of many different skin tones. In addition,a shiny red, white, and blue heart decoration speaks to their allegiance to the United States. In short,people can love their country and honor their ancestral roots simultaneously.
Let Us Breathe,20202, 37″ x 35″, $3200.
An Immigrant Couple
Furthermore,The Border Crossed Us shows an immigrant couple on a background of multicolored skin tones. Most importantly,many of the immigrants from south of the border are indigeous peoples.
The Border Crossed Us, 34″ x 30″ $3200.
Honoring Black Men is a smaller piece with the same theme of respect. In the samevein,a disrespect of one is a disrespect for all.
Honoring Black Men,2020, 11″ x 11.5″ $125.
More Political Quilts Twenty Twenty
Petite Field in Spring is a small art quilt highlighting immigrant workers.
Petite Field in Spring, 2020, 10″ x 12″, $125.
Essential is another small art quilt showing essential workers in a positive fun light.Furthermore, how would we have made it through 2020 without them.
Essential,2020, 9.5″ x 10.5″, $125.
Another fun piece, Star of the Show uses Guatemalan fabric for the lady’s dress.
Star of the Show, 10″ x 11″
In conclusion,these past years have been difficult due to the attacks on the truth, voting rights and the civil rights of the minority groups in this country. First of all, for our democracy to survive and thrive, we need a strong education system that is free to teach the truth. Furthmore,everyone’s vote and opinion needs to be counted. Lastly, let there be equal rights for all!
