Color! Texture! Movement! Using Repurposed Materials!
Category: Art Quilts
Art quilts often use traditional quilting techniques to create a wide range of wall art. Art quilts can now be found in museums and galleries along side paintings and other media.
My art quilts are all about the quilt artist creating abstract, whimsical or impressionistic pieces. Inspiration comes from the natural world as well as from Mexican and Native American influences. My materials of choice are often redirected fabrics from the San Francisco Design Center and found objects. Art quilts free me to play with color and texture. My technique, Scribble Quilting allows me to create movement on many of my pieces.
TWO INSPIRATIONAL ARTISTS
I owe some of my inspiration to two artists from Santa Cruz County, California. Meri Vahl, an award winning art quilter has been recognized nationally for her work. Teacher of the fabric layering technique, she was patient. Understanding that each student brought individual strengths, weaknesses and abilities. Ellen edith;friend, art quilter, fabric designer and artist extraordinaire made whimsical, personal quilts. Her influence lives on well beyond her life. I have great appreciation for these two local leaders of the art quilt world.
SAQA (STUDIO ART QUILT ASSOCIATES)
I am proud to be part of an evergrowing group of art quilters. SAQA started by Yvonne Porcella in Northern California in 1989. It has grown to an international organization. Art quilters have transformed the quilt into a 21st Century art form. I continue to explore new forms and ways of working with unusual materials on this journey.
ABOUT THE ARTIST,BIO
I was born and raised in Palo Alto, California. In high school I studied sewing and clothing construction for two years. I continued to sew much of my wardrobe. In 1974,I took my first quilting class at a neighborhood fabric store. Over the years, I continued to sew clothes and make quilts for my family. I stopped counting bed quilts at 300. After teaching 30 years in Watsonville as a bilingual teacher, I retired to spend more time on creating art quilts.
MY FIRST ART QUILT
Homage to a Dancer,45″ x 56″
In 2008, I made my first art quilt, Homage to a Dancer. It reflects my participation in Los Méxicas,the University of California,Santa Cruz ballet folklórico group.
A STUDIO IN THE ART CENTER
In May of 2016, I opened a studio in the Santa Cruz Art Center, 1001 Center St. Downtown Santa Cruz. I have space to work and display my work. For First Fridays and Open Studios, I fill the lobby with art. In June, 2019 New York Art Center accepted my work into their gallery. 7 Franklin Place, TRIBECA, New York City.
AWARD WINNING ARTIST
Great Blue Heron at Dusk,31″ x 25″
Great Blue Heron at Dusk entered into an art show in 2010. The following year it won a merit award at the Olive Hyde Art Gallery in Fremont,California.
In 2013, Visions of New Mexico won third place in the Neo Membreno Vessels 2013 Show at the Western New Mexico University Museum in Silver City, New Mexico.
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.
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.
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.
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!
Clearly, political quilts have a long tradition. For example,quilters have long used fabric to express their political feelings and thoughts. However,the current time is no different. For example,one quilter recently embroidered the former president’s tweets onto a quilt.In short,to hand sew the president’s comments took more persistence and fortitude than I have.
A Politics-Free Zone
Above all,as a politically aware person in these recent years, my art became a refuge of comfort from the news.In other words, a politics-free zone. Most importantly,I had spent my career teaching underserved marginalized groups. In addition,I created fair situations for all genders and nationalities to learn. Similarly, getting students to blossom and prosper is in my bones.
However,during the shelter in place, I remembered that I had done some earlier political quilts. After that, I looked through my photo files, In short,I surprised myself by the number of political quilts I had made.
Before I was an Artist
I had quilted for many years. Yet,I mark my art quilt career as beginning in 2010. However,I found several political quilts that I made before that date. For example,in 1969, I had a green Ecology Action Flag decal on my small green car. Clearly,this piece is a reminder of that. Ecology Action began in my home town, Palo Alto,California.
Ecology Flag,2008, 33 ” x 26″
Whimsical Quilts
First of all,Bamanos, Let’s Go With Obama celebrates the election of the first Black president of the United States. Clearly, it is a nod to Spanish, vamanos(Let’s go) and Obama at the same time. What a fun whimsical quilt!
Bamanos, Let’s Go With Obama,2009, 33″ x 30″
This whimsical quilt, Teaching the Toughest Job You’ll Ever Love was created in 2009. Clearly the teaching is a difficult job. We don’t need politicians telling educators how to teach.
In retrospect,I originally thought these quilts were small.They are much smaller than the double size bed quilts I had been making.
Teaching the Toughest Job You’ll Ever Love,2009, 33″ x 30″
2010-2014
Clearly,my first art quilts celebrated travel as an enriching activity. For example, I traveled to Europe yet I met Africans, Iranians and Israelis among others. Furthermore the conversations that I had with them gave me a better understanding of their views. Their experiences in the world were different too. People are people. But at times,we see things differently. In short,I wanted to celebrate meeting people.
African fabrics
Similarly,one of my first art quilts,Travel Enriches used African fabrics.
Travel Enriches, 2010, 42″ x 42″, $2100.
Likewise, African Crabs does too.
African Crabs, 2010,26″ x 26″ $1500. fabric art quilt
Black and White Quilts and a Pop
In 2010 I made I also made, Together, We All Win. A figure made of international fabrics lies on a black and white background.
Together, We All Win, 2010, 50″ x 33″, art quilt
Clearly, Girls Play was a tip of the hat to Title 9 that extended all rights to girls in athletics. However, this opportunity was unavailable when I attended high school.
Girls Play,2010, 35′ x 38″ $2100.
Mexican Folk Dancing
For example,with Homage to a Dancer (2009) and Market Day I wanted to express the color and movement of Mexican Folk Dancing.Similarly, they honor women.Yet,I wanted a male representative. Furthermore,men dance in El Danzante de Los Viejitos from Michoacan, Mexico.
Market Day,2009, 56″ x 45″$3100.
In Conclusion
To summarize,when one honors underrepresented peoples as I have with my quilts, then I am definitely making political quilts.
Recently someone mentioned to me at my studio that she had some fabric that she had had for a long time. She suggested that she should get rid of it solely for the reason that she hadn’t used it. While we all have our own rules of engagement, that is not one of mine. If I like a fabric I will keep it until I can find a good project for it. In this posting I share examples of using fabrics saved for a long time.
Using Saved Fabrics
As soon that visitor commented on her long saved fabrics, I lead her to see this recently completed piece. I explained that I had had the fabric with wavy yellow, green and turquoise lines for a long time. I could not remember where or when I had gotten it.
Over the years I would try to see if it fit in other quilts. But each time I put it back on the shelf. Often this whimsical fabric didn’t fit the style or mood of the piece or maybe the color wasn’t just right. Here, however, everything works;the colors, the movement, the whimsical style.
Sunset Through the Forest random piecesSunset Through the Forest, an art quil
ATLAS in Rose
I recently completed the abstract art quilt, ATLAS in Rose. The rose, reddish rose and gold fabric is a high quality fabric that I had had for a long time. Yet I hadn’t used it. The red and rose colors would not play well with other colors. In spite of that, I kept it. Luckily, I did. Because it went perfectly with this black and white scientifically inspired art quilt. It added color and just the right amount of movement to the art quilt.
rose and gold fabricATLAS in Rose , finished art quilt
Fabric with Small Boxes
The following red, yellow and green fabric with small boxes is another piece that I liked. I didn’t know how I would use it. But I had to have it. The colors and movement spoke to me. I ended up for saving it for many years. In Cactus Dreams, the colors fit. The geometric boxes mirror the checks in the Guatemalan and in the checkerboard fabrics.
fabric with green,yellow,red and boxesCactus Dreams,detail,abstract art quiltCactus Dreams,abstract art quilt
In Conclusion
I finished these three art quilts in the past year. Without realizing it, I probably mentioned to the visitor that I had used some saved fabric. Thankfully, I had kept the fabric. Because they worked perfectly!
More than ever Etsy shops list an incredible number of unique handmade and vintage items. If you shop Etsy you will find joy. Art quilts are listed on my site. Currently, I have also listed vintage items from my family. I have kept some of my own pieces for so long they are now vintage. http://annbmayartquilts.etsy.com/
A Funny Story
Back in the 1970’s, the Bob Newhart Show was a popular sitcom. I remember a funny setup. His receptionist dates an older man. She goes to his apartment for the first time. She says, “I love what you have done with these antiques.” Her date answers,”Thank you. They weren’t antiques when I bought them.” Similarly,I am there now.
Sadly the Shop Etsy Find Joy videos are no longer available.
Vintage Clothing
Vintage clothing is at least twenty years old. Similarly,recent listings include vintage clothing and vintage jewelry. Many of these are one owner items. They come from the closets of my grandmother, mother and mother in law or myself. Many items from the 1940 to the 1980s.
I made this jacket for myself. First I sewedthe fabrics together. Then I cut out the pattern. I wore the jacket several times. Then I realised that I am not a jacket person. I much prefer sweaters or a warm hooded coat. May someone else enjoy wearing this piece!
Assemblage – 3D Collages
During the pandemic shut downs, I created some assemblage pieces. They are 3D collages. Some are art in a box. Similarly, due to the smaller size they are minimalist. I inherited several antique keys that I added to my pieces.
Be ready to present your Laser Statement to the world.
Being ready with a short laser statement about one’s passion or business is essential. By definition, random encounters can happen anyway and anytime. Such positive interactions keep life interesting. For many they can be a way to interact with the public in a new way.
A laser statement is a necessity for artists or others to quickly explain to a novice what they do. Art quilts are still a new art form that many are not familiar with. Each conversation is an opportunity to share and educate. I didn’t expect a conversation about fabric to occur while accessing tech support. But I was ready with a laser statement when that happened.
Anxiety
Calling the tech support is always caused anxiety for me. This is mainly because I am not very techie. I do maintain my own website. However, I am not always unsure of the words that describe what I do. Knowledge of the vocabulary aids communication about an issue. That is what I lacked.
But I learned through use. I actually feel better now that I understand what certain words (browser, domain name,modem) mean. I have learned a bit more about what they are talking about. In their defense, tech support is always polite and patient.
Lost in space, the way I feel when I call tech support.
Caught Off Guard
Coming from a position of anxiety, these conversations caught me off guard. Yet they left me pleasantly surprised. After my questions had been answered, the tech support engaged me in a conversation about my work. I am always ready to share my passion for fabric art. It paid off to be ready to present my laser statement to the world.
This first conversation began when the male support person mentioned that he sewed costumes. He had several questions about making them. He made the costumes for ComicCon which sounded appropriate for his age. We talked fabric. I mentioned that the shiny fabrics that the costumes were made out of were the most difficult fabrics to work with. I said that 100% cotton is the easiest to work with. He caught on quickly and said, ” I should start with cotton, then, to develop my skills.” I agreed. He appreciated my willingness to share my knowledge freely with him. I thoroughly enjoyed this unlikely conversation.
Rogue Wave, an abstract art quilt, a fav of one of my random encounters
Art Afficionatos are Everywhere
Another conversation took place when the male tech support person asked me what an art quilt was. I was ready to present my laser statement to the world. I explained simply that an art quilt uses traditional quilting techniques to make wall art. He shared that he was very interested in art and loved spending time in art galleries.
I often refer people to my website. But it stuck me as funny to say “Take a look at my website.” Because we had literally just been working on it. It is fun to share my work especially to the uninitiated. He was pleasantly surprised at what he saw. Feedback about his favorites was appreciated.
His favorite of my abstract pieces especially Rogue Wave convinced me that he was a true art fan. Hopefully, the art quilt world has a new convert. Maybe in the future he will be open to search out more art quilts and fiber art shows. There is much power in being ready to present your laser statement to the world.
Ann Baldwin May presented Four Important Skills to Forge Your Own Art Path as a Zoom talk at a NorCal/Southern Nevada Regional Meeting of the International Art quilters organization,SAQA(Studio Art Quilt Associates).
American Democracy,2019 27″ w x 28″h
Introduction
There are many paths forward to become a quilt artist. Ann reinvented herself in retirement. Her art friends call her resilient, a prolific artist and a master at social media.
Forge Your Own Art Path
Part of SAQA(Studio Art Quilt Associates)’s mission statement is to encourage art quilters to move their art forward and out into the world. Forging our own way can be exhilarating and frightening at the same time. What qualities does one need to forge their own path forward? I suggest that one needs these qualities. https://annbaldwinmayartquilts.com/2019/04/making-your-own-luck/
Four Important Skills
Persistence- Just keeps trying! Resilience- Do not take things personally. Bounce by from your disappointments. Confidence -Believe in yourself. Accept Your Uniqueness. Bravery-Put yourself out there! Never miss an opportunity to show your work!
Today I would like to share a few stories that focus on these four important skills. First, I would like to say that I am a big believer in baby steps. We need to be brave but you can be brave on your own timeline. I am not an early adopter of new things. When I started out, I found using this phrase helpful as a conversation starter. Hi, I am shamelessly promoting my work .
Under the Shady Tree 27″ x 38″
Starting my Art Path
Back in 2010, I turned 60. I decided to give myself the gift of showing my art. I went to talk to the owner of a local leading gallery, the R. Blitzer Gallery. I asked how I could show my work there. Robert Blitzer, the owner is a very personable guy. He mentioned a local group show that was going to be hung soon. He gave the name of a fairly famous artist who was curating the show. I called her up and spoke with her. She asked me to send her some photos of my work. I sent her the photos. But I didn’t hear back from her.
Persistence, to Forge Your Own Art Path
At the First Friday reception, I approached the curator and introduced myself. She gasped and said, “I never got back to you. I wanted to include your work.” Awkward moment for both of us. She turned and disappeared in the crowd. I took that as a yes. The reception for First Fridays Art Walk is usually the busiest time. Then the rest of the month the show is still up, there are less visitors. This didn’t matter to me.
I returned the next day and explained the situation to Rob Blitzer. He called the curator . It was decided that he would find a space for me. He found a funky wall in the back but it was fine for me. I could put it on my resume. It was a talking point for me. My birthday present to myself was complete. Being persistent is an important skill to forge your own art path.
A Call for Entry
Several years later, I saw a call for entry for Monterey Peninsula College Art Gallery for a solo show. My application presented my Mexican inspired art quilts. I was not accepted. As a newbie, I assumed it was my fault. My work wasn’t satisfactory.
Market Day
Bravery,to Forge Your Own Art Path
About a year later,I was accepted in to a show in Santa Cruz Art League. Melissa Pickford ,the director of the Monterey Peninsula College Art Gallery was the curator. At the reception, I was trying to get enough nerve to introduce myself to her. The line to speak to her was long. Finally, after she had spoken to everyone in line, I introduced myself. Ms. Pickford recognized my name immediately! She remembered and praised the work that I had submitted.
Who Knew the Rule?
As the director, she apologized because the college has a rule that only work can be shown in the gallery if the college offers classes in that mediam. Evidently, they do have not textile department. Who knew? Be reticent and brave. What if I hadn’t been brave enough to introduce myself? I never would have learned that wonderful gem of truth, a true confidence builder. Bravery is an important skill to forge your own art path.
Resilience,to Forge Your Own Art Path
About that same time I attended my first SAQA conference. Leni Levenson Wiener gave a talk on how shows are curated. The curator has a huge job of deciding which pieces fit into her vision of the show. Choosing the art is difficult. Many pieces are not accepted for reasons that are totally out of the artist’s control.The takeaway point was that if an artist is not accepted it doesn’t mean their art is not good.
Say- Not Accepted Not, Rejected
It means that it didn’t fit in some way with the rest of the work in the show. It was emphasized that we should say that our work was not accepted for a show, rather than say it was rejected. Another gem from a SAQA conference-Maria Shell says you will not be accepted 100% of the time. Maria Shell says 30% acceptance to shows is doing well. Resilience is an important skill to forge your own art path.
Never Miss an Opportunity to Show your Work.
Funny story- I was asked to show my art quilts at a film festival taking play in a local gallery. They were having trouble with the acoustics. They wanted me to show my largest pieces of work to help with the sound. Because I had kept in touch through a monthly newsletter, the director was able to contact me quickly. I stepped up to the plate. I wish I could say I sold something but I can’t.
Confidence,to Forge Your Own Art Path
I would like to share a story that I think of often. We push ourselves to create events and shows. We publicize them and invite everyone we know. Yet sometimes the turnout is low. You may know Brian Cranston from Breaking Bad. He owns a movie theatre near Palm Springs. My husband is from that area and spends a lot of time there.
Brian was fairly famous at the time. He organized an event at the theatre. No one came. My husband was able to have a long conversation with him. These things happen to the best of us; even famous people can have a slow night. Be confident and continue on.
Persistence,to Forge Your Own Art Path
I would like to share with you my latest new friend. We met in Zumba she is in her early 80s. She recently remarried. She paints and yet has no digital foot print. But she goes to restaurants and asks if she can hang her paintings there. And she has been selling them. She is persistent in her unique path forward. Persistence is an important skill to forge your own art path.
In closing,I would like to remind you to say positive things to yourself. Hang compliments on the back wall of your mind . Refer to them often. I would like to end with a favorite quote of mine. In the words of the song,The Middle by Jimmy Eat World
“Just do your best , everything you choose and Don’t you worry what the bitter hearts might say.”
Finally,I hope that these experiences inspire you to develop the qualities of persistence,resilience, confidence and bravery . With these four qualities you can forge your own art path and get your work out into the world. Thank you.
Follow these step by step instructions using Sunset Through the Forest,an abstract art quilt as an example to create an abstract art quilt.
Getting Started
Choose Your Colors
First, I prefer to choose a few contrasting colors. Then I search through my materials for fabrics, decorative yarns and threads in those colors. Sometimes I also choose lighter and darker hues of the same colors.
Make Details with Decorative Threads.
Next, it is fun to make shapes with the decorative threads. For this piece I used the decorative threads to make several parallel lines on the fabric. I cut long strips and sewed the decorative threads in long lines.Then I randomly cut the long strips into 3 or other odd number of pieces. Creating texture- done!
Several different examples of decorative details
On the Design Wall
Next, I display the potential finalist fabrics on my design wall. My favorite choices are fabrics with movement and interest. Then, I also make sure that they are places for eyes to rest by including solid colors.
Trying out green and yellow bits of fabric randomly placed on the design wall
Balancing Colors
Next, balance out the colors and textured pieces so that they are not all on one side of the piece. Don’t be afraid to take a break to come back to view the work with fresh eyes. A fresh look is always helpful in looking for ways to improve a piece. How will one’s eyes move around the art work? Eliminate fabrics if necessary.
Balancing the fabrics and colors
Sewing Smaller Pieces Together
Begin to sew small pieces of fabrics together. Then remember to balance colors and fabrics so that they are equally spaced about the piece. Use this advantage of a design wall to view your whole piece.
Small pieces are sewn together
Sewing More Pieces Together
Continue sewing pieces together. Keep checking for balance of fabrics, colors, and textured pieces.
finished top, Sunset Through the Forest
Finishing
Lastly,I scribble quilt the three layers together to create an added level of movement. Scribble quilting is a technique I named. I use a walking foot to create a flowing quilting line by moving the quilt side to side while quilting. Make sure that the quilting is also balanced and equally fills the space. Then add a facing. Turn to the back and handsew the facing to the back. Name and sign your art!
Sunset Through The Forest, finished art quilt,32″h x 34″w
In Conclusion
These are the steps that I generally follow to create my abstract art quilt pieces. They represent my process at this time. It will probably change over time. Your process is probably unique to you.
Learn how to make a fabric landscape collage quilt using the fabric layering technique. In general, this art form is accessible to all skill levels of art quilts.
Make a Fabric Landscape Collage Quilt
Introduction
In this post you will learn how I make a fabric landscape collage quilt. Basically,the fabric collage is covered with tulle netting and then, free motion quilted together.
Free motion quilting is a high level quilt skill. Before I learned about fabric layering, I had almost given up on perfecting my skills at it. Yet, I found the fabric layering technique very forgiving for practicing free motion quilting. It became a great way for me to advance my skill level of this technique . Try it. Maybe it will help you too.
Topics Covered
How to create a fabric landscape collage art quilt
Follow a step by step procedure
Seascapes- Underwater Fantasies!
Trees with Color! Texture! Movement!
How to free motion quilt successfully!
Conclusion
How to create a Fabric Landscape Collage Art Quilt
The fabric layering technique uses a table rather than a design wall to design. First, I create a scene. Next I cover it with tulle netting. Then I free motion sew the three layers(back, batting,top) together.I use this technique for my Nature portfolio; landscapes,seacapes, mountains,and trees. I prefer to create a more impressionistic scene than realistic view.
Many beginners are encouraged to find a photo that they like in order to copy it for their first fabric collage. A photo to copy may be helpful at the beginning stages. As my artist career advances, I find a photo more restricting than freeing. My art is all about color, texture, and movement. To me copying a photo creates a flat rendition of the scene. That is not the effect that what I am going for.
First Steps
To begin, I choose the fabric that will create the background. Fore most, I prefer to choose a fabric with some dimension already on it, ie. light and dark spaces. For example, if I choose a dark background, then I will choose lighter colored materials for my plants, fish, rocks and other items . On the other hand, if I choose a lighter background, then I will choose darker colored scenery.
In this photo, the quilt sandwich is ready. Choose the backing fabric. Place it on a table. Cover it with batting, the soft center part of a quilt. Place the background fabric on top. Iron each layer so that they will lie flat.
step 1 Begin with a quilt sandwich; back fabric, batting and background fabric
Step 1
First, the back fabric is flat on the table. Next, a piece of batting is laid on top of that. Clearly, you can see the white batting hanging a bit over the edge. Then I laid a piece of moddled commercial fabric on top. The piece is about 14″ by 14″36 cm x36 cm. I let the fabric’s different shades of coloring do part of the work in creating interest and depth in the piece. Finally, I lightly baste the layers together with an Avery glue stick.
step 2
Step 2
Next, I cut out light colored rocks. I placed them in the foreground. Then I cut out irregularly shaped dots of different colored batik fabric for the jellies,or jelly fish. I place the jellies as if they are swimming in the current.
step 3 Add plants with fabric and decorative threads
Step 3-
Next, I cut out plants and place them between the rocks. Next, I add decorative threads for the tenacles of the jellies. Adjust the decorative threads so that it looks like the water is moving them. After that when everything is in its place, I baste the pieces in place with a tiny dab of glue. I use a long pin to place the smallest spot of glue under the fabric. This helps me keep the dot of glue small.
step 4 Cover with tulle netting and pin down.
Step 4
Next I cover the scene with tulle netting. Then I pin the tulle in place. The tulle is really hard to see in this photo. Similarly, it usually appears almost invisible when the piece is finished. I am not fussy about the color of the tulle that I use. A black tulle will add a muted tone to your piece. A lighter color like white becomes more invisible in the final piece. Some tulle now comes with sparkles. This works especially well for water scenes. The sunlight seems to reflect off of the water!
step 5 Started free motion quilting.
Step 5
Next, I free motion quilt the three layers together. The first step is to lower the feed dogs on my machine. Primarily, this allows me to move the piece smoothly however I want. The quilting creates another level of movement. If the feed dogs( the little metal teeth) on your machine aren’t adjustable, cover them with a plastic attachment to free motion quilt. Tightly hold the edges of the quilt taut and smooth while quilting. I like to create plants moving in the water with my quilting. However, you may choose whatever you like.
The art quilt is completed.
Step 6
Finally, I finish the piece by zigzagging the edges twice. However, for larger pieces, I prefer sew a facing to the front and turn then turn the facing to the back. Then I hand stitch it down.
Finally, here is a photo of the back of the piece. The machine stitching is easily viewed.
It is easier to see the quilting from the back.
Seascapes
Seascapes are basically a variation on landscapes but underwater. My seascapes are often underwater fantasies of marine life and plants.
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.
On the other hand, 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
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 sea life. 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″ x 24″ 2020 $2100.
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, these fascinating animals may be on display at another aquarium.
I incorporate color, texture and movement into my art quilts while using the fabric layering technique.Plants and animals may stand out or barely be seen depending on their color. In the same 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 soluble fabric stabilizer. This thread painting technique creates lacy and leafy animals. Free motion quilting adds movement by creating plant life that seems to move with the currents. Use one’s imagination to see animals among the plants.
Violet Seascape 33″ x26″ 2020 $2100.
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 15″ x 15″
Trees
Furthermore,I use this technique often to create some of my most favorite art quilts highlighting trees.
Vacant Lot 43″ x 31″
First of all, trees in art quilts are my most popular pieces. 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 permanently 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.
Use of 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. Change 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.
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.
Along the Path 34″ x 22″ soldAt the Edge of the Grove
29″ x 26″
What could be more fun than orange branches!
Tree Along Creek 32″ x 27″
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″ 2019
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″ 2017Overlook 35″ x 26″ 2018
In Overlook, I choose a green and white patterned fabric for the trunk and branches. I couched (zigzagged)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?
How to Free Motion Quilt Successfully!
Free motion quilting is an advanced quilting technique. Free motion quilting is when the quilter is in charge of moving the quilt instead of the machine. Here are a few easy tricks for success.
You must be able to lower the feed dogs on your sewing machine. The feed dogs are the little metal teeth that help move the fabric through the machine. If your older machine doesn’t allow for this. The feed dogs may be covered with a plastic attachment.
Use a darning foot while quilting attach photo.
While free motion quilting, the quilter moves the fabric. While stitching the throttleusually used by your foot pedal , goes quickly and your hands move the fabric slowly. Remember ,the mantra is fast feet, slow hands.
Use Aurifil 50 wt. thread is by far the best thread to use for free motion quilting. It is strong and thin. It is available in many colors at better quilting shops. While it seems expensive, there is really a lot of thread on the spool. I once pieced and quilted a king size bed quilt using only 1 spool of thread. This product will give you the best result for free motion quilting.
Practice your skill. In order for the stitches to be the same size, practice moving the fabric slowly while making the foot pedal throttle go quickly. This skill is not difficult but it does take practice.
Conclusion
Fabric landscape and seascape fabric collages are a fun and exciting new art form. People of all ages may begin their art exploration with them. They are a forgiving way to practice fee motion quilting. They let me explore my love of Color! Texture! Movement! while using of redirected materials. A win-win situation.
Not too long ago,I participated in an art and physics collaboration. As a result I created this green, yellow and black art quilt,ATLAS at CERN based on the colors from CERN. Inspired by this abstract piece I wanted to attempt something similar in a different color wave. So I choose to use the colors of black, white and rose for my next scientifically inspired art quilt.
A Scientifically Inspired Art Quilt
ATLAS at CERN, scientifically inspired art quilt
Creating Details
First, I go through my materials to find the appropriate colors of fabrics and items for the color wave I have chosen for my scientifically inspired art quilt.
Next, I think what I want to make to add texture or interest. This is when I begin to think about the whole quilting process and the order that I need to follow. I knew that I wanted to use a beaded necklace with a bit of pink. But I would have to wait until the quilt top was completed to actually sew it in place. Otherwise quilting the top would be a problem; the beads wouldn’t go through my machine. Moreover, I didn’t want to wreck the beads in the process. Hand sewing of the necklace would have to wait until the whole piece was sewn together. Yet, I would still have to keep the location of the necklace in mind as I worked.
Other Details
Continuing with other details,I found a repurposed zipper in just the right color. I created a starburst mirroring the actual scientific view after the splitting of atoms. Then, I chose rose colored embroidery threads to couch (zigzagg) with matching colored thread. I also couched several different decorative threads and a piece of stretchy webbing onto black pieces of fabric to create a pleasant contrast. A running stitch of rose colored embroidery threads through black fabric was also made. Lastly, I created a black 3D fabric flower to adorn a rose colored piece of fabric.
ATLAS in Rose selecting fabrics
A Scientifically Inspired Art Quilt On the Design Wall
I like to choose fabrics with movement. It was serenditious to find so many black and white fabrics with circles and dots that lent themselves well to ascientifically inspired art quilt. These would go well with the oval placement in the center of the beaded necklace. The black and white stripes contrasted geometrically. I created further stripes by couching black decorative threads and black ribbon on white fabric. I used black sewing thread for low or no contrast.
ATLAS in Rose, work on design wall
The Finished Top
ATLAS in Rose , finished art quilt
Here is the completed scientifically inspired art quilt. Handsewn repurposed white buttons added interest to the beaded necklace, front and center upon completion.
You may find out more about how I create my abstract art quilts at these links.
Above all, I like using discontinued designer fabrics in my art quilts. These materials add texture and movement to my work. Most importantly as a fiber artist, I look for unique materials. Using discontinued fabrics from designers fits the bill.
Just as important is keeping these beautiful materials out of the landfill. Certainly,giving them a new life is important. First,I gather my materials first with no idea in mind as to how I will use them. Then I see which materials play well together.
Finding Discontinued Materials
About ten years ago I started volunteering at Fabmo,(Fabric and more). About the same time,I became more serious about making my fabric art. FABMO is a nonprofit center for redirecting fabrics. For example,dedicated volunteers make weekly trips to the San Francisco Design Center, a decorator hub. These materials are new and ready to be recycled. Furthermore,the public can buy these materials for a donation.http://fabmo.org
Inspiration from Discontinued Fabrics
The nonprofit recently moved to a warehouse in a Sunnyvale, California. After that,it was ready to offer selection days for the public. For example, items to choose from include discontinued items, fabric samples and details. The fabric is like none available in local quilt shops and fabric stores. It inspires me to see how the fabrics play with one another. At the same time,the volunteers are dedicated to reduce, reuse, and recycle fabrics. They search for new ideas to use the materials. Then they share these ideas on their newsletter. Check with your local decorators for similar opportunities.
Unique fabrics make Unique Art.
Autumn Comes to the Farm,an art quilt made from redirected fabrics, 20″ x 20″Desert Sands,21″ x 16″
Inspiration from Unusual Fabrics
The next step is to choose from the wide variety of materials that are available. Needlesstosay, the amount of possibilities is a bit overwhelming. Furthermore,the use of silk, linen and synthetics allows me to add texture to my art pieces. These fabrics can be a bit more difficult to work with than cotton. Unlike bed quilts, art quilts as wall art do not have to be washed. In other words, easy care materials like cotton are not mandatory.
Rusty Cans in the Wash,16″ x 15″Visions of New Mexico,3rd place award, 31″ x 26″
A Win Win Situation
Finally,I am very inspired by how these redirected materials play together. I really hope that you will search out sources for redirected materials in your area. It will add a spark to your art. It will create a decline in entries to the local landfill. What could be more of a win-win situation?https://annbaldwinmayartquilts.com/2019/08/adding-color-to-your-art-quilts/
Wetlands Wanderer,an egret in the wetlands Above all,notice the decorative threads at the bottom of the quilt. 28″ x 27″
Add Decorative Threads for Texture
Above all,decorative threads add texture to art quilts. Furthermore,texture is part of my mantra, Color! Texture! and Movement! Therefore, I take creating, finding and using texture very seriously. Above all for me, it is fun. I get excited about repurposing decorative ribbons and threads in my art quilts. I would like to take this opportunity to share some ideas.
My artistic path evolved about the same time I found Fabmo fabric and more https://www.fabmo.org/. Fabmo is a nonprofit that rescues fabric samples and materials from designers to keeping them out of the landfill. In addition,they make them available to the public. The charming decorative three dimensional details call to me. However, I discovered these threads quite by accident. For example,I accidently took some details apart. Most importantly, I discovered lovely threads and ribbons to add texture to my art quilts.
decorative detailsRibbons from disassembled details
Take Things Apart to find Decorative Threads for Texture
These small details add texture, fiber and interest to art quilts. However,some of the threads are quite long when disassembled. Lots of room for creativity. Make a small detail by twisting and folding longer threads. Decorative threads entered my art pieces. In addition, I use these decorative details to add 3D texture to both my abstract and nature inspired art quilts.
Cinnamon Threads, detail from an abstract art quilt detail of 23″ x 20″ art quilt
How Would You Use These Decorative Threads?
Red detailBeige detail and disassembled red detail
Some Examples of What I Did
In addition,here are a couple of photos of works in progress highlighting deconstructed fibers.
An egret, a work in progressfibers in a work in progress,
Helpful Hints
Not in the San Francisco Bay area with access to FABMO in Sunnyvale? Find interior decorators in your area. They will be thrilled to pass on their “outdated” details. Moreover,beautiful yarns can be found at garage sales. Leftover pieces of interesting yarns may also be found at yard sales or Goodwill. Decorative threads are available for purchase. Of course, interesting decorative threads are often sold at quilt shows. Does your local quilt guild have a flea market? Lots of good finds there.
In Conclusion
In conclusion, I hope that you will be inspired to try and incorporate more decorative threads into your art quilts. Therefore, please share your successes and advice. Above all, try something new.
Choosing a name for an art work is not an easy task. Yet, when the title of one’s art piece fits the work, it feels like pure genius.The title can capture the essence of the piece. What the artist wants to say or what the piece is about. I find it worth the effort. Yet, many times genius can elude us.
How To Name An Art Work
“Untitled- Number 325” The running joke of a prolific artist from a fiber group was just that. Untitled Number 325. That is how she answered when asked what the name of her latest piece was. She liked doing the work but not the naming part of it. So each piece was left unnamed.
On the other extreme,Brad Burkhart,a local clay sculptor created a lengthy group process to name a piece. He asks the group questions which lead to a consensus for the piece by consensus. He strongly supports and promotes this process. How to name an art piece can be a private or a public effort.
I Put on my Poetry Hat
Both of those processes feel unsatisfactory to me. I name my pieces by several different methods. My preferred method is to put on my poetry hat metaphorically. I try to think of an engaging title that adds to the viewer’s experience. What I was thinking about while making my art?
At times I think about what the piece looks like. People read all of my titles once they realize that they are engaging and interesting. Naming my art is an opportunity to share my creative vision and to engage with the audience. I don’t want to hand such an important element of my expression over to anyone else.
Here are some examples of my art and how and why they were so entitled.
What I Was Thinking About
Rogue Wave, an abstract art quilt, 36″ x 36″
A rogue wave or sneaker wave often hits the Central Coast of California in the winter. It is a large,strong, unexpected wave that can be very dangerous. While making this art quilt, warnings for rogue waves were being broadcast daily on the news. As my pieces included colors that reflected water and movement, I chose that title.
A Fitting Genre and Style
This art quilt is named Sherman Alexie Comes to Bookclub,
Sherman Alexie Comes to Bookclub is a modern piece inspired by the new membreño colors of black, white and rust. Mr. Alexie is a Native American author who writes about urban Indians. I thought that it was a good fit for this piece. Although it is a bit of an inside joke, if the audience doesn’t know Sherman Alexie .
Under the Savannah Shade using African fabrics, 36″ x 42″
Under the Savannah Shade is a bright abstract art quilt. The African fabrics in greens, oranges, and yellows reminded me of a hot summer’s day. Wouldn’t some shade be nice? The blue material provided that shade.
Descriptive Titles
When genius eludes us, a descriptive title will do. What do you see in the art piece? Does it remind you of something? What location is it inspired by?
Challenges
Under the Shady Tree,37″ x 25″Great Blue Heron at Dusk, 31″ x 25″Gridlock I, 33″ x 31″Gridlock II, 42″ x 36″
May I share some challenges to naming one’s art. Early in my art career, I named some pieces Gridlock I and Gridlock II. Gridlock II was juried into a “MAYHEM”show at the ARC Gallery in San Francisco. In spite of that honor, I couldn’t remember which piece was number I and which was number II. I decided to avoid numbering my art again. You may have a different opinion.
Naming a Series
Shore to Sky ZShore to Sky F
Yet, when I did a series of small abstract art quilts based on the colors of the sky meeting the land and water . I named them Shore to Sky A,B ,C through Z that presented no problems. Maybe the wider range of colors helped me differentiate the pieces better.
Conclusion
Part of being as artist is sharing one’s vision with the local community and the greater world. Naming one’s art can add to the presentation of our work. It is a personal statement. Do not miss this opportunity to connect with the public.
These are just some examples of how I named my art quilts. Were they helpful either directly or indirectly? Do you have some ideas of your own that you think worked well? Please share.
First of all,I love creating movement in my abstract art quilt pieces. A fiber artist friend asked me,“What are the essential elements you want your audience to know about your work? What do you want them to take away from seeing your art?” This friend versed in the deep discussions generated by involvement with the Artist Conference Network. I am grateful for those thought provoking questions. They helped me coalesce the ideas I had been mulling over.
Beach Umbrellas,an abstract art quilt, 37 ” x 37″ 94cm x 94cm curved line piecing creates moveSpring Break,an abstract art quilt, 32″ x 32″ 81cm x 81cm curved line piecing creates movement
Creating Movement in Abstract Art Quilts
How does one infuse movement into something that is inherently flat and static? Curved line piecing rather than just straight line sewing is one way to add movement in abstract art quilt pieces. At first, I attempted to make every seam a curved line. Then I realised that it proved too much of a good thing. The wobbly surface wasn’t the effect I wanted. Some straight lines are important for shape and balance. Another true life lesson learned: balance is important. Now I choose lines more carefully for visual impact to sew via curved line piecing. They may be wildly or more subtly shaped curves. https://annbaldwinmayartquilts.com/2019/07/creating-movement-in-art/
Activity on the Material
I choose the fabrics I use with movement in mind. I look for interesting curved lines that can create movement in my abstract art quilts. When I cut them up, they add interest and drama. They catch the eye and draw it in. One fabric of elongated greyhound dogs was rotated and sliced into the pieces. The shape of the animals disappeared yet the movement of the line remained. Other fabrics provide a pop of action to the piece. Creating the illusion of movement is an essential part in my abstract art quilts.
Beginning to zigzag yarns on grey, black, white linen background
In addition, movement is added through the quilting process. I begin by quilting straight lines in the middle of the piece making basically a large grid about 5” apart. Then the fun begins. I start quilting from corner to corner gently turning the fabric slightly side to side as I quilt. The thread line creates the movement. If the thread color contrasts with the fabric color, then the threads stand out. When the thread color matches the fabric, the thread may seem to disappear, yet the movement remains on a more subtle level. Many viewers look closer to try and understand how that can be.
Skyward, 25″ x 25″ 63cm x 63cm finished piece
Couching Decorative Threads
One technique I now consider quintessential part of my tool box is couching decorative threads. I sew multiple colored threads or yarns on to a strip of fabric. Then I cut them up into random lengths and use them as fabric. At first, the main purpose was to add texture to my pieces. Yet, the threads are often sewn in undulating parallel lines creating the slightest of distortion and movement. In Copper Cliffs both examples given can be seen, the fabric with irregular dots and the lines of decorative threads I cut apart.
Copper Cliffs, an art quilt,21 ” x 19″ 53 cm x 48 cm curvy lines of yarn create movement
I create my abstracts on a design wall. I take time to balance the colors and fabrics. Quiet spaces let one’s eyes rest. Looking at the piece with fresh eyes may take several days or longer before sewing the pieces together.
Gridlock II, an abstract art quilt, 36″ x 42″ 91 cm x 107 cm curved line piecing creates movementGridlock I ,an abstract art quilt black and white 33″ x 31″ 84cm x 79 cm
A Final Look
Abstract artists have the added benefit of being able to rotate the completed piece. They look to see if the art may be better from a different direction. It just might happen. Just because it was conceived and executed in one direction doesn’t mean that it cannot look better “upside down.”
Sandy Shore, an abstract art quilt 29″h x 25″w 74 cm x 64cm wacky, scribble quilting creates movement
A former colleague of mine made an unsolicited comment about my work, “It dances.” Her remark touched me on several levels. Years earlier she admitted that she had no interest in attending an art quilt show. So when I heard her comment, I felt that I had truly opened her eyes to a new art form.
Do you Squash your Art Quilts?
As you can tell, movement in an art quilt is important to me. Yet not all art quilters share my view. A trend in quilting art quilts seems to be creating as many stitching lines on a piece as possible. These lines tend to be straight lines with about ¼” spacing. They may turn at sharp corners. While attending a recent national art quilt shows, I noticed that almost 75% of the quilts had such quilting. I admit that such narrow line quilting may be effective for some pieces. The skill level is high for the artists that quilt that way. However, this style makes me cringe. Squashing and smashing the fabric into flat controlled pieces actually saddens me. Such tight stitching suffocates the fabric, preventing it from moving or breathing.
Best Parts about Making Abstract Quilts
I love making abstract art quilts. There are several reasons why. While placing pieces on the design wall, there is flexibility to easily add fabrics or change their locations. Furthermore, I can turn the fabric piece upside down or even side ways to choose the best spot. This also works if the fabric pieces have decorative threads on them. Do I want the lines to go vertically or horizontally? In addition, if I sew two fabrics together incorrectly, I just cut the fabric off easily and resew. No seam ripping is necessary. I welcome these hacks after experiences making traditional blocks where more accuracy is demanded.
Conclusion
In conclusion, I create movement in my abstract art pieces in several ways. I choose some pieces of fabric because they show movement as part of the design element. Couching decorative threads in not quite straight lines adds subtle movement. Pieces are sewn together with a curved line piecing technique. Finally the artist generates wavy lines all over the piece while quilting the three layers of fabric together. A basically flat piece of art is brought to life by these techniques.
Read about Other Resources
Read more about the Artist Conference Network. This artist driven organization supports artists as they move towards their artistic goals. Groups meet periodically to share and review each artist’s goals.
For the past ten years, I have worked to come into my own as an art quilter. It took that long to grow into the artist I am today. Growth happens when we least expect it. I started making art quilts about 12 years ago. I entered and was accepted into my first juried art show in 2010. The next year the same piece won an award. Subsequently, there was not turning back. I was off and running. This year,2019 I was accepted into New York Art to show in their gallery in TriBeCa in New York City.
At first,I would look at art quilts in galleries and shows. It was puzzling that none of them looked like mine. At first,I was worried. This struck me as worrisome. It took me a while to realize what that meant. After that, I realised that I had my own style. This became reassuring. No one has had my experiences, my life, but me. No one chooses the materials that I choose. That is why the quilts are different.
Underwater Fantasies
Living on the California coast, marine landscapes are popular.In the beginning when I started doing underwater seascapes, I was concerned about how make a fish’s face or mouth. Then I went to the Monterey Bay Aquarium. I saw examples of everything . For example, some fish mouths went up, some mouths went down ,some were big and some were small with everything in between. Subsequently,this freed me to create as I chose. Clearly,I don’t do scientific drawings. However,I do create whimsical seascapes I call underwater fantasies. This is who I want to be.
Sea Turtles,23″ x 35″
Wavy Quilting Lines
I have noticed that many art quilts that win awards at art quilt shows are heavily quilted with tight quilting lines, mostly straight lines ¼” apart. To me that kind of quilting just tries to control the fabric and squeeze all movement out of the quilt. Movement is one of my guiding influences . My quilting lines swerve and wave from corner to corner. It is what I do. It is my style.
Petite Neutrality, 11″ x 12″
Working from Photos-NOT
I do not like to work from photos. I do not want to create anything that can be copied with a camera. That’s just me. Yet many other art quilters do work from photos. They do create award winning pieces.
Once, I tried to make a landscape quilt using fabric with rocks and trees on it instead of just creating my own. It was not fun trying to find the exact fabric I needed. Just thinking about it gives me a headache. Now I prefer to work in the realm of impressionism. Yes, it will obviously be a landscape or a seascape. But I trust the viewers’ eyes and minds to interpret a scene as they see it.
The color of threads changes according to what fabric is near or next to them.The threads and fabric don’t need to match exactly. I love that quality. It frees the artist from certain restraints.More recently I have been making abstract art quilts by choosing three contrasting colors. Then I find the hues of those colors to increase the range of the colors. It is what I do. It is my style.
Creating Texture
To add texture, one might find some 3D decorative threads hanging freely down off of the top. One might see rows of couched decorative threads throughout the piece adding more texture. My nature pieces may include lots of threads used to create bushes or brush in the landscape.One might see straight or curving tucks to add texture and movement. It is what I do. It is my style as an art quilter.
Under the Shady Tree, 27″ x38″h
My Three Portfolios
I have three portfolios that speak to me; Nature quilts(trees, landscapes and underwater fantasies) Mexican inspired pieces ( often fabric collages) and abstract art quilts. I usually rotate between each portfolio making several pieces before moving on. In this way , each portfolio feels new as I haven’t done it for a while. Creating Color! Texture! Movement! in each piece remains consistent. It is satisfying to finally recognize who I am and what I do as an art quilter.The good news is I now know who I am as an art quilter. https://annbaldwinmayartquilts.com/2019/10/myself-the-artist/
De La Sierra, fabric collage with appillera, 32″ x 30″
