Annual SAQA Auction Starts Soon!

August 24th, 2021

Every year Studio Art Quilt Associates, SAQA, hold an online auction of 12in. sq. quilted artworks made and donated by artist members to benefit the touring exhibitions program. I’ve participated every year except one, and this year’s Pandemic Pattern 2 is from the series that I began during the early months of the Covid-19 pandemic.

At you’ll find images on all works and artists, plus details on how to bid when it starts.

While I was making it back in December 2020, I wroteAgainst a red background representing danger, the circular shapes of black leather are held in place with stemmed french knots in luminescent green. Those stitches really pop out, almost pulsate, though the drama isn’t apparent in this pic.

One of the fun things to do as you browse through this year’s 469 items is to assemble your choice of 8 pieces you’d like to see go together into Dream Collections. There’s absolutely no commitment to buy one, though of course one could anchor itself on your wish list! But it’s fun to see how people react to the same image, and several popular images always turn up in what you’d think were totally different, unrelated topics. You decide a theme, and build your collection around it. For example, my favourite colour is green, so soon I’ll be putting a collection of quilts together in which the dominant colour is green. I may do one on birds, and will certainly try to find a group of 8 on Covid… and something else might come to mind as I look through them, too.

Very Small Pieces, 7

August 21st, 2021

Following one of the possibilities I mentioned in my previous post, is one, #19 of a series of little pieces I’m doing as part of the SAQA 100 Days Reboot challenge:

Fused hand dyed fabric and silk organza, neon polyester thread. 3.25 sq. in.

This next one is already posted on the album page for tomorrow, Day 20. At the moment I am posting in twos of threes, and so far am just ahead of the calendar.

Fused and overlaid silk organza shapes, gold metallic thread. 3.25

Very Small Pieces, 6

August 20th, 2021

Continuing the explorations of textures in the SAQA 100 Day Challenge Reboot, I’m experimenting with an idea suggested by an image I pinned on Pinterest of a highly informal grid layout of a watercolour painting. I searched, but the artist’s name the name was too hard to find, so I’m just posting the link so you can see where this inspiration comes from.

Print fabric with ‘halos’ of shot silk, which is not always oriented the same way. LH the print is over the silk, RH the centre of the silk has a hole cut in the middle and it sits over the print.

Next, I had to decide the stitch treatment for each.

First, the left sample above – I am happy with the effect, but I didn’t anticipate how the quite light fawn thread would show through the cream fabric when it rested against the white paper coating of the foamcore. I could unpick the little x’s, but on the other hand I quite like their unexpected diagrammatic, star constellation effect, something I could use sometime, maybe.

Print added over organza before stitching.
A ring of organza, ‘halo’ placed over the circle of print before stitching.

Second, on the right side of the top photo – definitely one to repeat in several ways:

  • the link to the watercolourist’s website includes lines in the composition which could be represented with stem stitch or couched lines
  • strong plain coloured shapes could have this kind of halo placed over them and stitched with this or other textures
  • on a very large scale, the ‘halo’ itself could have cut or burned holes in it …

Very Small Pieces, 5

August 14th, 2021

In my previous post I referred to how Pinterest images often speak to me about interpretations in stitch even though they may not be textiles or stitch at all. A while ago I noticed this image of a work by Jeffrey Allen Price of NY, USA, and pinned it to my ‘Grids!’ Pinterest board:

Circles within squares, by artist Jeffrey Allan Price, dimensions and date uncertain, but pre 2013.

I followed the link to the person who pinned it in 2013, and then looked at the artist’s website. My computer wouldn’t open some of the sections, but in one of the thumbnail captions I noticed the word ‘rustagrams’ which I think is a pretty neat term for rusted fabric, a popular technique in textile art at the moment.

Now the circle within a square is one of those compositions as old as Time itself, widely used by quilt makers, fibre and textile artists and others working in all kinds of media. I myself used it in this diptych:

“Sweat of The Sun; Tears Of The Moon” 2018, 125cm x 60cm

Anyway, though I initially pinned Allen’s image because I love grid layouts, and though I’m sure the surface markings are hand painted, what that work now says to me is “sheers + stitch embellishment”, which’s what I am going to explore in my next exploration. Considering the small size, I’ll do a trial of maybe 9 x 1″ squares of silk and maybe other organzas (nylon lift fairly soon after fusing, but are fine if they’re stitched down – see the final pic in the last post.) Under each of those will be a gold lame circle. I think it will work well, but if it’s just too fiddly I’ll do 4 x 1.5in squares. The stitch embellishment will depend partly on the background I put those pieces onto, and I need a change from black.

Very Small Pieces, 4

August 14th, 2021

I’m continuing on with 3.25 sample pieces laced over foam core. These three are from the past few days and have been or will be posted on the SAQA 100 Days Reboot Challenge site – which is a private group so I’m just showing some of my daily posts here.

Pewter leather, overstitched with high sheen polyester thread.
Bronze leather rings with metallic gold stitch (hard to photograph clearly)
Gold lame beneath fused sheer, polyester and metallic stitch. (hard to photograph)

I have plans to frame or present them (or at least the best of them) on some kind of form in some way but haven’t decided exactly on that yet.

This series is really one of exploration: things I have noticed in Pinterest and other sources often strike me as if they would make interesting textures interpreted in various materials plus stitch. Each of these is telling me a lot, about how materials behave when fused, for example, and how some might be scaled up in a larger work, or in a large work would be as great small detail. I know some of them will appear in some way as techniques in my next larger pieces of work

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