Today’s Modern Quilt Guild movement quilters have strongly embraced functionality/warmth as a primary raison d’etre  for their creativity, and as Modern quilters are focused on making bed quilts of various sizes, so there are very few small quilts in Luana Rubin’s collection of images from the recently held QuiltCon in Austin – which you can see on her blog here

Exhibitors at Austin were juried from their entries, so thery were probably highly representative of some of the best being done in the Modern Quilt Guild movement as a whole, and the effect was stunning. I’d love to have been there.  The mostly clear graphic designs in their in their quilts represnt a huge style shift from the traditional patchwork and quilting patterns.

According to the Guild’s website, graphic qualities including minimalism and use of negative space are prime values.  In order to avoid violating anyone’s copyright, ;-p I modestly include a couple of my own quilts that I am sure qualify as Modern in terms of this guild:

Mirage 1, 2002.  80cm x 96cm wall quilt. 

This small wall quilt led me to make the following a few years later:

Ebb & Flow Scrap Quilt,  2008.   Approx 100cm x 145cm, single bed.

Both of these quilts extensively use offcuts from other previous quilt projects  (but noe actually recycled from previous uses)  plus some yardage from my stash – which includes quite a bit of undyed muslin aka calico in Australia, and in this way are typical of many of my ‘recent’ (post 2001) quilts, many of which are in the Ebb & Flow Gallery elsewhere on this website

Although it is hard to tell individiual cases from the QuiltCon photos, no doubt there are many modern quilters using at least some recycled fabrics, but clearly this movement as represented in Austin has given fabric manufacturers a shot in the arm.  Most of this large and growing group of quilters are working with purchased fabric collections featuring the latest textural and geometric prints against whites, gradated neutral solids and bright clear solids.   Indeed, despite design differences, many of these same fabrics appear from quilt to quilt, maker to maker, so manufacturers have latched on to favoured colour palettes, particularly the bright clear colour of the Modern Quilt Guild logo, and have produced what modern quilters want.  But I think over time quilters who worked with them this first time will gradually explore/develop individual colour signatures, and at future QuiltCon events I think there’ll be significant breaking out of the logo colour conformity, even as the ethic of this design movement is preserved, for there is no doubt these modern bold graphic designs are here to stay in mainstream quilt making.

I’m no slouch with a needle, and here I am doing a bit of cultural exchange/work experience!  As many of the makers work in the shops where their works are sold, this was taken on one of at least two glorious, mind boggling ‘studio visits’ along the street of the Tentmakers in Cairo, 2007.

In my previous post, I showed one of the two large hangings Mike and I bought on our trip in 2007;  but we just couldn’t resist another!   We also bought this 2m sq. wall hanging which we use as a cover on the bed in our guest bedroom here.  The canvas base with all the extra fabric added, imho makes it a bit too heavy to sleep under, so I always suggest to visitors they carefully roll it back and place on a side chair, but I know some don’t mind actually sleeping under it.  However, everyone comments on its beauty, and the quality of workmanship is superb:

But it was instantly clear I am no match for these men who rapidly and rythmically hand stitch (direct applique) small pieces of cotton fabric in gorgeous designs onto canvas weight base fabric to make the Khiamiah – the wall hangings, that traditionally lined desert tents for over 800 years.  Today, most people don’t live in tents of course, but in houses with walls that take generally smaller hangings, and so in adaptation to modern conditions more smaller pieces are produced – cushion covers, table mats and runners to wall hangings up to the 1m-1.25m dimensions.   You can see some in the background of this photo and the three principal styles – pharaonic, abstract islamic patterns and pictorial scenes are represented in this pic.  This small shop/gallery is just one of the 40 or so similar small outlets on the very short Chareh El-Khiamiah, the Tentmaker street in old Cairo..

The Tentmakers who produce this amazing work have their own Facebook page, “The Tentmakers of Chareh El-Khiamiah” where you will find more information on them, and links to current and historic examples of the tentmakers’ art.    An Australian film maker Kim Beamish, is currently filming footage for a full length documentary about these artists, their work, its heritage and cultural importance which is becoming better known beyond Egypt’s borders, but inside of which it is not recognised as having any importance at all – hard to believe as that is.  To complete the editing and translations for this important documentary movie, a crowdfunding campaign is currently running to raise the necessary $20,000; and so far over $16,0000  has been pledged, but that still leaves almost $4000 to raise in just a few days !!    If you care that the world should know of such beautiful special work, please allocate at least a few dollars on this crowdfunding site – www.Pozible.com.au/tentmakers/

When I dipped into John Hopper’s The Textile Blog  this morning, I hadn’t visited in a while, and found this timely article on the Tentmakers of Cairo.  This beautiful textile art is basically handstitched direct applique of brightly coloured Egyptian cotton onto a canvas base, in intricately detailed islamic and pharaonic designs.

And if the Tentmakers textiles are new to you, I recommend you take time to read this article, marvel at the striking beauty of the pictured works in it , and give thought to this exerpt by John  – “The world of generational craft seems to be constantly hanging on to that of the contemporary world by its fingertips. I don’t endorse projects lightly, but anyone who is a regular visitor to this site knows that I have always underlined the fact that a robust creative world, particularly in the crafts, is an infinitely better one. We should feel that we have contributed, whether through personal creativity or deed, to the betterment of creativity generally, leaving the creative world a better place than when we arrived and in better shape for the future generations to come.” 

The article is timely – reminding us that the crowdfunding campaign on www.Pozible.com.au/tentmakers/ is in its last few days, with the level of interest and the pace of donations picking up well, but if you’ve been meaning to pledge a donation – please, do it now before you forget again!

Although  I have posted this pic of the 2m sq hanging on our bedroom wall and daily enjoy the rich colour combinations and fine workmanship, so too I hope you haven’t wearied of seeing it either.  In addition to the glorious colours, I guess because I particularly love patterns based on grids, this one really appealed,  and Mike certainly deferred to my judgement in such an important textile matter as selecting this one, just as I would with anything related to rocks and minerals…..

When Mike bought the above plant, unlabelled, for about US$3 a few weeks ago, it was about 20cm high, and had lovely green slightly shiny leaves with rounded serrations, making it a nice bit of greenery to replace something in a tub on a 1st floor terrace that had succumbed to the hot weather while we were away.  Since  then it has grown quite a bit, and to our amazement the serrations of the leaves have morphed to produce tiny little plants which are dropping off and several have already started growing around the parent.  We think it is very beautiful.

I put a pic of it out on Facebook, and comments there confirmed my suspicion this will become a weed and perhaps a real pest before too long !  The comments were educational – the plant is one of the Kalanchoe family,  known in some places as ‘mother of thousands’, and someone warned of the toxic nature of the leaves.  But as there are plenty of toxic plants in our gardens, and we have faced some pretty formidable weeds in our time, we’ve decided for the moment at least it stays in its pot up on the 1st floor terrace.  All these little new plants remind me of those animals such as sea horses, some fish and spiders that carry around many tiny offsprings inside or clinging to their bodies until they’re large enough to let go.

Mike and I were recently  in Panama city for the first time – it won’t be the last.   We endured humidty and heat and enjoyed wonderful sights and sounds, lots of colour in street markets and the fish market for example, and of course we visited and stood awed at the Panama Canal.  We especially enjoyed wandering in the fabulous old part of the city, the Casca Antigua, where decay had almost defeated the buildings some of which are 500 years old – but it didn’t quite win, because the old part of the city was declared a World Heritage site, and these days there’s masses of preservation and reconstruction going on there.  Every second person wears a hard hat, neon vest and steel toed boots.  They’re working hard, and fast.

In the markets everywhere are stalls selling handicrafts, the most popular and desirable imho being molas, as pictured above.  For decades I have been intrigued by these textiles, and after a lot of looking I bought two  two gorgeous, vibrant coloured pieces of finely handworked reverse  applique, a technique practiced by the Kuna Indians of  NW Colombia and Panama’s  San Blas Is.  I have a book on their history with lots of pics, somwhere in the library back in Perth, but not not close to hand.  However there are many links on the internet – I liked the site Molas: the Craftsmanship of the Kuna Indians     Make a cup of tea then google ‘molas’, and scrolling down you’ll find a site of images – goodness knows how many –  total eye candy, don’t foget to drink and enjoy your tea.

Traditionally patterns were built around shapes of natural objects and geometric patterns – very tatoo-like and some non-pictorial ones strike some eimilarity with the designs of some Australian Aborigines.  Over the last 200 years, the traditional patterns have gradually changed to include designs reflecting increasing contact with ‘modern’ civilisation – some late C19 and C20 patterns are built for example around a biplane, or a certain distinctive shaped soft drink bottle from lands to the north.  A fascinating, beautiful traditional embroidery genre,  and I am thrilled to have found these.  There’s a lot of  less well-made of course but priced at the same levels of the well-made, ready to be pushed onto unwary tourists who have no idea about craftsmanship.  I also went for less pushy salesmanship, too!    As I browsed and chose, the word ‘antigua’ was tossed in if the vendor thought that might help me decide on one, but I knew what I wanted and was only interested in buying a well made colourful modern piece or two.   I doubt there are too many genuine antiques around today, and I probably couldn’t afford one anyway.  I’d like to go to the islands and see them being made and used inserted into garments – and as the garment wears out (tropical, humid, inevitable)  they’re removed, washed and re-used in a new garment.  I love everything about these textiles.

Briefly, layers of fabric are cut back to reveal another colour beneath – then the raw edges turned under and finely stitched down.  The process is repeated, often small pieces being added in just parts – until a complex picture of coloured lines and shapes is built up…. and  for this reason it is called ‘reverse applique’ as fabric is removed, not added, to make the design.  You might consider it to be somewhere like opposite to what the tentmakers do in their craft:

What will I do with these molas? Well, certainly admire and fondle them now and then.  I  really don’t think I will use them in tote bags or on yolks of smock type garments – but eventually I will probably mount them on artists canvas stretchers and hang somewhere.  I have another back in Perth from my first ever trip to South America back in 1989 … yes, its time to go and fondle that one again soon, and take the photo I never have taken of it !