I do want to share with you the 12 ” square I recently made for the SAQA squares online reverse auction later this year, details of  which will be found on www.saqa.com .

The funds raised are used to help fund the wide array 0f services this lively organisation provides to its membership around the world: there’s a huge variety of informational, promotional and exhibition activities and opportunities, many on-line, all of which raise public awareness of the art form and inform collectors and critics alike.

And the second reason I like to do one of these is that it always gives me a bit of a push, a nudge to try something new or newish, solve a technical problem perhaps,  in a small format – not exactly like a ‘sample’  since each square is a finished resolved work, but on a much smaller scale than I usually work.  It encourages me to tackle something  technically problematic prehaps.  Not that I don’t do that kind of thing on a larger piece if needs arise – I do tend to slide home dust flying when a deadline looms, flying by the seat of my pants so to speak.  

If you have been paying attention to my latest work, this one is like several recent works  (“Tracks ” series) in which I have taken perfectly good nylon organza and after construction atttacked it with a burning tool – for example my Quilt National’09 piece, “Timetracks 7”  blogged 22nd may.  The base of this square however is leather rather than fabric – and in this case I particularly wanted to solve the hanging sleeve thing.   Machine sewing with leather is all very well, but sew it wrong and you leave a line of holes,  and in something like this, anyway, did I want a life of machine stitching across the leather but under the organza, but maybe visible, anyway?  I did work out one way, and have since thought of a totally different but better way to do it, and will do so on a larger work, probably not for the show I have opening this tuesday though ……which brings me to the procrastination – my latest work, in the Ebb&Flow series is currently being quilted –  I’ve had some dinner and watched a movie with DH and so I will go on upstairs right now to do another spell of quilting – at this stage it’s still do-able for hanging monday afternoon ….day after tomorrow !

Although I have blogged this before, as Dijanne Cevaal’s blog today refers to this show www.origidij.blogspot.com  I think it is time to show this image of my piece in it agai, as it does not show in any of her pics of the gallery, but I am assured it IS there! and my catalogue  statement is printed in full on her page.

Opening last week at the MINERVA gallery, Wellington, the general theme of the exhibition is clear – that changes in the many elements that make up ‘climate’ there will be new or ongoing effects on population, economic activity, transportation, communication, natural ecosystems and much, much more.  Individually we are all very aware that for Man to thrive within these altered environments will  require huge attitudinal and behavioural changes, and economic investment on a large scale.

Based on the cartographic symbol for cyclone (hurricane in the northern hemisphere)  the abstract design symbolizes the swirl of expert opinions and data, seemingly conflicting with each other, and often confusing, but all drawing our attention to the effects of climate change around the planet, and the urgent issues with which we are faced.

Hi everyone – today I am addressing the above invitations to go out announcing a forthcoming exhibition of my work here in Montevideo.    It will include some new works never seen anywhere, and several less recent works that I feel are important.  Of course, I am working on a new one that I hope to finish in time… just as soon as I get these invites out on their way I will get back to it: quite do-able at this time….

Hi everyone – so the exhibition is now open and will be at the Dairy Barn in Athens, Ohio for the next 3 months until it is divided into three smaller touring groups to travel to museums and regional galleries.  Once again I was privileged to be present at the opening, always a special pleasure if you are one of the exhibitors; and I was delighted to meet fellow exhibitor from Perth Western Australia,  Ruth de Vos, and admire her finely pieced, dyed and screen printed  “Eucalyptus Spectacular”.  Margery Goodall, also  from Perth WA , showed a quartet of small quilts comprising her work “Earth Suite”,  intricately pieced abstracted landscapes which through colour and texture celebrate the harsh brown contintent of Australia.   Other Australians in the show are Pamela Fitzsimons and Glenys Mann.  Pamela’s piece, “Extinction Wrap” is a wonderful composition of sheer layers, of pieced and stitched hand dyed silk organza, suggesting decay to me – I don’t think I’d have made the habitat destruction and animal extinction connection without reading her statement, though.  Glenys Mann’s work was sombre, as befitting the title “Horizons #61:Memorial”, pondering a death as memorialised by a wreath image she observed.
 
There were some very exciting works, my personal favourites including Erin Wilson’s “Miscellany”, Kent Williams’ “Take Five” , Clare Plug’s “Antarctica Series: Out on the Barrier”, Christine Tedesco’s “Architectural Squares”, Patricia M Goffette’s “Haywire” and Bonnie Wells’ “Metaphysic”.  As usual there were several I honestly thought were not in the right venue, ie not up to the high standard of the others in terms of design or innovation, the kind of thing one can see in the breathless pages of  the ‘innovative’ sections of some art quiliting magazines and which are not new, regardless of how well composed the accompanying statement was.  No, I won’t single them out – make up your own mind  when you see the show or the catalogue.

A wide variety of technical expertise and interesting design inspirations expressed arists’ visions in this important exhibition of the quilt medium as art.  It’s not a quilt show, rather an art show in the quilted medium, something many, including self-styled quilt artists and aspirants, do not ‘get’ even yet, after 30 years of these biennials. Among the final selection were entries from a large number of countries outside the USA, reflecting Quilt National’s continued importance in the field of the art of the quilt internationally.

I have been to see many of the QN exhibitions and agree with one of this year’s jurors who expressed some disappointment that there were fewer large (ie bed-sized) quilts than ever this year, just a handful.  My own (below) at 37″x29″, 94x74cm is pretty small,  although it is not the smallest I have had on show there.  This year there seemed more small pieces than ever.

I am not sure what this trend says about the market for art quilts.  Many artists recognise that the their quilts compete directly in the market place with paintings, with which many have a common size range.  It is true that probably most collectors are not able to display large works in their offices or homes.  But I wonder whether there is not also a reluctance by the makers to invest the time and effort in the committment to a large project, the 2m-3m sized work that used to be more common in this exhibition.  I’m thinking of some stunning large works in past years by the late Sharon Heidingsfelder, Tim harding, Kyoung Ae Cho or Joan Lintault.  I think part of this has to do with the proliferation of computer aided design techniques, the ability to produce these designs quickly but only on a small scale outside a tertiary insitution studio, and the expansion of ‘surface design’ in the artform, narrowly interpreted to involve paints dyes and related technique, on the front of the quilt, thereby achieving designs rapidly and with great detail, that in the past took many painstaking hours by machine or hand stitch.

On the whole I felt the recipients of awards were worthy, they are on the website www.dairybarn.org  now, and our Aussie colleague Glenys Mann received an award for her persistence in entering repeatedly without making the cut until this time. Congratulations Glenys. There were some exhibitors who were successful years ago and appearing again at long last, and just over 50% were first time exhibitors. I think this augurs well for the future.

The catalogue is well worth reading for the interesting comments by each of the jurors, and some of the artist statements too were interesing.  But not all. My own view is that the best statement is a really good title, and  if a statement is really required it should be as brief as possible.  Clearly not everone has equal facility with words. One  or two artists made no accompanying statement, which I admire.  But the last time I did that, somehow my image was the only one left out of the exhibition catalogue, and I’ve always felt this was some petty move directly against my lack of comment. Some of the artist statements, IMHO, border on a self congratulating review, and many include technical details which again IMHO have no place in an artist statement.  As usual several are almost imcomprehensible statements supporting an interesting quilt design; and I think we could all benefit from wider discussion on the whole matter of statements.

However, the catalogue itself is subject of some negative comment, as this year the colour reproduction is very poor.  My own quilt comprises basically black organza over a cream background with organza strips wandering across it; in real life a bit reminiscent of a sepia photo, but on page 95 of my copy it shows as having a greenish cast.  Clare Plug (NZ)is disappointed that her work including shading from dark charcoal through greys to off white has definitely been presented as much darker and in shades of brown.  I could go on, but overall the images are dark, a bit dull, and disappointing.  If you don’t know the original this is not really bad, perhaps, but it doesn’t represent each work well.

Although this year’s collection did not feel as strong and did not excite me as much as some previous ones, I think Quilt National still holds it’s place as a premier event in the world of contemporary quilted fiber art.

I will be present in Athens OH this evening when the latest Quilt National exhibition opens.  It is the fourth time I have been juried into this prestigious collection, and I will be present at the opening, which is also pretty exciting. 

Of my previous QN quilts, ‘Ora Banda’ (1993)and ‘Obiri’ (1995) in the Colours gallery on my website, colour is an important component 0f the repeated units.  By the time of ‘Timetracks 1’  (2007) colour had taken a back seat  to texture, and really in this year’s quilt of black organza over metallic waxed leather squares against cream backing the effect is a bit like an old b/w photo as shape and texture have become more important in this series. The organza has been burned with a wood burning tool, and ends were left hanging dangling wherever they occurred – no point in tidying those up in view of the seriously ‘damaged’ surface and inner layers of the work and of course, the edges !  I don’t seem to get a reasonable size image of the detail on this site without going to photoshop and resizing the image – which will have to wait until I get back to my computer in Montevideo.