Archive for the ‘art quilts’ Category

Roads Paths and Tracks – Symbols of Change

Monday, June 23rd, 2025
“Songlines of The 4WDrovers” Arranged on our coffee table for a while (we sit in the other room near the fire during winter!)

The recent surprise unearthing of the above work, Songlines of the 4WDrovers, featuring wandering lines, strips of fabric connecting the double sided panels featuring images of landscapes and roads, inevitably led to comparing it with some contemporaneous 2D works, and revealed the importance of what I’ve always described as ‘wandering strips’ in my quilts c.1993 to early 2010: all these strips represent movement, relocation and travel, by road, rail or air. That is, they all represent change.

I’ve mentioned before that because of Mike’s profession as an exloration geologist, in the first two decade of our married life, we fairly often pulled up stakes and moved to different Australian Outback mining centres. In late 1987 we moved to Denver USA, and once there I came under the spell of traditional American geometric patchwork and quilting, particularly those with the characterisitic grid layouts of repeated geometric designs or motifs. In 1990 I took a workshop from Nancy Crow, in which a student asked her to show her how to insert the wonderfully precise 1/2inch strips Nancy included in some of her early, very complex quilts. As I worked on whatever the class exercises were, I was listening to the brief little demo taking place nearby. I’m a good listener, and took in enough to successfully work out at home what I’d been hearing from Nancy’s demo: using the ruler, cut the background fabric where you want the strip to go; cut a 1″strip, and using 1/4″ seam allowances, sew the strip into the base fabric background. I don’t recall where I got the idea to cross some strips, but I did know to cut the base fabric larger to allow for strips to exactly cross, and once they were sewn in, trim the background/base fabric to the desired final size.

Western Desert”, 1993, 30 x 30in (on black BG) I learned how to cross stripes over each other without the result looking disjointed…
“Lilydale” 1991 168 x 256cm. These triangles are about 50cm tall, because those sides are on the bias, tended to give or slip a little as I cut them, and despite using a ruler, a straight line was almost impossible – so I learned how to handle very slightly curved 1/2″ strips…

By this time, a mental association of colours with particular places in my past had become another signature element, and I was giving quilts titles that reflected those. In another Nancy Crow workshop she showed us how to freehand cut and piece curved fabric shapes, in what is today known as ‘improvisational piecing’. This was a wonderful addition to the skills I found important in the many landscape quilts that followed, and it became one of my signature style elements in much of what I did until the early 2000s:

Forecast: Cooler, Windy 1993. 88cm sq. (black BG)
“Songlines” 1997.   44 x 200cm           
“New Directions”, 2000, 96 x 84cm

Then other ways of showing landscapes and tracks or paths gradually developed – in the whole ‘Tracks’ series, paths and tracks also came to include the results of erosion processes, the marks made on the Earth’s and other surfaces over time…

Postcard sized miniature quilts from the ‘Travel Pages’ series ~2005.
“Desert Tracks 3” 2005, 137 x 107cm
“Regeneration 2” 2019 40cm sq.
“Sunburnt Country” 2021 60 x 40cm

In the last few years, there has been further change in my art, which I’d loosely describe as “grids with stitch textured units”, and they’ll be the subject of another post sometime soon.

The Shimmer Effect

Wednesday, November 29th, 2023

SAQA juror Pat Forster selected one of my works,“The Shimmer Effect”, for an online exhibition, Geometric Expressions, which opens on the SAQA website on January 3rd next. I’ll post that link here when it’s available.

I never show a completed work on my blog or website until it’s been exhibited, ie published somewhere, so for now here’s a close detail shot of the surface texture, along with my statement about it: “A square symbolises balance, solidity and stability.  Hand stitching over concentric squares in gentle neutral colours calmed my unease at current disorder and chaos in the world.  Metallic threads in my work signify value or importance, here referencing tradition and hope.

Close detail, “The Shimmer Effect, 2022. Each square is ~6cm.

I posted about it while making this quilt as it was such a long project. It’s about 1m square, with each concentric square unit being 6cm, with a total of 121 squares of fused nylon organza strips oversewn by hand in metallic thread. The fabric itself has a subtle glittery texture.

Some Things Change, Others No So Much

Saturday, November 11th, 2023

While penning a newsletter this week for Ozquilt, an association for art quilt makers in the Australian-New Zealand corner of the world (of which I’ve been a member for ever) I looked back at some of my very earliest blog posts in 2005.

Today, the internet is littered with abandoned blogs, and yet some who began blogging then continue to write them even as their original angle or purpose might have shifted a bit, as mine has. My regular readers know that my blog has become more of an artist’s diary in content and less of a travelogue than when I began writing it. Of course, that could have something to do with travelling less, too 😉 In the last decade social media have multiplied and spread, so that today even Facebook and Instagram are showing signs of being past their peaks, and certainly blogs have lost some of the importance they had 15 years ago. Perhaps both writers and readers can’t be bothered to look past pictures and captions for a longer read.

While I still write and post on my blog, my overall online presence has changed a bit, too. I have been on Facebook for years, but only recently set up an artist page there in addition to my more general one. Last year I started posting on Instagram which is all about pictures and less about information in written form. It may be true, as younger people now say, that FB is more for older people. I haven’t yet taken to the colour-and-movement on Tik Tok, and if I ever do go there, the influencers will have probably all moved on… whatever. The thing with social media is that you can spend hours just looking, making videos and so on, but the posts are not necessarily coherent and sequential, and often not in the least bit informative. Being a natural teacher and lover of sharing information and opinions as I do, a blog format is perfect for me. Reading back over some of my earlier posts revealed that I could have written some of them just yesterday. I prefer to think that demonstrates consistent opinion-forming, not that I’m an old stuck-in-the-mud!

I recently had a conversation with a friend here about some of the most iconic Uruguayan artists, and of course the beloved Jose Gurvich came up. He was gifted in many media, including painting, ceramics, drawing and printmaking, and we’ve just made plans for next weekend to vist the Museo Gurvich, in the Old City, dedicated to his life’s work. On Friday May 13th 2005 I posted about this quilt, made shortly after seeing an important exhibition of Gurvich’s ceramics.

“Arbol de la Vida” 2005, ~130 x 100cm. Strongly influenced by a wonderful exhibition I had recently seen of the ceramic works of Jose Gurvich.

My work is almost never pictorial, and I haven’t made anything in that style since… but I made it for an invitation to exhibit in a display with a particular theme, which is something I almost never do now. Today, I follow my own themes or my vision, make the work and then select calls for entries that I think suit whatever I’m making or have already made.

Reading on through that 2005 post, in which I positively enthused about working late, or even frantically working through the night to meet some deadline or other showed that has really changed! I now have a fairly well developed sense of what I can achieve in a given time, and as I begin something, I self-impose a deadline to allow days or even weeks before any deadline. It might be aging, or perhaps a delayed onset of wisdom, but despite the many last minute triumphs including some notably glorious ones, I now hate the pressure of doing things in a rush at the last minute. I’ve always preferred working to larger sizes like 100cm+ that to many younger artquilt makers would seem impossibly large, but I love a large project and the challenges that presents, and to produce one takes time, without rushing against the clock.

Several Pleasant Surprises …

Sunday, October 29th, 2023

I’ve mentioned a couple of times before not being able to fully cross reference images that weren’t listed in my master list ‘catalogue’ – and vice versa. But this has turned out to be a bumper week for surprises.

First, when I emptied out the contents of a decaying plastic bag that had been literally sitting on a shelf undisturbed for years, and which I thought it held just a few offcuts and samples, I pulled out this little quilt I’d totally forgotten I ever made, and which I’d failed to enter on my master list:

Tidelines 13, 2012 80cm square. Whole cloth, stencilled, machine quilted. perhaps I should have ironed or steamed it before photographing, but this is literally how it was when I pulled it off the shelf!

and next I pulled out another two which I really thought were in storage in Australia, and that I don’t remember bringing over here!

Sunburnt Textures 3 1997, 70cmh x 100cmw Freehand cut, machine pieced and quilted in the ditch. Hand stitched.
Forgotten Title” was in a 1994 exhibition in Sydney, Australia. Improvisational patchwork, machine pieced and quilted.

But the biggest surprise of all was when I contacted Dianne Finnegan in Sydney who headed the selectors team for the Colours Of Australia 1994 exhibition, asking if she could tell me what I had called that piece above, and she sent back an image of a quilt I apparently called Bushfire Weather from the catalogue for Art Quilts of Australia 2000 that I really don’t remember making, but it undeniably has my signature all over it :-

“Bushfire Weather” 1999, 100cmh x 120cmw. Improvisational machine piecing, machine quilted with triple needle stitching. (catalogue page by Dianne Finnegan, and I’m still not sure who took the orignal image)

That clears up a bit of the confusion on that master list I referred to at the start of this post as I couldn’t find an image to go with that title – and most of my slides and records of entering shows, catalogues, etc are in my filing cabinet – all safely in storage. Stuff in storage is at times the bane of my existence – a long story I’ll not go into here. But I must have a slide somewhere there because we had to enter juried exhibitions by submitting 35mm slides until about 15 years ago. But for the moment, this will have to do for the record.

And, looking at it, I wonder how on earth I could have forgotten about it, and how I’ve no idea where it is, whether it sold or came back after the exhibibition…. So let me just say I really like this work and am so glad some record of its existence has been restored to me!!

The first paragraph statement is exactly as I would have written it today. The second paragraph is a nice little bio for the time.

“In Fourteen Hundred And Ninety Two…

Monday, August 14th, 2023

Columbus sailed the ocean blue” go the famous first two lines from a children’s poem on American history of which I first learned while we lived in USA, 1987-94.

Probably in 1991, before the quincentenary of the discovery of what became known as The New World – the Americas, Quilters Newsletter Magazine announced some competition or call for an exhibition to go in their pages to help mark this huge event in modern world history. I don’t remember the exact details of it, however I clearly remember making my entry, which unfortunately was not selected:

“In Search Of The New World” 1992, 130cm x 130cm

Last week I realised that although this quilt was listed in my ‘master list’, I hadn’t noticed a photo of it anywhere for a very long time. Since then I have been searching, knowing it has to be in my computer somewhere – and eventually just an hour ago I found it in an external hard drive I haven’t accessed for years. Please share my joy! One possible reason for not finding it is I didn’t have the title exactly right in the search – duh. Anyway, I immediately re-saved it into this computer, and now it will probably pop up somewhere just because I’m no longer looking for it…

Detail “In Search Of The New World”, machine pieced and quilted.

I was a bit disappointed when my work was rejected, but I’d already had acceptance and rejection experience so took it philosophically. When the selected ones were published later that year, I saw there were some some much better ones than this one.

Now looking at it, I know the shiny blue fabric said ‘water’, and the earthy coloured strips said, to me anyway, ‘earth’. If you look carefully, in the detail shot you can see spherical shapes representing the round earth, (as many at that time still believed the Earth to be flat) but now I see those spheres were way too subtle, but it’s an interesting idea I might revisit some time. Probably the horizontal strips of fabric should have had some green in them, to suggest ‘land’. Plus the strips themselves were perfectly straight edged, not at all land like… I had not yet learned the basics of improvisational cutting and piecing, but If I’d known them then, those strips might have looked more like islands in the blue, and been more appealing. The best features of this landscape+history inspired work are the wonderful cerulean blue polished cotton furnishing fabric, and the inspired freehand watery machine quilting pattern.

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