comments 4

Quilt no. 011: Fogged

I am envious of the talented quilters that populate my social media. I see them start and finish quilts and other projects in matter of weeks and months while I am still plodding along in my hand quilting. I pieced 7 quilts in the past 12 months and finished 4 of them. I suspect the remaining three will take me until, at least, October to finish. Quilting is a slow process for me. Hand quilting is about letting time pass without consequence, of having a place to channel creativity, anxiety and perfectionism. It’s about giving myself idle time to get lost in minutiae and detail. It’s about finding calm and quiet in the repetitive motions, about losing myself in work. I feel accomplished and focused when I spend a few hours every day hand quilting.

Quilt no. 0011: Blowing in the Wind

I feel conflicted about my slow, plodding, methodical working process. I feel like I should be churning out work, to get it up and in front of people, to continuously send WIP images to my instagram account. To output for the sake of audience. To have more than one quilt in mind to submit to shows and competitions, to have a choice. I’d even like to be able to see my work evolve faster, to execute my ideas and have them be finished pieces. Despite the fact that I’ve got a bunch of WIPs, I’m still contemplating three more quilts to be made in the future. I’ve got fabric earmarked and piled together, inspiration images pinned, planning vectors half started.

Quilt no. 0011: Front Texture Quilt no. 0011: Front Stitching

Basically, quilting forces me to slow the fuck down.

Quilt no. 0011: Back
Previously, I’ve pieced and quilted quilts according to sections, which is a nod to the Amish quilts I love so much. For this one, I wanted the pieced sections to interact a little more and so I let quilting lines intersect, let others bleed out of their space. I think I was successful in creating more motion in this quilt. It feels less still and static than the others I’ve made.

Quilt no. 0011: Back Detail & Drape Quilt no. 0011: Back Texture

This quilt was made for the sake of making. I wanted to challenge my piecing skills. I wanted to make flying geese blocks. I had a bunch of grey and blue-grey scraps from previous projects that I wanted to use up. I have a thing, a negative thing, about leaving scraps sit around with no purpose, which is also why the back is the way it is. I was thinking about mist, about foggy days. In a Missouri summer, I was longing for a cool, misty landscape. I was thinking about moving to Colorado, about mountains, about craggy rocks and pine forests.

Quilt no. 0011: Front Texture

comments 2

Quilt no. 010: Feedsack Scramble

I don’t really having anything meaningful to say about this quilt, other than the process of making it. It was a fun and quick quilt to assemble and it’s size meant it turned around really quickly. I bought two identical feedsacks at an antique mall in Pennsylvania, way back when Aubrey and I first started dating. Originally for a high protein chicken feed from a company out of Massachusetts, I was drawn to the type faces and the colors. I was thinking about postage stamp quilts, about neat, organized rows when I planned it. I was thinking about mid-century typography and graphic design, modernism and, as always, minimalism.

Quilt no. 0010: Feedsack Scramble

That said, I do have something to say about Completely Cauchy’s navel gazing at small community.

I am largely at the peripheral of the Modern Quilting movement. I don’t have a huge network inside of the small community that does exist and the network I do have is entirely based off of Instagram. This is largely because I live in a rural place and partly because I like community when I can engage with text. I’ve been musing over the conversation around being accepted to or rejected from the show at Quiltcon 2015.

One of things that has frustrated me in finding quilting community was a fundamental lack of constructive criticism. I think a lot of the hurt and backlash from being rejected from QuiltCon was because there wasn’t any feedback given. If the work you are making is largely self-propelled and some what insular, it is hard to receive feedback. If the only feedback you’ve received has been overwhelmingly positive and then you are rejected from something that is propelled by the community you are part of, it feels really personal. I think being able to make a space to talk about work and give constructive criticism would be really great way for individuals and the movement alike to grow. Teaching one another both to see the successes and short-comings of the work we are making was fundamental in my growth as a maker.

Quilt no. 0010: Feedsack Scramble

Social media has made connection much easier, which is awesome. It’s awesome being part of something where everyone is each other’s cheerleaders, where we are collectively inspired by each other’s work. I believe it is part of the reason that I picked quilting back up; I wanted to make and be surrounded by people who make for the sake of making. The community around quilting, both now and historically, has largely been an organic thing. It feels the opposite of my experience in the fine art world.

One of the first things I learned in school was that I was part of a tradition. In order to move beyond what had already been done, it was imperative to learn the history of the medium and to refine craft.

After returning to it from a decade of hiatus, I approached quilting in the same way that I was taught to approach photography. The first book I read was Quilts in America. I come from a family of women who sew and quilt and grew up and lived in an area who’s quilting history has been extensively researched. My main inspiration is the Amish quilts of Lancaster county. I approach quilting with the idea of using stuff that has outgrown it’s use as one object but can be remade into something new and useful again.

Quilt no. 0010: Feedsack Scramble

I don’t think the modern quilting movement is a-historical, like Joe the Quilter says. I have seen far too many clever takes on traditional work for me to believe that most modern quilters don’t know their history. A lot of modern quilters are working from another place of reference; from fine art, modern graphic and industrial design. Even if one isn’t away of it, we live in a postmodern world where things are appropriated and mixed up and re-appropriated.

I see parallels between the criticism of modern quilts and studio quilts, when they exploded in the 90’s. When one group of makers tells another group of makers what they’re doing isn’t quite right, it does NOT foster community between the new and the old. It drives a wedge between them. I have reverence and respect for the hundreds of thousands of quilters that have left behind incredible work. I think inviting mixing between traditional quilters and modern quilters, to let the lines blur, has the potential to pass knowledge around in a circle, rather than in a line.

Quilt no. 0010: Feedsack Scramble

Similarly to what has happened with quilting through out history, modern quilting will be another movement and another means of making quilts. I think it’s harder now to have that perspective because it feels we are living in the future. The western world lives at and in the forefront of technology in a way that has never happened before. Quilters are making their own archive with every single blog, instagram, reddit, facebook and twitter post. Quilting in the 21st century may look very different then it did in the 18th, 19th and 20th century but it is still the same at the core.

The purpose is to make, to create, to construct something with one’s own hands. Regardless of intention or aesthetics, to quilt is act of self-expression.

Quilt no. 0010: Feedsack Scramble

comments 2

Quilt no. 009: Right of Way

I pieced and basted Right of Way in a second floor bedroom space, in an old house facing railroad tracks. Trains would pass by once or twice a day, making the single-paned windows vibrate and shake, the whistle loud and persistent. The staggered rail fence blocks felt like the clack-clack of train wheels on the tracks as they rolled through town.

Quilt no. 009: Detail

I had originally intended for this quilt to be my entry for QuiltCon 2015. I decided about half way into quilting it that wasn’t going to happen. The backing ended up being much harder to quilt that I originally thought and I was unhappy with the inconsistency of my stitching. I had imagined it to be much more carefully put together then this and I wasn’t really willing to put it up for judgement when it didn’t really meet my own rigid standards. I am my harshest critic, after all.

Quilt no. 009: Back with Binding

I pieced the blocks from Kona broadcloth, the strips were samples that I had ordered for another project and didn’t need anymore. There’s some vintage heathered blue cotton in there, a bit of fabric from my grandmother’s fabric stash. The backing is pieced from vintage brushed denim that I bought from a stash sale at a quilt show in PA. It is lovely and soft to the touch and gives this quilt an excellent weight and drape.

I had to leave that quiet space long before we ever left Missouri. I was upset and distraught that I was forced to give up the work space that was keeping me sane during a sticky Missouri summer, during a shitty 10 months of my life. In retrospect, the cool blue and grey and the simple quilting of this quilt was an answer to the chaos that I was living in, to the oppressive heat.

Quilt no. 009: Front

comment 0

Quilt no.008: White on White Four Patch

Quilt no.008

I finished my 8th quilt about a month and half ago and had spent the last few weeks contemplating how exactly I was going to photograph it. The last two quilts I’ve posted I haven’t been super thrilled with how the images of the quilts came out. They were rushed and not very thoughtful. I wanted something different with this quilt because I am quite pleased with how it turned out. I asked my close friend, Juli Jackson*, to help me figure out where I could photograph it while I was visiting her in Arkansas. She came up with a few great places but I was taken, particularly, by the texture of these ancient galvanized steel grain bins. She was generous in indulging and assisting me in the midday heat and humidity of northwestern Arkansas.

Quilt no.008: Details

With the exception of a few key mentors and endless Google searching, I’m largely self-taught when it comes to quilting. Every single quilt I make I learn something new, figure out a better way to do something and stumble through new processes and techniques. Since the other two quilts I’ve finished recently were very simple in their piecing, I wanted to go try doing something very traditional and simple. I thought the four patch block complimented my stash of vintage cottons pulled from feed sacks, pillow cases and nightgowns would create texture while sticking to the minimalist, old-but-new aesthetic I strive for. The hand-dyed border fabric, a gift from my aunt, added contrast without overwhelming the center square.

Quilt no.008: Stitches

The quilting design was inspired by Maura Grace Ambrose’s Idaho Quilt. I carried over the diagonal quilting from the center square into the compliment border to add more movement without making things too disjointed.

Quilt no.008: Back

I pieced the back from broadcloth cottons (the gold a gift, again, from my aunt; the grey KONA cotton in Ash) and this fabulous vintage camera print fabric that was a Christmas gift from my mother. I liked it so much I photographed it as much as the front.

Quilt no.008: Back Details

Overall, I’m really quite content at how this quilt and the images of it came together. I’m further on in my quilting journey at this point but I feel like this one got at something I’ve been striving for. I’m looking forward to working in this palate again, once I get my hand quilting queue freed up a little bit.

*Also: she’s a super talented indie film maker. She finished her first feature film, 45RPM, last year. It’s a lovely little movie and if it’s in your area, you should go see it.