Coos Art Museum Opening Reception

I recently made a trip to Coos Bay to attend the artist reception for the opening of two High Fiber Diet exhibits at the Coos Art Museum. My piece, Forget Me Not, Collaboration with Grandma, was part of the It Isn’t Easy Being Green show which hung next to the Heat Wave exhibit in the main gallery. Click on image for larger view.

The gallery is very open and warm feeling and the exhibit was professionally hung, as expected.

The opening reception was very well attended. I heard murmurings of 200+ in attendance. The turn out was impressive and it made taking good straight-on photographs rather difficult so I will apologize now for the low quality of my images.

Here are a few of the images that were passable and some of my favorites in the exhibit. This is Toni Smith’s Heart In Motion. She used one of my favorite colors of green. Our pieces were hung side by side and complemented each other.

I chuckle out loud seeing Anita Kaplan’s Retail Therapy, the Pearl. I’ve been in many of those shops myself and have enjoyed their sturdy bags to take my treasures home. I love this nod to everyday life as it is simultaneously turned upscale into art.

Jo Noble (pictured here) and Pat Fifer created this gem, Baksimba, named after a fiery African dance. It rightly was the center of several discussions.

And here is another entry of Jo Noble’s, Memory Shield.

Sherri Culver (hot side) and Mary McLaughlin (cool side) collaborated in creating Hot Flash!

Here is Karen Miller’s Waiting for the Sun Worshipers, created out of a memory of a trip to Italy.

Another exhibit that opened the same evening featured many very small birds, all hand created by local artists. Here are just a couple of those charming birds.  Rufous Hummingbird was created by Victoria Most and Aspen Farer using needle-felted wool, wire and silk.

Jess Bronk created Peregrine Falcon using needle-felted wool, felt sheet, wool suiting and pastel.

I enjoyed my visit to CAM, meeting several of the artists and having an opportunity to chat with several of the museum staff, all of whom were very complimentary regarding the double exhibit of fiber art in the main gallery. The Coos Art Museum is the final venue for It Isn’t Easy Being Green — the exhibit will be up through February 11th, 2018 . My piece has been traveling with this exhibit since September 2016 and I have been very grateful for the opportunity to share my art with the public. I hope you have an opportunity to get to CAM.

Portland Art Museum – Native Fashion Now

I joined a nice crowd of local SAQA members this week for a docent-led tour of Portland Art Museum’s new exhibit Native Fashion Now. Organized by the Peabody Essex Museum in Salem, Mass., this is the first large-scale traveling exhibition of contemporary Native American fashion celebrating indigenous designers from the United States and Canada, from the 1950s to today.

Here are just a few of the extraordinary pieces I saw, beginning with (click on image for a larger view)

06-15-16 umbrellas

a small group of the many umbrellas that hung from the ceiling of the first room of the exhibit.

This dress is on loan from the designer Sho Sho Esquiro (b. 1980), Kaska Dene and Cree, working in Vancouver, British Columbia, from her Day of the Dead Collection, 2013.

06-15-16 Sho Sho Esquiro, WWW

The dress is constructed of seal fur, beaver tail, carp, beads, silk, rooster feathers, tulle and skull.

06-15-16 Sho Sho Esquiro, WWW dress

The dresses’ title, Wile Wile Wile, means “the sound of wings in flight” in the Kaska Dene language.  The dress honors Esquiro’s departed loved ones — she designed it for them to wear at an imagined joyful reunion.

Frankie Welch, Cherokee (b. 1924), worked in Alexandria, VA, designed this dress for Betty Ford in 1974.

06-15-16 Frankie Welch for Betty Ford 1974

The First Lady wore this silk brocade dress to the White House Christmas party that year.

Laura Shepperd (b. 1957) works in Santa Fe, NM, designed this corset and skirt in 2010.

06-15-16 Laura Sheppherd, corset and skirt 2010

The corset is silk, cotton and steel.

06-15-16 Laura Sheppherd, corset

The skirt is silk shantung.

06-15-16 Laura Sheppherd, back

The look is a knock out!

Cody Sanderson (b. 1964), Diné (Navajo), Hopi, Tohono O’odham and Nambe Pueblo, works in Santa Fe, NM. He created this stunning bracelet in 2013.

06-15-16 Cody Sanderson Polished Wet Spider bracelet

He calls this sterling silver creation Polished Wet Spider.

06-15-16 Cody Sanderson Bracelet

Bethany Yellowtail (b. 1988), Apsáalooke/Northern Cheyenne, works in Los Angeles, CA. Yellowtail shift was created in 2013-14 for Project 562.

06-15-16 Bethany Yellowtail, shift

The dress is constructed with polyester, satin and polyester mesh printed with a photograph by Matika Wilbur (b. 1984, Swinomish and Tulalip). The cut of the fabric positions the horizon of one of Wilbur’s photographs along the hems of the skirt and the sleeves. The filmy black band at the bottom edge evokes the flutter of wings and the spirit of birds in flight.

Jamie Okuma, Luiseno/Shoshone-Bannock, works in Santa Fe and created these dramatically beaded Christin Lauboutin boots.

06-15-16 Jamie Okuma boots

The boots are constructed from mylar, vinyl and stainless steel, hand beaded by the artist who specializes is one of a kind art pieces.

Dustin Martin (b. 1989), Diné (Navajo), works in Albuquerque, NM, designed this cotton T-shirt using the same gun model that George A. Custer and his troops used at The Battle of the Little Bighorn in June 1876.

06-15-16 Dustin Martin, Peace

The words under the gun are “Ceci n’est pas un concilrateur” Translation: This is not a peacemaker

Jared Yazzie (b. 1989), Diné (Navajo), works in Chandler, AZ, designed this cotton T-shirt for OxDx in 2012. It needs no explanation.

06-15-16 Jared Yazzie, Columbus

Again, what I’ve shared here is just a small sample of the exhibit. Each and every piece is noteworthy. I’ll be returning to this exhibit for another viewing of the fashions and a closer look at the interactive displays which present the ideas and issues around Native and Native-inspired fashion. This exhibit will be on view through September 4, 2016.  Portland is one of only four museums to house this exhibit and the only west-coast venue. If you are in Portland, this is a must-see experience.



Concrete & Grassland Exhibit

I attended the opening artists’ reception for Concrete & Grassland June 3rd. This juried exhibit is a collaboration between Studio Art Quilt Associates and the Grants Pass Museum of Art and features 57 art quilts by 57 artists.  SAQA artists were asked to submit works that explored either the soft lines of nature or the hard lines of urban structures, or a combination of both. Almost 400 entries were submitted from around the world, including the United States, Israel, United Kingdom, Canada, Australia, Belgium and Lithuania.

Several of my friends from the Bay Area have work in this exhibit and attended the opening reception so I was eager to see their work and them. The exhibit had a nice splash of notice in the Grants Pass Daily Courier on June 3. Click on an image for a larger view.

06-03 C&G 1

The date was also the First Friday Art Walk day for Grants Pass so attendance at the opening was very high. I heard one of the museum docents comment that well over 200 people had come in during the first hour.

Photography was limited — prior permission from the artist was required — so I have only a few images to share here.

Dolores Miller wrote this about Monument for Humanity in the catalog: “La Grande Arche de la Fraternite, the westernmost element of the Triumphal Way in Paris, was inaugurated in 1989. Rather than glorifying military victories (as does the Arc de Triomphe de l”Etoile), the hollow cubic structure with its grand staircase was designed to express humanitarian ideals and inspirations.”

06-03-16 Dolores-Miller-1

Jennifer Landau says this of her entry Root & Branch:  “Natural and human-made systems are positioned side-by-side, one grounded in the concrete grid and the other in topographic meandering.  Peel away the outer layer of urban structures and peek beneath the streets.  There is a branching infrastructure of pipe and wire that maintains human life, just as roots and branches sustain trees in the natural landscape.  Roots may curve as they delve into the soil and pipes may stretch straight beneath the pavement, but both allow water and energy to flow where needed.  Streams wind through the landscape, small branches joining into rivers, while neighborhood streets connect to cross-town arteries.  The relationship of the two worlds is not always benign, yet on good days we experience them seamlessly, two halves of our existence neatly zipped together.”

06-03-16 C&G-Jennifer-Landau

Denise Oyama-Miller shared her joy in creating Grass Lake for this exhibit:  One of my favorite spots is a lovely rest area along Highway 97 at about 5000’ elevation, just outside of Weed, California.  At one point, it actually was a lake created by a lava flows that blocked a drainage path on the east side of the valley.  There was a hotel on the same site as the rest area.  In the early 20th century, a development project inadvertently broke through the seal of the porous lava rock, and the water drained out through what is called “The Glory Hole,” which is still visible today.  What is now left is a large, beautiful “wet” meadow just east of the southern Cascade Range.  It is a quiet, peaceful spot to watch the herds of cattle in the distance, nesting sand hill cranes, and the rare tiger salamander.”

06-03-16 C&G-Denise-Oyama-Miller

Geri Patterson-Kutra created Room With A View 2.  She says, “We create urban environments not only to provide shelter, but also to satisfy economic mandates, neglecting our natural world and limited resources.  Power lines march across the landscape delivering the electricity to light the cities and power industries.  Our homes are built shoulder to shoulder on concrete slabs, ignoring the fragility of the earth below.  My work explores the juxtaposition between grassland and urban demands.  Will the lines between the two continue to be blurred until our only memory of grassland becomes a screensaver on our computers?”

06-03-16 Geri-Patterson-Kutra

The artists enjoyed lively conversations about their inspiration for the work.

06-03-16 C&G-2

And there was catalog signing.

06-03-16 C&G-catalogue-signing

And then just a bit of happy-moment posing. Here I am with Denise and Dolores — each of us is a former regional representative for the Northern CA SAQA Region.

06-03-16 C&G-9

The exhibit continues through July 29, Tuesday through Saturday, 10 a.m. – 5 p.m., at the Grants Pass Museum of Art which is located at 229 SW G Street. If you are near the area at all, stop by to take it in — it’s worth the effort.

Quilt! Knit! Stitch! Portlandia

I have been rather occupied getting basics done since our move to Portland. My studio has yet to be configured so there is no hope of opening boxes now.

Meanwhile, my sister came for a short visit last week and we went to the IQA Quilt! Knit! Stitch! exhibit at the convention center. The Center is quite lovely, clean and staffed with friendly people. And IQA always does a wonderful job with their exhibits. There is always more to see than time in one day so we attended a second day to make sure we saw everything we wanted to — plus getting back to some pieces that we wanted to see again. I’ll share some of the highlights that I saw here.

International Quilt Festival celebrates 40 years of honoring fiber art/quilts with these exhibits. To commemorate that anniversary the exhibit Ruby Jubilee: Celebrating 40 Years was developed. This was a huge exhibit featuring red and white quilts made since 1974. Here are 7 that I especially liked:

Andrea Blackhurst’s Spools was one of many miniature quilts (click on the image for a large view):


I enjoyed the varied size of spools and the measuring-tape border. Storm at Sea by Ellen Carter, another miniature:


The workmanship and color balance on this mini was stunning. Her Pineapple with Leaves was equally beautiful:


There were very few pieces in this exhibit that were not traditional. I especially enjoyed Betty Hahn’s contemporary Big Apples:


Don’t you just love the apples on the right and the slices on the left? The quilting was dense and varied:


Serena Vrnak designed and Patricia Harrison quilted Decisions, Decisions, Decisions:


This piece was huge and commanded attention. The detail of the design was matched by the detail and exquisite quilting:


Sisters Rosie de Leon-McCrady and Kathleen McCrady set some vintage red-work blocks with 1930’s fabric and had Victoria West quilt it. The result was pure delight:


This quilt was evenly and densely quilted which ensured that it hung square and flat — the look that I always seek with my own work. I thought that the execution of this hand work truly honored the maker, whoever she was.


The final red piece I’ll share here is Dorothy Moreland’s Crimson Garden, a very large, 2-sided quilt inspired by Hawaiian design. Here is the back of the quilt. Notice how the front shadows through?


Only upon close examination did I notice that the sleeve was incorporated into the design. Simply brilliant!


And here is the front with the back shadowing through:


The red on the edge of the above photograph reveals the red carpet treatment that this exhibit had. Well deserved!

The SAQA exhibit Redirecting the Ordinary was fun, especially since I know many of the artists. Each artist took something very ordinary and turned it into some extraordinary. See if you don’t agree with just a few examples here. Gay Young is from Texas and with the weather she has been experiencing it was no surprise to me that she chose an ice-cube for her subject.


Denise Oyama Miller pulled out scissors for her piece titled Shear Delight:


Jean Sredl’s Oats was most impressive with fine detail both in the design and the quilting:


and the detail:


I loved Helen Godden’s depiction of colored-pencil shavings in A Close Shave:


Again, I thought the color balance and the workmanship on this piece were worth lingering over.


Sandra Sider used cyanotype photograms and a wine glass to produce Bottoms Up! Cyanotype printing is one of my favorite techniques — I will be investigating the photogram technique next. Thank you Sandra for the inspiration.


Celebrating Silver was SAQA’s special exhibit honoring it’s 25th anniversary as an organization. Jean Renli Jurgenson used her artistic eye for a different perspective to look back on history with Reflection – World Trade Center.


And finally, the special exhibit African Folklore Embroidery featured Catherine Redford’s incredible hand work and sense of humor. Here are a few of her pieces that brought smiles to my face and true respect to my heart. Here is Tea For Two:


African Rooster 2:


and Sparkly Tortoise:


If you haven’t experienced the thrill of inspiration at an art exhibit lately, what’s holding you back?

Blow Up — Inflatable Contemporary Art

I recently visited the Bedford Gallery at the Lesher Center for the Arts in Walnut Creek and enjoyed Blow Up — Inflatable Contemporary Art. From the moment I approached the door to the gallery I was smiling and so was everyone else I saw in the gallery that day. Here are just a few reasons why:

Billie Grace Lynn created White Elephant 1 in 2007 from ripstop nylon, chiffon and a fan. This lovable elephant is 8 x 6 x 10 feet and he begs to be hugged — but I didn’t. Click on an image for a larger view.

Blow Up, White Elephant 1

Paranirvana (Self Portrait) was created by Lewis deSoto in 2012 using painted nylon and a fan. At 6 x 26 x 7 feet, this quietly resting piece takes a lot of space in the gallery.

Blow Up, Paranirvana (Self Portrait)

I’m certain that you are smiling broadly now! These delightful figures can’t help but lighten your day. Momoyo Torimitsu created Somehow I Don’t Feel Comfortable in 2000 using inflatable nylon balloons. Each figure is 15.8 x 6.5 x 6.5 feet. The man in the photograph is 6′ 3″ tall.

Blow Up, Somehow I Don't Feel Comfortable

In the final room of the gallery viewers played with Andy Warhol’s Silver Clouds, created in 1966 of silver plastic film, helium and air. Dimensions of the clouds were variable.

Blow Up, Silver Clouds

This exhibit took me back to those summer days when the carnival came to town. If you are anywhere near this exhibit, don’t miss it. The creations are light as air, but they provide a ton of fun!

The exhibit continues through June 21, 2015
Bedford Gallery

di Rosa Art

Last week I had an art date with a friend. We went to the di Rosa Gallery and grounds on Sonoma Highway in Napa. Rene Di Rosa was a passionate art collector who became equally renowned for his famed Winery Lake vineyards and his philanthropy. In 1960, he purchased 450 acres in the little-known Carneros region of Napa and became a leader in the fight to preserve the region’s agriculture and open space. Today the property consists of over 200 acres of landscaped grounds and open space, including a 35-acre lake and wildlife preserve. Roaming freely and unperturbed by visitors, we encountered two peacocks who were quite willing to pose for us.

di Rosa, peacock

The Gatehouse Gallery is open to the public Wednesday to Sunday for drop-in visits. This gallery features rotating group and solo exhibits and selections from di Rosa’s permanent collection.

The Main Gallery contains the heart of the di Rosa collection– approximately 2,000 pieces by over 800 artists — and includes modern and contemporary paintings, drawings, sculpture, and photographs by well-known Bay Area artists including Robert Arneson, David Best, Roy De Forest, Jay DeFeo, Viola Frey and others. One visits the Main Gallery by guided tour only.

The courtyard just outside the di Rosa home displays two engaging Viola Frey pieces. This larger-than-life reclining man has the lake as backdrop. I loved the chair (on the left). Click on an image for a larger view.

DiRosa, Viola Fry work

At first glance, my friend took this smaller Frey piece for a live person.

DiRosa, Viola Fry workThere were many unexpected pieces in the collection. This car, for instance.

di Rosa, hanging carDuring our tour we heard more than one person say that they lived in the area and had driven by many times without stopping. They were very glad they had taken the time! The majority of visitors were from out-of-state. If you have an opportunity to spend some time at di Rosa, take it — it is a real treat.

Consilience of Art & Science Reception

I attended the opening reception for the Consilience of Art & Science exhibit at the Pence Gallery in Davis on Friday, January 10. Davis is home to a large University of CA campus and a thriving art community, so openings during Art Walk are vibrant and fun.

This exhibit is a partnership between the gallery and the UC Davis Art/Science Fusion Program. The jurors are both artists: Chris Daubert is a sculptor/installation artist and Professor of Art at Sacramento City College; Anna Davidson teaches at UC Davis in the Art/Science Fusion Program and is a PhD candidate in Plant Science. Both were on hand to share their thoughts about the pieces selected for the exhibit.

Franki Kohler, Pence Gallery openingAll mediums were accepted for this art exhibit. The large installation below presents the text of Charles Darwin’s Origin of the Species printed by hand on what appeared to be hand-made paper, although I found it hard to confirm the actual words.

Franki Kohler, Pence Gallery 2

This is a single sheet of folded paper.

Franki Kohler, Pence Gallery, folded paperMy piece, Woodwardia Wonder, is the only piece constructed of fabric in the exhibit. A nice surprise! The Woodwardia fern is one example of the quasi-self-similar fractal as defined by mathematicians. Leaves repeat – though not exactly – in ever-smaller forms.

Franki Kohler, Pence Gallery, Woodwardia WonderThis piece is part of a series which focuses on native California plants.

The exhibit will be up through February 28, 2014. Additional exhibits at the gallery include Judy Neal: Rhythm of Color, through January 26, and Mad Housewife, paintings of Leslie DePratt through February 16. See more details in the right column or through link for Pence Gallery above.

La Conner Quilt & Textile Museum

I had the opportunity to be at the La Conner Museum the day before the closing of Best of the Festival, the exhibit which featured my art quilt Nature’s Fractal. The museum occupies the historic Gaches Mansion which has been lovingly restored and maintained and is quite a treat to walk through. Sybil, the well-informed volunteer staff member on duty, contributed significantly to an enjoyable experience of the museum. Unfortunately, no photography was allowed of this exhibit with the one exception, my work, seen here:

Franki Kohler, Nature's Fractal at La Conner MuseumIn addition to the Best exhibit, the Abstracted exhibition featured work by Fibre Art Network of Western Canada which intrigued me. Pairs of fiber artists interpreted their subject – one in a representational fiber art piece and one in an abstract/non-representational fiber art piece. Photographs without flash were allowed for this exhibit. Here are a few of the works that grabbed my attention, starting with Barcelona Fruit Stand. The representational piece is by Judy Leslie, the abstract is by Robin Fischer.

Barcelona Fruit Stand, Judy Leslie and Robin FischerI thoroughly enjoyed the playful quilting and extravagant embellishments of Robin’s work.

Barcelona Fruit Stand, Robin Fischer, detailIchthyic Biosphere was thought-provoking with Save Our Oceans — Save Our Planet by Judith Parson and Dead Oceans — Dead Planet by Kathleen Buckoski.

Ichthyic Biosphere, Judith Parson and Kathleen BuckoskiBoth pieces of Milkweed were executed by Mariann Parsons because her artist partner was unable to complete her piece. I couldn’t decide which one I liked most!

Mariann Parsons, Milkweed, both piecesFifties Flair by Valerie Wilson and Brandy Maslowski was a very fun spin in the time machine!

Fifties Flair, Valerie Wilson and Brandy MaslowskiThis museum was well worth the visit. I’ll be watching for future exhibits.

Put Your Best Foot Forward a Success!

It doesn’t seem possible, but two months have flown by and the first exhibit for the Northern CA/Northern NV region of SAQA is over.

According to Heather Piazza, owner of Creative Framing & Gallery, this exhibit has enjoyed more viewers than any exhibit she’s had in the past 5 years. In the final week of the exhibit, 3 art quilts sold:

Untitled by Sandi Goldstein

Sandi Goldstein, 12" x 12", Untitled

Ode to Sacratomato by the Pixeladies

Pixeladies, 12" x 12", Ode To Sacratomato

Breezy by Pat Porter

Pat Porter, 12" x 12", Breezy

Thanks to all 26 artists who participated in this exhibit and helped to get the word out about art quilts!

If you’d like to learn more about the NorCA/NorNV region of SAQA, click here. To learn more about the international organization, click here.

Opening Artist Reception: Put Your Best Foot Forward

The opening artist reception for Put Your Best Foot Forward, Foot-Square Works from the Northern CA-Northern NV Region of SAQA was last night at Creative Framing & Gallery in Oakland, CA. The gallery was filled with quite a lovely and lively buzz the whole evening.

Franki Kohler, Gallery entry

The gallery is small, making cooperation among viewers necessary. This proved to be a good ice breaker for everyone to chat and move about.

The main wall of the gallery was hung with 44 quilts created by 26 artists. Viewed individually, each is a stunning piece of art — collectively they are a powerful statement.

Franki Kohler, Main gallery wall

Several artists had come and gone before I arrived. Eight of the artists were there during my visit. They are (L to R) Jean Jurgenson, Eva Cooper, Kris Sazaki, Deb Cashatt, Denise Miller, Franki Kohler, Aileyn Ecob and Jenny Lyon.

Franki Kohler, Artists

Two smaller exhibits of art coordinate beautifully with our regional exhibit. Three acid paintings on copper, each 12″ x 12″, by Stephen Bruce were mounted far left on the main wall.

Franki Kohler, acid paintings on copper by Stephen Bruce

And Useless Emotions by Win Dell’Ario was mounted on the wall behind the counter.

Franki Kohler, Useless Emotions by Win Dell'Ario

Useless Emotions premiered at the Art Stroll in Half Moon Bay in 2012. Dell’Ario interprets frustration, envy, regret, guilt, rage, shame, worry and fear in fabric. Which quilt do you think reveals which emotion? When you have settled on your answer, check here to see if your list matches Win’s intent.

All of this art will be on exhibit through May 31, 2013. The closing reception for this exhibit will be Saturday, May 25, 6 – 9 p.m. Check gallery hours on the column to the right then make a date with a fellow art lover to appreciate the work of these California artists.

Put Your Best Foot Forward – A must-see exhibit!

Put Your Best Foot Forward will open April 1 featuring foot-square works from 26 artists of the Northern CA-Northern NV Region of SAQA. This is not just ‘another exhibit’ my friends. This is the first exhibit for the SAQA region I have been a member of since 2005!  And it will feature some of the best art this region has to offer in an 12″-square format. I’m quite excited to see the 44 works that will be on display from April 1 – May 30 at Creative Framing & Gallery in Oakland.

Here are a few of the art quilts that you will have to see in person to fully appreciate:


Escence by Leslie Carabas


Global Warming by Lin Schiffner

Miller_Denise_Study in BlueSmStudy in Blue by Denise Oyama Miller

Opening Reception:  April 13, 6 – 9 p.m.

Closing Reception:    May 25, 6 – 9 p.m.

Mark your calendar now so you don’t miss seeing this wonderful exhibit.

SAQA is a nonprofit organization whose mission is to promote the art quilt through education, exhibitions, professional development, documentation, and publications.

Pence Gallery: Opening of By Hand Exhibit

I attended the opening of By Hand, Extraordinary Fine Craft in California in Davis last Friday. The whole of downtown Davis was buzzing with activity. The restaurants were full, parking lots were packed and so was the gallery. A very refreshing scene in these times.

The large flags, well-lit sign and peek at the crowd inside created a very warm welcome.


And before you step inside there is art to savor.


The china table and small chest made of acrylic by Jeff Snell walked away with the Juror’s Award.

I thoroughly enjoyed being part of this exhibit which featured works of oil, photography, ceramic, metal, wood, acrylic and textile.

Here is the Juror’s statement from the catalogue (click on image for larger view).

Juror Statement

The exhibit filled the two gallery spaces on the ground floor. The two smaller gallery spaces upstairs had additional exhibits and a place for children to get creative while the adults were enjoying the exhibits.




The exhibit will be up through April 4th. If you are in the area, it’s well worth the effort to stop by. For more information see Pence Gallery.

More From IQF Houston

There were so many incredible quilts at the Houston show! Here are a few more that I especially enjoyed.

Suspicion by Tanya Brown is a diminutive quilt of 11 inches square. Tanya used Tsukineko ink, watercolor and free-motion quilting on cotton fabric for this original design.

Poly Dressler Bech said she played with solar printing techniques and effects to create this quilt.

All My Roads Lead Back to You by Alice Beasley is just plain arresting. The quilt was inspired by a photo of her mother taken ca. 1914. Here she sits on her Papa’s knee, feet dangling off the edge of the quilt.

Downtown by Marion Coleman features a full-sized dress, hat, gloves

and hankie. Photographs remind us of how one dressed to go shopping downtown during the 1940 to 1960 time period.

Susan Carlson used Pippen, her mixed breed dog, as inspiration for this collaged quilt. Susan says that Pippen is satisfied to be “Dixie Dingo, the wild dog of the Americas. She reminds us to be happy with who and where we are.”


Cat Larrea’s My Inner Raven was a real treat. I’m afraid this photo only hints at its splendor.

I’ll share a few more incredible quilts next week. Meanwhile, I’m already making plans to be in Houston for the 2013 show. If you’d like to see earlier quilts I shared, click here.

International Quilt Festival Houston

I’m still a’flutter from my trip to IQF in Houston. Jenny Lyon was my travel partner and we were a perfect combo — she is high energy and kept me on my toes. She started posting about the show before we left Houston. You can see what she had to say about it here.

When was the last time you saw a quilted Yurt? Well here’s the one I saw in Houston.

Inside the Yurt there was a comfortable chair next to the table with lamp completing the cozy ambiance of this fabric art structure. It is no surprise that this incredible structure was juried into the Tactile Architecture exhibit. I think special thanks are due to Norma Klimpke, Board President of the Wisconsin Museum of Quilts and Fiber Arts for the heroic effort it took to transport it to Houston and to Karey Bresenhan, Founder and Director Emeritus of International Quilt Festival, who made sure it had just the right spot at the exhibit. And, in her own words, here is Linzi Upton’s story behind the Yurt.

The Yurt from the back.

I was a bit dazed after seeing this installation but there was so much more to see. I have long admired Sue Reno‘s artistry and she had two pieces on view. Here is Watt & Shand #9, also part of the Tactile Architecture exhibit:

Sue used Thermofax and digital printing methods alongside traditional patchwork to record the transformation of a historic building in Lancaster, PA. Her art always begs you to come closer and I’m never disappointed.

Columbine is Sue’s entry for In Full Bloom, a juried exhibit celebrating the tradition of floral quiltmaking in memory of Helen Pearce O’Bryant.

Those are cyanotype prints on silk using flowers from Sue’s garden. Every inch of the quilt is heavily stitched. Her work is beautiful and always lays flat.

Columbine was perfectly hung with Noriko Endo’s Cherry Blossoms #8.

Heather Lair‘s Silk Road Treasures was part of the special exhibit O Canada. I loved the colors and the mix of a very modern look with a serene landscape.

A detail.

There were several opportunities to come away with small textile art treasures. I was the lucky bidder on three creations. Frieda Anderson’s Pulpit Ferns was part of the silent auction which benefited IQA.

Lisa Flowers Ross donated Starry Forest for the SAQA auction. Lisa hand dyed her fabrics and used fused applique, hand embroidery and machine quilting to finish this little stunner.

Karen Schulz donated S.P.P. 10 for the SAQA auction. She used hand-dyed fabric to machine piece and quilt this treasure.

I’ll share more of what I saw next time.

Art Reception

The reception for my solo show at Creative Framing & Gallery was Saturday, October 20 from 6 – 9 pm. People came and went almost as if they had a time-stamped ticket which meant that the gallery was never over crowded and I had an opportunity to talk with everyone who came — a real treat.

The back wall here shows Ginkgo Dust Up with 8 journal page quilts.

Nature’s Fractal came home in late September after two years of travel with the SAQA Art Meets Science exhibit — just in time to be included in the show!

The Sunflower Scrap series was a hit.

And there were plenty of questions about how the broken ginkgo series was created.

The blackbirds always create a stir.

Here I am with gallery owner Heather Piazza.

The exhibit is up through October 31. If you stop by, be sure to sign the guest book and let me know what you thought.


I went to opening day of the Pacific International Quilt Festival at the Santa Clara Convention Center yesterday. So much eye candy! So much fun!

Here are a few of the art quilts that stopped me in my tracks. I’m sorry I cut off the top edge of this charming quilt by Jenny Lyon. Love the stripes. Love the setting. And lest you think this is just a little trifle,

look closer for the ‘wow factor.’

This second quilt by Jenny received a ribbon as runner-up to Best of Show.

And a detail.

From the SAQA exhibit I’m Not Crazy, two quilts in particular had me lingering. The horizontal design using yellow and blue is wonderful.

And the strips of pieced fabric include silk from men’s ties.

Her simple statement about this quilt was perfect.

Karen Musgrave’s entry was in a corner which was dark, a bit of irony for this lovely piece.

I have long admired Linda Cline’s work. Her fabric, thread and paint layering create a unique, sophisticated look that I never tire of.

Here is another artist who approaches her work in layers. A simple design element, repeated in dye and fabric with a riveting result.

Oh boy! I wanna know Linda.

The color choices for this quilt were spot on and the workmanship is impeccable.  I love the way the umbrella nudges the boundary of the quilt reminding the viewer of the tight boundary that these three children have under its protection.

I’m not usually tempted by ‘cute’ quilts, however, this one charmed me. I like the balance and whimsy of the design and the words drew me in. Using words can be a very tricky thing. I think that Joyce used them well here.

Here are two of the truths that Joyce shares with us.

After the work of walking, navigating the crowd and doing my best to get good photographs, I needed a little retail therapy reward. Mama Shaman had a booth and these shoes had my name all over them.

Naturally, a photograph will not give you all the information there is to an art quilt. If you’re able, get on over to the show. It is open through this Sunday and it is well worth the effort.

Back to the O’Hanlon Exhibit

Fellow artist and on-line friend Sharon Benton has temporarily moved from the Seattle area to San Jose for a few months and we are getting to know each other in person — so fun! Sharon was a charter member of Postmark’d Art so we have been chatting on-line and swapping art since 2004. Last week we finally met in person at the San Jose Museum of Quilts & Textiles and took in the Second International TECHstyle Art Biennial (ITAB). Photography is not permitted so you’ll just have to make the trip. The exhibit will be up through October 14, 2012, so you still have time to see this worthwhile exhibit.

Sharon drove up to Oakland yesterday and we went to the Bay Area Women Artists exhibit at the O’Hanlon Gallery in Mill Valley. I was there earlier this month and shared some of the art with you then, but I was happy for an excuse for a second visit. This time I took a few images of pieces that I particularly liked. Here is Barbara Crow’s acrylic Skara Brae.

Sharon and I agreed that we could each welcome Christine Boone’s Lines #1 into our home. The energy and light of this mixed media work really drew us in and made us want to linger.

Mitsuko Baum created an utterly charming fold-up map of Paris based on a trip taken there in 2002.

And here is the box that Paris is kept safe in.

I shared a full view of Marie Bergstedt‘s Summer here but you couldn’t really appreciate her fully. Here’s a close up of Summer’s face.

Marie stitched layer upon layer of buttons to create depth, contour and color. We couldn’t resist learning about the base that she used.

Here’s Sharon standing with Marie’s salty character Mikey of Mallory.

Susan Press had a unique way of reminiscing with her mixed media piece called Slices of the Past.

Black and white photographs have been sliced apart to create the skirt of this doll which is suspended by thread from the top of a simple glass enclosure.

This exhibit closes August 29, 2012 — today! — so time is running out.

O’Hanlon Gallery Visit

Heather Piazza joined me for a visit to the O’Hanlon Gallery to see their current exhibit Bay Area Women Artists. The art center is located in bucolic Mill Valley, just north of San Francisco.

Of the 56 pieces Donna Seager selected for this exhibit only four are textiles. I continue to be impressed by the hanging of the exhibits. They always show that the curator has an artful eye. Here is Ginkgo Dust Up.

Just a few steps away is Jean Jurgenson’s Tangaroa, inspired by Rey Jonsson’s 40′ wooden sailboat built in New Zealand in 1939. The three dimensionality Jean brought to this piece is quite stunning.

A few other pieces quite caught my eye as well. Such as this pair of figures created with buttons and hand-knit clothing by Marie Bergstedt.

Marie has quite a way with creating all the shading, coloring and depth with these every-day objects.

Kathy Seward created this fun textile with a collection of feed sacks that she and her brother collected. I particularly liked its irregular shape and wide binding using two different fabrics — a perfect stripe plus a small piece of chickens marching toward the left (top left corner). The Sun Bonnet Sue block is of the same vintage as the fabrics and feed sacks.

Driving away from the gallery we had to stop for six deer to clear the intersection. We managed to capture the doe with fawn — so sweet.

Just getting to the gallery is a real treat and the exhibit is quite worth the effort. Bay Area Women Artists will be on view through August 29th.