Steps Along the Way

A small quilt marks my foray into needle-turn appliqué and social/political comment. Death of a Forest (August 1991, 17 1/2 x 23"/ 44cm x 58cm) contains a bit of everything : machine piecing and quilting, machine and hand embroidery (French knots) and appliqué and reverse appliqué.

The image of the boxed-in old-growth forests of the Pacific Northwest (USA) lingers in my mind until today, reinforced by the view of patchworked logged mountains seen when flying into Portland, Oregon. The brown appliqué represents blight and the red appliqué, well, that’s obvious. Concerning technique, I found that the needle-turn appliqué allowed me to create interesting and unusual forms.

       Boxes keep turning up, as in Pandora’s Box, no. 91 (see here), inspired by the first Gulf War. In 1991, my war series began and has expanded to include revolution today.

Then La Porte au fond du couloir (The Door at the End of the Hallway, November 1991, 41"x43"/ 1m04x1m10, machine pieced and quilted) took boxes to an extreme. It started as a drawing exercise from which I made a complex block pattern. The angles were a bear. Talk about learning technique the hard way. This was a one-time-only technique.

       I experimented with form, color and technique, creating Etudes, Improvisations, and Themes and Variations. Here is a small study still using a block format, Etude I (September 1991, 24"x24"/ 60cmx60cm, machine pieced and quilted).

This inspired Etude II  (January 1994, 55"x60"/ 1m38x1m50), which is based upon the block unit from Etude I.

Etude II contains some hand painted fabrics and is the the first piece in which I sewed down bits of fabric to create depth.

In 1993, I created Flowers for Abou Jihad (see here) which took about three years to complete and which was based on a pattern I drew. Sometimes ideas take over—I had to complete this quilt the way it dictated, despite the extreme tediousness of working with a detailed pattern in silks, brocades, and satins, along with cottons. Another one-time-only technique.

       Although I claim all my artwork to this point, Running With the Crowd (October 1994, 40"x37"/ 1m x 95cm) represents the beginning of a preference for certain techniques and a confidence in my artistic voice. This piece was juried into the International Quilt Festival in 1998.

The unusual border fabric (commercial) was a flea market find.

I paper-pieced the light source, and the “crowd” running away from the light source is free-form needle-turn appliqué. Once again, the central element is boxed in with only small openings leading in and out. Ultimately, this is a statement about conformity and constraints. I am tempted to say that not much has changed in the world since then, however, given recent events, that might not be accurate. We will wait and see. And then make art about it.
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News Update: The flood waters have receded and fortunately it was only rain water--no messy cleanup. I may lose a few plants, but nothing major.