PIQF 2011 10-24-11

Two posts today because Blogger seems to limit the number of pictures I can post and it is much easier to post a series than to pull up and post one picture at a time.  The next post will be the end of PIQF '11.

I am so impressed by this special exhibit curated by Doria Anne Goocher, a San Diego area quiltmaker.  I did not see the sign that explained about the exhibit, but I believe it is part of Doria's training as a curator. She did a great job.  I think this was the best special exhibit at PIQF this year.  I would like more explanation about the techniques, but then I feel that way about most exhibits.  All of the quilts in this exhibit can be seen on the SAQA website http://www.saqa.com/about.php?ID=1943 and you can read the juror's statement at: http://www.saqa.com/about.php?ID=1921

www.bbusbyarts.com

Betty's work has become more and more sophisticated as the years go by.  I admire everything I have seen.  This is done in layers and (no pun intended) has a great impact when viewed close or at a distance.

www.kathleenkastles.com

At first glance this appeared to be reverse applique, but instead it is embroidered.  The glasses on the table are a nice indicator of place - at a table with liquid beverages. 

This machine quilted image is in the upper right corner of the quilt.  I wish there were a bit more quilting to prevent the saggy feeling, but I don't know how the artist could add quilting.

I wrote to Kathleen to ask about her embroidery technique and she sent me the following explanation:  All quilting and embroidery were done by machine. I outlined the form first using a straight stitch, then filled it in with zigzag stitches. Heavy zigzagging by machine tends to distort the quilt (and must be subsequently corrected), whereas chain stitching by hand would eliminate that problem. But I lack the patience to do hand work, other than for burying loose threads and hemstitching the binding or facing.

www.barkingdogfiberart.org

Such concentration and organization this quilt must have taken.  Certainly a perfect example of a work of art that changes when viewed from a distance and then viewed again close up. 

I was tempted to stand for the rest of the day looking at the tiny individual pictures - fascinating.

 
www.marypaldesigns.com

It is always a thrill to see one of Mary Pal's works "in-the-fabric" because a photo just doesn't do justice to the techniques she has developed.  I am so fortunate to have purchased her image of Jane Goodall from the SAQA Auction this year. 

Mary's ability to see the negative space and interpret it is awesome.

Lovely color.  It reminds me of the work of a famous painter of jungle scenes, but I can't retrieve his name from my foggy brain. 
The next day I remembered the artist's name - Henri Rousseau 

http://www.spotlight.com.au/inspiration/blog/post/Spotlight/2009/08/artist-profile-carolyn-sullivan/

 
So subtle, such gentle color - it does resemble eucalyptus bark. 

This is reminiscent of the Bangladesh and Bengal, India stitching called Nakshi Kantha.
http://en.wikipedia.org/wiki/Nakshi_Kantha

Quilt from TCQC posted on Blog 03-13-11

This quilt was part of the SAQA online auction 2009.  There were an unusual number of black and red quilts that year and I purchased several.  This one attracted me because of the red bird, since I am always bird watching as I travel, and also the idea of a bird 'walking the line".  Usually we see and think of birds flying or sitting on a line, but they do sometimes walk along a wire - or perhaps they hop. 

"Walk the Line"  Doria Anne Goocher - San Diego, CA  2009  12"x12"
Background: Cotton resist dyed, Bird: Silk with chain stitch hand embroidery, Line: hand embroidery.   Machine quilted.

A nice bright red back with a good explanatory label sewn firmly on.

 

The bird is hand appliqued with red thread and Doria did not go over it with black machine quilting.

 

I am frequently surprised at the location of labels.  I put mine in the lower left hand of the back because I think people more frequently lift the right hand corner of the front when they want to see the back or the label.  Of course, there is no rule.  I don't care for the labels on the sleeve because the quilt must be removed from the wall (or wherever it is hanging), or if it is rolled for storage it must be unrolled in order to see the label, since it is better to roll from the top of the quilt.  I have taken to marking "label on sleeve" on the paper storage label that I put on a rolled quilt.   See Doria's website: http://www.designsbydoria.com/

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