On the Edge (SAQA Oregon Regional Exhibition)

Page 1




SHOW CONCEPT This exhibit catalog is made possible through the generosity of SAQA’s members

Standing at the edge of the precipice, a precarious position, teetering between defeat or victory we feel both anxious and exhilarated. We must move forward, there is no turning back or staying on the edge. In Oregon, we live on the edge of a volcanic zone, an earthquake fault line, a tsunami zone, on the edge of the continent. Whether staring down from the top of a mountain or standing on a beach, we watch as the sun dips below the same horizon. We are all on the edge — be it physically, geographically emotionally, philosophically, in personality, or in style. SAQA Oregon artists were invited to interpret either in a representational or abstract way a response to On the Edge. www.saqaoregon.com

ISBN: 9781796310092

VENUE

Cover Art: Ben Davis, blloyddavis@gmail.com Book design: Naomi Weidner, MaterialChick@comcast.net Created in Adobe InDesign Available at Amazon.com

Oregon Historical Society, Hayes Gallery and North Wing 1200 SW Park Ave Portland, OR 97205 Open Mon-Sat 10-5, Sun 12- 5 www.ohs.org Exhibit: May 3, 2019 - August 15, 2019

ŽŶƚĞŶƚƐ ĐŽƉLJƌŝŐŚƚ ϮϬϭϵ ^ƚƵĚŝŽ ƌƚ YƵŝůƚ ƐƐŽĐŝĂƚĞƐ͕ /ŶĐ͘ /ŵĂŐĞƐ ĐŽƉLJƌŝŐŚƚ ƚŚĞ ŝŶĚŝǀŝĚƵĂů ĂƌƟƐƚƐ͘ /ŵĂŐĞƐ ŵĂLJ ŶŽƚ ďĞ ƌĞƉƌŽĚƵĐĞĚ Žƌ ƵƐĞĚ ŝŶ ĂŶLJ ǁĂLJ ǁŝƚŚŽƵƚ ƚŚĞ ƉĞƌŵŝƐƐŝŽŶ ŽĨ ƚŚĞ ĂƌƟƐƚ͘ ůů ƌŝŐŚƚƐ ƌĞƐĞƌǀĞĚ͘

PO Box 141 Hebron, CT 06248 860-530-1551 ŚƩƉ͗ͬ​ͬǁǁǁ͘ƐĂƋĂ͘ĐŽŵ

Reception and lecture: OHS Community Event Speaker Series May 23, 2019, 6-8 pm


SHOW CONCEPT This exhibit catalog is made possible through the generosity of SAQA’s members

Standing at the edge of the precipice, a precarious position, teetering between defeat or victory we feel both anxious and exhilarated. We must move forward, there is no turning back or staying on the edge. In Oregon, we live on the edge of a volcanic zone, an earthquake fault line, a tsunami zone, on the edge of the continent. Whether staring down from the top of a mountain or standing on a beach, we watch as the sun dips below the same horizon. We are all on the edge — be it physically, geographically emotionally, philosophically, in personality, or in style. SAQA Oregon artists were invited to interpret either in a representational or abstract way a response to On the Edge. www.saqaoregon.com

ISBN: 9781796310092

VENUE

Cover Art: Ben Davis, blloyddavis@gmail.com Book design: Naomi Weidner, MaterialChick@comcast.net Created in Adobe InDesign Available at Amazon.com

Oregon Historical Society, Hayes Gallery and North Wing 1200 SW Park Ave Portland, OR 97205 Open Mon-Sat 10-5, Sun 12- 5 www.ohs.org Exhibit: May 3, 2019 - August 15, 2019

ŽŶƚĞŶƚƐ ĐŽƉLJƌŝŐŚƚ ϮϬϭϵ ^ƚƵĚŝŽ ƌƚ YƵŝůƚ ƐƐŽĐŝĂƚĞƐ͕ /ŶĐ͘ /ŵĂŐĞƐ ĐŽƉLJƌŝŐŚƚ ƚŚĞ ŝŶĚŝǀŝĚƵĂů ĂƌƟƐƚƐ͘ /ŵĂŐĞƐ ŵĂLJ ŶŽƚ ďĞ ƌĞƉƌŽĚƵĐĞĚ Žƌ ƵƐĞĚ ŝŶ ĂŶLJ ǁĂLJ ǁŝƚŚŽƵƚ ƚŚĞ ƉĞƌŵŝƐƐŝŽŶ ŽĨ ƚŚĞ ĂƌƟƐƚ͘ ůů ƌŝŐŚƚƐ ƌĞƐĞƌǀĞĚ͘

PO Box 141 Hebron, CT 06248 860-530-1551 ŚƩƉ͗ͬ​ͬǁǁǁ͘ƐĂƋĂ͘ĐŽŵ

Reception and lecture: OHS Community Event Speaker Series May 23, 2019, 6-8 pm


Pat Pauly

Juror Statement

Rochester, New York www.patpauly.com/

I was honored to be a part of an exhibition that will bring art to others who will experience a slice — or Ȅ ϐ Ǥ

Two forms lean in for just a peck. They are on the edge of that relationship; best take it no further.

As the juror of On the Edge exhibition, my task was to select about half of the submissions from artists representing the Studio Art Quilt Associates (SAQA) of Oregon. The job was not an easy one and admittedly including all of them would have been the easy route, but then, my participation would not have been necessary.

cotton, wool, thread

Ǥ ϐ — On the Edge — determining how well that theme was represented and if the overall message conveyed edge. I also evaluated the pieces based on whether the composition was strong and Ȅ ǡ ϐ exploration. I also looked at the pieces to answer the question of whether they advanced my appreciation ϐ ǡ work from utilitarian to purely abstract, could be found in this group. The answer to the many questions ϐ Ǥ ϐ ǡ ǡ edgy ϐ Ǥ Again, I was honored to play a part in putting this exhibit together. Pat Pauly

Juror Bio ǯ ϐ Ǥ ϐ art education, then in graphic design and exhibition design, she brings skills from these disciplines to her ϐ Ǥ from juried to invitational. Though her work focuses on non- representational design, often with high chroma found in the printed fabric she makes, it often leans to abstracted botanical and earth themes. ϐ ǡ most notably Quilts 20/20: Traditional Works / Contemporary Art as well as exhibitions of historic works as in Quilts Uncovered: 19th Century Quilts from the Genesee Country Museum. Pat Pauly often notes that the heritage of quilting, coupled with a knowledge of art history is a healthy necessity for understanding the ϐ Ǥ Ǥ studio is in Rochester, New York.


Pat Pauly

Juror Statement

Rochester, New York www.patpauly.com/

I was honored to be a part of an exhibition that will bring art to others who will experience a slice — or Ȅ ϐ Ǥ

Two forms lean in for just a peck. They are on the edge of that relationship; best take it no further.

As the juror of On the Edge exhibition, my task was to select about half of the submissions from artists representing the Studio Art Quilt Associates (SAQA) of Oregon. The job was not an easy one and admittedly including all of them would have been the easy route, but then, my participation would not have been necessary.

cotton, wool, thread

Ǥ ϐ — On the Edge — determining how well that theme was represented and if the overall message conveyed edge. I also evaluated the pieces based on whether the composition was strong and Ȅ ǡ ϐ exploration. I also looked at the pieces to answer the question of whether they advanced my appreciation ϐ ǡ work from utilitarian to purely abstract, could be found in this group. The answer to the many questions ϐ Ǥ ϐ ǡ ǡ edgy ϐ Ǥ Again, I was honored to play a part in putting this exhibit together. Pat Pauly

Juror Bio ǯ ϐ Ǥ ϐ art education, then in graphic design and exhibition design, she brings skills from these disciplines to her ϐ Ǥ from juried to invitational. Though her work focuses on non- representational design, often with high chroma found in the printed fabric she makes, it often leans to abstracted botanical and earth themes. ϐ ǡ most notably Quilts 20/20: Traditional Works / Contemporary Art as well as exhibitions of historic works as in Quilts Uncovered: 19th Century Quilts from the Genesee Country Museum. Pat Pauly often notes that the heritage of quilting, coupled with a knowledge of art history is a healthy necessity for understanding the ϐ Ǥ Ǥ studio is in Rochester, New York.


2 |On the Edge

3 |On the Edge

Susan K Allen West Linn, Oregon warlings@comcast.net

Consider the vastness of the galaxy in which we live. Unlimited beauty in the diversity of size, shape, color and energy … life particles in space, for me, ϐ on Earth. Inspired by the “comets” resulting from my ice-dyeing process, the image of what happens at the edge of the galaxy came into focus.

artist ice-dyed cotton and linen fabric, commercial batik fabric, rice paper, cotton batting piecing, free-motion quilting

Hoddick Photography

At the Threshold of the Galaxy 40 x 36 inches 2019


2 |On the Edge

3 |On the Edge

Susan K Allen West Linn, Oregon warlings@comcast.net

Consider the vastness of the galaxy in which we live. Unlimited beauty in the diversity of size, shape, color and energy … life particles in space, for me, ϐ on Earth. Inspired by the “comets” resulting from my ice-dyeing process, the image of what happens at the edge of the galaxy came into focus.

artist ice-dyed cotton and linen fabric, commercial batik fabric, rice paper, cotton batting piecing, free-motion quilting

Hoddick Photography

At the Threshold of the Galaxy 40 x 36 inches 2019


4 |On the Edge

5 |On the Edge

Mary M Arnold Vancouver, Washington marnold48@comcast.net

On the edge between babyhood and childhood, do we cling to the familiar or go forth into the unknown? As always, the future is unknown but going forward is really the only path.

hand-dyed fabric, commercial fabric, batiks appliquĂŠ, machine quilting

Hoddick Photography

Mom and I 47 x 33 inches 2018


4 |On the Edge

5 |On the Edge

Mary M Arnold Vancouver, Washington marnold48@comcast.net

On the edge between babyhood and childhood, do we cling to the familiar or go forth into the unknown? As always, the future is unknown but going forward is really the only path.

hand-dyed fabric, commercial fabric, batiks appliquĂŠ, machine quilting

Hoddick Photography

Mom and I 47 x 33 inches 2018


6 |On the Edge

7 |On the Edge

Sharon MW Bass Lawrence, Kansas bass@mac.com www.smwbass.com

Daniel Boorstin, former Librarian of Congress, inspired my entry. He suggested that along any edge there are places of encounter, where something meets something else and something happens. He described these encounters as fertile verges. And so, too, is an estuary a place of encounter, where fresh waters meet saltwater.

cotton, silk, upcyled quilts and denim

raw-edge piecing and appliquĂŠ

Waterline #3 Estuary 30 x 42 inches 2019


6 |On the Edge

7 |On the Edge

Sharon MW Bass Lawrence, Kansas bass@mac.com www.smwbass.com

Daniel Boorstin, former Librarian of Congress, inspired my entry. He suggested that along any edge there are places of encounter, where something meets something else and something happens. He described these encounters as fertile verges. And so, too, is an estuary a place of encounter, where fresh waters meet saltwater.

cotton, silk, upcyled quilts and denim

raw-edge piecing and appliquĂŠ

Waterline #3 Estuary 30 x 42 inches 2019


8 |On the Edge

9 |On the Edge

Suzy Bates Beaverton, Oregon suzybates1@yahoo.com

After I moved to Oregon, I was often informed that no one carries an umbrella in Portland because you might be mistaken for a tourist! The person skipping across puddles doesn’t care what the miserable, rain soaked people think. The edgiest person in Portland is perfectly okay being labeled a tourist in our complex, always fascinating world!

hemp, Pigma pen artist-dyed hemp, fused layers and shapes, hand and machine quilting, pen drawing

Hoddick Photography

Introducing the Edgiest Person in Portland 46 x 47 inches 2018


8 |On the Edge

9 |On the Edge

Suzy Bates Beaverton, Oregon suzybates1@yahoo.com

After I moved to Oregon, I was often informed that no one carries an umbrella in Portland because you might be mistaken for a tourist! The person skipping across puddles doesn’t care what the miserable, rain soaked people think. The edgiest person in Portland is perfectly okay being labeled a tourist in our complex, always fascinating world!

hemp, Pigma pen artist-dyed hemp, fused layers and shapes, hand and machine quilting, pen drawing

Hoddick Photography

Introducing the Edgiest Person in Portland 46 x 47 inches 2018


10 |On the Edge

11 |On the Edge

Judith A Beaver Sisters, Oregon Jabeaver@mac.com

Life is full of challenges. Sometimes the path we have been traveling comes to an abrupt end. What happens when you are standing at your own personal “edge”? The “X” warns the viewer to stop and take notice. What lies ahead? Are there other paths? Will s/he meet the challenge?

hand-dyed and imported cotton, metallic thread and a variety of embroidery threads hand dyeing, piecing, fusing, machine appliqué, hand stitching, and machine quilting

Standing Strong 47.5 x 33.5 inches 2018


10 |On the Edge

11 |On the Edge

Judith A Beaver Sisters, Oregon Jabeaver@mac.com

Life is full of challenges. Sometimes the path we have been traveling comes to an abrupt end. What happens when you are standing at your own personal “edge”? The “X” warns the viewer to stop and take notice. What lies ahead? Are there other paths? Will s/he meet the challenge?

hand-dyed and imported cotton, metallic thread and a variety of embroidery threads hand dyeing, piecing, fusing, machine appliqué, hand stitching, and machine quilting

Standing Strong 47.5 x 33.5 inches 2018


12 |On the Edge

13 |On the Edge

Diane M Born Portland, Oregon dvduck@comcast.net

ϐ Ȅ ǫ Paint on cloth soaks color into soft paper, created shadowed, window-like patterns. Sinuous embroidery mimics growth. ϐ structure, while copper pieces gleam and cling with hand-sewn marks. Peeled tree bark settles on the surface softly. A collage is made. hand-painted cotton fabric, polyester webbing and handmade paper, sections of copper plate, pine bark and peeled bark from maple, felt and glue, cotton thread free-motion quilting, mark-making, hand painting on cloth, webbing and paper, hand embroidery on felt, appliqué

RJ Studio

Somewhere between Hard and Soft 16 x 16 x 2.5 inches 2018


12 |On the Edge

13 |On the Edge

Diane M Born Portland, Oregon dvduck@comcast.net

ϐ Ȅ ǫ Paint on cloth soaks color into soft paper, created shadowed, window-like patterns. Sinuous embroidery mimics growth. ϐ structure, while copper pieces gleam and cling with hand-sewn marks. Peeled tree bark settles on the surface softly. A collage is made. hand-painted cotton fabric, polyester webbing and handmade paper, sections of copper plate, pine bark and peeled bark from maple, felt and glue, cotton thread free-motion quilting, mark-making, hand painting on cloth, webbing and paper, hand embroidery on felt, appliqué

RJ Studio

Somewhere between Hard and Soft 16 x 16 x 2.5 inches 2018


14 |On the Edge

15 |On the Edge

Diane M Born Portland, Oregon dvduck@comcast.net

ϐ Ǥ Is there life within the dry hull? A cloak with tongues of color dancing across the fabric’s surface stands unmoved. Glittering glass weighs the cloak’s hem, tying it to the earth. The heart of Spirit’s Fire is hidden, for now ... white cotton fabric dyed and deconstructed, Peltex interfacing, glass tiles, cotton and polyester threads, fabric glue hand dyeing and silk screening, free-motion quilting and appliqué, hand embroidery

RJ Studio

Spirit of Fire 19 x 11.5 x 5 inches 2018


14 |On the Edge

15 |On the Edge

Diane M Born Portland, Oregon dvduck@comcast.net

ϐ Ǥ Is there life within the dry hull? A cloak with tongues of color dancing across the fabric’s surface stands unmoved. Glittering glass weighs the cloak’s hem, tying it to the earth. The heart of Spirit’s Fire is hidden, for now ... white cotton fabric dyed and deconstructed, Peltex interfacing, glass tiles, cotton and polyester threads, fabric glue hand dyeing and silk screening, free-motion quilting and appliqué, hand embroidery

RJ Studio

Spirit of Fire 19 x 11.5 x 5 inches 2018


16 |On the Edge

17 |On the Edge

Helen Brisson Bend, Oregon helen@helenbrisson.com

Edging Through is based on what we often see as we drive around Central Oregon, a Juniper that has pushed the limits, looking for a way to survive in the volcanic earth it has been given.

linen and commercial fabric, mounted on canvas piecing and free-form quilting, appliquĂŠ, thickened dye applied after quilting

Edging Through 30 x 24.5 inches 2017


16 |On the Edge

17 |On the Edge

Helen Brisson Bend, Oregon helen@helenbrisson.com

Edging Through is based on what we often see as we drive around Central Oregon, a Juniper that has pushed the limits, looking for a way to survive in the volcanic earth it has been given.

linen and commercial fabric, mounted on canvas piecing and free-form quilting, appliquĂŠ, thickened dye applied after quilting

Edging Through 30 x 24.5 inches 2017


18 |On the Edge

19 |On the Edge

Nancy O Bryant Corvallis, Oregon nancybryant47@gmail.com

The eruption of Mount St. Helens in 1980 reminded us that we in Oregon live within the Cascadia Volcanic Arc. Knowing that another volcanic eruption, the Big One, is predicted, puts those of us in ϐ on the edge emotionally as well as physically. Ǧ ǡ Dz ϔ dz Ǧ ǡ hand-drawn cartoon, curved piecing, machine quilting

LuAnn Kessi, photographer

Lava Flow: Waiting for the Big One 36 x 24 inches 2019


18 |On the Edge

19 |On the Edge

Nancy O Bryant Corvallis, Oregon nancybryant47@gmail.com

The eruption of Mount St. Helens in 1980 reminded us that we in Oregon live within the Cascadia Volcanic Arc. Knowing that another volcanic eruption, the Big One, is predicted, puts those of us in ϐ on the edge emotionally as well as physically. Ǧ ǡ Dz ϔ dz Ǧ ǡ hand-drawn cartoon, curved piecing, machine quilting

LuAnn Kessi, photographer

Lava Flow: Waiting for the Big One 36 x 24 inches 2019


20 |On the Edge

21 |On the Edge

Bonnie M Bucknam Vancouver, Washington bonniebucknam@gmail.com www.handwerktextiles.com

After living in Southern California and then Alaska where the vegetation is sparse, I moved to the ϐ Ǥ ϐ variety. This composition was inspired by a photo I took of a tree by the side of the road to Tillamook.

hand-dyed cotton fabrics by the artist hand-dyed fabric, machine piecing, machine quilting

Mark Frey, photographer

Tillamook 70 x 46 inches 2015


20 |On the Edge

21 |On the Edge

Bonnie M Bucknam Vancouver, Washington bonniebucknam@gmail.com www.handwerktextiles.com

After living in Southern California and then Alaska where the vegetation is sparse, I moved to the ϐ Ǥ ϐ variety. This composition was inspired by a photo I took of a tree by the side of the road to Tillamook.

hand-dyed cotton fabrics by the artist hand-dyed fabric, machine piecing, machine quilting

Mark Frey, photographer

Tillamook 70 x 46 inches 2015


22 |On the Edge

23 |On the Edge

Sharon Carvalho Sisters, Oregon slcarvalho63@gmail.com

Oregon itself is On the Edge. Most settlements along the coast are in danger because Oregon sits on ϐ ǯ Ǥ means the area is subject to seismic activity — volcanoes and earthquakes — both of which can trigger tsunamis, creating Oregon as a Tsunami Zone. commercial fabrics, my own digital prints on cottons, linen, silk, cheesecloth, and rice paper tearing and cutting strips of fabrics and randomly attaching to muslin before quilting, appliqué

Melinda Knapp, photographer

Tsunami Zone 26.5 x 56.5 inches 2019


22 |On the Edge

23 |On the Edge

Sharon Carvalho Sisters, Oregon slcarvalho63@gmail.com

Oregon itself is On the Edge. Most settlements along the coast are in danger because Oregon sits on ϐ ǯ Ǥ means the area is subject to seismic activity — volcanoes and earthquakes — both of which can trigger tsunamis, creating Oregon as a Tsunami Zone. commercial fabrics, my own digital prints on cottons, linen, silk, cheesecloth, and rice paper tearing and cutting strips of fabrics and randomly attaching to muslin before quilting, appliqué

Melinda Knapp, photographer

Tsunami Zone 26.5 x 56.5 inches 2019


24 |On the Edge

25 |On the Edge

Kristan C Collins Lake Oswego, Oregon colorkcc@icloud.com

Seek the day or night, Torn between dark and light. Which is wrong or right ... In 2017 the careless choices of youth in our forest became the edge of life and death — what was light suddenly became dark. This abstraction explores the balance between the darkness of devastation and lightness of hope. cotton fabric, inks, and markers collage of fused fabric with freehand surface design

The Edge of Night 34 x 47.5 inches 2019


24 |On the Edge

25 |On the Edge

Kristan C Collins Lake Oswego, Oregon colorkcc@icloud.com

Seek the day or night, Torn between dark and light. Which is wrong or right ... In 2017 the careless choices of youth in our forest became the edge of life and death — what was light suddenly became dark. This abstraction explores the balance between the darkness of devastation and lightness of hope. cotton fabric, inks, and markers collage of fused fabric with freehand surface design

The Edge of Night 34 x 47.5 inches 2019


26 |On the Edge

27 |On the Edge

Gerrie Congdon Portland, Oregon gericon@comcast.net gericondesigns.com

We live on a hill above Portland with a view to the north and east. If I get up before dawn, I can see the sunrise out on the edge of the city. The buildings below are still shrouded in darkness with ϐ Ǥ Ǥ

painted sik charmeuse

fused raw-edge appliqué, machine quilting

Hoddick Photography

Crack of Dawn 32 x 30 inches 2018


26 |On the Edge

27 |On the Edge

Gerrie Congdon Portland, Oregon gericon@comcast.net gericondesigns.com

We live on a hill above Portland with a view to the north and east. If I get up before dawn, I can see the sunrise out on the edge of the city. The buildings below are still shrouded in darkness with ϐ Ǥ Ǥ

painted sik charmeuse

fused raw-edge appliqué, machine quilting

Hoddick Photography

Crack of Dawn 32 x 30 inches 2018


28 |On the Edge

29 |On the Edge

Sherri Culver Portland, Oregon sherriculverquilts@gmail.com www.sherriquilts.com

Oregon has an ugly history of racism. Equal value, different shades is an aspirational piece inspired by the Branstrom Family, which embraces colorful diversity. Brillig and Amani are depicted in shades of grey. Racism a separation based on skin shade. Can seeing people in greyscale smooth the Edge of racism?

commercial fabrics and threads, beads, fabric paint fused raw-edge machine appliquĂŠ, machine quilting, beads, painted eyes

Hoddick Photography

Equal value, different shades 29 x 27 inches 2019


28 |On the Edge

29 |On the Edge

Sherri Culver Portland, Oregon sherriculverquilts@gmail.com www.sherriquilts.com

Oregon has an ugly history of racism. Equal value, different shades is an aspirational piece inspired by the Branstrom Family, which embraces colorful diversity. Brillig and Amani are depicted in shades of grey. Racism a separation based on skin shade. Can seeing people in greyscale smooth the Edge of racism?

commercial fabrics and threads, beads, fabric paint fused raw-edge machine appliquĂŠ, machine quilting, beads, painted eyes

Hoddick Photography

Equal value, different shades 29 x 27 inches 2019


30 |On the Edge

31 |On the Edge

Patricia D Fifer Oak Grove, Oregon ϐ ̷ Ǥ

Oregon’s coastline lies on a belt of volcanic activity surrounding ϐ Ring of Fire, where geologists often warn of imminent earthquake activity. Fractured Coastline represents the potential aftermath of a quake off our coast.

commercial and hand-dyed cotton fabrics, non-woven fabric, hand-made papers, silk ribbon, cotton and polyester threads, Inktense paint, Shiva Paintstiks piecing, fusing, stitching and hand painting

Fractured Coastline 35 x 25 inches 2019


30 |On the Edge

31 |On the Edge

Patricia D Fifer Oak Grove, Oregon ϐ ̷ Ǥ

Oregon’s coastline lies on a belt of volcanic activity surrounding ϐ Ring of Fire, where geologists often warn of imminent earthquake activity. Fractured Coastline represents the potential aftermath of a quake off our coast.

commercial and hand-dyed cotton fabrics, non-woven fabric, hand-made papers, silk ribbon, cotton and polyester threads, Inktense paint, Shiva Paintstiks piecing, fusing, stitching and hand painting

Fractured Coastline 35 x 25 inches 2019


32 |On the Edge

33 |On the Edge

Sheila K Finzer Terrebonne, Oregon ϐ ̷ Ǥ www.SheilaFinzer.com

Capturing the light of nature, creates an edge in my quilt Illuminate. I focus on light to bring life and magic in my work that teeters on the edge of realism and abstraction. This quilt continues my fascination of rock formations using intense color and emphasis on tonal values. hand-dyed fabrics, Tsukineko inks, commercial fabric in base layer and backing, trilobal polyester threads, and Matilda’s Own Wool Batting fabric collaged to a base layer, inks, and free-motion quilting

Gary Alvis, photographer

Illuminate 62.25 x 25 inches 2018


32 |On the Edge

33 |On the Edge

Sheila K Finzer Terrebonne, Oregon ϐ ̷ Ǥ www.SheilaFinzer.com

Capturing the light of nature, creates an edge in my quilt Illuminate. I focus on light to bring life and magic in my work that teeters on the edge of realism and abstraction. This quilt continues my fascination of rock formations using intense color and emphasis on tonal values. hand-dyed fabrics, Tsukineko inks, commercial fabric in base layer and backing, trilobal polyester threads, and Matilda’s Own Wool Batting fabric collaged to a base layer, inks, and free-motion quilting

Gary Alvis, photographer

Illuminate 62.25 x 25 inches 2018


34 |On the Edge

35 |On the Edge

Judith Quinn Garnett Portland, Oregon judith@atomicdirect.com www.blackdogdesignpdx.com

Amalgam: A blend, a fusion. In Amalgamation, traditional geometry meets unexpected materials. A base layer of composite aluminum is overlaid with expressive painted canvas ϐ Ǧ ǡ die-cut plastic waste. The piece is “quilted” with stainless steel screws and washers. I wish my grandmothers and great-grandmothers, quilters themselves, could see where “women’s work” has come. canvas, acrylic paint, industrial die-cut waste, composite aluminum, stainless steel washers, screws, painted paper die cut, and black adhesive vinyl

traditionally prepared canvas painted then divided; black applied vinyl border; three layers (aluminum, painted canvas, die-cut waste) connected with screws and washers Pushdot Studio

Amalgam 54 x 44 inches 2016


34 |On the Edge

35 |On the Edge

Judith Quinn Garnett Portland, Oregon judith@atomicdirect.com www.blackdogdesignpdx.com

Amalgam: A blend, a fusion. In Amalgamation, traditional geometry meets unexpected materials. A base layer of composite aluminum is overlaid with expressive painted canvas ϐ Ǧ ǡ die-cut plastic waste. The piece is “quilted” with stainless steel screws and washers. I wish my grandmothers and great-grandmothers, quilters themselves, could see where “women’s work” has come. canvas, acrylic paint, industrial die-cut waste, composite aluminum, stainless steel washers, screws, painted paper die cut, and black adhesive vinyl

traditionally prepared canvas painted then divided; black applied vinyl border; three layers (aluminum, painted canvas, die-cut waste) connected with screws and washers Pushdot Studio

Amalgam 54 x 44 inches 2016


36 |On the Edge

37 |On the Edge

Betty J Gientke Bend, Oregon bjgientke@gmail.com

A skyline of hills and buildings along a river evolved from experimentation with deconstructed screen printed silk organza. I under-laid the organza with shiboried fabric and raw edge appliquÊd shapes to create a feeling of dusk — a time when colors mute. City on the Edge is reminiscent of the skyline of Portland on the edge of the Willamette River.

silk organza, shibori dyed cotton, commercial cotton, cotton batting and thread

deconstructive/breakdown printing on silk organza, shibori-dyed cotton, raw-edge appliquĂŠ over and under the organza, machine quilting

City on the Edge 24 x 42 inches 2018


36 |On the Edge

37 |On the Edge

Betty J Gientke Bend, Oregon bjgientke@gmail.com

A skyline of hills and buildings along a river evolved from experimentation with deconstructed screen printed silk organza. I under-laid the organza with shiboried fabric and raw edge appliquÊd shapes to create a feeling of dusk — a time when colors mute. City on the Edge is reminiscent of the skyline of Portland on the edge of the Willamette River.

silk organza, shibori dyed cotton, commercial cotton, cotton batting and thread

deconstructive/breakdown printing on silk organza, shibori-dyed cotton, raw-edge appliquĂŠ over and under the organza, machine quilting

City on the Edge 24 x 42 inches 2018


38 |On the Edge

39 |On the Edge

Terry H Grant Beaverton, Oregon terry.grant@comcast.net

Oregon, the dream of the pioneers, of my forebears, the ϐ ǡ at the edge of the continent. 3-D construction using fabric, interfacing ǡ ϔ ϔ ǡ ǡ mache; base is layered and stitched fabrics hand and machine stitching, papier mache, fusing, gluing

At Home at the Edge of the Continent 15.25 x 17 x 14 inches 2019


38 |On the Edge

39 |On the Edge

Terry H Grant Beaverton, Oregon terry.grant@comcast.net

Oregon, the dream of the pioneers, of my forebears, the ϐ ǡ at the edge of the continent. 3-D construction using fabric, interfacing ǡ ϔ ϔ ǡ ǡ mache; base is layered and stitched fabrics hand and machine stitching, papier mache, fusing, gluing

At Home at the Edge of the Continent 15.25 x 17 x 14 inches 2019


40 |On the Edge

41 |On the Edge

Wendy Hill Sunriver, Oregon wdlhill@gmail.com wendyhill.net

ϔ is a symphony performed by an ensemble of contours, layers and textures. Variations play out as the edges curve and fold back on themselves, creating patterns and repetitions of forms. Something emerges as unseen forces push and pull the viewer, who falls in and out of the depths. Time stands still. Lean into it. What beautiful chaos, life is.

commercial shot cottons, woven cottons, and cotton prints, fast2fuse®, cotton thread machine collage/appliqué, thread texturing/quilting, zigzag stitching

Gary Alvis, photographer

ϔ 16 x 15 x 16 inches 2019


40 |On the Edge

41 |On the Edge

Wendy Hill Sunriver, Oregon wdlhill@gmail.com wendyhill.net

ϔ is a symphony performed by an ensemble of contours, layers and textures. Variations play out as the edges curve and fold back on themselves, creating patterns and repetitions of forms. Something emerges as unseen forces push and pull the viewer, who falls in and out of the depths. Time stands still. Lean into it. What beautiful chaos, life is.

commercial shot cottons, woven cottons, and cotton prints, fast2fuse®, cotton thread machine collage/appliqué, thread texturing/quilting, zigzag stitching

Gary Alvis, photographer

ϔ 16 x 15 x 16 inches 2019


42 |On the Edge

43 |On the Edge

Jill P Hoddick Portland, Oregon hoddick@up.edu

The blue Willamette River frames my neighborhood On the bluff above it. ϐ Portland neighborhood in which I live. It highlights the different elevations that create the area known as Willamette Bluff.

artist dyed and commercial cottons, organdy foundation, transparent fancies, textile paint, thread collage, piecing, painting, stitching

Hoddick Photography

On the Bluff Where I Live 24 x 35.5 inches 2019


42 |On the Edge

43 |On the Edge

Jill P Hoddick Portland, Oregon hoddick@up.edu

The blue Willamette River frames my neighborhood On the bluff above it. ϐ Portland neighborhood in which I live. It highlights the different elevations that create the area known as Willamette Bluff.

artist dyed and commercial cottons, organdy foundation, transparent fancies, textile paint, thread collage, piecing, painting, stitching

Hoddick Photography

On the Bluff Where I Live 24 x 35.5 inches 2019


44 |On the Edge

45 |On the Edge

Jill P Hoddick Portland, Oregon hoddick@up.edu

The edges of this vessel are as varied as life. Even a twig teeters on the edge.

commercial cottons, eco felt, thread, wire, camellia twig cottons layered with felt and stitched to form the structure; edge is wired to provide shape

Hoddick Photography

Vessel 3: Continuous Edge 11 x 14 x 18 inches 2019


44 |On the Edge

45 |On the Edge

Jill P Hoddick Portland, Oregon hoddick@up.edu

The edges of this vessel are as varied as life. Even a twig teeters on the edge.

commercial cottons, eco felt, thread, wire, camellia twig cottons layered with felt and stitched to form the structure; edge is wired to provide shape

Hoddick Photography

Vessel 3: Continuous Edge 11 x 14 x 18 inches 2019


46 |On the Edge

47 |On the Edge

Carol N Kimble Bozeman, Montana carolkimble@mac.com carolkimbleart.com

ϐ ǡ ǡ motion to represent my passions and experiences. It is how I hang on the edge of my life in the most intense of times. It is how I heal ϐ each day. It is how I love, laugh, and grieve.

cotton fabric, Procion fabric dye, cotton batting, silk batting, and polyester thread targeted dyeing to design the color sections, machine piecing and quilting

Intense 43 x 33 inches 2018


46 |On the Edge

47 |On the Edge

Carol N Kimble Bozeman, Montana carolkimble@mac.com carolkimbleart.com

ϐ ǡ ǡ motion to represent my passions and experiences. It is how I hang on the edge of my life in the most intense of times. It is how I heal ϐ each day. It is how I love, laugh, and grieve.

cotton fabric, Procion fabric dye, cotton batting, silk batting, and polyester thread targeted dyeing to design the color sections, machine piecing and quilting

Intense 43 x 33 inches 2018


48 |On the Edge

49 |On the Edge

Paulette Landers Rainier, Oregon PauletteGLanders@aol.com www.PauletteLanders.com

The edge between reality and dream is precarious. There exists a passage where the two mingle and blur. They become new possibilities.

cotton, dyes, paint

mixed media textile collage, hand-dyed and painted fabric, machine stitching

Train of Thoughts 43 x 39 inches 2016


48 |On the Edge

49 |On the Edge

Paulette Landers Rainier, Oregon PauletteGLanders@aol.com www.PauletteLanders.com

The edge between reality and dream is precarious. There exists a passage where the two mingle and blur. They become new possibilities.

cotton, dyes, paint

mixed media textile collage, hand-dyed and painted fabric, machine stitching

Train of Thoughts 43 x 39 inches 2016


50 |On the Edge

51 |On the Edge

Mary McLaughlin Portland, Oregon mary.mclaughlin@mac.com

and

Sherri Culver Portland, Oregon sherriculverquilts@gmail.com www.sherriquilts.com

Homelessness is a human tragedy. Reaching Out ... honors four resilient Central City Concern employees: Medina, Lynda, Bobby and Tyrone. Each came to CCC homeless and in need, worked the program, and today are program leaders Reaching Out ... and extending a hand up to those who follow, pulling them back from the edge.

commercial fabrics, thread, beads raw-edge machine appliquĂŠ, machine quilting, hand embroidery, beading

Hoddick Photography

Reaching Out ‌ 44 x 42 inches 2019


50 |On the Edge

51 |On the Edge

Mary McLaughlin Portland, Oregon mary.mclaughlin@mac.com

and

Sherri Culver Portland, Oregon sherriculverquilts@gmail.com www.sherriquilts.com

Homelessness is a human tragedy. Reaching Out ... honors four resilient Central City Concern employees: Medina, Lynda, Bobby and Tyrone. Each came to CCC homeless and in need, worked the program, and today are program leaders Reaching Out ... and extending a hand up to those who follow, pulling them back from the edge.

commercial fabrics, thread, beads raw-edge machine appliquĂŠ, machine quilting, hand embroidery, beading

Hoddick Photography

Reaching Out ‌ 44 x 42 inches 2019


52 |On the Edge

53 |On the Edge

Amanda Miller Eugene, Oregon miller_am@comcast.net

Along the Oregon coast, sand dunes are an edge between the ocean and the land. An essential bulwark, they provide habitat for shore birds and other coastal creatures, prevent erosion and protect inland ecosystems from damaging storm surges. The dune grasses that anchor the dunes help maintain the barrier between land and sea.

commercial cottons machine piecing and quilting

Jon Christopher Meyer, photographer

Dune Grass 45 x 33 inches 2018


52 |On the Edge

53 |On the Edge

Amanda Miller Eugene, Oregon miller_am@comcast.net

Along the Oregon coast, sand dunes are an edge between the ocean and the land. An essential bulwark, they provide habitat for shore birds and other coastal creatures, prevent erosion and protect inland ecosystems from damaging storm surges. The dune grasses that anchor the dunes help maintain the barrier between land and sea.

commercial cottons machine piecing and quilting

Jon Christopher Meyer, photographer

Dune Grass 45 x 33 inches 2018


54 |On the Edge

55 |On the Edge

Pamela Pilcher Portland, Oregon pilcherpam@gmail.com

The barn at the edge of the prairie clings to the end of its useful life. One lean too far and the next big wind to blow across the mountains will take it down. Title from “Barns Collapsing� a poem by John Vernon, with permission. Visual based on photograph by Kathleen Ronnebaum, with permission. commercial fabric, variety of threads

fabric collage, machine stitching

Hoddick Photography

One Leans Into the Wind 18 x 38.5 inches 2018


54 |On the Edge

55 |On the Edge

Pamela Pilcher Portland, Oregon pilcherpam@gmail.com

The barn at the edge of the prairie clings to the end of its useful life. One lean too far and the next big wind to blow across the mountains will take it down. Title from “Barns Collapsing� a poem by John Vernon, with permission. Visual based on photograph by Kathleen Ronnebaum, with permission. commercial fabric, variety of threads

fabric collage, machine stitching

Hoddick Photography

One Leans Into the Wind 18 x 38.5 inches 2018


56 |On the Edge

57 |On the Edge

ϐ Modesto, California ϐ ̷ Ǥ Ǥ ϐ Ǥ

Brinksmanship dominates our current political culture, from the governmental shut down to tariffs to the border wall to foreign policy. Are we on the edge of a permanent fracture? Can we survive as one nation? spun bonded polyester and cotton fabrics, acrylic paint, ink, rayon and polyester thread monoprinted images collaged and fused with hand-dyed and commercial fabrics, inked detail, machine quilting

One Nation? 46.5 x 25.5 inches 2017


56 |On the Edge

57 |On the Edge

ϐ Modesto, California ϐ ̷ Ǥ Ǥ ϐ Ǥ

Brinksmanship dominates our current political culture, from the governmental shut down to tariffs to the border wall to foreign policy. Are we on the edge of a permanent fracture? Can we survive as one nation? spun bonded polyester and cotton fabrics, acrylic paint, ink, rayon and polyester thread monoprinted images collaged and fused with hand-dyed and commercial fabrics, inked detail, machine quilting

One Nation? 46.5 x 25.5 inches 2017


58 |On the Edge

59 |On the Edge

Toni F Smith Portland, Oregon toni.f.smith@gmail.com tonifsmith.com

There is nothing like standing on the headlands of the Oregon coast and watching and hearing the waves. They are powerful, majestic and turbulent. I am always inspired by seeing them roll in and crash against the rocks. I created this piece so that I can be reminded of the waves’ power.

commercial cottons

machine piecing and quilting

Sam Garnett, photographer

Ocean’s Edge - Turbulence 56.25 x 36.5 inches 2018


58 |On the Edge

59 |On the Edge

Toni F Smith Portland, Oregon toni.f.smith@gmail.com tonifsmith.com

There is nothing like standing on the headlands of the Oregon coast and watching and hearing the waves. They are powerful, majestic and turbulent. I am always inspired by seeing them roll in and crash against the rocks. I created this piece so that I can be reminded of the waves’ power.

commercial cottons

machine piecing and quilting

Sam Garnett, photographer

Ocean’s Edge - Turbulence 56.25 x 36.5 inches 2018


60 |On the Edge

61 |On the Edge

Amanda Snavely Portland, Oregon info@amandasnavely.com www.amandasnavely.com

Just Add Color represents the perspective of a city in transition. The addition of color represents the effect of creative revitalization efforts on a city. Turned on its axis, however, Just Add Color also mimics rain washing the color away, revealing the grittiness, darkness, and desperation of a space on the edge of urban decay.

commercial cotton fabric, canvas, acrylic paint, metallic thread, cotton thread, silk thread painting, fusing, hand and machine stitching

Sam Garnett, photographer

Just Add Color 93 x 33.5 inches 2019


60 |On the Edge

61 |On the Edge

Amanda Snavely Portland, Oregon info@amandasnavely.com www.amandasnavely.com

Just Add Color represents the perspective of a city in transition. The addition of color represents the effect of creative revitalization efforts on a city. Turned on its axis, however, Just Add Color also mimics rain washing the color away, revealing the grittiness, darkness, and desperation of a space on the edge of urban decay.

commercial cotton fabric, canvas, acrylic paint, metallic thread, cotton thread, silk thread painting, fusing, hand and machine stitching

Sam Garnett, photographer

Just Add Color 93 x 33.5 inches 2019


62 |On the Edge

63 |On the Edge

Karen Sunday Spencer Portland, Oregon karsunspen@me.com karensundayspencer.com

Jagged rocks, soaring vistas, steep ravines ‌ do I give in to my fright and exhaustion or continue to certain exhilaration and beauty ‌ on the edge, hiking in the Cascade Mountains.

hand-dyed and commercial cotton fabric

fused raw-edge construction, machine quilting

Hoddick Photography Hoddick Photography

Hard Choices 41 x 48 inches 2018


62 |On the Edge

63 |On the Edge

Karen Sunday Spencer Portland, Oregon karsunspen@me.com karensundayspencer.com

Jagged rocks, soaring vistas, steep ravines ‌ do I give in to my fright and exhaustion or continue to certain exhilaration and beauty ‌ on the edge, hiking in the Cascade Mountains.

hand-dyed and commercial cotton fabric

fused raw-edge construction, machine quilting

Hoddick Photography Hoddick Photography

Hard Choices 41 x 48 inches 2018


64 |On the Edge

65 |On the Edge

Mary J Stiewig Redmond, Oregon mjstiewig@bendbroadband.com Ǥ Ȁϐ

This piece evokes a feeling of loneliness for the solitary traveler coming to the “Edge.” The strength of the bright moon above can give solace and hope for the continued journey. commercial painted and hand-dyed cottons, and tulle piecing, raw-edge appliqué, hand- and machine-quilting

Lighting the Lonely 40 x 33 inches 2018


64 |On the Edge

65 |On the Edge

Mary J Stiewig Redmond, Oregon mjstiewig@bendbroadband.com Ǥ Ȁϐ

This piece evokes a feeling of loneliness for the solitary traveler coming to the “Edge.” The strength of the bright moon above can give solace and hope for the continued journey. commercial painted and hand-dyed cottons, and tulle piecing, raw-edge appliqué, hand- and machine-quilting

Lighting the Lonely 40 x 33 inches 2018


66 |On the Edge

67 |On the Edge

Jan Tetzlaff Bend, Oregon jmtathome@hotmail.com

A Precipice is an edge, geologically and emotionally. It can be a jumping off point, a beginning, or the edge of no return. I thrive living in Central Oregon close to geological precipices. As an artist I push myself to the edge, the precipice, as I work. I chose to represent Edge as a boulder, or pebble ... a Precipice, depending on your perspective. silk, velvet, linen, hand dyed, printed fabrics

machine piecing, hand quilting

Gary Alvis, photographer

Precipice 35.5 x 33.25 inches 2019


66 |On the Edge

67 |On the Edge

Jan Tetzlaff Bend, Oregon jmtathome@hotmail.com

A Precipice is an edge, geologically and emotionally. It can be a jumping off point, a beginning, or the edge of no return. I thrive living in Central Oregon close to geological precipices. As an artist I push myself to the edge, the precipice, as I work. I chose to represent Edge as a boulder, or pebble ... a Precipice, depending on your perspective. silk, velvet, linen, hand dyed, printed fabrics

machine piecing, hand quilting

Gary Alvis, photographer

Precipice 35.5 x 33.25 inches 2019


68 |On the Edge

ǣ Ǧ ϐ dedicated to promoting the art quilt and the artists who create them. We are an information resource on all things art quilt related for our members as well as the public. Founded in 1989 by an initial group of 50 artists, SAQA members now number more than 3,400 artists, teachers, collectors, gallery owners, museum curators, and corporate sponsors. For more information, visit the organization’s website at SAQA.com. www.saqa.com

69 |On the Edge


68 |On the Edge

ǣ Ǧ ϐ dedicated to promoting the art quilt and the artists who create them. We are an information resource on all things art quilt related for our members as well as the public. Founded in 1989 by an initial group of 50 artists, SAQA members now number more than 3,400 artists, teachers, collectors, gallery owners, museum curators, and corporate sponsors. For more information, visit the organization’s website at SAQA.com. www.saqa.com

69 |On the Edge


70 |On the Edge

71 |On the Edge


70 |On the Edge

71 |On the Edge


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