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 ŚƩƉ͗ͬͬǁǁǁ͘ƐĂƋĂ͘ĐŽŵ
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 ŚƩƉ͗ͬͬǁǁǁ͘ƐĂƋĂ͘ĐŽŵ
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