SAQA Global Exhibitions: Season After Season exhibition catalog

Season after Season

Season after Season

Cover art: (clockwise from top left) Pat Kroth, Diane Melms, Karol Kusmaul, Sarah Entsminger Catalog design: Deidre Adams and Jennifer Gauerke

ISBN: 978-1-7324260-2-3

Contents copyright ©2018 Studio Art Quilt Associates, Inc. Images copyright the individual artists.

Images may not be reproduced or used in any way without written permission. All rights reserved.

PO Box 141 Hebron, CT 06248 860.530.1551

www.saqa.com

Season after Season | v

Foreword To everything there is a season.

As written in Ecclesiastes, or sung by The Byrds, seasons help mark the apt time for events, both literally and metaphorically. Whether we sense it in our bones, in the weather, or through cultural practice, our lives are measured and experienced in seasons.

Different areas of the world experience the natural seasons in various ways. In the United States, we anticipate four familiar divisions of the year: the colorful flowers of spring, the opportunity for outdoor celebrations in summer, or peak availability of favorite foods in a particular region’s growing season. Even the starkness of winter offers beauty, and the opportunity for our own introspective hibernation.

No matter where we live, we relish important holidays as they come around and annual familial traditions. Whether defined by solstice, suitability, or tradition, seasons mark transition points. Some seasons we await with excitement or anticipation; others we fear or wish to slow their inevitable arrival. These sentiments are particularly applicable to the seasons of life.

Textural layers of fabric, thread, and paint express these more symbolic passages. Jurors Karey Patterson Bresenhan and Nancy O’Bryant Puentes, President and Executive VP of Quilts, Inc. respectively, have chosen 32 artworks for this exhibition which are as varied as seasons themselves. The collection offers creative explorations about seasonal progression through time, from the cyclical changes in the world around us, to the personal transitions that are part of life’s journey.

— Kristin LaFlamme SAQA Education Committee

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Jurors’ statement Season after Season is a fascinating assemblage of art quilts that depict the many interpretations of seasonality: the seasons created by weather, the seasons of life, the seasons of creativity, and the stresses that seasons bring. In seeking common threads that run through these 32 pieces, light, memory, and a profound sensitivity to color are referenced over and over.

Light is critical to a person’s ability to function in the seasons, from the deep, velvety black of the winter Alaskan sky, to the astonishing multitude of blues in the sea, to the brilliance of flowers caught in the white-hot summer sun known to wash out color to insignificance. The total lack of all light is blindness, whether literal or situational.

There are many gradations of light that permeate an artist’s mind and creative spirit.

As an example, Photosynthesis is a beautiful quilt that provides a close look at the way plants absorb light and how trees change their colors with the seasonal change of light.

Canadian Seasons is another fine piece that clearly shows the way light affects color, not only in a piece of artwork, but also in nature. Incarnation to Resurrection: Colours of the Church Year exhibits yet another type of light with its huge central “cruciform star,” a symbol of the highest Christian holidays through the liturgical seasons. Big Bend Spring depicts a softer light, one that is largely dependent on the rain that wakes the flowers of the desert. In the Winter of Our Existence, Our Hearts Yearn for Spring is a positive ode to the idea of darkness giving way to light.

Memory plays a well-researched role in a person’s reaction to the seasons. In the quilts in this exhibition, memory is as important as light and color. For example, in

Marianne Williamson

viii | Season after Season

Grandma Magic, the artist’s recollection of the many grandmothers she has known and loved are the very reason for the quilt. In Winter Blues in Denmark, the delight of the woman shown in the quilt is based on her imagining the end of winter, and in My Back Yard, the memory of working outdoors in all the seasons is the foundation of the quilt. Remembering the joys of gardening throughout the year, the artist who created Calendar wonders today how she fit in all the myriad of seasonal activities any gardener would recognize, and how there was ever time to stop and enjoy the season. Talking Threads is an interesting interpretation of using memory in the development of an art quilt. Here the artist refers not only to her own memory, but also to the memories of others. She claims that her passion is illustrating stories, and what are stories if not memories?

Color plays an important role in many art quilts, and it is often difficult to distinguish the influence of color from the influence of light. In this exhibition, brilliant, saturated color and its opposite—carefully selected colors of harsh chill—are both seen. Exemplifying how the lack of bright color can be used, Polar Vortex distinctly expresses cold desolation and how the land reacts to extreme seasons. River of Life, however, uses imaginative piecing to emphasize the dramatic hues that create a sense of the seasons. It Suddenly Dawned is a splendid piece that depends almost entirely on the use of rich, evocative colors, while Winter in Yellowstone, appears at first to not be dependent on color at all. With further study, it becomes obvious that although the magnificent, richly hued

Betty Busby

Season after Season | ix

bison’s head dominates the quilt, it is the negative space provided by the blue-white of the snow that allows the bison the place of honor. Finally, Time Changes Everything uses brilliant color to convey the eternal truth of time passing.

It would have been a pleasure to include every quilt in these limited remarks, just as it was definitely a pleasure to curate the exhibition for SAQA, knowing that these quilts will be seen and enjoyed by many, many people during the time they are on display.

—Karey Patterson Bresenhan and Nancy O’Bryant Puentes Karey Bresenhan is the president of Quilts, Inc., and the director of International Quilt Market, International Quilt Festival, Patchwork & Quilt Expo, and Embellishment. She has served as a quilt appraiser and quilt contest judge. A personal quilt collection that includes family quilts, rare antique quilts, art quilts, and quilts made especially for her, testifies to Karey’s love for this art form.

Nancy O’Bryant Puentes is the executive vice-president of Quilts, Inc; a co-founder of the International Quilt Association, and editorial director of its journal, Quilts: A World of Beauty. She has authored numerous articles on quilts and quilting for consumer and industry publications.

Marisa Marquez

The quilts

2 | Season after Season

Nancy Bardach Berkeley, California, USA Beethoven and the Professor ponder over the seasonal ingredients for their next meal. Flowing juniper trees beyond sing a song to the Study that Joy Built. Other ingredients include book shelves, a Greek pediment, and sunlight through the study windows.

Cotton, silk, jersey, rayon, netting, acrylic paint, buttons Machine pieced, reverse hand appliquéd, embroidered, hand embellished, painted, machine quilted

Food for Thought (an Ode to Joy)

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74 x 32 inches | 2018

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Louise E. Bell Burwash, East Sussex, United Kingdom Plants make me smile as they reappear during the year, evoking memories of childhood in Canada. Gentle snowdrops in harsh weather; mittens. Tough plantain on the lawn as the Quebec snow melts away; hands bare.

Childhood glee at seeing my grandmother’s garden full of forget-me-nots was overlaid with sadness as I attended her funeral. Aunty Betty gave me tea in a primrose tea cup and my cousins took me for walks in bluebell woods, holding hands—happy again. Fluttering birch leaves meant long hot summers, and rowan berries meant back to school. Gathering crab apples for jelly making with Gran and quince fruit with Mum. Oak and acorns, and I’m a teenager. Colourful maples signaled winter snow would soon return. The Christmas Rose plate reminds me of festive treats, though it was years before I saw real ones.

Linen, cotton, silk Machine quilted, pieced, appliquéd

Childhood Seasons

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77 x 31 inches | 2018

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Margaret Blank Mirror, Alberta, Canada Growing up in the Anglican (Episcopalian) Church, I’ve long worshiped through the liturgical seasons and was inspired to create a piece in the colours used to express them. A cruciform star symbolizes the highest Christian holidays: Christmas, Epiphany, Easter, and Ascension. As one season flows into another, so do the colours of this quilt, from blue in Advent, through purple (Lent), to red (Pentecost), and green (Ordinary Time). The diversity of fabrics reflects the varieties of worship expressions found in the Anglican tradition, while the black binding represents Christianity’s most solemn day—Good Friday.

Cotton, silk, synthetic fabrics String pieced using paper foundaton, machine pieced, quilted

Incarnation to Resurrection: Colours of the Church Year

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72 x 30 inches | 2018

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Wendi Bucey Chico, California, USA Always Winter is a very personal artwork that explores my complex relationship with my mother-in-law.

Major Depressive Disorder takes a toll on not only the patient, but the entire family. Years of caring for her with all my heart have affected my life, health, and art. I make art and give it to her in the hopes of making her happy. Sadly, she has lived season after season through her window, not engaging. Does she see the signs of life emerging even in winter? I use a resemblance of my own face to reflect how intertwined we have become.

Cotton, acrylic paint, ink, pencil, embroidery floss Raw edge appliquéd, free motion straight stitched, painted, drawn, dyed, embroidered, digitally printed

Always Winter

Photo by Steven Bucey

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73 x 31 inches | 2018

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Betty Busby Albuquerque, New Mexico, USA Seasons around the world are experiencing more extremes than ever before. Sweeping down from the north, polar vortexes have wreaked havoc on many areas that have not previously sustained such severe climactic conditions.

Synthetic non-woven materials, sheer nylons, polyesters Paint poured, machine appliquéd, stitched, heat cut

Polar Vortex

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76 x 31 inches | 2018

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Shin-hee Chin McPherson, Kansas, USA Life is always changing as we go through various life stages. The four seasons are used to portray the four cycles of change in a woman’s life. There is a season for everything, and everything is beautiful in her time.

Wool, cotton, embroidery floss Stitched

Everything is Beautiful in Her Time

Photo by Jim Turner

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72 x 32 inches | 2018

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Vicki Conley Ruidoso Downs, New Mexico, USA When recently visiting Aztec National Monument in northern New Mexico, I was mesmerized by the large rebuilt kiva—once the center of spiritual activity. As I gazed at the beautiful pattern in the ceiling, I wondered what happened to the ancient ones. They had a thriving culture, but by the late 1200s they were gone. Exploring their vacated home, I was inspired to design a quilt that incorporated the intricate patterns in their kivas as a way to explore this shifting of time—to echo the seasons of the ancient ones.

Cotton Machine pieced, machine quilted

Seasons of the Ancient Ones

Photo by Doug Conley

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76 x 32 inches | 2018

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Gabriele DiTota Melbourne, Florida, USA We wait with excitement for new birth, in our gardens and in our families. We eagerly search for the first shoots, the first bits of springtime. Spring leads to summer, which brings fall, and before we know it the garden has again entered a period of inactivity as winter descends. We can draw parallels to the times of our lives, and the sense of silence and contemplation that meets us as we slip into repose. These floral images are sun prints, reminding us of the time when the sun was shining and the garden was alive with fresh green growth.

Commercial fabric, hand dyed fabric, cyanotyped fabric, paint, embroidery floss Raw edge appliquéd, printed, painted, shibori dyed, hand stitched, machine quilted

Between Excitement and Repose

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73 x 31 inches | 2018

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Sarah Entsminger Ashburn, Virginia, USA I regularly walk on a tree-lined path near the edge of a large park. Each season has its own colors, light, and structure. Winter showcases the lovely, graceful limbs of the trees. Spring brings bright new leaves, buds, and colorful blooms. In summer, an incredible variety of green colors mix with bright flowers. Fall brings gold, red, and brown tones that slide into gray as the season circles back to winter. The seasons seem to blend gently into each other with the passing of time as I walk along the path.

Hand dyed cotton Machine pieced and quilted

Along the Path

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72 x 30 inches | 2018

20 | Season after Season

Bodil Gardner Lystrup, Denmark The Danish winter is long and dark. It’s difficult to believe that it will ever end and that spring, summer, and autumn will follow.

Cotton and recycled fabrics Appliquéd, machine quilted

Winter Blues in Denmark

Photo by Peter Gardner

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72 x 31 inches | 2018

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Joan F. Hug-Valeriote Guelph, Ontario, Canada Canadian Seasons was created as we were preparing to move from a much beloved, heavily treed property to a dense urban environment.

Watching the colours of the trees change through the seasons was an annual privilege and wonder.

Our very short Canadian spring, with its grey-greens and yellow-greens, gives way to the deep summer greens that Georgia O’Keeffe found so boring, followed by true autumn glory! Deciduous trees in winter are identifiable mostly by their bark. It was only after spending four years in Southern California that I came to truly appreciate our changing seasons.

Synthetic curtain fabric, cotton Machine pieced, machine quilted

Canadian Seasons

Photo by Andreas Hug

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72 x 31 inches | 2018

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Ivy Jensen The Woodlands, Texas, USA When I lived in Hawaii, a lot of my friends from the mainland lamented the lack of seasons there.

Being from Houston, I had only known winter and summer, so I had no complaints about living in paradise. While living in Colorado, the four seasons finally presented themselves in their fullfledged glory. The slow, dawning effect of major changes in the weather cheers the mood of all.

The glory of the seasons present themselves in saturated color with distinctions all their own.

Tyvek, synthetic fabrics Painted, layered, quilted, melted

Saturated Seasons

Photo by Nathan Lindstrom; Collaboration with Rita Joseck

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75 x 31 inches | 2018

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Patricia Kennedy-Zafred Murrysville, Pennsylvania, USA As a storyteller, my goal is to create thought provoking narratives. My quilts marry a lifelong fascination with photography, history, and stitch, often reflecting faces of pride and dignity, sometimes under challenging circumstances.

For over twenty years, believing he was in a desperate race against time, Edward S. Curtis took over 40,000 photographs of Native Americans, attempting to capture their traditional way of life before it disappeared. Season after season, Curtis traveled deep into the territories of more than 80 tribes, documenting the clothing, housing, food, ceremonies, and customs of these unique people, preserving an essential part of our diverse American historical fabric.

Cotton, dyes, textile inks Silkscreened, dyed, machine pieced, machine quilted

When Winter Came, They Were Gone

Original images courtesy Library of Congress. Photo by Larry Berman

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72 x 30 inches | 2018

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Pat Kroth Verona, Wisconsin, USA Energy surrounds us, transform us, enlivens us.

From the smallest spark, atom, or seed, incredible things develop and grow: mighty oaks, the human body…entire universes. This can take a millisecond, a decade, or a millennium. This vital spark initiates, then celebrates, the cycle of time: birth, new growth, maturity, decline, death and then re-birth in the continuing seasons of life.

Hand-dyed and commercial fabrics Hand dyed, cut, torn, heat bonded appliquéd, collaged, machine stitched

Vital Spark

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72 x 30 inches | 2018

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Karol Kusmaul Inverness, Florida, USA Representing the magical love, character, and skills of grandmothers, this quilt shows a grandma mixing up a batch of cookie dough. Her chickens are at her feet, and she wears an apron, wings, patches, and a halo.

This piece was inspired by my dear friend, Rose, who recently passed away. She was a wonderful grandma and friend, and she loved her chickens! It is also based on my own grandma Margaret, who was a most excellent cook. My grandmother has been gone for a long time, and I cherish memories of time spent in her home and at many family dinners.

Commercial and upcycled fabrics, vintage quilt blocks, lace, velvet ribbon Raw edge hand appliquéd, hand quilted, embroidered

Grandma Magic

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74 x 30.5 inches | 2017

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Linden Lancaster Picola, Victoria, Australia Things that grow in my garden represent the constant coming and going of the seasons, and are a source of joy, inspiration, and comfort in an ever-changing world. When I am distracted and rushing from one thing to another, something in the garden will often catch my eye. The tiny heads of crocus popping up in autumn, the exuberant winter gladiolus, or the tough, but elegant, agapanthus that herald summer, are a sign to slow down and remember that everything has its own time.

Cotton, acrylic paint Dyed, mono-printed, silk screened, hand stitched, thread sketched, quilted

Calendar

Photo by Cameron Lancaster

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73 x 31 inches | 2018

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Marisa Marquez Madrid, Spain When I think of the seasons, I always think of time passing.

As I get older, time seems to move faster and all the seasons mix together. Sometimes I feel like I’m always looking at the calendar and the watch, and not enjoying the present day.

The passing of the seasons changes our perspective—not only the way we see or feel things, but how those things affect us. I found a little quote from Yoko Ono that defines how time and the seasons change us during the four stages of our lives: childhood, youth, maturity, and old age.

Cotton, cheesecloth, organza, textile paint Machine pieced, appliquéd, embroidered, painted, machine quilted

Time Changes Everything

Season after Season | 35

77 x 30 inches | 2018

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Melanie L. Marr Houston, Texas, USA Winter in Yellowstone was inspired by a photo of a bison taken in the dead of winter. The frosted white of the snow adds to the design of the quilt.

Fabric, acrylic paints Drawn, painted, quilted

Winter in Yellowstone

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72 x 32 inches | 2018

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Jeanelle D. McCall Lufkin, Texas, USA I have a passion to illustrate stories—the medium doesn’t matter. The desire to make something visual is the driving force. My growth as an artist has been shaped by four distinct seasons.

Watercolor was my first stage of exploration. The next season was pre-computer commercial art, then computer-generated commercial art, created solely with a keyboard and a mouse. And now I’m in my fourth season, which is a strong reaction to the lack of textural sensation in my other work. Fabric and thread have become my storytelling tools. Talking Threads is a brief sample of this exploration.

Cotton, silk, suede, yarn, felt, polyester Raw edge appliquéd, hand and free motion stitched, felted, thread painted, painted, woven

Talking Threads

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72 x 32 inches | 2018

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Diane Melms Anchorage, Alaska, USA Alaska is a land of extreme seasons marked by drastic changes in temperature and daylight. During our short winter days, the sun travels in a low arc across the sky, descending at a narrow angle to the horizon and creating spectacular lingering sunsets. They are common on our short winter days and we take pleasure in their ephemeral radiance. Winter Solstice is a time for celebration for Alaskans because it signifies the shortest day of the year and a midwinter turning point. Going forward our days will get progressively longer and warmer, heading into our glorious Alaskan summer.

Cotton, glass beads Raw edge appliquéd, cut, pieced, hand dyed, machine quilted

Winter Solstice

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72 x 32 inches | 2018

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Alicia Merrett Wells, Somerset, United Kingdom This quilt represents the various seasons of my life in the form of a map crossed by a long river. Each season has a different pieced design. The boats, sliding down the river, describe time passing, and also political activism.

Hand-dyed and commercial fabric, fusible web Fused appliquéd, cut, pieced, machine quilted

The River of Life

Season after Season | 43

78 x 32 inches | 2018

44 | Season after Season

Susie Monday Pipe Creek, Texas, USA Desert springs are unlike others, arriving any time the rains come. In Big Bend country, wildflowers cover the ground, and cacti burst into bloom. The bold colors of Santa Elena Canyon at sunset bring the desert to life just as the rains bring sustenance to the plants and animals. The mountains and hills are like big dinosaurs rising the distance.

I like to think of my work as having its own seasons. In this piece, the content is not only about season, but also the creative process. Work moves though one stage and then sometimes surprises me with another turning of perspective.

Surface designed and digitally designed fabric, commercial fabric, fusible web Digitally designed, hand dyed, raw edge fused appliquéd, machine and hand stitched

Big Bend Spring

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78 x 31.5 inches | 2018

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Melody Money Boulder, Colorado, USA This piece was inspired by a life lived under the same sky, year after year, season after season. Fiftytwo vertical patches represent weeks in a year, and twenty-four horizontal patches represent hours in a day. The sunshine and shadow gradient color scheme symbolizes the light of morning giving way to the dark of night. The swirling painted motif signifies joy and sorrow flowing through all of our days—some bright and shiny, others dull and grey. Uneven trim and raw edges improvise a flawed patchwork of days, filling in areas to make a whole and building on each moment.

Silk sari, buttons, beads, sequins, rocks, chiffon, cotton, denim, gauze, embroidery ribbon, dichroic film Woven, paper pieced, hand and machine embroidered, hand beaded and embellished, hand painted, raw edge appliquéd, machine quilted

Mama’s Got the Blues

Photo by Les Keeney

Season after Season | 47

72 x 32 inches | 2018

48 | Season after Season

Jeannie P. Moore Escondido, California, USA My art quilting journey has spread through many seasons and changes. One of my earliest challenges was that I wanted to create all my own fabric and designs for my quilts. Dyeing led to printing, transferring, and painting on any type of fabric I could get my hands on. This quilt has a combination of most of the fabrics I have created in the past 10 years. I want to constantly stretch the boundaries to make “the best” with each new creation in each season of my life.

Cotton, silk, linen, thermofax screens, dyes, soy wax, stamps Dyed, printed, stamped, soy wax resisted, free motion quilted

Mixed Media Journey

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72 x 30 inches | 2018

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Heather Pregger Fort Worth, Texas, USA I love the salt marsh near our summer home on Cape Cod. And I love the way a sudden summer storm can change the bright golden marsh into a dramatic landscape of muted gray and blue.

Cotton Machine pieced, machine quilted, hand dyed

Eastham Marsh: Summer Squall (Tuning Fork #52)

Season after Season | 51

75 x 31 inches | 2018

52 | Season after Season

Daren P. Redman Nashville, Indiana, USA My husband and I live in a rural area of Indiana where we are surrounded by nature. Spring brings vibrant greens with oak, hickory, and maple trees. Summer is filled with yellow, red, and purple flowers. In fall the leaves turn red, burgundy, and orange. Winter shows dark greens from the pine trees, tans, and white snow.

From our floor-to-ceiling windows, we watch the seasons change daily, and we dine under the trees and next to the flower gardens. The seasons are a constant source of inspiration for my art, allowing me to share my colorful, peaceful, and natural world.

Cotton, silk blends, dye Hand-dyed cottons and silks, machine pieced, machine quilted

My Back Yard, Indiana

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76 x 32 inches | 2018

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Sue Reno Columbia, Pennsylvania, USA For years I have marked the passing of the seasons by making cyanotype prints directly from plants I grow in my gardens. They are always unique due to individual variations in the leaves and in the weather conditions.

Added moisture and long exposure times produce wildly beautiful and variable results. The prints in this quilt were made on long, sultry summer days, when the threat of quick thunderstorms seemed imminent.

Heat lightning refers to both the bright flashes of color in the cyanotypes, and to the spark and revitalization the printmaking sessions brought to my creative endeavors.

Cotton, cyanotype chemicals, paint Wet process cyanotype printed, monoprinted, hand painted, patchworked, quilted

Heat Lightning

Season after Season | 55

78 x 32 inches | 2018

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Lee F. Schwimmer San Diego, California, USA It’s Passover—the season of spring and renewal. I am in my kitchen where the quietness of repetitive activities, like chopping and washing, encourages contemplation. News is on in the background. I am aware of my ongoing grief spawned by the polarization and hostility of public and private discourse. I consider how I might express my own seasons of both despair and hope. Perhaps one of the quintessential experiences of humanity is holding out for a season when darkness gives way to light, winter melts into spring, and swords are beaten into plowshares.

Cotton, cheesecloth, acrylic paint, ink, printable fabric sheets, embroidery thread, window screen, rubber stamps Printed, painted, photocopied, rubber stamped, machine pieced, machine quilted, fusible appliquéd, machine and hand embroidered

In the Winter of Our Existence, Our Hearts Yearn for Spring

Photo by Ashi Fachler

Season after Season | 57

72 x 32 inches | 2018

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Brenda Gael Smith Copacabana, New South Wales, Australia Every day my husband and I awake to a panoramic view over the bay. Sometimes the ocean is calm; sometimes it is wild; always it is magical. Like the view from my childhood home, this is a scene imprinted onto my very soul, representing a season of contentment and creativity.

Migrating humpback whales cross the horizon in winter and spring. I keep binoculars next to my sewing machine, ready for my first whale sighting of the season. I admire the “whale tracks”—ever changing patterns on the surface of the water created by light, waves, and currents.

Cotton Pieced, dyed, machine quilted

Seachange: Whale Tracks

Season after Season | 59

73 x 31 inches | 2018

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Elena Stokes Clinton, New Jersey, USA The dawn of a new day, a new year, a new era, or a new idea...to everything there is a season.

Artisan-dyed cottons and batiks, silk, fabric dye, paint Collaged, fused, surface painted, machine quilted, hand embroidered

It Suddenly Dawned

Season after Season | 61

76 x 32 inches | 2012

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Sandra van Velzen Tiel, Gelderland, The Netherlands My work is often inspired by my photography.

I love to explore my surroundings with my camera, whether at home or on trips or holidays.

I live in The Netherlands, which has a sea climate.

There is a lot of rain in every season, yet each season is different.

Though I love them all, in the dark days of February I long for summer. On one of these cold, dark days, I took a photo of a landscape with willows and ice. In my mind I projected summer and blurred winter.

Cotton Digitally printed, machine pieced, machine quilted

Blurring Winter

Season after Season | 63

73 x 31.5 inches | 2018

64 | Season after Season

Marianne R. Williamson Miami, Florida, USA Photosynthesis is the process by which plants absorb light. As the light changes with the seasons, so do the trees. I equate this to the changes that are happening in my life. I am now 75, and I have macular degeneration. Soon I won’t be able to drive anymore and my daughter will have to take care of me, instead of me taking care of her and her children.

The light in my life is the love that my family has given me over the years. I was a single parent, and they were the light that kept me going.

Things change!

Cotton, silk, acrylic paints, markers Raw edge appliquéd, free motion quilted, hand dyed, painted

Photosynthesis

Photo by Gregory Case photography

Season after Season | 65

75 x 30 inches | 2018

About Studio Art Quilt Associates, Inc. (SAQA) is a nonprofit organization whose mission is to promote the art quilt through education, exhibitions, professional development, documentation, and publications. Founded in 1989 by an initial group of 50 artists, SAQA now has over 3,400 members worldwide: artists, teachers, collectors, gallery owners, museum curators, and corporate sponsors. Since its establishment, the organization has grown alongside the evolution of the quilt as an art form. Today, SAQA defines an art quilt as “A creative visual work that is layered and stitched or that references this form of stitched layered structure.”

One of the many member benefits SAQA offers is to bring beautiful, thought-provoking, cutting-edge artwork to venues around the world. The exhibitions not only give artists the opportunity to show their work, but also expose the public to the variety and complexity of the art quilt medium. In addition to mounting museum-quality exhibitions that travel the world, SAQA documents the art quilt movement through exhibition catalogs such as this one. These catalogs serve as not only as preservation and educational tools, but also as sources of inspiration and beauty to be returned to again and again.

$20.00 ISBN 978-1-7324260-2-3

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