Turmoil & Tranquility (SAQA Global Exhibition)

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­Turmoil Tranquility

ISBN: 978-0-9966638-3-0 Cover artwork by Holly S. Altman, Aileyn Renli Ecob Catalog design by Deidre Adams Contents copyright Š2016 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

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­Turmoil Tranquility Artists: Turmoil Margaret Abramshe. . . . . . . . . . . . . . . . 6 Holly S. Altman. . . . . . . . . . . . . . . . . . . . . 8 Karen M. Balos . . . . . . . . . . . . . . . . . . . . 10 Diane Born. . . . . . . . . . . . . . . . . . . . . . . . 12 Sandra L. Branjord. . . . . . . . . . . . . . . . . 14 Betty Busby . . . . . . . . . . . . . . . . . . . . . . . 16 Carol Capozzoli. . . . . . . . . . . . . . . . . . . . 18 Linda Colsh. . . . . . . . . . . . . . . . . . . . . . . 20 Vicki Conley. . . . . . . . . . . . . . . . . . . . . . . 22 Linda Engstrom. . . . . . . . . . . . . . . . . . . . 24 Sandy Gregg. . . . . . . . . . . . . . . . . . . . . . . 26 Betty A. Hahn. . . . . . . . . . . . . . . . . . . . . . 28

Jim Hay. . . . . . . . . . . . . . . . . . . . . . . 30, 32 Patricia Kennedy-Zafred. . . . . . . . . . . . 34 Jill Kerttula. . . . . . . . . . . . . . . . . . . . . . . . 36 Judy F. Kirpich. . . . . . . . . . . . . . . . . . . . . 38 Jeanne Marklin. . . . . . . . . . . . . . . . . . . 40 Kathy Nida. . . . . . . . . . . . . . . . . . . . . . . . 42 Claire Passmore . . . . . . . . . . . . . . . . . . 44 Martha E Ressler. . . . . . . . . . . . . . . . . . 46 Deborah L Runnels. . . . . . . . . . . . . . . . 48 Mary C. Ruzich . . . . . . . . . . . . . . . . . . . 50 Maggie Vanderweit. . . . . . . . . . . . . . . . 52

Artists: Tranquility Frances Holliday Alford. . . . . . . . . . . . . 56 Linda Anderson. . . . . . . . . . . . . . . . . . . . 58 Meghan W Betts. . . . . . . . . . . . . . . . . . 60 Erika Carter . . . . . . . . . . . . . . . . . . . . . . . 62 Maya Chaimovich. . . . . . . . . . . . . . . . . 64 Sandra Champion. . . . . . . . . . . . . . . . . . 66 Jette Clover . . . . . . . . . . . . . . . . . . . . . . 68 Linda Colsh. . . . . . . . . . . . . . . . . . . . . . . . 70 Jennifer Day. . . . . . . . . . . . . . . . . . . . . . . 72 Donna Deaver. . . . . . . . . . . . . . . . . . . . . 74 Heather Dubreuil . . . . . . . . . . . . . . . . . . 76 Aileyn Renli Ecob . . . . . . . . . . . . . . . . . . 78 Suzan Engler. . . . . . . . . . . . . . . . . . . . . . 80

Sarah Entsminger. . . . . . . . . . . . . . . . . . 82 Sandy Gregg. . . . . . . . . . . . . . . . . . . . . . 84 Patricia Kennedy-Zafred. . . . . . . . . . . 86 Judith Larzelere. . . . . . . . . . . . . . . . . . . 88 Michele Lea. . . . . . . . . . . . . . . . . . . . . . 90 Lorna M. Morck. . . . . . . . . . . . . . . . . . . . 92 Wen Redmond. . . . . . . . . . . . . . . . . . . . 94 Shoshi Rimer . . . . . . . . . . . . . . . . . . . . . . 96 Judith Roderick. . . . . . . . . . . . . . . . . . . 98 Gwyned Trefethen . . . . . . . . . . . . . . . 100 Cynthia Wenslow. . . . . . . . . . . . . . . . . 102 Tina Willams Brewer. . . . . . . . . . . . . . 104 Kathy York . . . . . . . . . . . . . . . . . . . . . . . 106

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Foreword Complementary exhibitions, Turmoil

Turmoil and tranquility can be

Likewise, turmoil may be less

and Tranquility, debuted together

experienced on a global scale as in

obvious in the choice of media, but

at the International Quilt Festival in

war and peace, or contrasting thriving

apparent in the underlying concept

Houston, Texas, in 2016. Turmoil hung

ecosystems versus those imbalanced

of an individual piece. Bright colors

on the exterior of a space created by

by careless use. There can be a

might mask a dour subject, or

paneled walls, open to the hubbub

tumultuous experience or a calming

express a cacophony of voices and

of the greater exhibit hall. Tranquility

one. But they also can describe

emotions. Devastating subjects can

hung in the interior space, providing a

intensely personal experiences, such

nevertheless be depicted in beautiful

serene environment in which to view

as the calm of meditation or being

forms and compositions. And the

these works. Artists were encouraged

stressed out!

turmoil of new love is a positive,

to consider submitting pieces for both exhibitions, addressing their

The chosen artworks are intended to

though tumultuous experience.

set a mood for the viewer, through

Look closely at the artworks. Listen

color, line, and composition, of

to the sounds of the images depicted.

either chaos or calm. It is possible

Feel the emotions of the characters

Tranquility is defined as a quality

that pieces in Tranquility may at first

portrayed. What is seen, what is

or state of being, possessing the

glance seem active or busy, but upon

absent? How does it affect you the

con­cepts of quiet, peacefulness,

reflection depict a mental or physical

viewer? Notice the interplay between

calmness, or serenity. In contrast,

place of refuge. The riotous colors

turmoil and tranquility and experience

turmoil is defined as a state of great

of a garden may not seem calming

not only the differences between

disturbance, confusion, or uncer­

at first, but who doesn’t relax at the

them, but also an appreciation for the

tainty. It can be personal and internal,

touch of a lightly scented breeze?

nuanced similarities they share.

societal or natural. With both, we refer

Cheerful color and pattern have

to the calm before the storm; the inner

the potential of invoking pleasant

peace that follows catharsis. Opposites

memories, just as low volume tones

attract. Turmoil and tranquility are in

and contemplative subject matter

opposition, yet intertwined.

invite tranquil introspection.

interpretation of one theme and its opposite.

—Kristin La Flamme

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Juror’s essay Artists throughout the ages have perceived the environment around them as both inspiration to act and as raw material to mold and remold.

Selected for excellence in design, craftsmanship, and use of material, the 50 artists featured in Turmoil and Tranquility are attempting to make sense of their physical, as well as social and cultural environments, by creating art that shares narrative stories of time, absence, location, and representation.

The exhibition concept for Tranquility charged SAQA artists with creating thought-provoking artworks that set a serene mood. Chosen works demonstrate a quality or state of being that highlights notions of quiet, peacefulness, and mindful practice, a stillness that leads to the path of personal enlightenment. Themes of nature, memory, and meditation are addressed in Tranquility in beautiful, captivating, and cutting edge works that inspire and affect. Of particular note are Morning Mist by Linda Anderson, Flown by Wen Redmond, The Deep End by Kathy York, and Tranquility the End by Michele Lea.

Harmonizing the aspiration to solitude with the interplay and influences of chaos, discord, imbalance, and tumult, Turmoil features art quilts by artists that depict personal interpretations of confusion and uncertainty, bitterness, anger, or the chaos of an over-scheduled life. Representing themes of aging, displacement, and the power of nature, selected artists share expressive works that speak to memories robbed by disease, dysfunction, and grief.

Others witness displaced people, borders crossed, obstacles faced, and disempowerment through war and unrest. They sensitively address the delicate relationship between humanity and nature that seems lost to our fast-paced culture facing unsettling issues of global warming and environmental destruction.

Popcorn by Jim Hay, The Flames They Left Behind by Holly S. Altman, Baby Quilt by Jill Kerttula, and Slow Death

by Alzheimer’s by Diane Born are acknowledged for their compelling narratives, which evoke a range of feelings illuminating the state of turmoil.

Deftly using a range of traditional and leading-edge techniques: free-motion machine quilting, silk screening, image transfer, collage, shibori, ice dying, trapunto, and appliqué, these artists are making artworks that explore unexpected relationships between painting, printmaking, photography, and abstract art.

With their overlapping themes and corresponding exchange of ideas and emotions, Turmoil and Tranquility recognize artists that are using innovation and experimentation with color, line, and composition to create compelling artworks that in many cases break new ground.

It is my hope that an exploration of the engaging works selected for these companion exhibitions will challenge viewers to move beyond their own frame of reference when considering approaches to contemporary art and the narrative perspectives of these accomplished artists.

—Kate Lydon, March 2016

Director of Exhibitions at the Society for Contemporary Craft (SCC), Pittsburgh, Pennsylvania, Kate Lydon has organized and installed over 75 exhibitions at SCC’s main Strip District galleries and at the One Mellon Center satellite gallery in downtown Pittsburgh. With more than 27 years of experience at SCC, she offers a strong working knowledge of the contemporary craft field, artist and process, and public education about craft.

­Turmoil

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Margaret Abramshe Mesquite, Nevada, USA Pallbearer is a portrait of my husband’s grandfather dressed for a funeral in Staten Island, New York. Like many fathers in his Italian immigrant community, he had to bury a son who had died near the country he escaped. The photograph documents the emotional turmoil of war that extends beyond a battlefield.

Using portraits of family members provides me with an immediate subtext that is rich with inspiration.

Cotton, acrylic paint, dye, liquid watercolors, pigment sticks, matte medium, fusible interfacing Digitally printed, painted with inks, acrylics, dyes, pigment sticks, and liquid watercolor, fused appliquĂŠ, machine quilted

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Pallbearer 33 x 28 inches 2015

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Holly S. Altman Santa Fe, New Mexico, USA If anything can stand as a metaphor for the world’s refugee crisis, the image of raised hands emanating from a whirlwind of fire suggests the catastrophic woe and boundless sense of loss. Why hands and not faces? Why flames and not falling buildings? It is the anonymity of the tragedy, involving tens of millions of displaced humans, that tears at the heart. But it is also the anonymity that tends to inure the heart against the the nameless hoards fleeing hearth and home. The hands beseech. The fire destroys. How the world responds will define our era for decades, if not centuries, to come.

Cottons, silks, polysilks, tulle, glitter tulle, paint Discharged, machine appliquĂŠd, beaded

photo by Carolyn Wright

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The Flames They Left Behind 39 x 27 inches 2016

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Karen M. Balos Oakland, California, USA While personal turmoil can refer to stress, sadness, bitterness, or anger, personal turmoil can also refer to an extremely positive experience — being in love. The turmoil of being in love can be wild, chaotic, unpredictable, exciting, colorful, joyful, disorderly, and tumultuous.

The title pays homage to Frida Kahlo, who said: You deserve a love that wants you disheveled, with everything and all the reasons that wake you up in a hurry, with everything and the demons that won’t let you sleep…

You deserve a love that listens when you sing, that supports you when you feel shame, that respects that you are free, that flies with you and isn’t afraid to fall.

You deserve a love that takes away the lies and brings you hope, coffee, and poetry.

Fabric, paint Painted, appliquéd, trapunto quilted

photo by Sibila Savage

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Disheveled Love 48 x 35 inches 2015

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Diane Born Portland, Oregon, USA That fine, immaculate woman is now mismatched and muddled. She withdraws from loved ones, snarls at children. Plaque invades her brain, erupting in tangles, robbing her of memories. She mutters and mumbles, she rarely smiles. Paranoia stalks her, evident in mood swings, delusions, and apathy. Her sewing, hand or machine, fragments and disintegrates. Brain waves slow and falter, losing a rhythmic pattern. The lady vanishes into the disease.

Discharge paste on commercial cotton, silk fabric, oil paint Discharged, painted, machine quilted, hand stitched

photo by Kayley Hoddick

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Slow Death by Alzheimer’s 40 x 32 inches 2016

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Sandra L. Branjord Sun City, Arizona, USA The pictures on this quilt are battle pictures: a child’s face the day of her mother’s funeral, a teenage mother, divorce, the loss of a child. I know turmoil; I have lived it. But life finds a way, and I am still breathing. To be a poet of life is the summons to breathe in more than one breathes out.

Cotton fabric, ink, black and white paint, acrylic fixative, family photos Collaged, inkjet printed, painted, sanded, stamped, machine pieced and quilted

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Breathing On Your Own … #5, Roses for Sandy series 46 x 33 inches 2016

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Betty Busby Albuquerque, New Mexico, USA Having been in several massive earthquakes in my life, I am awestruck by the power inherent in natural forces. This work is a visual depiction of the forces unleashed in these events.

Cotton Machine-stitched, layered, painted, flour paste resist

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Fracture 41 x 39 inches 2011

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Carol Capozzoli Niantic, Connecticut, USA From the first pathological cell division, turmoil begins. The turmoil spreads to surrounding tissues and possibly other body parts. With diagnosis, the turmoil spreads to the person’s emotional and spiritual being, and to those close to the person.

Hand-crafted cotton, cotton fabric, inks, acrylic and oil paint Free-motion quilted, thread painted, appliquĂŠd, painted, inked

photo by David Wright

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A Cancerous Turmoil 37 x 34 inches 2016

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Linda Colsh Middletown, Maryland, USA The weather in her head is as changeable as a day in Belgium. The woman is out in a thin sweater and bedroom slippers, seemingly unaware of the cold and the icy cobblestones. She crosses the street, oblivious to the winter weather. Inspired by a quote from Stephen Fry, “Depression just is, like the weather,” I imagine her to be dealing not with the frigid night, but with the weather in her head. The few others who are out don’t see her, or at least pretend not to notice. That way, they absolve themselves of responsibility.

Cotton fabric Machine pieced and quilted, painted, inked, discharged, printed

photo by Pol Leemans

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The Weather In Her Head 40 x 40 inches 2013

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Vicki Conley Ruidoso Downs, New Mexico, USA Is it a predator, a change in the wind, a sudden noise, or just a shared internal signal? Whatever the cause, the spectacle of thousands of snow geese taking to the sky all at once is well worth seeing. The squawking, flapping, and liftoff of thousands of individual birds creates a churning, roiling sky. Yet underneath it all is millennia of instinct, allowing the population to act as one, preventing true turmoil in the face of apparent chaos.

Commercial cotton fabric Machine pieced and quilted

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Flying Geese 30 x 40 inches 2016

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Linda Engstrom Scottsdale, Arizona, USA This piece is a visual representation of my personal turmoil over the last several years, beginning with the final illness and ultimate death of my mother.

Now my husband and I spend seemingly uneventful days, filled with nagging frustration and feelings of helplessness, as we watch the decline of two other very dear, very elderly relatives. The telephone ringing in the night or early morning hours results in a surge of adrenalin and dread, pulses racing, hearts pounding, nerves frazzled. How best to help and support is our constant query to each other.

Cotton fabric Digitally manipulated and printed, quilted

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Spiraling Out of Control 34 x 26 inches 2016

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Sandy Gregg Cambridge, Massachusetts, USA Since the beginning of time, people have left their homes to begin lives as refugees for a myriad of reasons, including war, discrimination, crop failure, and religion. This piece represents borders crossed, obstacles faced, and the turmoil that these brave people face during their travels.

Cotton print cloth Fabric discharged and overdyed, machine pieced and quilted

photo by Joe Ofria

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Crossings I 40 x 31 inches 2016

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Betty A. Hahn Sun City, Arizona, USA Is this yarn that cannot be untangled, or is it a stomach “tied in knots�?

Silk de Chine, hand-dyed cotton Digitally painted and printed, machine quilted

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Tied in Knots 36 x 26 inches 2016

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Jim Hay Takasaki, Gunma, Japan Whether personal, political, racial, sexual, or spiritual, turmoil often hides behind a facade of carefully constructed conformity. Without outlets of expression, turmoil escalates toward violence and destruction.

Kimono cloth, printed cloth, lace, archival pigment ink AppliquĂŠd, reverse appliquĂŠd, drawn, printed, machine sewn

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Turmoil In Hiding 60 x 40 inches 2016

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Jim Hay Takasaki, Gunma, Japan My little brother was 8 when he saw his first scary movie.

He ate some popcorn. Suddenly Martian war machines fired straight at him. His eyes opened wide. Hands flew up. Popcorn filled the air, becoming parachutes landing on the people behind us.

Bob died of AIDS before we could spend old age together.

All I have is the popcorn.

Silk, canvas, photos and words printed on cloth, transparent cloth, lace, kimono, obi, ribbon AppliquĂŠ collaged, machine and hand sewn, printed, wrapped with ribbon and loose thread

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1953 Popcorn 46 x 32 inches 2014

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Patricia Kennedy-Zafred Murrysville, Pennsylvania, USA Early 1900s photographs by Lewis W. Hine documenting the conditions of child labor have inspired a series of pieces, including this quilt. Through color and pattern, the piece attempts to capture the dangerous, shadowy environment of the cotton mills. Changing bobbins and spools as the machinery moved continuously often resulted in injury, and the fibrous workplace damaged youthful lungs, later coined “brown lung disease.�

Original images courtesy of the Library of Congress

Cotton, dyes, textile inks, fusible web, image transfer materials Hand silkscreened, fused, image transfered, machine pieced, quilted

photo by Larry Berman

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Childhood Taken: The Doffer Boys 42 x 36 inches 2014

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Jill Kerttula Charlottesville, Virginia, USA Perhaps the biggest turmoil in a woman’s life is her first pregnancy: physical, emotional, cultural, and mental changes and challenges, both internal and external. It has been true through the ages. This piece uses sketches from ancient medical texts, copies of cards my own mother received when I was born, and original images to portray that turmoil and angst.

Custom and commercial cloth, beads, thread AppliquĂŠd, hand and machine stitched, inkjet printed, custom printed, beaded

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Baby Quilt 30 x 28 inches 2016

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Judy F. Kirpich Takoma Park, Maryland, USA Conflict No. 1 was influenced by the conflict in the Middle East, specifically in Syria. For so many years, Syrians have been caught between violent extremists and a corrupt leader in Assad. Conflict No. 1 captures the anguish and turmoil created by this struggle .

Hand-dyed cotton Machine pieced and quilted

photo by Mark Gulezian

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Conflict No. 1 36 x 36 inches 2012

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Jeanne Marklin Williamstown, Massachusetts, USA Images of the universe often appear to be chaotic. They represent the unknown in many ways, and the unknown often causes us to feel turmoil. Natural processes may be beautiful, but there is a mystery to how they exist.

Snow-dyed cotton Machine pieced and quilted

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Marklin Nebula 34 x 35 inches 2016

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Kathy Nida El Cajon, California, USA It seems women, especially mothers, caregivers, and teachers, have to be goddesses with a multitude of limbs to manage all the chaos the world throws our way. It’s never-ending, from the moment you first feel the fetus flutter or that pregnancy nausea, through the lack of sleep and the utter hopelessness when the baby won’t stop crying. Through sports, school, drama, the learning and the screaming, the love, the last-minute fever, and late-night trips to the store for the project they never told you about. The paperwork. The laundry. The money. The love. They move out, but you still have the college bills, the texts, the questions, and the reminders that they still need you, but you didn’t teach them everything yet. Because you can’t. And then suddenly it’s quiet, and the chaos of 18+ years is just gone.

Commercial and hand-dyed cottons Fused appliqué, machine stitched and quilted

photo by Gary Conaughton

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The Goddess of Never-Ending Chaos 46 x 35 inches 2016

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Claire Passmore Trowbridge, Wiltshire, UK Post-traumatic stress is suffered by millions, if not billions, of people worldwide. It consumes the brains of those who have been profoundly affected by witnessing or experiencing great trauma. For them, what follows is turmoil, pain, and torment. Whether sleeping or awake, demons from the past are ever-present, echoing on and on, tumbling around in the mind’s eye, and hindering sufferers from freely going about their daily lives.

Cotton, synthetic voile, water-based screen printing ink, fiber-reactive dye, oil paint sticks Screen printed, dyed, painted, partially covered with voile, free-motion quilted, embellished, hand stitched

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Echoes of Demons 38 x 25 inches 2016

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Martha E. Ressler Hamburg, Pennsylvania, USA Everything is topsy-turvy. Usually when Mother “serves turkey,” she roasts it and carves it up for others to eat. Today, instead, she serves Mrs. Hen Turkey her favorite food, watermelon. To add to the strangeness, Pony is on strike, and Turtle is pulling Baby in the wagon. In the background there seems to be another war. Which one? It’s hard to keep track. Goodness, are they shooting at the artist? She is oblivious.

Fabrics, papers, plastic bag bits, original photos printed on cloth Raw-edge appliquéd, machine quilted

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Mother Serves the Turkey II 31 x 26 inches 2016

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Deborah L. Runnels Klamath Falls, Oregon, USA The word ukiyo (sadness of life) was originally a Buddhist idea of the transitory nature of life. The character, meaning “to float,” was substituted for the word transitory in the 1600s to express a hedonistic culture of a “floating world.”

The wave symbolizes the powerful natural environmental occurrences of the earth and its elements that we cannot control. The floating world is a metaphor for the materialistic overload of our society and the isolating impact it has on us.

Commercial cottons, acrylic paint, inks Layered, cut, woven, dyed, painted, stitched

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Ukiyo — The Sadness of Life 43 x 32 inches 2016

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Mary C. Ruzich Medford, Oregon, USA With increasing frequency, we are witnessing catastrophic events brought on by unstable and unpredictable atmospheric conditions. Likewise, heat and pressure beneath the earth’s surface are constantly shifting and moving the structures below.

At any moment these tremendous energies can cause unprecedented chaos and turmoil.

Cotton, dyes, thread, beads Hand dyed, strip pieced, free-motion quilted, beaded

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Above and Below 53 x 24 inches 2016

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Maggie Vanderweit Fergus, Ontario, Canada A beloved friend died of cancer. She was my soul sister, and I am struggling to imagine life without her. The grief comes in waves, and I am often blindsided by sorrow. To construct this quilt, I took irregular log cabin blocks, slashed them, and then put them back together in random, choppy arrangements. They echo the heartache of having to cobble together this strange new world without Nancy in it.

Cotton batiks, commercial fabrics, silk Pieced, machine quilted

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Shattered — The Labyrinth of Loss 45 x 38 inches 2016

Tranquility

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Frances Holliday Alford Grafton, Vermont, USA Floral images crowd each other for attention in a bright sparkling garden. Tranquility is apparent.

Commercial cotton Raw-edge appliquĂŠd, free motion quilted, stitched

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Flowers of the Vine 48 x 40 inches 2000

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Linda Anderson La Mesa, California, USA Waking to a brisk morning, I walk with a cup of coffee and tour my backyard. The dewdrops that cover so many plants in our garden show like crystals in the sunshine. This is one such close-up of that morning greeting. Just noticing these small moments makes for a peaceful exchange with nature. What a way to start the day!

Cotton, polyester, textile paints, felt Hand painted, raw-edge appliquĂŠd, machine stitched and quilted

photo by Jamie Hamel-Smith

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Morning Mist 36 x 36 inches 2012

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Meghan W. Betts Arlington, Virginia, USA Step. Step. Step. The day falls away. Challenges, noise, and stress retreat. In their place are calm and ease. My passenger points out a cardinal in flight and a squirrel bounding up a tree, common sights translated into things of wonder through his young eyes. In these moments, the concerns of the world retreat and we realize that we are part of a world of infinite possibility.

Commercial cottons, batiks, and hand-dyed fabrics Fused, appliquĂŠd, machine quilted

photo by Ian Betts

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Infinite Possiblity 36 x 24 inches 2016

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Erika Carter Renton, Washington, USA A view of meandering water creates a place for meditation.

Habotai silk, raw silk Hand painted, cut, composed, direct machine appliquĂŠd, machine quilted

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Ponderings IV 42 x 39 inches 2015

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Maya Chaimovich Ramat Gan, Israel When I traveled with my husband in the desert, the silent emptiness and endless open spaces inspired me. It was so relaxing there after a long week full of tension. I took deep breaths and tried to capture the memory.

Cotton, silk, lace, synthetic fabrics Small pieces on interfacing, fusible fabric, embroidered, freemotion machine quilted

photo by Moti Chaimovich

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A Window Into Spaces 51 x 39 inches 2015

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Sandra Champion Battery Point, Tasmania, Australia Buttongrass Creek near Hobart, Australia, quietly prospers beside an established urban landscape. A well-hidden secret, the creek provides a crucial water source for the diverse range of natural flora and native fauna on its journey. Yet those who seek out the track beside the creek are rewarded with a peaceful walk through an environment that has thrived in its natural state for hundreds of years. For me, this makes Buttongrass Creek a magical place.

Recycled dressmaker’s pattern tissue, silks, fusible web, acrylic paint Stamped, painted, hand stitched, manipulated and fused, cut, machine stitched

photo by Bruce Champion

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Buttongrass Creek: Winter Walk 58 x 39 inches 2015

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Jette Clover Antwerp, Belgium A body of water is the one thing that always brings me peace of mind, both physically and mentally.

Hand-dyed cotton, cheesecloth Painted, screened, collaged, hand and machine stitched

photo by Pol Leemans

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River View 37 x 32 inches 2009

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Linda Colsh Middletown, Maryland, USA The sentinel stands quietly and observes; looking left, looking right … watching. He patiently waits. We don’t know for whom or for what, but clearly he is content, comfortable in his own skin.

Cottons Machine pieced, machine quilted, dyed, painted

photo by Pol Leemans

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The Sentinel 40 x 40 inches 2008

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Jennifer Day Santa Fe, New Mexico, USA Donald has led a life full of twists and turns. He began his adulthood serving his country in the French Indonesian war in 1956 — almost 70 years ago. He later served in Korea and in another war that he will not talk about. He has had cancer numerous times and is still fighting lung cancer. I took his photo as he sat in the window of an old barn in New Mexico. The light of the setting sun graces his face and his expression leads us to believe that he is content. At age 86, I believe that he is satisfied with his life and that his future holds promise.

Cotton broadcloth Printed, thread painted, free motion quilted

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Donald in Light 30 x 29 inches 2016

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Donna Deaver Coeur d’Alene, Idaho, USA I have a deep love of the sea. It draws me in an unexplainable way, calling to me when I least expect it. Even though I no longer live by the ocean, I feel that I am home whenever I return. One of my favorite times of the day is early morning when the beach is empty.

Listening to the infinite rhythm of the surf is a form of meditation.

Hand-dyed and painted cotton fabric Pieced, stitched, free motion quilted

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Morning Walk 30 x 30 inches 2015

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Heather Dubreuil Hudson, Quebec, Canada Patrick Caulfield (1936–2005) was a British artist known for his paintings of interiors, with their strong black lines and flat colors. This is my invitation to him to join me in my cozy reading corner and have a cup of tea.

Hand-dyed and commercially-printed cotton, muslin, fusible web Fused, machine stitched

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Come Sit with Me, Patrick Caulfield 30 x 30 inches 2016

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Aileyn Renli Ecob Walnut Creek, California, USA My joy comes from capturing in fabric some aspect of life around me. I am especially drawn to the myriad variety and detail of plant life and have been using that as the starting point for my textile art for 20 years. In Succulents, the soft colors and smooth surfaces of succulents, along with the low-contrast background and gently curving quilting pattern, suggest serenity.

Cotton, ink, fabric paint Machine appliquĂŠd, machine quilted, inked, painted

photo by Kerby Smith

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Succulents 41 x 24 inches 2015

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Suzan Engler Panorama Village, Texas, USA Midnight snow softens and silences the winter landscape.

Cotton Digitally manipulated, machine quilted

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Winter Silence 50 x 26 inches 2016

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Sarah Entsminger Ashburn, Virginia, USA Still waters — lakes and slow-moving rivers and streams — calm and soothe my soul. The colors shimmering in the light, the slow-moving dance on the surface, the cool and clear textures, and even the smell of the water, take me back to places of comfort and peace. I recall memories of sleeping in canoes on still summer nights, slowly paddling in the sunlight, or simply staring at the surface of the water, contemplating life.

Cotton, colored pencil, ink, acrylic paint Machine appliquéd and quilted

photo by Neil Steinberg

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Summer at the Waterfront 31 x 39 inches 2015

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Sandy Gregg Cambridge, Massachusetts, USA For some, a church represents a spiritual place for contemplation.

In this rendering I chose to highlight the beauty of the entrance.

Cotton, polyester, color copies, dyes Laminated, breakdown printed, machine quilted

photo by Joe Ofria

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Entryway 30 x 26 inches 2016

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Patricia Kennedy-Zafred Murrysville, Pennsylvania, USA Based on vintage postcards, this piece is one in a series of works portraying women from all over the world, with strikingly varied concepts of beauty. The images are Japanese geisha. Despite the typical connotation, true geisha were highly trained in dance, music, and various forms of art. The calm expressions on their faces were part of their allure, as their rigorous training was designed to create a presence of subtlety, strength, and grace.

Cotton, dye, textile ink, textile paint, image transfer materials Silkscreened on hand-dyed fabric, image transferred, painted, machine pieced, quilted

photo by Larry Berman

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A Separate Reality 48 x 36 inches 2016

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Judith Larzelere Westerly, Rhode Island, USA I am exploring the interaction of matte, reflective, and transparent fabrics to create ambiguity and change in my image.

The longer this work is studied, the more detail will emerge.

Shapes in the second layer are partly revealed by the strip-pieced top layer. I am interested in making minimalist art that links simplicity to meditation.

Commercial fabrics, hemp, silks Pieced, machine quilted

photo by Marty Doyle

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Translucency and Lavender 41 x 40 inches 2014

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Michele Lea Oxford, Ohio, USA This quilt is very personal for me in that I am constantly searching for peace and tranquility. Trying to find a place of light, rather than focusing on the cloud of darkness that looms over me, is a daily ritual. I suffer from chronic mental depression, which is a disease with no cure. More than 40 million people suffer from it and suicide is an ongoing threat for those of us who want to escape.

The image of me floating, with butterflies draping over me as a blanket, is tranquility. For me it is an end to torment — a place of safety and peace, my original home where I would join my creator and become whole again.

Commercial fabric, hand-dyed fabric, beads, glitter paint Pieced, appliquéd, painted, beaded

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Tranquility the End 59 x 29 inches 2016

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Lorna M. Morck Los Alamos, California, USA To me, trees are extraordinary. Steadily observing one particular tree over time can equate to a private meditation.

They embody age-old wisdom, majesty, and a quiet calm detached from human turmoil and stress. This piece started with a tree trunk, became geometric at the top, then evolved into a contemplation of its own image at the bottom.

Artist-made fabrics, polyester stabilizer, dyes, paint Dyed, painted, heat distressed, discharged, stitch resisted, fused, hand and machine stitched

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Trees: Contemplation 43 x 26 inches 2015

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Wen Redmond Strafford, New Hampshire, USA The moment after lifting off, the nest is empty. Brief moments of tranquility before the longing begins.

Cotton canvas, heavy stabilizer, UV medium, paint Printed, stitched, hand tied

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Flown 30 x 40 inches 2011

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Shoshi Rimer Bat Yam, Israel Blossom by the Lake depicts a moment of serenity I felt while walking by a lake in Birmingham, UK. It was so remote from the hectic life I have in my country. Calm colors pass this feeling on to the viewer.

Commercial cotton fabrics, rayon AppliquĂŠd, painted, machine free-motion quilted

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Blossom by the Lake 40 x 29 inches 2011

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Judith Roderick Placitas, New Mexico, USA There is something very compelling about a human-sized ancient bird who has been on the planet since the dinosaurs. The whooping crane, one of the two North American crane species, is the world’s most endangered crane with only about 600 now in existence. This quilt was hand drawn from some of my own photographs. It reflects my hope, intention, and prayer that they may continue to grace our skies and landscapes for ages to come.

Hand-painted silk Hand drawn with soy wax and gutta, dyed, machine quilted

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Whooper Reflection 53 x 36 inches 2014

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Gwyned Trefethen Appleton, Wisconsin, USA The genesis for Adoration comes from my love of Madonna and Child paintings made during the Renaissance. The image is an artistic interpretation of a photo taken of the artist holding her first grandchild. Can there be a more peaceful moment?

Commercial cottons, batiks, fabric paint, ink Fused appliquĂŠ, hand painted, inked, free-motion quilted

photo by Dana B. Eagles

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Adoration 35 x 35 inches 2013

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Cynthia Wenslow Grayslake, Illinois, USA Nature is where I find tranquility, especially while walking through the forest in spring. April 22nd reflects the forest coming alive in the Upper Midwest.

Cotton, wool felt Raw-edge appliquĂŠd, quilted

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April 22nd — Lake County Series 37 x 30 inches 2016

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Tina Willams Brewer Pittsburgh, Pennsylvania, USA I believe that everyone is born with a special gift. It is our life’s journey to fertilize and nurture this gift placed in our DNA. In building this work, I incorporated a corpus of world symbols associated with Mother Earth. Wind, water, fish, and birds become my messengers, delivering the story’s bridging of the past and present.

Silk, cotton, beads Silk screen on fabric, hand and machine quilted

photo by Bernie’s photography

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Circle Back 54 x 40 inches 2015

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Kathy York Austin, Texas, USA Alone in the deep end, I am at peace. I am fascinated by the patterns of refracted light on the bottom of the pool and the reflections on the underside of the water boundary. I hold my breath and enjoy my brief moment of quiet solitude.

Cotton, dye, fabric paint, ink Batiked, discharged, overdyed, printed, hand inked, machine and hand quilted

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The Deep End 60 x 24 inches 2014

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 across the United States and around the world. The exhibits not only give artists the opportunity to show their work, but also expose the public to the variety and complexity of the art quilt genre. 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 978-0-9966638-3-0

52000>

9 780996 663830