Wednesday, November 28, 2007

Susan Ennis received training in fine arts at Trinity University in San
Antonio, Texas, and graphics at Rocky Mountain School of Art in Denver,
Colorado. She has chosen fabric as her preferred medium. She has pieces in
corporate and private collections and her work has been published in books
and magazines. At Quiltmaker Magazine as Art Editor and at Quilter's
Newsletter Magazine as Art Associate, Ennis designed and illustrated quilts
for publication. Her work has been exhibited nationally and has won awards at the International Quilt Festival in Houston, Texas. She has designed fabric for the apparel trade and is presently under contract designing print fabric for Free Spirit Fabrics.


Hand appliqued and embroidered, machine and hand quilted

The forest and its creatures have cycles and lives that are complete without human intervention. Wild places are very precious as the flood of humanity threatens to overtake many of them. This quilt is a snapshot of a moment in an undisturbed private place in a wild wood.

Judy B. Dales started quilting in 1970 and since then has built an impressive career as an exhibiting artist, author, international teacher, respected judge, juror and curator. She has served as co-Director of the Fine Focus Exhibitions since 1999 when Fine Focus 02 was envisioned. Judy’s book, Curves in Motion (C & T, 1996), has introduced a generation of stitchers to the joys of working with curves and her classes taught around the world have inspired a whole new style of art quilts. Many of her quilts are in corporate collections and museums, including The Newark Museum, The Morris Museum of Arts and Science, Chubb Corporation, Squibb, and the White House Craft Collection. Her commission work includes three quilts incorporated into a donor panel for the National Institute of Health, and in 1999, one of her quilts was chosen as one of The Hundred Best Quilts of the Twentieth Century. Her quilts have won numerous awards at shows such as International Quilt Festival, Houston and the AQS show in Paducah, KY, and she has received two Fellowship Grants from the New Jersey Arts Council.
Moon Dance

Silk and nylon chiffon, tulle, rayon thread, metallic fabric

I combine my distinctive curvilinear style with an unusual palette to create dynamic art quilts that are full of complexity, movement and dimension. The undulating shapes create a rhythm that is enhanced with a painterly flow of color, and the dense stitching emphasizes each flowing curve. My quilts begin with spontaneous and intuitive drawings. Translated into fabric, these designs have an intimate, spiritual quality, but their abstract nature leaves much to the viewers’ imagination, providing a universal appeal.

My fascination with curves and circles continues. The endless roundness of circular forms combined with the delicate nature of transparent fabrics creates a dreamlike effect that has strong appeal. Our world is full of hard things: rocks, guns, jails, landslides, war, and attitudes. I prefer to escape to the softness of fiber.

Monday, November 26, 2007

Kim H. Ritter, M.ED., holds her City and Guilds Certificates in Patchwork and Quilting and in Design from the London Institute of the Arts. Her work has been awarded recog-nition internationally. She has art quilts in private, museum and corporate collections worldwide including the Quilts, Inc. Corporate Collection. Her work has appeared in publications such as Fiberarts Magazine, American Craft Magazine and FiberArts Design Book Six. Kim is the author of Quick Quilting, a book for beginning quilters that has been published in many countries and also translated into German and Cyrillic Russian. She has been serving as Co-Curator and Co-Director of the Fine Focus Exhibitions since 1999 when Fine Focus 02 was envisioned. She is also on the board of directors of the International Quilt Association and serves on the Exhibition Committee for Studio Art Quilt Associates. She has work currently on tour with Women of Biblical Proportions, and in Quilt National 05.
On Hold

Giclee prints on cotton, enhanced with Tsukineko inks and Prism colors
Machine quilted

I have learned not to be too specific in my artist’s statement beyond the title, which is often tongue in cheek; a cliché, joke, double entendre or irreverent observation on the human condition. Intended to evoke open-ended responses that are associative rather than literal, the title and image are enough to spark the inner dialog that I want to create between the work and the viewer. Part of the fun for the viewer is discovering the punch line through his or her own wit and sense of humor.

With a cheeky look inspired by comic books, anime and cartoons, the wry witty images are most often of women involved in every day activities. These images reflect my sense of humor and tendency to laugh in the face of adversity, yet they explore complex human emotions and social issues.. Wit is a mighty weapon; comedy is a useful tool; laughter is a universal healer.

Carolyn Dahl's passions are painted textiles, nature prints, and handmade paper baskets. Beginning with ideas from her journals and poetry, she explores the many possibilities of each medium. The resulting artworks have been show in museums (New Orleans, Mint Museum, Santa Fe), art centers (Chicago Textile Arts Center, Brookfield Craft Center, Arrowmont), in numerous commercial galleries, and in Holland and Italy. Magazines such as American Craft, World of Embroidery (England), Fiberarts, and Southwest Art have featured her work as well as Fiberarts Design Books, The New Photocrafts, Paper Sculpture, and Guild 7 in which she was an American Crafts award winner. She has also been a featured guest on Home and Garden Television (The Carol Duvall show and Simply Quilts) and PBS (Creative Living and Sew Creative. She is the author of TRANSFORMING FABRIC: 30 Creative Ways to Paint, Dye and Pattern Cloth (Krause Publications/F&W Books) and the nature printing book NATURAL IMPRESSIONS: Taking An Artistic Path Through Nature (Watson-Guptill Publications).
From Flower, to Eye, to Garden of Memories

Hand-painted and dyed cotton, prints from real flowers, beads and buttons
Machine and hand embroidered

If we will but look at the world closely, lovingly, reverently, everything that
exists in nature can be ours forever, imprinted in our memories through
the magic of our collecting eyes. When we crave to see the beautiful, the
cherished object again, we need only remember.

Monday, November 19, 2007

Kathy York is an art quilter with roots in traditional quilting. Her real passion for quilting began with the birth of her first child. Kathy’s quilts are typically bright and whimsical pieces with a bold, graphic appeal. She frequently embellishes her quilts with beads or hardware. Her quilts have been juried into IQA’s A World of Beauty; AQS Quilt Show and Contest; Quilts for Change 2004; Husqvarna – Viking Masterpieces: ColorCouleurColoreKulör; and Small Wonders VII. She has also participated in Journal Quilts – A Page from My Book for three years. When not playing with her two children, Kathy also enjoys doll making, scrapbooking, and gardening. Her whimsical art can be seen decorating her children’s furniture, the walls, and even the outside of their home in Austin, TX.

Visions of Grandeur

cotton fabric, cotton batting, buttons, beads, tyvek, copper adhesive tape, fabric paint, copper wire, copper foil, embroidery thread, cotton craft thread, fusible web, copper metallic thread, washer,m pearls\Machine pieced, machine and hand quilted, fusible applique

I was inspired to create this little quilt during a brief obsession with a celebrity. Hence, the sleeping fish dreams of a better, somehow, more glamorous life. I love the fish’s beautiful dream and it has helped me appreciate everything I have during my conscious hours.

After receiving her MFA in Costume Design, Elin Waterston worked as a wardrobe stylist in film and television, and in costume shops, building costumes and masks, painting, dyeing and manipulating fabrics. Eventually, that evolved into quiltmaking, which in turn, evolved into art quilting. Her award winning art quilts are in many public and private collections and have been exhibited in numerous galleries and museums. Elin is a member of the Studio Art Quilt Associates and Fiber Revolution. She teaches at The Country Quilter in Somers, NY and Katonah Art Center in Katonah, NY. She lives with her husband and son in South Salem, NY.

Mind & Memory (Aerial)

Cotton fabric, photo transfer, paper
Fabric collage, photo transfer, painting, machine quilting

Mind & Memory (Aerial) is part of an ongoing series of small fiber art inspired by city photographs. The central image of this piece is an aerial shot of Manhattan.

Martha Warshaw was born in Nebraska and raised in Michigan. She went to school in Wisconsin and later lived for a number of years in North Carolina. She now lives in Wyoming, Ohio, a suburb of Cincinnati. She has been making art quilts since 1997, the year her eldest child graduated from high school.

Portal 6

Fabric, paint, ink
Stitching, rust stains, layers bonded together

This work is one in a series which in which I attempted to make several small, very simple compositions having to do with the (sometimes intense) moment before a change takes place.

Ineke van Hasselt was born and raised in the Netherlands. She has a degree in Creative Therapy that covers every kind of Arts and Crafts except Fiber Arts. After moving around the world she settled with her family in Canada. The first couple of years were a productive time for wall hangings and character dolls. A family project for the 60th anniversary of her parents sparked her interest in quilting and resulted in a number of quilts for special occasions. Since “retirement” Ineke divides her time between travel and working in her studio on Salt Spring Island. She loves the challenge of restrictions, special requirements and deadlines that contests and commissions give her.

Ode to Valerie Tudor II

Hand painted silks
Traditional quilting, machine embroidery

The fabulous fabrics of Valerie Tudor, a Salt Spring fabric designer who hand paints her silks, velvets and Egyptian cottons, were the inspiration for this quilt. Combining the traditional quilting technique with the bold modern design created a number of windows. I could also have called this piece “Windows on the Past”.

Sherrie Spangler is a fabric artist from Rockford, Illinois, whose work is largely inspired by the natural world's weather, rocks, rivers, forests, light and other wonders. She has always been involved with art and sewing, but it wasn't until she left a career in newspaper journalism to raise a family that the two interests came together. Her many years of editing also influence her work as she strives to make
sure each piece is clean, concise and has a strong structure. Her work has appeared in many international exhibits and publications and is in corporate and private collections.

Katrina: Flood and Fire

Cotton, silk, cotton batting, metallic and cotton thread
Painting, stamping, foiling, raw-edge collage, machine quilting

I worked on this piece as Hurricane Katrina ripped into New Orleans. I used colors of stormy skies, fires and floods. I tore the fabric and peeled back layers to expose the quilt's interior, much as the hurricane peeled apart buildings. Sweeping quilting lines symbolize wind and rain.

Ellen Scott says “I grew up in the Midwest longing for the bigger world, so during my childhood I traveled in my imagination. I found my home in the world
of Art. Whatever I could create with my hands was my pride and joy.
When the opportunity of college came I chose to experience the Art
History academics of Boston while also majoring in Fine Arts. From
there I moved to San Francisco where my world completely opened up in a Master's program where I delved into canvas as fabric. I began to
dye and stitch onto my narrative images. For the past 20 years I have
continued this quest. At this juncture I fully embrace the Fiberart
world and the inspiration and excitement I derive from the simplicity
and complexity of the medium. Being a mother, wife, daughter, sister and friend underlies the themes I portray. There are many women throughout history that light my way.”


Fabric, embroidery floss, button, beads
Appliqué, hand stitched

Artisan is autobiographical and universal in nature. She represents myself and all those who reside in the world of creativity. In my own Artwork, I often incorporate the elephant as a symbolic companion. In this piece the elephant has a car sewn onto it, and reference to the animal’s strength and the vehicle also symbolizes routing our journey in this modern world.

Lauralyn Sciretta considers herself a re-emerging artist, after recommitting to her art subsequent to a recent heart attack. Even with her first traditional quilt, she designed her own pattern. In 1999, she recognized art quilts have the diversity to allow experimentation with other mediums such as drawing, painting and photography, not just fabric and thread. Her first gallery acceptance was 2002, a mixed-media art show in a Tucson gallery. Born and raised in San Diego, California, she is now a "desert rat" residing in Tucson, Arizona, maintaining Lazy Lizard Studio within her home that she shares with her husband.

Faded Memories, Diagnosis, Alzheimers

Freehand-machine "drawing" based on a photograph of my parents.

When my Father was diagnosed with Alzheimer's I frantically photographed, attempting to capture that moment forever before the disease took over. This piece is based on my favorite photograph of my parents. I drew a line in place of my mother’s features representing when he will no longer recognize her.

Originally from Los Angeles, Janet Schultz has lived in Flagstaff, Arizona for 28 years. In 2005, Janet was awarded Artist Residencies at the Jentel Foundation and the Santa Fe Art Institute. These experiences convinced her to quit her job as financial manager for James Turrell in order to be a full time artist. She has work in private and corporate collections.


Hand-dyed, hand painted cotton
Machine pieced, machine quilted

I’m fascinated by the juxtaposition of man’s lines and earth’s lines. Man attempts to control the land by placing it into measurable sections. As recent natural disasters show, we cannot erase earth’s lines or its natural balance. Maverick is a real place outside Sheridan, Wyoming.

Diane Savona incorporates many used and salvaged materials in her quilted art. Her work has been shown primarily in the local area where she collects her materials: art from - and for - her community. In the past two years, she has begun to show her work on a national level.

Scratching the Surface

Layers of cotton, silk organza, netting, segments of a vintage calendar towel, phototransfers, snaps and hooks
Machine and hand sewn, fused, phototransferred and cut

By cutting through the recent top layers, I have exposed the vintage cloth and images of the past. The hooks and snaps invite the viewer to connect with the intensely stitched layers.

Kathleen Probst earned a bachelor of science in finance and went on to teach high school mathematics. She has also worked as a whitewater raft guide and a computer programmer. Now, she balances her life between growing boys and creating art. Heavily influenced by the Front Range Contemporary Quilters, she began creating art quilts in 2000. Kathleen has artwork in several private collections. Her work has appeared in mixed media and fiber art shows in Colorado and Idaho. In 2003, Kathleen made her artistic debut in Elements, a show juried by Robert Shaw. Kathleen’s quilts have a playful quality where color is used to manipulate perception of space.

Making the Cut

Cotton, ink, flannel
Scanned objects, computer manipulated, inkjet printed, fused, machine stitched

I believe creating art is one of the cosmic tasks I have been given. It is challenging, frustrating, and rewarding to look at a pile of fabric and give it a voice. To sift through the ideas that find my conscience and play with them makes me a child forever.

Judith Plotner lives and works in the Adirondack Mountains of New York. Her work has been exhibited nationally in group and solo shows including the Renwick Gallery of the Smithsonian Museum, Washington, DC, American Craft Museum in New York City, and the Whistler House Museum of Art, Lowell, MA. Several publications that include her work are: Fiberart Gallery, Fiberart Design Book 7 and Stamping with Style. She is the recipient of two Individual Artist Grants in New York State and an SOS grant in New York State.


Cotton (commercial, dyed and painted)
Dye, paint, monoprint, Xerox, machine pieced and appliquéd, machine and hand quilted

My work integrates my life experiences as an artist, my love of fabric and collage, and my training as a painter and a printmaker. My subject matter is deeply internalized and I incorporate random thoughts and symbols. Text is frequently incorporated as part of the message along with various surface techniques to produce a piece rich in textural layers.

Sue Pierce has been making art quilts for over twenty five years. Her work reflects a crisp and witty sensibility. As an independent curator, she organized Full Deck Art Quilts, a national survey of art quilting which opened up the Renwick Gallery of the Museum of American Art and was traveled around the country by the Smithsonian. Her quilts have been purchased by the state department, national Institutes of Health, the International Monetary Fund as well as a number of corporate and private collections. A lecturer and published author, Pierce has served on the boards of several mid-Atlantic and national Arts organizations.

Christo Visits Home Depot #1

Cotton and cotton blends, felt, silk
Pieced, surface rubber stamped, dimensional felt tools wrapped with silk

It’s all about orange. As I designed work for a group exhibit on the theme of hardware, I went to Home Depot for inspiration. I was struck by the commonality of their logo colors and the gates project which was at the time going up in Central Park. Why not wrap tool shapes?

Katy Kellogg Nygard's relationship with textiles began at age 5 when she fashioned a needle and thread from a bobby pin and a piece of string in order to repair the tattered edges of a favorite childhood blanket. She has since costumed plays, designed and manufactured one-of-a-kind garments and has been quilt making for much of the last decade. Katy's fascination with the hand stitch and its dimensional quality is evident in her recent work. Katy has exhibited her work in national and international juried shows and has received several awards.


Linen and cotton fabric, cotton thread, acrylic paint, dye, resist and discharge medium, hand-carved stamps

Raw edge appliquéd, machine pieced, hand embroidered using artist dyed, painted, stamped and discharged fabric

I live in the mountain west in a rural neighborhood that was once a flood-irrigated agricultural field. Puzzled was inspired by the beautiful aerial geometry of the once plentiful family farms and ranches that are quickly disappearing from our landscape

Barbara Barrick McKie is consolidating all of her diverse experimental careers with her life-long interest in photography and creative sewing by concentrating on combining surface design experiments with computer photographic manipulation and computer fabrics she creates using disperse dyes. Her prize-winning art quilts have been juried into art quilt shows such as Visions and Quilt National, most national and international quilt shows, the New England Quilt Museum, the Museum of American Folk Art, and the American Quilter’s Society Museum. She has been published in quilt magazines such as American Quilter, Quilting Arts Magazine, and a number of quilt books. Recently she was featured on Simply Quilts TV show.

Nature Kaleidoscope: Seagrapes #1

Polyester fabric, wool batting, cotton backing, rayon thread
Disperse dyed, machine quilted

I created a series based on my photographs that are manipulated and printed on the computer to make kaleidoscopic patterns. This one is based on a photograph of sea grape leaves.

Arlene Mathieu has worked in various art media for over four decades and exhibited throughout the United States. Her work is included in private collections in the U.S., Canada, and Europe. Her formal training was in painting, and textiles and design; Mathieu also has a degree in cultural anthropology. Her work in the fiber arts employs a collage technique, with stitching as drawn line. It includes hand-dyed--by Mathieu--fabric in which color is reminiscent of watercolor washes, as well as commercial fabrics, digital photos printed on fabric, Asian and other hand-made papers, and found objects, many of these from nature.

Stepping Into

Fabrics hand-dyed (by artist) and commercial, paper, digital photo printed on cotton
Collage; machine stitching and quilting

Splashes of color, the play of light and shade; feather-like fronds moving in the wind, petals tissue paper thin. Step around a corner, and there, another display. And as always in a natural landscape, reminders of change and the ephemeral.

Barbara Martinson is an Associate Professor in the Department of Design, Housing, and Apparel at the University of Minnesota. She is currently the Buckman Professor of Design Education and Director of Graduate Studies. Martinson is both a researcher and designer. Research areas include design history concentrating on 19th century illustration, design education, multicultural design, and design process. Both her graphic design and fiber work has been exhibited and published nationally, and has received national awards. She teaches courses in Design, Planning, and Analysis; Design History, Color and Design, and Human Factors for Graphic Designers.

Inappropriate Appropriation

Commercial printed fabrics, fabric markers
Quilting, trapunto

Like most fiber artists I collect fabric in bits and pieces, from both local shops and when traveling. Such is the case with the two fabrics in Inappropriate Appropriation. Both pieces lived quietly in my pile of cloth, until one day I put them together and decided to make a piece about careless appropriation of cultural imagery.

Art Quilts by Jill Le Croissette have been shown in over ninety juried quilt and multi-media exhibits regionally, nationally and internationally. Her work has won 18 awards and prizes. Formerly an academic librarian, she has been a fulltime quilt and wearable artist since 1982. Jill has published seven articles on quilting and related subjects, and her quilts have appeared in books, magazine, video recordings and newspapers, as well as in her own and other websites. Her work is in collections in the U.S., Australia, Britain, France, Spain and Sweden, and in the U.S. Ambassador’s residence in Turkmenistan.

Hate is Expensive

Wool, cotton, cotton and wool threads, cotton batting
Reverse appliqué, discharge, hand stitching

In this piece, I tried to show that the damage done by hate can never be mended. Hatred between people and nations is too expensive. It destroys innocent lives and is carried on from generation to generation. We’ve got to learn not to hate other people because they are different.

Judy Langille says “While teaching art to elementary school children, I began to study traditional quilt making and later taught it to adults. My interest in art quilts grew and during this period, I organized many school programs for children and teachers to work collectively on the production of community quilts. I also received several grants, including one from the Geraldine Dodge Foundation, for my work in integrating the arts into the school curriculum. Today I work extensively with fabric dying and printing, using thermofax and photo silkscreen techniques. My fiber art has been juried into many national and regional shows, including Quilt National and Fine Focus 2002 and 2004. I have been teaching textile design at William Patterson University and the Newark Museum Arts Workshop. I am an active participant in the Morris County Crafts Awareness Program, which features selected artists in residence.”

Dotted I’s

100% cotton, discharge paste and thickened dyes, threads and batting
Torn rice paper resist screened with thickened dyes and discharge paste, machine stitched

“Dotted i’s” is part of a new series of work which uses torn paper as a resist, in this case rice paper. The forms that emerge from the torn paper are the inspiration. Discharge paste is screened through a blank silkscreen frame on a variety of black fabrics. Using thickened dyes, I paint the forms that have color removed from them and then repeat the process of discharge and paint several more times until I have my desired composition. The colors and shapes that emerge from within the different black areas of these fabrics create a mysterious new element to my work. These whole pieces of fabric are then layered with batting and a backing and machine stitched with a variety of threads. The stitching creates a line that is drawn onto the surface of the fabric to bring the composition together.

Liz Kuny began her career in graphic design. Her interest in quilting as art began
during the time she was at home raising her three children. For the past 12 years
she has pursued this interest exclusively. Her work has appeared in local art shows
and hangs in private collections. She has had work accepted into Fine Focus 02,
Sacred Threads 2005, and Form, Not Function: Quilt Art at the Carnegie (2005).

Sea Glyphs I

Commercial and hand-dyed fabric, chromacoal pastels, beads
Machine and hand appliquéd and quilted

Fabric is wonderfully versatile, and I challenge myself with each piece to explore new ways to use this medium. I’m sometimes rewarded for my efforts, and often surprised. The possibilities for ways to use fabric in a piece can seem endless, but I love the trial-and-error nature of it. For me, the thrill is in the process. Everything should be this much fun.

As a genetically disposed to fabric and thread person, Iva Jensen expanded the traits inherited to include surface design, marbling, needle weaving, machine quilting, and creating art to wear. An early class in creative stitchery at the Philbrook Art Museum in Tulsa, OK crystalized a generalized vision of fiberarts into a fine obsession to do everything that could be done with a needle and thread, papers, plastics, silk and paint.

As a member of Houston Area Fiber Artists, The Golden Needles Quilt Guild of Conroe, the International Marblers Association, Friends of Fiber Art, International Quilt Association, American Quilters Society and Studio Arts Quilt Association, Iva has exhibited work in California, Colorado, Tennessee, North Carolina, Louisiana, Texas and Istanbul, Turkey. Her work is in private collections in the US.


Satin and cotton fabrics
Sunprint, machine quilted

I am captivated by the sheer life force that pulls plants up through rocks, concrete and other unlikely places for them to prosper. The innate need to grow overcomes all obstacles and says to me, "See, if I pushed through here, you can do anything too." This dissection of a seed pod speaks to the built in promise of plants, people and ideas. It started out as a sun print on satin. I added machine quilting and bound it with a print that simulates the environment for growth.

Thursday, November 15, 2007

Debra Harry’s award-winning quilts have been exhibited in shows across the country. She has won numerous awards, including the Curators Award in the Hoffman Challenge and Judge's Choice at the Quilter's Heritage Celebration in Lancaster, PA. She has done commissioned work for nationally known fabric manufacturers and private collectors. In addition to her quilts, Debra has designed a line of patterns that have been carried by several catalog companies. Debra earned her art degree from Rowan University. She combined her love of fabric and knowledge of sewing with her art background to begin quilting in 1985. Her art quilts incorporate hand dyed fabrics, beading, embroidery and embellishments.

Sea Treasures

Commercial cottons, batiks, fibers, tulle, ribbon and beads
Fabric collage, free motion machine quilted, hand
Embellished, serged edge

My quilts include rich colors, fibers, embellishments and beading. The subject matter usually encompasses ocean themes that explore the beauty of underwater sea life. This piece reflects an ocean theme of sea treasures and the wonderful colors and textures found beneath the sea. Additional interest is achieved with the areas cut away from the middle of the quilt, exposing the darkness behind.

Marilyn Gillis has been making fiber art since she was a child. For the past twelve years she has focused exclusively on creating studio art quilts. She dyes, prints, and paints fabric and makes felt and silk paper for use in her quilts. Art provides a way for her to make a statement about ideas and issues she considers important and meaningful. Her inspiration comes from the beauty of the natural world, the art and teachings of native cultures around the world, and from the circle of women, past through present that she is a part of.

Distant Spirits

Handmade wool felt, synthetic felt backing, porcupine quills, bleached bone, beads
Resist dyed, hand pieced, machine quilted

Distant Spirits was inspired by Native American culture. I made the felt for this piece and then resist dyed it. It is embellished with porcupine quills and shell. These materials were frequently used by Native Americans for the same purpose – to embellish their clothing and their art.

Monique Gilbert started traditional quilting in 1984 in a non quilting land, Belgium. Working together with “de Kunstbank” in 1989 made her realise that a lot of work has to be done to promote Art quilts. Therefore she coordinated Europa Quilts 1 and 2 in Leuven and is co-founder of Q.Art Belgium, which exists to provide a network for quilt artists living in Belgium. The contemporary wall hangings made by Monique Gilbert are shown in Europe, USA and Japan. Her passion is teaching new techniques to like-minded quilters.

Persona Grata I

Handpainted fabric, non-woven newspaper print, lace, pearls
Appliqué from the back and the front, machine made

A one-inch passport photo of my mother when she was 20 (in 1931) was my starting point. I kept the style of the period that I never knew. My mother learned to quilt from me when she was 75 and was addicted until she died at 90. A tribute.

Lisa Gibbons is new to the fiber arts, never having exhibited prior works. She gained an interest and appreciation for the fiber arts and quilting from her mentor and mother, Carol Moss. Currently, it provides her a form of relaxation and an outlet for artistic expression. She looks forward to further exploration of this wonderful and versatile medium.

Soundings: Music on the Brain

Cotton, organza, silk, dupione silk
Hand painted, discharged, photo transfer, machine pieced and quilted

Since humans, there has been music, and arguably before. I am inspired by music’s innate effects on our moods, thoughts and feelings. This piece represents music’s elicitation of a range of emotions from the human, which are represented by color and layers of fabric.

Wednesday, November 14, 2007

Clairan Ferrono is a full time studio artist living in Chicago. For the past ten years her work has been extensively shown locally and throughout the Midwest, and, more recently, both nationally and internationally. In 2004 she was awarded an exhibition grant by the Illinois chapter of the National Museum of Women in the Arts. Her art quilts are in many private collections. Currently Clairan’s work can be viewed at

Windows: September

Canvas, cottons, silk, thread
Painted, hand dyed, drawn with markers and pastels, machine appliquéd and quilter

I am an obsessive observer of windows; to me they are a definitive urban feature. Walls of windows with their reflections, architectural details, curtains, blinds and shades are a readymade, constantly changing feast of pattern. Windows are the structure for my current series about seasons and holidays. Color and stitching provide the emotional surface reality, but the underlying skeleton is the layering of windows, the “historical” context of time and change.

Liz Alpert Fay holds a degree in Textile Design from the Program in Artisanry at Boston University. She has exhibited at such venues as Quilt National, the Museum of Arts and Design, The Wadsworth Athenaeum Museum of Art, and the Fuller Craft Museum. Liz’s work can be found in The White House permanent collection, and in the collection of the Museum of Arts and Design. Her work can also be found in many private, as well as corporate collections. This artist’s work can also be seen in publications such as “The Art Quilt”, “Fiberarts Design Book 7”, “The Complete Guide to Collecting Hooked Rugs”, and “A Celebration of Hand Hooked Rugs X”. Liz’s rugs have been featured in “Country Living” magazine, and on the Home and Garden Channel’s (HGTV), the Carol Duvall Show. Liz is a Master Teaching Artist in the state of Connecticut. She has taught textile art to children for many years, and now teaches workshops for adults.

Patient Education

Linen, gauze, silk, organza, cotton, wool, paint, marker, threads, beads
Hand appliquéd, stitched, couched

We dream of making changes, but we don’t always think about the risks we may be taking, or the hazards we may suffer in the process.

Sara Drower, a former biology teacher (University of Illinois), is still teaching by drawing and painting beautiful botanical subjects. After teaching, Drower created detailed watercolor and ink drawings. Experiments led to working on fabric, creating quilted clothing. Next, Drower made large wall quilts based on the classic grid format. Now, she explores rich floral detail through highly magnified and richly embroidered miniature quilts, which invite a closer look and appreciation of nature. Drower’s work has been exhibited in numerous museums, including the Smithsonian, Illinois State Museum, Newark Museum, Minneapolis Museum of Art, in gallery shows, and is included in many permanent collections.

White Peony

Cotton, dyes
Dye painting and drawing, machine quilting and embroidery

I love the coloring, pattern, design and form of fruit, vegetables and flowers. For years I created large wall quilts using these images; now I love the detail in one magnified image. I sew, using multicolored thread embroidery, emphasizing line, movement, form and texture; it is like painting with a sewing machine!

Always fascinated by color and fabric, Diane Rusin Doran has been sewing since childhood and quilting since 1987. Focusing on machine techniques, she uses piecing and appliqué to create complex, heavily quilted pieces. Her quilts have been exhibited nationally, and won awards at a variety of shows including IQA, NQA, and the Mid-Atlantic Quilt Festival.

Diane’s most recent quilts explore color and dimension, and she enjoys experimenting with surface design and image transfer techniques. Her current technique of choice is to digitally manipulate photographs and paintings, print them using archival inks, and add dimension and detail through extensive machine quilting.

Marsh Grass I

Cotton fabrics, thread
Digitally manipulated photograph printed with archival pigment inks on cotton, hand dyed backing, machine quilted

The pond behind my mother in law’s house has always been a source of inspiration to me. I took a photograph of marsh grass, and its reflection, at sunset. This quilt is a result of digitally manipulating that photograph.

Denise DeMarie’s background is in working with fibers, and hand papermaking. In 1992 she formed Grass Roots Paper and gained international attention through utilizing fiber sources from noxious weeds and agricultural by-products in making paper. She founded Newport Paper Art Festival in Newport, OR, which draws participants eager to learn about papermaking, printing, book arts, etc. The Oregon Coast Council for the Arts now hosts the event. As Denise’s work evolved, textile fibers, rather than papermaking fibers, have become her media of choice. Current works combine multiple techniques resulting in complex pieces full of color and texture. Denise has shown at numerous exhibits, including several times at the Sitka Invitational, the Japanese Gardens, Interiors By Invitation, both in Portland OR, and the Invisible Exhibit in Bratislava, Slovak Republic. She has taught at the Sitka Center for Art and Ecology, Daniel Smith Community College and other venues. She has been published in national and Canadian magazine, spanning subjects from sustainable agricultural to craft techniques to gallery art.

Aerial Geography

Layered materials, candy wrappers, Tyvek, translucent fibers
Layering, assembling and painting, fibers treated with a heat gun

I call my current work “extreme embellishment”. Texture inspires me. Whether knitting, weaving, making handmade papers or sewing, the fibrous textures have kept me spellbound. My work at this stage involves layers of textures. There are so many layers, I loose count, each one contributing to the whole. I use fabrics, plastics and metals, trims, yarns, crystals, embroidery and paint. I burn parts away or melt others together. The results still seem organic to me, the reflection of Nature’s textures. I see her mountains, valleys, rivers and skies in my work. I see her tapestry all around me.

Originally a printmaker with an emphasis in etching and intaglio, Davila often incorporates paper into her textile pieces.

transFORMation: Evolve

Cotton fabric, mulberry paper
Collage, machine embroidery, hand carved stamp, machine quilted

Often seen as a symbol of freedom, change and strength, dragonflies fascinate and delight me with their curious combination of the ethereal and the prehistoric. As a quilt artist working with fiber, paper and found objects, insects are a frequent subject as I explore the organic forms and linear abstractions of landscape and nature.

Growing up in the rural south, Kimberly Davies spent much of her time outside, roaming the creeks and forests of the surrounding countryside. Forts were built. Swings engineered. Sculptures formed. She is a maker of things. She cannot remember a time when she wasn’t. Art was with her at an early age. After receiving an MS in architecture, Kimberly moved to San Francisco. No job. No income. She wanted to work at one firm only. She dropped by three days every week until they hired her. When she and her husband moved to NY in 2001, she started a career as an artist.

Corridor III

Fabric, paper, paint, foil
Collage, machine quilted, decollage

Creating layers by collage, I try to simulate a small part of the human condition. Many are constructed of a series of internal barriers, some permanent, some transient, held on literally by a thread. By peeling back the last layer, we can see what lies beneath.

Pat DaRif works as an administrative law judge for a state social service agency, but her real life is that of a fiber artist. She has sewn all of her life and has been quilting in a serious way since 1999. Her art quilts have been exhibited by the American Quilter’s Society, the International Quilt Festival, the Textile Center of Minnesota, the Appalachian Center for Crafts, and other venues.

Mangrove II

Commercial Cottons
Discharge printing, inkjet photo transfer, hand piecing and appliqué, machine quilting.

I find my primary inspiration in nature. I often use images from photographs I have taken as both the subject of a quilt and the basis for fabric created through photo transfer techniques. This piece is based on my photographs of mangrove forests on the coast of south Florida.

Stitches are how Tricia Coulson got to be an artist. Hand stitching doll clothes, embroidering tea towels or cross-stitching, this interest continued into machine stitching and the construction of her own clothes as an adolescent. It wasn’t until she returned to college after a fifteen-year break, that she took the artistic possibilities of fiber seriously. Taking a surface design class her first semester, she then realized what she wanted to do. She spent the next four years with a fevered passion that she never had for anything else before in her life. Now Tricia Coulson spends her time working part time and creating her own artwork. She has been exhibiting locally and nationally for the last ten years, including Craft National 32 and 36. Her work has been published in FiberArt Design Book 5 and 7.

Artifacts: 2

Dyed tea bags, cotton, printed cotton embroidery floss, beads, paint
Dying, seed stitch, hand and machine stitched

Producing and creating art starts out with an incredible amount of time, so out of character with today’s production oriented values. This process provided me with a unity of hand and spirit, reaffirming the human elements in our daily lives. This work was inspired by my interest in excavating and the southwest. It reflects the visual attraction I have to broken shards and their unpredictability. Dyed tea bags lend themselves to the feel of some ancient and neglected ruins, and, as with every work of art, I have applied my own sense of aesthetics.

Quinn Zander Corum did her first embroidery when she was five years old and first used a sewing machine at age seven. She made her first traditional quilt in 1978 and quickly moved to non-traditional art quilts. Today she combines the techniques of fine needlework with a variety of materials and methodologies that serve to enhance the imagery. She had her first solo exhibition in 1987. Since then her work has appeared in venues across the United States, she has done several private commissions, and has work in a number of private collections.

EARTH FORMS: Watching the Weather

Cotton fabric, dyed; beads, embroidery floss, thread, permanent marker
Hand-dyed fabric, marker outline, beading, appliqué, embroidery quilting

I’m working on a series I call Earth Forms. This piece relates to an aerial map of “somewhere” and the symbols used on maps. It is called “Watching the Weather” because of the heated currents surrounding the landforms.

Maureen Whalen Cole is an active member of Quilts on the Wall Fiber Artists of Southern California and has participated in their many challenge projects and exhibits. She was a participant in Fine Focus 04. In 2002 she won a third place ribbon for Small Art Quilts at the Houston International Quilt Festival. Fabric has always been, and continues to be, her primary fascination. She enjoys searching through her stash to find just the right fabrics for a particular piece and feels that this part of the creative process is the most challenging and rewarding.

Friends & Lovers

Commercial cottons, pearl cotton thread
Rubber stamping, machine piecing, hand and machine quilting

Over the years I have made many quilts in which words or quotations were used to contribute to the design and add context. After reading this quote from Marc Chagall, I wanted to illustrate in fabric his wonderful description of the color wheel.

Jette Clover is a journalist, art historian, curator and fiber artist. She was born and raised in Copenhagen, Denmark. She has lived 14 years in California and Seattle, WA, then 20 years in the Netherlands, 4 years in Florida and since 2005 in Antwerp, Belgium, where she maintains a studio and teaches design and dyeing classes.
Jette has exhibited widely in Europe, Japan and the US, and she has acted as a curator and a juror for many international exhibitions. Her work is represented in international collections.

Jette is the author of European Art Quilts (1997), The Art of Joan Schulze (1999), Scandinavian Quilts (2001) and she published the book Naden/ Seams about her own quilts and collages together with the Dutch writer Herman Coenen in 2001.
Jette is a member of the European group Quilt Art, the Art Quilt Network/New York, the Fiber Gallery, SAQA and the Surface Design Association.

Marks the Spot I
$ 250

Cotton, netting, cheesecloth
Rusting process, screen printing, hand- and machine quilting

I am fascinated by the rusting process, by the spontaneous and unpredictable design and coloring. I react to the marks and colors of the organic process by putting down my marks in the form of painted and printed images and words. A dialog with nature about markmaking.

Tuesday, November 13, 2007

Jan Clark began exhibiting art quilts in 1999. Her work has been shown in exhibitions in Australia, Europe, Canada and the United States. Publications include Fiberarts Design Book 7 (Lark Publishing) and Contemporary Quilts (Marabout/Hatchette Livre) as well as textile magazines. Nature is her inspiration and currently the focus is on the links between patterns observed on beetles through a microscope and the patterns found in the universe. Jan dyes or dye paints most of her fabrics and applies them to a dye painted background. Often the fabrics are sheer silks or organzas that overlay each other like colourwashes.


Cotton Sateen
Applied layers of commercial and hand dyed fabrics

It seems to me that all things in our universe are connected. The spots on the back of a beetle, seen through a microscope, can be the spots on a starmap tracing vast constellations. Spots have become a metaphor for the life that resonates throughout everything.

Peggy Brown began painting over 30 years ago. Around two years ago she began translating her watercolor and graphite paintings into art quilts. As a painter Brown’s work has won over 300 awards. She is an elected member of the American Watercolor Society, National Watercolor Society, and other professional organizations. Her paintings have been featured in 13 books, in several articles in art magazines and are collected nationally and internationally. As a neophyte fiber artist, she is actively entering juried fiber art competitions in an effort to build acceptance and a reputation in that medium.

Small Moments II

Silk, cotton, printed interfacing
Inkjet transfer from original painting, painted collage, hand quilted and embroidered

For 30 years I have created and exhibited watercolor, graphite and collage paintings. I let my paintings inspire my work in fabric art. I either paint directly on fabric and layer it into a collage; or like Small Moment II, transfer a previously painted image onto treated fabric using my inkjet printer.

Liese Bronfenbrenner has created unique pieces of fabric art for forty years, enhancing her fiber art skills with workshops at Quilting by the Lake, Arrowmount, Penland, as well as consultation with fiber artists all over the world. Her work, consisting of wall hangings, small quilts, soft sculptures, and artists' books have been exhibited at national exhibits such as Stitchery International ‘81-Pittburgh, Needle Expressions 88'- Bloomington, Aullwood Audobon Center-Dayton, as well at galleries and juried craft and quilt shows in New York State.

Chance Designs Crazy Quilt

Silks on cotton base
Dyed and printed with chance techniques: sun-dying, monoprinting, dip-dying, rubbings, transfer prints, hand and machine stitched, tied.

I have been observing how much chance plays in creative design, due both to planned and unexpected fabric painting, dying, and printing techniques, as well as over-printing one technique over the other. Combining the results of these experimental techniques to create the small quilt was challenging and exciting.
Susan Shie grew up drawing, painting, writing, and sewing. As a romantic teen, she thought she was very hip painting on stretched canvases on an easel in her bedroom. In college she started sewing on unstretched, painted fabric. She got a MFA in painting, sewing what she called Diary Quilt Paintings for her thesis in 1986, and never took classes in surface design or quilting. She was in Painting and enjoyed working differently. Since then her work has become more and more about diary, family, friends, events around her, and now political commentary, as we desperately need Peace, Kindness, and Love.

Ode to Julia Child
$1, 650

Cotton fabric, fabric paint, perle cotton thread, 1 shisha mirror, 1 green temple Buddha boy bead

Whole cloth painting using airpen for lines and writing, regular brush for color painting, all hand quilted

My work is a mixture of personal diary, social and political commentary, and healing-peace energy. “Ode to Julia Child” merges writing about Julia’s life and how it paralleled my Aunt Louise’s life in the Foreign Service. My daughter’s pregnancy is “in there,” too. I started Julia over a year before I had time to finish her, and it was good to sew on her while watching my granddaughter Eva.

Charlotte Bird has been creating fine art quilts and other textile art works for 18 years. Her work has been juried into many fine art shows including Quilt Visions 1998 and 2004 and On the Wall: SAQA @ Colorado Springs, 2005. She has been featured on the Tomie de Paola show on the Odyssey channel and on the Carol Duvall Show and Simply Quilts on HGTV. In 1996 her book, Sew A Work of Art, Inside and Out was published by That Patchwork Place. She is a member of California Fibers, Studio Art Quilt Associates, the Surface Design Association, Friends of Fiber Arts and is on the Board of Quilt Visions.

Composition #5 Garden X

Hand dyed and commercial cotton, hand dyed silk organza, cotton batting, nylon sewing thread, pearl cotton embroidery thread.
Hand cut fused appliqué, machine appliqué, machine quilted, hand embroidered

I have been using hand cut “rocks” in my work for several years. I use hand dyed fabrics in value gradations. This piece was essentially a maquette for a larger piece representing a formal garden. I was experimenting with organza as an overlay with individual parts cut out for emphasis.

Jeanne Raffer Beck is a full time artist who lives in the Finger Lakes Region of New York State and has a studio in Rochester, New York. She has been creating layered, richly textural wall hangings using dyes, paints and threads on a variety of fabric surfaces for over 10 years. Her work has been juried into numerous shows in the United States and England and has appeared in a number of publications. Jeanne teaches surface design and textural stitching techniques and writes regularly for Surface Design Journal. She was recently profiled on HGTV's Simply Quilts.

Tic Tac Toe Heart

Cotton, textile paint, cotton batting, thread
Hand painting, silkscreening, machine and hand stitching

I started writing short stories when I was 12 years old. Now, as I collect vintage photographs of women who display amazing character, I juxtapose these images with symbols that represent my own life experiences. These women become characters in my own visual "stories."

While growing up in Switzerland, sewing and art were always a part of Madeleine Bajracharya's life. After moving to the US, she made her first quilt, drafting the design in metric units based on a quilt she saw in a magazine. Since then, she has lived in many different parts of the world and has embraced and incorporated the art from the many cultures into her quilts. While initially creating many traditional quilts, her designs have now evolved to an emphasis on geometric design, the use of color, and objects in nature. To achieve a unique effect, she makes her own fabric using various techniques including dyeing, printing, discharge, and shibori.


Black cotton fabric
Discharge with different resists, mono-printed, hand appliquéd and embroidered, machine quilted

This quilt is one in a series that all use the fabric resulting from my experiments of discharging various black fabrics with different resists. It is based on a geometric design of projected spheres. Choosing the perfect fabric for each sphere and creating a design to unify them was both the challenge and joy of this quilt.

Geneviève Attinger, an agricultural engineer, is a self-taught artist. She experimented with graphic expression and sculpture in evening classes in Beaux-Arts School. Then she became interested in the possibilities of fabric and threads as art media. Her quilts are shown worldwide and can be found in private and corporate art collections in England, France, Sweden and USA. She is a member of Fiberart Synergy (France) and SAQA (USA) Her work is figurative but functions as a non verbal language; she uses parts of faces or bodies to half-open doors, to give direction, to create sensation, but nevertheless to identify clearly their meanings.


Cotton, satin, metallic threads, home-dyed jersey
Free-motion machine embroidery over appliquéd pieces, knotting

My work is a mixing between expression and form, by the means of fabric’s manipulation and free motion machine drawing. Here I want to relate the third stage of a rupture: after distress and sadness comes “distrust”; so the story comes untied.

Katherine Allen is a sculptor who has made Mixed Media Textile Constructions her primary art form since the late 1990’s. Her work has appeared in many prominent venues among them the Coral Springs Museum of Art, the Columbus Museum of Art, the Fort Lauderdale Museum of Art, the Whistler Art Museum, the University of South Florida, Florida Atlantic University, the Cranbrook Academy of Art Museum and many National and International Competitions. She is a graduate of the prestigious Cranbrook Academy of Art in Bloomfield Hills, Michigan where she worked with such well-known artists as Ursula Von Rydingsvard, Richard Nonas and Yoko Ono.

Angel’s Trumpet

Cotton duck, cotton and metallic threads, batting
Pigment dyeing, silk-screening, collage, laminating, stitching

My subject is Nature in movement, mark and form. I am interested in evoking her keenly joyous moments with their celebratory gestures and energetic shapes. I begin with a piece of heavy cotton or silk and rapidly, without too much advance planning, cover the fabric’s surface with pigment using a monoprint screening process. An unpredictable and surprising result occurs every time. The shapes and lines that occur with each falling splash of ink and tossing of cloth or string express a beautiful physical logic. Stitching and combining multiple prints highlights and clarifies the serendipitous rhythms and associations developed during the printing process. I try to preserve the fresh and unfiltered aspect of the creative process as much as possible in the finished artwork. My goal is to capture the gestures of Nature in order to build a bridge of her uniqueness to a place that refreshes the spirit.

Christine Ambrose belongs to Front Range Contemporary Quilters and to two critique groups, Material Evolution and ArtStrings. Her work has been exhibited in the Smithsonian, The Loveland, CO Museum and will be featured on several episodes of the DIY Network series "Uncommon Threads" in March, 2006. Christine’s work was included in Fine Focus 04. Her passion is painting dye on luxurious fabrics. Quilting and beading her work gives lots of hands-on time for contemplation.

Bast: Cat Goddess

Silk twill, rayon thread, glass beads, batting
Batik, hand applied dyes, quilted, beaded and stitched by hand

Inspired by the myriad of craftswomen from around the world whose daily practice and sale of their work enables them to improve their lives, my current work speaks to my admiration of these incredible artists and my own dedication to the mastery of my craft. Using my own version of Contemporary Batik, I apply hot wax with the traditional tjanting tool to outline my designs. Brilliant dyes are applied to create subtle blends and gradations. With vibrant color and evocative imagery, I offer an intimate invitation to view my world of magical motifs.