QuiltCon 2019: Show Recap

I had the privilege of attending QuiltCon 2019 in Nashville last month. Now that I’ve had some time to re-integrate into reality, I’ve put together a recap of my first-ever quilt show experience!

Mary Fons, editor of QuiltFolk, starts a tour of the Sherri Lynn Wood exhibit.

From the moment I set foot in the registration lineup, I knew that I was amongst my people. I belong to a number of communities, but as with many other subcultures, there is a way that quilters are that no one else understands. I was warmly welcomed by people whom I have never met or had any pre-existing relationship with. Any awkwardness of “Um, I don’t know you,” is thrown by the wayside and you are automatically called “friend.” I know this is not true of all quilt shows, but I certainly felt this sentiment at QuiltCon. To quilt is a need that resides deep within us: It keeps us sane, afloat, human, and adds so much value to our lives. This as a common denominator is the start-up of friendship.

Lectures

I had a show lecture pass so I could pop into any and all of the lectures that were ongoing. I took away a lot from each: Mary Fons, Sherri Lynn Wood, Heidi Parkes, Ginny Robinson, Sarah Bond, Megan Callahan. I was thoroughly moved by Mary Fons lecture, “The ‘F’ Word: Why Quilters Don’t Talk about Feminism.” Her sensitivity and  in approaching a potentially contentious topic was admirable. She remarked that as a quilting community, we have built a “safe space” — so why can’t we talk about ideology and differences in our belief systems? 

Mary Fons: “The ‘F’ Word: Why Don’t Quilters Talk About Feminism?”

Sherri Lynn Wood’s keynote lecture traced, in reverse chronological order, her trajectory as an artist. At the time of the lecture, she was in a creatively stagnant phase, having not produced any work for about six months. This was comforting to hear — not every moment of every day can be creative and productive. Not even every week or month. Her stories were what I needed to hear. Every artist’s journey is long. The long-game is where the magic happens. A special exhibit of her work was on display and it was great to see the work both before and after hearing her speak about it.

Silver Lining by Sherri Lynn Wood

I had the opportunity to jump in on a guided tour of some quilts by Mary Fons before the show floor opened on the last day of the conference. She walked us through the Childress Collection exhibit (Marjorie Childress is a prominent collector of antique quilts) and Sherri Lynn Wood’s work. As Mary started taking about SLW’s work, the artist herself was lurking about taking photos of the exhibit! She end up taking over the tour and we got to hear from the artist herself about her residency at the Recology Centre in San Francisco, where she made everything and gathered all her tools from a dump. 

Sherri Lynn Wood and Mary Fons

Classes

Beginner Lino Printing with Karen Lewis

I banked them all of my workshops together on Thursday and Friday to free up my Saturday and Sunday to walk the floor and meet with people. I took a wide range of classes including “How to Quilt a Minimal Quilt” with Season Evans, “Beginner Lino Printing” with Karen Lewis, “Improv Applique Curves” with Nydia Kehnle, and “Quilting Mashup” with Sarah Thomas. I was so excited to meet all four of these artists/designers and learn such diverse skills. Some people space out their workshops so they have sufficient energy to give to them. Not me! I could have taken workshops all day, everyday. In fact my Friday was three workshops, three hours each and I felt like I could keep going…

My first longarm class – Quilting Mashup with Sarah Thomas a.k.a. Sariditty

Exhibits

There were so many wonderful quilts to see. With over 300 on the floor, it truly was an inspiration. There were two that I was dying to see in person, and they didn’t disappoint:

Something’s Are Not Easily Seen: Poverty by Kathryn Upitis
Hunt by Carolyn Friedlander. The careful craftsmanship of this quilt up close was perfection.

Among the Youth Category, there were many social justice quilts coming out of the Social Justice Sewing Academy. I had a fly-by greeting with fellow HGSE alumna Sarah Trail, who heads up this organization. As a creative person, I want to see other people see themselves as creative, especially young people. Because when you can say, “I create,” it means that you have a voice. You have agency. You can make change and not just consume what is available to you.

Activist ABCs by Bianca Mercado, Social Justice Sewing Academy. 1st Place, Youth Category.

I also love this quilt by Zoe Sutters, who started when she was four. She won a 3rd Place ribbon for this work (she’s now six!):

The City Zoo by Zoe Sutters. 3rd Place, Youth Category.

One of the most rewarding things was to watch artists talk to attendees, just by happenstance. They were like impromptu artist talks. I was walking around with Laura Preston of Vacilando Quilting Co. and these teenagers were admiring her quilt. I had the opportunity to say, “Here’s the artist – talk to her about it!” 

Laura Preston of Vacilando Quilting Co. talking to some young show attendees.

This happened again with Karen Bolan, who’s intriguing 3D flying geese had everyone wondering, “How’d she do that??” Karen showed us and then again, I jumped at the chance to say to the next spectators, “Talk to the artist about it! She’s right here!”

Karen Bolan talking about her Folded Flyers.

Some trends that I noticed:

Trend #1: Straight line quilting, which may be a marker of modern quilting at this point!

One of my favourites with straight line quilting: Catching Modern Dreams by Stephanie Ruyle. 3rd Place, Piecing Category.

Trend #2: Curves. In the words of Libs Elliott, “curves are the new HST.”

Modern Times by master of curves, Jenny Haynes.
3rd Place, Modern Traditionalism Category.

Trend #3: Tiny Piecing. Kitty Wilkin is a master of tiny piecing and her 100 Days project and new sampler pattern highlight this skill.

100 Days of Sew Smaller by Kitty Wilkin, Special Exhibit.
(I’m not touching it, just holding my hand up to it for scale.)

And here is the Best in Show – a group quilt headed up by Leanne Chahley (@shecanquilt):

Smile by Leanne Chahley with Stephanie Ruyle, Felicity Ronaghan, Kari Vojtechovsky, Melissa Ritchie, Diane Stanley, Marci Debetaz, Debbie Jeske, Karen Foster, Hillary Goodwin

Charity Quilts

Here are our guild members in front of our charity quilt:

Inset by the Maritime MQG.
L to R: Gillian Noonan, Shelly Stephen, Julie Delnegro, me.

There were so very many of these wonderful collaborative pieces. Amongst my favourites was the Brisbane MQG’s quilt, which acknowledges the indigenous owners of the land on which they now reside.

Brisbane River Dreaming by the Brisbane MQG

Craft South

Lastly, I had the opportunity to attend a live podcast recording at Craft South. Stephanie Kendron interviewed superstars Anna-Maria Horner, Kim Eichler-Messmer, Tula Pink, Sarah Nishiura, and Carolyn Friedlander. It was an inspiring experience, to say the least. You can read all about my experience on the Craft Industry Alliance blog

“The path is less important than keeping on going,” said Horner. “And if it stops making sense, stop doing it.”

— Anna-Maria Horner
Modern Sewciety podcast host Stephanie Kendron with Anna-Maria Horner, Kim Eichler-Messmer, Tula Pink, Sarah Nishiura, and Carolyn Friedlander. Photo courtesy of Jenni Smith.

Listen to the podcasts here:

Live Modcast from Craft South: Heidi Parkes & Tara Faughnan

Live Modcast from Craft South: Denyse Schmidt, Sarah Bond & Sherri Lynn Woods

Live Modcast from Craft South: Sarah Nishiura, Anna-Maria Horner & Kim Eichler-Messmer

Live Modcast from Craft South: Carolyn Friedlander & Tula Pink


I am so grateful for the opportunity to learn from my peers at this conference. My attendance at this conference was made possible through a professional development grant through Arts Nova Scotia.

In Search of Botanical

If you ask anybody who knows me even a little bit, they’ll tell you, “Andrea doesn’t do floral.” I don’t wear flowers. I don’t plant or grow flowers because they always die on me. I don’t have any floral prints in any of my home decor. I don’t draw flowers unless I can’t think of anything to draw. But when you put a challenge in front of me, my response will usually be, “Challenge Accepted.”

This quilt is titled In Search of Botanical and marks the beginning of my quest to find my own version of floral. It’s my entry into QuiltCon 2019’s Two-Color Quilt Challenge. It hasn’t been accepted yet, but whether or not that happens is irrelevant to the work itself!

So back to flowers: Don’t get me wrong, I like flowers. Like a bouquet of flowers. And I appreciate flowers — I see their beauty and their appeal. But I don’t often find floral prints that really feel like “me.” There are artists that do work that really appeals to me — Anna Bond of Rifle Paper Co., Leah Duncan, Brie Harrison and Arounna Khounnoraj of Bookhou. Many other artists can also be found in Uppercase’s Encyclopedia of Inspiration “Botanica”. And so I set out to find my own style.

Many people say that copying is a form of flattery. Others consider it an infringement of copyright. To me, it’s a way of learning. From a cultural perspective, I’ve had a glimpse at how a Chinese art teacher approaches learning versus how we learn art in a Canadian public school. (Disclaimer: Times have changed, so I’m sure that both have evolved substantially since my experience.) A Western mindset prizes freedom of expression and creativity so a class’ works will look very different across the board. A Chinese approach focuses on technique first then expression later so a class might have works that look very similar to start. I tend towards the latter in my own practice — give me the tools to express myself so that when I have something to say, I can say it accurately and eloquently.

So I started with these inspirational artists and looked at motifs that I liked. I drew them to figure out if I could “make them mine.” As I went along, I continued to layer inspiration and constraints that influenced the design:

  • QuiltCon’s Two-Color Quilt Challenge: Prints may be used as long as they consist of ONLY two colors. Thread color and binding needs to match the two colors in the quilt. Backing can be any color. The deadline for submissions is November 30, 2018. 
  • I was also inspired by an article on gilded artwork and illuminated manuscripts in Uppercase Magazine Issue #38 and went in search of gold metallic fabric and finally found some at The Quilted Castle. It’s from a holiday collection by Windham Fabrics from a few years back.
  • I had a couple of Riley Blake fat quarters in my studio with white and gold metallic and put them into the mix.
  • Learning a new skill. I wanted to try my hand at needle-turn applique since Carolyn Friedlander/Leah Duncan’s Wildabon quilt was a large influence.

A test block based on Suzy Quilt’s Aria quilt pattern.

Let’s talk timeline. (Laughs out loud).

  • July: I was inspired and got my fabrics.
  • August: I tried my hand at needle-turn appliqué and tested a block based on Suzy Quilts’ free pattern Aria.
  • Beginning of October: I whipped up the design in Adobe Illustrator in a couple of hours one evening in August or September.r
  • Mid-October: Started it  on a day trip to Lunenburg for the CCF conference. I got… 3 petals done.

  • November 18: Watched two CreativeBug classes by Carolyn Friedlander on how to do needle-turn applique.
  • November 21: Packed it up and travelled to Montreal/Ottawa for some teaching.
  • November 22-28: Plane rides, train rides, hotel rooms – needle-turning and hand stitching.
  • November 29: Basted, quilted, bound.
  • November 30: Photographed and submitted to QuiltCon.

I really like the medium contrast of these two colours. I like that they’re both “neutral”-“ish”. The gold fabric is basically a cotton completely covered in gold metallic ink. It’s heavy and stiff and feels almost like plastic. It was nice in that the edges didn’t fray as I was turning them under but it was a bit hard jabbing my needle in.

So my final verdict? I loved the process of making this quilt top, but I really dislike the quilting that I did with gold thread. Overall, I am so happy that I made this quilt on a weird timeline and will certainly be doing more needle-turn appliqué in the future. We’ll see what the jury has to say, I guess!

***UPDATE*** This quilt did not get accepted to QuiltCon 2019, but I am nevertheless glad that I ventured into the world of needle-turn appliqué.

The back of the quilt top before the basting stitches were removed.

Front of the quilt top before the basting stitches were removed.

Tutorial: Skinny Strips and Inset Seaming for the 2019 QuiltCon Charity Challenge

The call for 2019 QuiltCon charity quilts is twin-sized group quilts in a specific colourway (above) using this year’s theme, small piecing. The guild that I am a part of, the Maritime Modern Quilt Guild, will be submitting a quilt and we will incorporate the theme in two ways: Improv skinny strip sets and “inset seaming” (itty bitty ~1/8″ insets!). First, we will make strip “slabs” and secondly, we’ll inset them into a block. This tutorial is geared specifically to the charity are making as a guild, but of course, feel free to try out this technique on your own.

MMQGers: Each participant will make four blocks, all with the same background colour. The blocks will have 1, 2, 3, and 4 inset seams respectively. We will use the leftover strip slabs in the final composition of the quilt, so please hand those in along with your completed blocks. Please have your blocks handed in by September’s MMQG meeting: Thursday, Sept. 13, 2018.

Stephanie Ruyle of Spontaneous Threads is the authority of the topic of “inset seaming” in quilting and here is what she says:
Inset seaming is a technique I’ve adapted and applied to quilting but it originates from a couture sewing technique used to place delicate thin strips of fragile lace/ other delicate fabrics into garments such as lingerie and special occasion wear. Inset seaming in quilting allows you to place very thin strips of fabric into a larger piece of fabric (or pieced quilt top). Once you get comfortable with this technique you can inset fabric strips of 1/8th of an inch wide (sometimes even less as you get better).”

I have my own instructions below that are specific to this quilt, but Stephanie’s tutorial is a great reference if you need another set of instructions to wrap your head around the technique.

Skinny strip slabs and inset seams

Yields 4 blocks, 8 1/2″ x 8 1/2″ unfinished

Fabric requirements
  • (4) 10 1/2″ x 9″ background fabric for blocks a single (your choice). This is roughly one fat quarter divided into 4 quarters.
  • (16-18) 18″ long strips of the remaining palette colours in solid fabrics, ranging from 3/4″ to 1 1/2″ in width
  • Spray starch (optional)
  • Disappearing fabric marker (optional)
  • Seam ripper, a key tool for inset seaming!
  • Washable glue stick
  • Zipper foot
  • Standard straight stitch foot
Making Skinny Strip Slabs
  1. Lay out your strips in whatever order you want.
  2. Piece them together. Press in one direction. Don’t worry if the strips are a bit wonky or if the slab is not quite rectangular. Use starch to make your strips and seams lay flat. Your final “slab” will need to be at least 9″ wide. Keep adding strips until you’ve reached a 9″ width.

Cut the Inset Fabric

The strip slab is now your “inset fabric”. Cut (10) 1″ strips.

Inset Seaming

Each block will have 1, 2, 3, and 4  inset seams going in one direction only. We will not cross the inset seams for this design. They do not have to be parallel, but most all go from one side to the opposite side.

  1. Orient your rectangle horizontally. Draw a vertical-ish line where you want your inset seam to go (marking it is optional – you can just wing it in Step 2).
  2. Fold and press along that line.

  1. With the longest stitch available on your machine and a 1/4″ seam allowance, baste a line along the folded edge. Err on the side of a generous 1/4″ seam allowance rather than a scant 1/4″.

  1. Slice the fold off. We want to remove the fold without removing much fabric.
  2. Press the seam open.

  1. Apply a line of glue (gluestick or preferred glue basting technique) on the opened part of the seam allowance. Try to keep the glue away from the centre basted seam. (Trust me, the glue will be revealed if it’s sloppy and although it’s not too obvious to the eye, it’s a bit crusty to the touch!)

  1. Place your 1″ inset fabric on top of the glued seam, face down. Iron from both sides to set it in place.

  1. Install your your zipper foot. And reset your stitch length to normal.
  2. Flip the right side of the background fabric to the left (see images below). You will be sewing through one layer of the striped inset and one layer of the background fabric. The basting stitch should be to your left.

  1. Using your zipper foot, sew a line parallel and close to the the basted seam. The distance basted seam and this line is about half the width of your inset. No need to be fastidious with this measurement for these blocks; we’re just aiming for skinny, no specific width.

  1. Repeat on the other side of the basted seam.

This is what the back looks like when both sides of the inset seam are complete.

  1. And now the fun part! Place your block face up. Use your seam ripper and carefully remove the basting stitches.
  2. Pull the seam and glue apart and iron open with the help of some steam. There might be glue in the seam, which will wash out later on.

  1. Repeat for each additional inset seam in the block, making sure they’re all running the same direction but not necessarily parallel. Once you feel comfortable with the technique, batch each step together to avoid having to change stitch lengths and and presser feet constantly.
  2. Trim your block to 8 1/2″ x 8 1/2″ square.

Have fun!

Everyone’s Got an X

Last year, I had a few people around me see the end of their marriages. The sadness hit me pretty hard as I put myself in their shoes. Life as you imagined it is no longer. It’s a time of grief; it’s the loss of what you dreamt of. During those difficult times, there is a need for comfort in grief and a need to create a new home for a new start.


Quilts are often gifted to mark an occasion – a wedding, the arrival of a new baby. These are times of celebration and joy. The Double Wedding Ring quilt functions as a symbol of two lives intertwining. Pen and Paper Patterns’ Vegas Wedding quilt is a fun and quicker take on the traditional design. The Free-Wheeling Single Girl pattern by Denyse Schmidt is a great modern spin on the design and celebrates singleness rather than marriage.

When it comes to divorce, we think of things falling apart. But it is also a new beginning. A rebuilding of a new life. A new place to live, maybe. The design for Everyone’s Got an X came from this new start. Why shouldn’t a new divorcé get a new quilt for a refreshed home decor?

Image courtesy of Quilt Con Magazine, Modern Patchwork

The design is ultra-modern – there is no grid or repeated block. It’s large-scale piecing, mainly in the form of strips. The translucent white stripes ‘overlay’ on the coloured bar to create; in fact, because of their translucency, they are not at all white. Here are the Kona colours that I used:

  • Background: Kona Charcoal
  • Coloured bar: Kona Bellini
  • “White” stripes: Kona Pearl Pink, Kona Iron

This design, Everyone’s Got an X, is fitting for other life events, too — such as the arrival of a baby (everyone’s got an X chromosome), a tenth birthday or a tenth anniversary (Roman numeral for “ten”). The binding on the quilt adds serifs to the “X” on the quilt, an optional finishing touch.

This quilt will always be nicknamed “the divorce quilt” and it will always bring me back to this place of empathy and contemplation.

Everyone’s Got an X appeared as a pattern in the 2018 Quilt Con Magazine by Modern Patchwork.

Flying Buttresses

American Patchwork and Quilting’s Challenge for QuiltCon 2018 was Flying Geese. The prompt asked participants to modernize a traditional flying geese block with any variation, and make it into a modern quilt using modern quilting elements. Finished quilts could be any size. That is a generously open challenge!

As artists, we often stare at blank canvases or design walls and think, “I want to create, but where do I start?” I love prompts like these that have a clear starting point, where a solution and a finished quilt are required (and a deadline is attached!).

For those of you wondering what “modernizing” could mean, here is a non-exhaustive list that the challenge suggested:
  • Using modern color palettes including high contrast and graphic areas
  • Improvisational piecing
  • Minimalism
  • Expansive negative space
  • Alternate grid work
  • Scale

To me, in the broadest sense, modern quilting allows you to break any and all of the rules you might associate with the craft. I used what could be considered a “modern colour palette” – a monochromatic neutral scheme in grayscale. For the challenge, I wanted to create flying geese without constructing any flying geese blocks. I have always been fascinated with origami and how two-dimensions can become three through folds. Pin tucks achieve this in fashion but, not being a garment sewist, I never had a reason to try them. When you pull pin tucks in a certain way, you can get triangles that look like a flying geese.

For months, I had it in my head to make flying geese this way and even did some test in June. But with the busyness of the following months, I didn’t have time to work on it. On Instagram , some of you saw bits of the quilt come together at the eleventh hour. I started it 10 days before the QuiltCon deadline. I hemmed and hawed about starting it so late in the game, but I decided to take the plunge. There were many pieces in 2017 that I made for clients, or out of obligation, or in servitude to a pattern design. But this one was just about exploring new ideas, trying out some new techniques, and developing myself as an artist.

I didn’t have time to take the exploration much further than a very regular rhythm of geese in a row, but the final design was about flying buttresses in Gothic cathedrals with referred to another fabric manipulation in quilting — cathedral windows. I looked at a lot of historic architectural drawings of cathedrals and the design of the Flying Buttresses quilt reflects that aesthetic.

I tried to keep the overall layout simple. This was my first attempt at quilt-as-you-go panels. I constructed a row of geese in a strip with batting and backing attached right away. Then using strips of darker fabrics, I joined the panels together. It was a bit messy, but I ventured forward anyway, being mindful of my time.

I’m happy to say that this 25” x 24” piece will hang in the Flying Geese Challenge category at QuiltCon 2018 in Pasadena.

Land & Sea: A collaboration with Keephouse

Photo: Naomi Hill

2017 marks the 150th birthday of Canadian Confederation. The country has been ramping up to this for quite some time now, with capital projects readying for years leading up to this very occasion.Quilting as a craft has deep roots in American history, but I really want to explore what stories and techniques a Canadian quilt can contain to commemorate this sesquicentennial year. I had great intentions in 2016 to get a series of one-off throw quilts off the ground, featuring different regions of vast Canadian landscape. I got “Land & Sea” finished in time for a Quilt Con entry at the end of November and another two quilts are in the works. So, it’s not really quite a series. Yet.

At my very first craft show in April of 2016, Alissa Kloet of Keephouse approached my booth and I was flattered that she showed any interest in my work. I had been an admirer of her work ever since I saw it at the first Halifax Crafters show I attended as a patron in 2012. The clean aesthetic, the clarity of handiwork in the designs, and her tagline, “Moments Made Well” — It appealed to me on so many levels. She wanted to swap some of her pieces for one of mine (as is common practice at craft shows, I have learned), so I gave her a Ruby Gemology Pillow in exchanged for her tea towels in her “Houses” print and coasters in her “Strip” print. It was completely pre-meditated but I was definitely bashful about throwing it out there, “Would you like to do a collaboration with me?” I blurted, after I chased her down the stairs back to her booth. This coming from someone who had made a total of four baby quilts, some quilted wall hangings, and 30 quilted pillows.

“Sure!” she said. A little bit easier of an answer than I expected, and I was so pleased.

That was not only the beginning of a creative collaboration, but I found in Alissa a new colleague and friend. When you’re a solo creative entrepreneur, it can be lonely. Having someone with more experience to talk to about what you’re passionate about, especially the less-glamourous elements of business, is important in keeping your feet on the ground, mind expanding outward, and heart facing forward.

Back of “Land & Sea.” Photo: Naomi Hill

Since my days in architecture school, I have had a fascination with the notions of “place” and “home.” As I talked to Alissa about this idea, she suggested that, in addition to the handprinted fabric design/produced here and about here, we include some hand-dyed fabric coloured with goldenrod plants from right outside her door. Her surroundings in Seaforth, Nova Scotia are something to behold. On my way to her studio for the first time, I stopped briefly at Lawrencetown Beach on the Eastern Shore and picked up these stones that speckled the little nook where I parked my car. I didn’t even actually make it down to the beach, a hot spot for surfers — if you ever want to surf in the Atlantic. [Brrr.]

It’s no wonder Keephouse’s work looks and feels the way it does.

I “come from away” and I have gathered in the last four-and-a-half years living here that Nova Scotians are at the root a no-frills kind of people. The harshness and unpredictability of the weather leaves little room for frivolity. This is backed up by some research I gathered before designing this quilt: “The early quilts of Nova Scotia do not reflect the elaborate taste of sections of the eastern United States — they are more like what the people call ‘common quilts,’ practical, economical, and warm. […] Even though the quilts were utilitarian, they were planned with a good eye for colour and arrangement.”1

To capture the essence of the East Coast, we chose Keephouse’s Houses and Rows (inspired by vegetation rows in a garden or crop field) designs to represent land. Navy and gold were the colours that I had in mind, and with Alissa’s suggestion of hand-dyed goldenrod, it seemed like a good fit. I love navy as a warm neutral, and with the storminess of the sea as a prominent feature of the Maritime landscape, it was an appropriate background colour.

An important part of my process is testing. For this step, Alissa and I decided on trivets – an 8” x 8” block that I would design, produce a limited number, and then the design would be integrated into the larger quilt at a later time. The block features skinny 1” strips (measuring 1/2” finished) as the coastline, defining a border between the “land” and the “sea.” Having both the land and sea on the trivet allowed me to practise my free-motion quilting skills, which I picked up from my very gifted guild-mate Linda Coolen Smith in May.

In the larger piece, the “land” is made up of traditional blocks, turned on point as many Nova Scotian quilters used to do. To add tactile texture and weight, I used Essex Yard-dyed Linen in Indigo, which tied in some of the white ink that Alissa often uses. The blocks are “Tulips” and “Storm of the Sea,” pulled from a couple of books on Nova Scotia quilts — there are only a two or three books on this topic in the Halifax Central Library and available for consultation only. (Who doesn’t want to spend some time at the library, designed by Schmidt Hammer Larsen with Fowler Bauld & Mitchell?) The blocks vary in scale, with omissions and crops. The coastline, made up of the block, is broken and pushes outward as the sea tries to encroach on the land. The irregular border where the land and sea meet required countless partial seams. Free motion quilting over a regular grid represents ocean currents and the dynamism of the sea. The composition of the quilt mimics the province’s southern shore on the map, coastline with vast Atlantic to its southeast.

This quilt will be on display in Savannah, Georgia at Quilt Con 2017 from February 23-26, 2017.

1 Houck, Carter. Nova Scotia Patchwork Patterns. 1981.

Photo: Naomi Hill

Crow Quills Analog

This quilt is inspired by Andy Gilmore‘s digital artwork “08-25-10.” The intention was to translate a digital process of generating art into an extreme analog version. The result was 2,160 triangles in 25 different shades.  As my second quilt, this marked the beginning of an evolution in my work, where solids are used exclusively to achieve contrast – like a painter’s palette. Continue reading