Memories captured as a perceived sense, not a photo, rather a feeling of familiarity.
Always returning to that point in time.
Craftsmanship Award Creative Crafts Council Biennial 2019
In That Moment, 2016, 23.5" x 39.5"
Art Deco frequently displays motion frozen in time. “Urban Deco” is presented with an architectural reference that is broken and left unfinished. It employs hard lines and angles that showcase the dynamic movements of the “Urban Textures” fabrics. Providing peace among the chaos is a semicircular disc suspended above the plane.
When work on this piece began, my goal was to maximize the visual depth of the planes suspended against the two backgrounds which represent the diversity between hot and cold, space and solid. I saw the record of time beginning and at the same time moving forward, establishing a world that is unto itself creating a center around which everything else evolves.
“Urban Deco” uses a traditional language in an unconventional manner.
Urban Deco, 2015, 28" x 45"
Controlling the Spiral
I wanted to create a piece that played with light and space while suggesting a weightless experience – “Controlling the Spiral.”
This quilt is composed of eight 5” by 78” quilted panels that spiral away from the top horizontal panel and descend to touch the following panel. I searched my studio for a thin but strong material that would play a supporting role in the overall presentation and found torn pieces of eyelet-stitched, silk chiffon. These pieces run vertically and are buttoned and stitched to each panel. The whole piece is suspended from an open curved frame above, permitting it to be experienced in 360 degrees.
The quilt is designed to suggest that light is flowing from above – the gradation of the yellow diamonds on top, to the red diamonds on the bottom, is paired with the brown background (broken diamonds) lightening, with their downward progression. The movement from dark to light of the broken diamonds is contrasted on a separate plane by the darkening gray backing fabrics which are cast into the role of a shadowy presence.
Controlling the Spiral, 2016, 37.5" x 54" x 9"
In An Orderly World
In An Orderly World there would be harmony and a sense of peace.
The idea for this piece grew out of a photograph of an Art Deco column that I found years ago. The surface of the column was a relief with ascending and descending geometric shapes. This image tantalized my mind with its geometric plan and over time the shapes slowly transitioned into architectural shapes suggesting: temples, pagodas, towers, walls and blocks of buildings.
Concurrently, I was introduced to Russian Needle Punch, which became the soft elements that counter the hard edges of the fabric. I also discovered Michael James’ striped fabrics, which were screaming to be stepped, chopped and graded to create the play of light, resulting in the sky for this piece, and the central tower around which this world clusters.
When we are young, we all love fairy tales. As we grow up the fairy tales recede and the real world takes control. I love to create pieces that anyone can fill with stories about the possibilities that happen behind the surface, giving us the sense of harmony and peace we experienced as children.
In An Orderly World, pink rain falls in diamonds and trees drape in blocks of color.
In An Orderly World, possibilities are limited by the whim of the viewer.
In An Orderly World, the borders aren’t the end.
In An Orderly World, 2011, 38.75" x 57.5"
Every architect learns to lay her thoughts down on paper. This action is frequently viewed as doodling by others, but many designs have grown out of the pages of a sketchbook.
When an architect becomes a quilter, interests flow in many directions. Invariably they return to the things most familiar. This quilt is the result of a sketch that I made then stored with other random thoughts. Upon rediscovery, I tried to make it out of bright circus colored fabrics, but the design did not work. My second attempt employed earth tones, and this attempt lacked a personality. So I bowed to my architectural training and allowed the design to express itself in a manner that was totally familiar, bricks and a free flowing marble floor joined brackets and a floor plan. It came together in much the same way as a design might develop, with each piece being aware of the required end product.
The challenge was to make a flat piece of fabric transform into my version of an architectural language. I approached the paintbrush and fabric paint as a new medium for this purpose. I had learned to paint ink designs onto fabric in school, but this was my first attempt to transform fabric with paint. Many of the pieces are whole cloth that have been painted to suggest depth and shape. As in any sketchbook, not everything touches on reality because sketchbooks capture the ‘what ifs’ that cross a designer’s mind.
These ‘pieces’ are connected visually with buttons that act as my screws, bolts and anchors; as well as antique key escutcheons and a door bell rose held together with silver links.
Artist's Sketchbook, 2008, 38" x 41"
This quilt uses one of my favorite shapes. It can be built up using strips of cloth, and then after stacking blocks made from the strips, this wonderful curve is cut and the pieces are re-assembled or put away for future projects (like “All Buttoned Up”). As it was being assembled, this quilt suggested DNA, and because all of the pieces were balanced and used harmonizing colors, the name came to pass—but an architect’s work demands to have an aspect of depth just as any good architectural drawing does. The beads contributed the final touch of depth and suggestion of movement.
Architect's DNA, 2011, 11.75" x 19.25"
Memories of a Place in Time
The Century Of Progress fabrics tantalize my architectural bent and my love for Art Deco design. While looking for a design that would display these fabrics, I discovered the Century of Progress challenge. Within minutes, a preliminary sketch for “Memories of a Place in Time” was drawn.
An Art Deco attitude, fabric placement, and color create this dynamic design. The ‘flourishes’ are reminiscent of plasterwork I saw in the 1960s. The background is an adaptation of a French floor covering. The remaining elements are interpretations of Art Deco architectural design of the 1920s and 1930s. The jet buttons are from my button collection.
This quilt was awarded the Judge’s Choice Award and was displayed as a part of the Century of Progress Quilt Challenge Exhibit at the following venues:
Allentown Art Museum, Allentown, PA., July and August 2001
Pennsylvania National Quilt Exposition in Ft. Washington, PA., September 2001
Pacific International Quilt Exposition in Santa Clara, CA., October 2001
Exhibited at the Sandy Spring Museum in Sandy Spring, Maryland as part of an exhibit by the group “Cloth and Chocolate." October 5, 2003 through December 15, 2003
Toured with the Tactile Architecture 2004 exhibit
Exhibited at the International Quilt Festival in Houston November 2004
Exhibited at the International Quilt Festival-Spring in Chicago April 2005
Quilt’s image was used on the Application for the Tactile Architecture 2005