The humor in the title reflects the pace at which the piece was made as well as how a snail lives his life.
This quilt grew out of a trip to the beach, with me holding the colors of the sand at different times of the day in my memory.
Snail’s Pace developed in stages—very much like an intricate game, with one move determining the next—always asking for more. It demanded a central focus, becoming a snail shell edged with hand stitched rick rack.
The shell became a snail with the addition of an organza body outlined by an old tape measure, allowing him to ‘inch’ along. Then the quilting began, radiating away from the snail in all directions, suggesting a multitude of paths for the snail to travel. These paths were laid with shell buttons couched to the surface or held down with seed beads. The buttons were stitched onto the piece over the course of a year and a half.
· The entire surface is machine quilted.
· The rick rack that defines the shape of the snail shell is hand stitched using pearl cotton and Medici wool thread.
· The buttons outlining the snail are brown plastic and are secured to the quilt with brown tiger eye and seed beads.
· The two-hole shell buttons that become the ‘snail trails’ are stitched with a couching stitch using hand dyed pearl cotton.
· The four-hole shell buttons are held in place with seed beads.
Snail's Pace, 2008, 40" x 57.5"
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"
“Harvest Moon” suggests an autumnal evening after the leaves have fallen, but before snow presents a different image of peace in the country. Growing up in the Midwest, it was a common sight to see individual trees standing very proud and alone. This quilt began as an experiment in applique and cutting in close quarters. Lengths of fabric were laid over the background and stitched, then trimmed to achieve the desired shapes.
In a private collection.
Harvest Moon, 2005, 39" x 58.125"
“Hawaiian Memories” grew from a photograph taken in Hawaii. The photographic image was superimposed over a pieced background in thread, then multiple colors of polyester chiffon were quilted onto the surface to reinforce the dynamic colors that are fading and merging with the sunset in the fabric behind, suggesting the merging of memories of Hawaii. The design stitched on the border on two sides of the fabric is a recreation of a traditional Hawaiian motif.