Sunday, October 28, 2018

Bafa Meeting October 2018


Members met for a morning of quilt art inspiration, sharing work, news, and laughs.  Critique was offered here and there.  Our journal page word for October was Clock (fig. 1 - 10).  See also classwork (fig. 11 - 12) , and show and tell (fig. 13 - 20).




Sylvia Weir          On the Clock                      fig. 1


Dianna Eichorn                                               fig. 2


Linda Ainsworth                                      fig.3


Lisa Johnson    Break Time            fig. 4


Dot Collins             On Dot Time                   fig. 5


Dot Collins     Making A Clean Getaway       fig. 6


Jean Aguilar                                           fig. 7


Cindy Thomas                                            fig. 8


Susan Cornell                                         fig. 9


cmf                    Sunrise/Sunset                    fig. 10



Susan Cornell                      fig. 11


Dot Collins                       fig. 12


Dot's Friendship Block                      fig. 13



Dot's Friendship Block                              fig. 14


Beth Mayer - FB for Dot                               fig. 15


Sylvia's Postcards                                         fig. 16


Sylvia Weir                                       fig. 17


Kathy Risinger                              fig. 18


Kathy's Miniature                fig. 19


Sherry Walker                     fig. 20
                  


                  

Sunday, October 7, 2018

Classwork 2018, Sisters, Oregon


I felt so fortunate to take a class with Hilde Morin of Portland, Oregon, while attending the Sisters Quilt Show this summer.  I was able to add to my technique repertoire with no-pins, curved piecing.  The created "lace" (circular shapes) was a technique I had done many times before so I enjoyed the familiarity of it and the fun.  Feeling the Heat is shown below, fig. 1.  Acrylic fabric paint was used to highlight the quilting pattern around the created lace.

After I quilted the work, I was able to create the improvisational "gift" (fig. 2) by cutting up the quilted trimmed bits into squares and rectangles and free-motion zig-zagging them back together for a fun fabric-connected, abstract expression. 



Feeling the Heat       15.5" x 15.5"               fig. 1



Untitled         7" x 9"                          fig. 2
 

Sunday, September 30, 2018

Bafa Meeting 9/28/18


The group members met to share their work on the word 'bottle' (fig. 1 -7).  Melissa shared her latest finished quilt, Surfboards (fig. 8).  Our new classic painting was presented - Gustave Caillebotte's The Orange Trees (fig.9), painted in 1878.  Interpretations are due in January.



Kathy Risinger                                               fig. 1


Dot Collins                              fig. 2


Bottle-nosed Dolphin   Beth Mayer              fig. 3


Dianna Eichorn             fig. 4


Sylvia Weir                       fig. 5


A Bottle by Any Other Name   cmf       fig. 6


Lisa Johnson     Bottle Tree                     fig. 7



Surfboards         Melissa Tweedel                 fig. 8


The Orange Trees - Gustave Caillebotte fig.9



Sunday, August 26, 2018

Interpreting the Masters


Bafa members have chosen to view classical paintings and select one to interpret every two months as a design and composition challenge.  Sylvia and I kicked it off by selecting Vermeer's The Lacemaker (fig. 1), painted in 1655, to show the group how different interpretations can be (fig. 2-3).  Our next selection was Matisse's The Girl in the Purple Coat, painted in 1937 (fig. 4-17).  Jackie Stubblefield did a near perfect rendition (fig. 6) in acrylics - which she said is definitely not her style and was a big challenge.  Dot Collins' paper-pieced version was my personal favorite (fig. 7).

Because I had done an pieced abstraction of The Lacemaker (fig. 3), I wanted to piece something for Matisse (fig. 12).  However, I didn't feel I understood the master so I then did a series of watercolor-on-fabric postcards (figs. 13-17), focusing on mark-making, depth and detail as I went along.  I now understand why art students at the MFAH are always sketching the master paintings for in-studio classwork to gain insight into the master's mind and work.  I can't wait to do this again.



Vermeer  1665                                      fig. 1




Sylvia Weir                                          fig. 2


Connie                                  fig. 3



           Matisse  1937                           fig. 4             


Jean Aguilar                                     fig. 5


Jackie Stubblefield                   fig. 6


Dot Collins                                fig. 7


Sherry Walker                                    fig. 8


Kathy Risinger                          fig. 9


Sylvia Weir                                                 fig. 10


Dianna Eichorn                                         fig. 11


                            Angled    Connie                                         fig. 12                          


Making Marks 1                 fig. 13


Making Marks 2                fig. 14


Making Marks 3                   fig. 15


Making Marks4                      fig. 16


Making Marks 5                fig. 17










Self Portraits 2018


This year's self portraits were fun to do.  They were combined with a color exercise to include complimentary, split complimentary, monochromatic, warm, cool, etc.  Can you tell what color category each one is?



Jean Aguilar                        fig. 1


Nancy Dickey                       fig. 2


Sherry Walker                          fig. 3


Dot Collins                                    fig. 4


Kathy Risinger                                fig. 5


Susan Cornell                             fig. 6


Sylvia Weir                                                   fig. 7


Dianna Eichorn         Beach Girl                              fig. 8


Connie' Hand                                                                    fig. 9