Jenni's House on Snow Day

For this piece, I worked from a photo taken and supplied by Dot Collins (fig. 1).  I created Jenni's House on Snow Day for Jenni Beaumont (fig. 2) as part of this year's Sew Pieceful Bee exchange.

Every project is a learning lesson for me, mainly because I am frequently doing something I don't know how to do...or, it is so unplanned I'm never quite sure how to proceed.  I usually start then "fix-it" as I continue along to its conclusion.  This project was no different.  By the time it was finished, I knew exactly what I wanted to do differently and how I wanted to proceed should I ever be challenged to do it again.

 Photo by Dot Collins                                      fig. 1

Jenni's House on Snow Day    15" x 20"         fig. 2

                                                                       

 

Bafa Meeting December 2018

The group met and presented their journal page word challenge for the previous month.  Our word was slave (see figures 1-13).  Work related to being a slave to compulsions, emotions, weekly chores, continuing cycles, an engine part called a slave, breaking bondage, being set free and one poignant statement on the subject of human slavery put forth by the country of France, I believe, which read:  "No one shall be held in slavery or servitude.  Slavery and the slave trade shall be prohibited in all their forms".  This statement was printed onto Lydie Raimbault's vintage quilt with her own vintage stamps (see fig. 12).  I wished I had written down the artist statement for each of these works.

Cindy Thomas                                fig. 1

Dot Collins                 fig. 2

Sylvia Weir                  fig. 3

Sherry Walker                           fig. 4

Lisa Johnson                                                                      fig. 5

Susan Cornell                                                 fig. 6

Linda Ainsworth                                        fig. 7

Melissa Tweedel                                    fig. 8

Kathy Risinger                                               fig. 9

Connie                                                       fig. 10

Lydie Raimbault  (back)                             fig. 11

Lydie Raimbault   (front)            fig. 12

Sylvia Weir                                     fig. 13

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

                  

                  

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

 

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

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