baby quilt series: no. 3

Hello Bunnies, 2009, 34" x 40"
COLLECTION OF JANET SAULSBURY

Made with 15" wide cotton that I bought in Tokyo at New Year’s, this baby quilt is scissor-cut and machine quilted. The top is made with big pattern blocks while the back has solo bunnies, fancy-cut, in a central sashed composition.

In retrospect, I should have made the back the top, and vice versa. The delight of the little bunnies and the bright pink with the mottled gray on the back is the more exciting side.

lap quilt series: no. 5

African Night & Day, 2009, 42" x 60"
COLLECTION OF JANET LANE

High contrast: black top on white back. The front is made with Dutch wax-resist fabrics from Vlisco and Woodin. The back is a silk-screened tablecloth from South Africa. The hand of all the fabrics is crisp and cool.

Although I scissor-cut the pieces, the final look is quite precise. This is because I could cut along the graphic patterns of the fabrics with the black backgrounds. The quilting includes mostly stitch-in-the-ditch with some hand stitching.

The fabrics were brought back from Africa by Maurine Noble when she taught quilting classes there.

in search of imperfection

Connie Colton is the force behind the Quilt Qua website.

This article by me was posted on QuiltQua.com today under: Articles.

In the Fall of 2007 I saw two quilts shows in Tacoma. I drove down I-5 from Seattle to view the internationally acclaimed Gee’s Bend quilts at TAM (Tacoma Art Museum). Then I walked a block to the Washington State History Museum to see a show of contemporary quilt art.

At TAM, I paid my money and went straight upstairs to the Gee’s Bend exhibit. The show spanned early quilts to ones that had been made in the last decade. The most graphic of the quilts were my favorites. I was surprised that the craftsmanship of the quilts hadn't improved much over the years. Some of the newest ones were just as slipshod as the vintage examples— with sloppy stitching and bulky seams.

Down at the History Museum, I was wowed. The contemporary quilts were exceptional in all ways. I liked the innovative use of colors, shapes and finishes. In fact, I was so inspired that I went home and immediately mimicked one of the patterns for a pillow top.

Not being impressed by the Gee’s Bend show troubled me. If everyone else was gaga about the work, I needed to give it more consideration. I decided that the exhibit had given me a gift—permission to be as messy as I wanted with my quilts.

I’ve taken this signal to heart personally. In the last year I have abandoned my rotary cutter. Instead I cut my fabric with scissors, sometimes merrily whacking away. I piece randomly. I want to sew fabric together until I know I am done—like Jackson Pollock who threw paint on his canvas.

There is real excitement in approaching a quilt project with a vision instead of a pattern. I often think for a long time about the fabric before I make my first cut. Other times I get experimental and just want to see what will happen when I start piecing willy nilly.

The acceptance of imperfection pleases me. It allows me to appreciate anything that I create. “Keep moving forward” I say to myself instead of being overly critical of my work. I am not perfect and neither are my quilts these days.