Tag Archives: contemporary quilts

Contemporary Swiss and European Patchwork

A major part of my recent trip to Europe was participation in a family reunion in Neuchatel, Switzerland.  While there I had a discussion with Caroline Junier, a cousin (I think we have the same great-grandfather, if I have kept my family history straight), who until recently worked for the Neuchatel Museum of Art and History.

Naturally we discussed quilting and I showed Caroline some photos of my quilts.  She explained that there is a very active quilting (they call it Patchwork in Europe) community in and around Neuchatel.  In fact she believes it is the largest such community in Switzerland.  In her capacity at the Museum, she was very involved in putting together a number of quilt exhibitions.  She offered to provide me with the catalogs from three of the exhibitions, and delivered them to me at my hotel the next day.

I was very impressed with the quality of both the quilts and the catalogs, which are beautifully done.  Funding support for the exhibitions and the catalogs (if I am translating the French correctly) was provided by Bernina (our sewing machine friends), Loterie Romande (I don’t know who they are but it sounds like a Lottery), and Migros (big grocery store chain in Switzerland).

I have shown the catalogs to several members of my quilt guild and they enjoyed seeing them very much.  I wish I could show you photos here, but of course the images are copyrighted.  I include some web links and names below where you can see some of the work.

The following is a translation of the introduction to the catalog by some of the organizers.  I first used Google translate to get this from the original French to English, and did some fairly loose intrepretation so that it would make sense.  My apologies to anyone I may offend by my errors in translation!

“After having organized three exhibitions of contemporary patchwork of national importance in 1986, 1989 and 1993, Neuchatel Museum of Art and History once again wishes to show Patchwork to a wider audience, as well as how the assembly of textile elements has evolved and has become a means of art expression  in its own right in Switzerland and Europe.

Caroline Junier, curator of the department of applied art of the Museum of Art and History in Neuchatel, has organized this new exhibit, EXNA 4 in 2010. For her availability, expertise and usual dynamism, as in 1993, we are very grateful.

We are grateful to the jury who, thanks to their skills and knowledge in the contemporary art world, with impartiality selected fifty-two works from those presented in the contest.

We also thank the forty-one invited artists- among the best in Europe – who responded eagerly to our request and have enabled the exposition to present their works in the unique format selected: 35 by 35 cm.

by Maryline Collioud-Robert, Lucienne Hool, and Zibull Masson”

I have tried to find a good link to photos of the included quilts and failed to find more than a few photos.   You can find them yourself by searching for “EXNA 4 Patchwork Contemporain Suisse & Europeen”.  One of the organizers, Maryline Collioud-Robert, has a web site and blog.  She had three quilts in the show and shows these and others of her quilts at her blog: http://www.marylinecollioudrobert.com/en/Home.html .

Other quilters with multiple quilts in the show and current web presence were :     Beata Keller-Kerchner, Cecile Trentini, and Malou Zryd.  You can find some images of their work by typing their names in to the usual search engines.  Nearly all the work is very contemporary, usually abstract, and visually striking. There is a lot of use of texture in the exhibit, much more so than in the earlier 1986 and 1993 exhibits for which I also have catalogs.

Pacific West Quilt Show 2013

Last week I volunteered at the Pacific West Quilt Show for the first time.  I would encourage all of you to volunteer at a major quilt show at least once.  I certainly appreciated the show more for having seen the effort involved.  Many of our well known local quilt instructors and authors were in attendance.  I  was impressed that these ladies, so busy  teaching classes, writing books, etc., would contribute so much time to the show.

I helped hang the quilts in the main exhibition hall on Thursday. Heidi Lund  was in charge of the quilt hanging and maintained amazing calm considering the chaos.  I took a wonderful class from Heidi a few years ago.  She is a real master with thread, and some of you may have seen her spectacular garments in wearable art shows.  In the morning I worked with Maggie Ball (www.dragonflyquilts.com   ) and another quilter named Val whose last name I didn’t learn.  They were a pleasure to work with and had hung the quilts before, so we made lots of progress.  Seeing the quilts up close and personal during the hanging (especially the backs of the quilts, mostly not visible during the actual show) helped us appreciate the incredible skills of the quilt makers.

On Friday morning I was at the volunteer desk, checking in the many volunteers working the show.  Susan Purney-Mark was in charge and did a great job directing the volunteers and solving the many small problems that came up.  Susan had taught a class the day before and said she volunteers for the duration of the show every year.  In the few quiet moments, she graciously offered advice about book publishing, blogs, etc.  I really enjoyed our conversation.  Check out Susan’s website,  ( http://www.susanpm.com  )  and her blog (www.susanpm.blogspot.com ) for some really interesting info on fabric painting, stenciling, coming up with original quilt designs, etc.

I am not sure if there are restrictions about publishing photos of other quilters work here, so I will include a couple of photos of my quilts hanging in the show and no others.  There were as usual many spectacular quilts.  I am always astounded by the amazing skill and patience shown by the makers of the winning quilts.  I expect there will be photos of the winning quilts available online fairly soon.

Fireballs Quilt at the Pacific West Quilt Show 2013

Fireballs Quilt at the Pacific West Quilt Show 2013

Leaves In The Wind at PWQS
Leaves In The Wind at the Pacific West Quilt Show 2013

My quilts from the show arrived back at my house on Tuesday about noon, so the quilt return process was conducted with the same efficiency as the rest of the show.  The judge’s comments on my quilts were included with the returned quilts and were both encouraging and helpful.  Congratulations to show director Elizabeth Spannring (www.plaidcat.com) and the rest of the team for all their great work!

New art quilts

I have finished a couple of little quilts I started in the art quilting class I took from Marilyn Belford last spring.  The first is a still life made using the Broderie Perse technique.  The background is a commerically made gradated fabric for the lower part and a light mottled print for the top. A lighter gradated fabric was used for the pear.

A fusible web was placed on the back of a rose floral print and the individual flowers cut out.  Leaves were cut from a green fabric, and a vase shape made from the black.  Then the pieces were arranged in a pleasing manner and fused down.   This process is fun and relaxed, since the pieces can be rearranged at will before fusing.  After fusing, the pieces were sewn down using free motion. A stabilizer was used on the back to keep the top from puckering during this stitching process.

Coordinating borders were added and the whole thing quilted. Walking foot quilting was used for the straight lines and free motion for the rest.

A rose floral arrangement made using the Broderie Perse technique.

A rose floral arrangement made using the Broderie Perse technique.

The second quilt is one that was a series of exercises in use of “negative space”.  Fusible web was placed on the back of a rectangle of green.  It was then cut up into smaller shapes, mostly rectangles.  The pieces were spread out on top of a blue print to leave gaps between.  I had to add a few additional small pieces to “fill in” the whole rectangle.  The pieces were fused down and stitched around the edges with a decorative stitch.

I then added the green border and did the binding in the blue print.  I wanted the binding to be a design element, so I cut 3 inch wide strips and sewed the binding on with a 7/16 inch seam allowance.  This results in a nice wide binding and the corners really miter into nice sharp points!  The rectangle and borders are done slightly asymmetrically – partly due to the placement of the cut up rectangle on the original piece of blue print.   I think it would have been better if I had either kept it all symmetric (cutting off some of the lower blue print) or made it more asymmetric, so that it looked more deliberate.  The quilting was all done with a walking foot.

A cut up rectangle demonstrates the use of negative space in a quilt design.

A cut up rectangle demonstrates the use of negative space in a quilt design.

 

 

Quilt Museum links

I just received an email from our guild webmistress with a link to the Victoria and Albert Museum (in London, England) quilting section. They have some excellent material and it is well worth taking a look:

http://www.vam.ac.uk/page/q/quilts-patchwork-and-quilting/

And don’t forget the excellent resources at the International Quilt Study Center & Museum at Lincoln, Nebraska:

http://www.quiltstudy.org/

And the National Quilt Museum in Paducah, Kentucky

http://www.quiltmuseum.org/

All these places would be wonderful to visit. Fortunately they have some excellent resources online, so we can benefit from their work even if we can’t go visit.

A quilt pattern tuneup – part 2

 

 

Based on some excellent comments from Charlie, I have gone back to Electric Quilt and come up with a couple of revised designs. The first just changes the widths of the sashing strips so they are all a consistent one inch finished. I think Charlie is right, it is better with the consistent width. The second, shown below, follows Charlie’s suggestion of making all the sashing strips one color. This quilt would actually be easier to make because the sashing would not have to be added to each block individually, and it takes fewer fabrics. The first version has a little more “punch” and the second is softer and emphasizes the print fabric more.  I like them both.

Garden windows quilt with purple and blue sashing

   Garden windows with all sashing the same width

Garden Windows with blue sashing only

Garden Windows with blue sashing only