Evolving Perceptions An art exhibit by members of Studio Art Quilt Associates Colorado/Utah/Wyoming Region. Premier Venue: Foothills Art Center, Golden, Colorado June 28 to October 6, 2019 Also Exhibited at Brigham City Museum, Brigham City, Utah Summer, 2020
Patricia Joy, Parched Earth, detail
If you can change your perception, you can change your emotion, and this can lead to new ideas. Edward Bono
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Front Cover Art: Michele Hardy, Surfaces #15 Back Cover Art: Karen Stahlgren, Ancient Tree; Betsy Cannon, Baba Yaga’s House: On the Prowl; Charlotte Ziebarth, The Inundation.
Contents copyright 2019 Studio Art Quilt Associates, Inc. The individual artists retain sole copyright to their art and images except as allowed for use by Studio Art Quilt Associates, Inc. Images may not be reproduced or used in any way without written permission. All rights reserved. ISBN: 9781097303281
SAQA is an international non-profit organization dedicated to promoting the art quilt and the artists who create them. We are an information resource on all things art quilt related for our members as well as the public. Founded in 1989 by an initial group of 50 artists, SAQA members now number more than 3,400 artists, teachers, collectors, gallery owners, museum curators and corporate sponsors. Catalog design and production: Mary Louise Gerek.
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List of Artists and Photo Credits Margaret L. Abramshe, Aunt Gin Carole Angel, Monsters in My Room Brooke Atherton, Water’s Edge at Two Moon Park Christi S. Beckmann, Fabric + Stitch + Plexi Regina V. Benson, Night Fires and Sea Gypsies, John Bonath Susan M. Brooks, Meandering Memories, Ken Sanville Betsy H. Cannon, Baba Yaga's House: On The Prowl, Marcia Ward Judith L. Duffield, High Plains, Paula Gillen Carol R. Eaton, Emotional Connections Leesa Zarinelli Gawlik, Below The Rim, Scott DW Smith Michele Hardy, Surfaces #15 Bev Haring, Parched Earth: The Barn Laurie Hill Gibb and Paul Caouette, Binding Together M. Lynette Holmes, Revisiting Places I Have Been Cynthia Jarest, Fractured Spring, Cameron Bridges Patricia Joy, Parched Earth and Words-Constrained Annette E. Kennedy, Flatirons Symphony Phillippa K. Lack, Emerald and Reaching, The Image Maker Sue Lewis, Lichen with Branches and Fragile Within Melody Money, Sky Prayers-Almost Heaven, Les Keeney Barbara Olson, Where Do I End and You Begin?, Ken Sanville Cheryl Olson, Anunda Casey Pike, October, Ken Juliano Dorothy G. Raymond, Dark and Stormy Sea and Three Leaves, Allan Snell and Ken Sanville
Jeannie Schoennagel, We Are Family Anne Severn, Tidal Pool, Craig Severn Joan C. Sowada, Motherboard, Ken Sanville Karen C. Stalgren, Ancient Tree, Joe Bammann Andra Stanton, Postcards from my Broken Heart, Nate Castner Kathy Suprenant, Strings Attached & Wired to Snap, Aaron Paden Nancy Woods, When the Sun Beats Down, Ashton Thornhill Charlotte Ziebarth, The Inundation and Rusting Away #2, Ken Sanville
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Juror’s Statement Fabric and stitch offer endless possibilities for creative expression. Jurying Evolving Perceptions gave me the profound pleasure of exploring new ideas about what a quilt can be. I was honored to choose works incorporating not just fabric and stitch, but also paint, dried leaves, bottle caps, metallic foil, papers and plastics of all kinds. The variety of materials is notable — equally impressive are the themes and ideas explored in the work. It was a delight to work with Eriq Hochuli at the Foothills Art Center to jury Evolving Perceptions. His insight about the exhibition space and vision for installing this diverse collection of works was essential and his curiosity and eager acceptance of textile materials and techniques were an inspiration. The evolving perceptions theme was on my mind as I studied the entries. I reminded myself that what may be common to an art quilter may be an entirely new idea to a viewer. People will come to this exhibition with many different perceptions. We included wonderful works that are just a few steps beyond traditional quilting and others that are giant leaps and several in between. I think this continuum will speak to viewers no matter their initial exceptions about the quilt form. Going through all the entries I was struck by artists willingness to explore materials in innovative ways. Some pieces make the material itself the focal point by mounting and presenting cloth to be carefully examined. Others manipulate the fabric creating dramatic texture and pattern. Materials are also pushed into three dimensions in the installation and sculptural works. What a delight to think about how a piece of work can be experienced in new ways when it’s hung from the ceiling. In many cases, the materials are used to hold embellishments that make a visual impact and tell
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a story. I love seeing beads, paper and bits of metal nestled in with stitches and cloth. The ideas and stories explored in these works are as important as the inventive use of materials and proficient techniques. The natural world is explored in many ways including water as rain, reflection and stormy sea. It’s like a scavenger hunt to find all the different parts of a tree in the exhibition including three-dimensional leaves and roots. It’s clear that artists are thinking about our evolving perception of the environment we live in. I’m especially drawn to works that use familiar shapes to symbolize personal stories. What might a dress form represent? What is a stone wall separating us from? What is a shoelace holding together? Does a brittle twig suggest another kind of weakness? Many people worked together to create this fabulous exhibition from writing a thoughtful prospectus, arranging for exhibition space, hanging the work, creating a catalog and hosting events in celebration. I am grateful for the opportunity to play a small part. It was very challenging. I have great respect and appreciation for each artist who brought a creative vision into reality and submitted work for consideration. As a SAQA member, I am so proud that our organization enables groups of artists to take on ambitious exhibitions with great success. Congratulations to all of you. I am confident our perceptions will continue to evolve. I hope this exhibition is an inspiration to all who view it whether that leads to bold, brave new art works or to new understandings of art made with fabric and stitch.
Deborah Boschert
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Margaret Abramshe, St. George, UT
Whole cloth commercially printed from artists image. Painted with inks, acrylics, dyes, pigment sticks, liquid watercolor and other mediums. Raw edge applique. Free motion and stitched on stationary machine.
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Aunt Gin, 32” x 34”
"Aunt Gin" began with a picture of my favorite aunt, Virginia. As an artist, family photographs provide me with myriad of ideas to express in a visual language. The photo brings to the surface stories and emotional connections. A photo captures a moment suspended in time that provides a deep well of inspiration for me to draw from.
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Carole Angel, Sedona, AZ
Hand painted silk charmeuse.
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Monsters In My Room, 35” x 21” As children, some of us were convinced we shared our bedroom with a host of unsavory characters, all of whom arrived after the lights went out. Snuggling with a teddy bear and into the warmth of a quilt we were comforted, especially after someone checked the closet and under the bed. Eventually, most of us no longer need that teddy bear or to have someone check the closet and under the bed. Our perceptions change, the "monsters" in our room no longer haunt us, and we recognize the quilt that comforted us in childhood has also evolved.
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Brooke Atherton, Billings, MT
Indigo and other hand dyed recycled fabrics, personal artifacts. Machine and hand stitching.
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Water's Edge at Two Moon Park, 24” x 20” I used to work at an archaeological site. Since I have a good eye for patterns (what belongs, what does not) I was often assigned to surface collecting after rain storms. This is something I still do, producing contemporary archaeological studies of my neighborhood. My dogs encourage me to take my time while they swim in quiet areas of the Yellowstone River. The red line in these studies represents my rambles, my heartline.
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Christi Beckmann, Loveland, CO
Different types of fabric-velvet, dyed batting, distressed sheers, paint, collage and stitch.
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Fabric excites me in its many types, colors and textures. Adding stitch to manipulate fabric is enough for its beauty to be displayed on the wall.
Fabric + Stitch + Plexi, 35” x 8” x 4”
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Regina Benson, Golden, CO
Materials: Rayon fabric, polyester felt, polyester thread, metal slats Techniques: Dyed, Shibori discharged, pieced, appliquéd, layered, burned, freemotion stitched.
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Night Fires, 36” x 47” x 4” Raging hillside fires have become an all-too common sight for my beloved Rocky Mountains. At once beautiful and frightening, my night skies are set ablaze with flaming trees soaring skyward. The concept and imagery for "Night Fires" were forged during such an experience. I created this dimensional art quilt to reference the distant tiers of blazing trees silhouetted against a night sky. The triptych presentation recalls the layered density of the burning trees.
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Regina Benson, Golden, CO
These ceiling hung jellyfish are created entirely of recycled materials: polyester organza, plastic container tops, and bubble wrap. Each jellyfish has been heatformed, burned, and individually threaded together.
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Sea Gypsies, 60” x 96” x 72”
These jelly fish, created entirely from recycled materials, speak to my years of scuba diving - from the Great Barrier Reef to the depths of Turks and Caicos. There has been a dramatic increase in the population of jelly fish as our sea temperatures have risen. Huge flocks are migrating to waters that are unaccustomed to hosting them in such numbers. While beautiful and graceful, their sheer numbers are causing dramatic changes in coral and small fish populations around the world. Each of these transparent jelly fish hang freely from the ceiling, swaying and moving with the slightest air movement.
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Susan Brooks, Louisville, CO
Eco dyed wool, silk and silk threads stitched together by hand.
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Meandering Memories, 65” x 10”
This is the story of my mother's journey through dementia into Alzheimers. I watched her world grow smaller until she had no memories. The gift she left me was as I sat with her at her home in the Pennsylvania mountains, she asked what I was doing as I sat sketching for my next project. "I'm an artist, Mom". I showed her photos of my fiber art and her response was to tell me how beautiful my work was. "I'm so proud of you". Twenty minutes later, the conversation would start again by asking me what I was doing.
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Betsy Cannon, Englewood, CO
Machine applique and quilting, embellishment (beads, chicken toenails, plastic bones), painting, oil cloth,
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Baba Yaga's House: On The Prowl, 40” x 36”
Baba Yaga is a fearsome witch from Russian fairy tales. She lives in a house in the forest that whirls and twirls on giant chicken legs. It is surrounded by a fence of human bones. Beware Baba Yaga!
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Judith Duffield, Boulder, CO
Deconstructed silkscreen with thickened dyes on cotton fabric layered on polyester stabilizer, machine- and hand-stitching with cotton, metal, and rayon threads, and raw-edge applique.
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High Plains, 26” x 60”
After a lifetime of focus on words and numbers, with my move to Colorado I challenged myself to embrace the visual, opening myself to new layers of perception, of color, pattern, line. I've become entranced by my new landscape of heart-lifting big sky and endless horizon, where the rugged High Plains meet the Rocky Mountains, tall grasses grow, and fierce storms boil out of the foothills. My habits of observation have evolved to encompass this—instead of marching along with internal chatter blasting, I pause and take visual note of the light, the shade, the movement, the cloud, the air.
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Carol Eaton, Westminster, CO
Fabrics were dyed or painted by the artist.
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Emotional Connections, 61” x 42” The design was created to allow your eye to flow through the fabric exposing the back wall. I chose fabrics that brought me joy and provided some sort of an emotional reaction to the colors.
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Leesa Zarinelli Gawlik, Durango, CO
Repurposed silks, including kimono linings, muslin, wool, acrylic insert for backing, snaps; shibori, dyed with plant materials, hand painted with natural dye, heat-set shibori with hand stitching (after assemblage), machine appliquéd and stitched.
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Below the Rim, 20” x 28”
Once-ordered parallel lines in the red cliffs of Southwest Colorado, were rearranged over the course of time. Their unrefined beauty reflects the light and change of weather. After the silk top layer was constructed and stitched to canvas, devoid of batting between the two layers, the work could have been considered 'finished'. Instead, it begged to be texturized and brought to life. Therefore, a journey of exploration began in combining hand stitching followed by heat-setting to create a permanent texture. The process, unexpectantly altered the natural-dye colors, adding an element of surprise. In order to retain the desired form, the assemblage could not hang in a traditional fashion, and therefore is attached to a cloth-encased sheet of acrylic.
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Laurie Hill Gibb and Paul Caouette, Denver, CO
Silk, aspen trees, roots, wool, bark, rock, wood, metal, LED light strip, cement, polycarbonate sheets. Hand dyed silk, stitching, felting, carpentry.
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Binding Together, 84” x 84” x 60” By definition fiber is natural (vegetable, plant, mineral) or man-made. Here we explore layers of plant fiber and how they are stitched together becoming an aspen “clone”. Connected by one root system aspen forms a resilient selfsustaining community bound together in layers of canopy, stems, roots connected through earth. Our natural fibers are cellulose, bark, silk, hemp, cotton, wool, rock, wood, beeswax. Our man made fibers are polycarbon, polyester thread, metal fasteners and LED light strip. The increasingly warm temperatures on earth will be a challenge to communities of aspen as well as to humans. Through connections may aspen be resilient. Through connections may our human communities provide support and resiliency.
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Michele Hardy, Silverthorne, CO
Hand-dyed/painted cotton fabrics, acrylic paints, screenprinting, metallic foil, metal leaf, machine stitched with assorted threads.
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Surfaces #15, 37” x 37”
Surfaces are inspired by the colors, textures, and structures found in nature. The combination of organic lines along with the structures of the grids is inspired by maps, aerial views, macro and microscopic natural features, to create an abstract landscape. The relationship between the colors and shapes is an important part of my imagery, incorporating vibrant color and areas of intricate stitched detail. The choice of color is an important energy in my images since how we view the world often depends on how we color our own personal worlds.
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Bev Haring, Longmont, CO
Commercial fabrics, silk, tulle, various threads, hand applique, machine quilted.
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Parched Earth: The Barn, 22” x 39”
From my ongoing Parched Earth series that focuses on the changes and evolution of man made objects encountering nature over time.
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M Lynette Holmes, Pueblo West, CO
Commercial fabrics, painted watercolor paper. Pieced, hand and machine stitched.
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Revisiting Places I Have Been, 33” x 25.5”
I revisited places I have been in my watercolor paintings. By hand stitching the paintings onto quilt blocks, I re-connected with these places and presented the watercolors in a new way.
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Cynthia Jarest, Denver, CO
Commercial cotton and hand dyed fabric, batik fabric, and thread.
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Fractured Spring, 20” x 35”
Not your grandmothers idea of a quilt! This is inspired by a previous art piece that is more representative of a photo I took hiking. This piece is an abstract piece using vivid spring palette of colors.
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Patricia Joy, Durango, CO
Thistle paper produced by artist, fabric, pigments. Produced paper is manipulated to create cracked earth.
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Parched Earth, 38” x 47”
As water evaporates from a spring rain, the earth dries, cracks and breaks. These small signs of earth's condition must be noted. As an artist and photographer, I document these and translate them into my work.
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Patricia Joy, Durango, CO
Dictionary pages, snipped, silk tea bags, fabric. Snipped pages have been manipulated and stitched as a surface attachment.
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Words-Constrained, 17” x 17”
We are a verbal world, be it texting, news reports, conversation. Words and their meanings must be respected.
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Annette Kennedy, Longmont, CO
Raw-edge fused applique, Hand-painted with textile paints, Machine quilted, cotton fabrics, batting and threads.
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Flatirons Symphony, 21.75” x 28.5” My inspiration for this quilt was a photo of the distinctive Flatiron rock formations in Boulder, CO. I am intrigued by how lighting can dramatically change a scene and I wanted to try injecting interesting lighting effects into the image. Fabric choices and paint helped me achieve my goals. I come from a family of quilters who made traditional quilts and wall hangings. I learned basic sewing and quilting techniques from my grandmother and mom, but my heart was quickly stolen by the art quilt movement that allowed total freedom to imagine and create original and personal pieces of art with any materials you wanted to use, fabric or not. I prefer working with fabric and paint and pushing my ability to create inspiring scenes to be hung on walls, and to be applied to functional items like mugs, trivets, jewelry and cards. I feel a need to embrace and create beautiful art to be shared with those who connect with it as part of my personal legacy and Quilt Art is my vehicle.
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Phillippa Lack, Cheyenne, WY
Silk, beads, copper plates.
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Emerald, 13” x 13” x 2”
Hand dyed silk manipulated, embellished and beaded. Copper accents. Intuitive pleating with an old fashioned smocking pleater.
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Phillippa Lack, Cheyenne, WY
Flexible aluminum vent pipe, batting, recycled muslin wrap. Final wrapping of recycled hand painted silk scarves and garments, beaded with some reused beads.
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Reaching, 13” x 18” x 15” Everyone has ideas about 'what' quilts are. This piece will not grace a bed, but will demonstrate the flexibility and adaptability of layered fabric, and seek to challenge our perception of what a fiberarts piece should represent, should signify, should seek to inform. As we challenge perceptions, will we be able to change the viewers' emotions? Purely ornamental, but serving the useful purpose of recycling materials, this is the second 'dryer vent hose' piece I've done, and am always on the lookout at dumpsters and construction sites for discarded pieces. Dumpster diving at its most elegant!
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Sue Lewis, Arvada, CO
Linen, lunaria seed pods, acrylic paint, linen thread, organza, excelsior, embroidery floss, copper wire, plastic and painted twigs. Hand stitching, knotting, painting, and lamination.
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Fragile Within, 34” x 28”
After a diagnosis of osteoporosis, I felt weakened. This quilt represents frailty and artificial strength. I laminated the lunaria seed pods with plastic to symbolize this. The organic is supported by the plastic man-made attempt to make the fragile hold together. The painted linen is a natural surface to delicately stitch and showcase my feelings of internal weakness. The white twigs symbolize "brittle" bones hanging by a thread. This is a 2 sided quilt meant to hang from the ceiling.
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Sue Lewis, Arvada, CO
Hand painted silk, yarn, felted wool, painted branches, black lava, acrylic paint, Inktense blocks, Tyvek, embroidery floss, beads, wool batting and lace. Hand and machine stitched, hand beading and couching.
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Lichen with Branches, 28” x 25”
This quilt pushes the perception of a warm, soft quilt because this one has a hardness to the surface due to being heavily quilted and then painted. It is layered and stitched by hand and machine with organic material applied to the surface. This represents the rich variety of colors and textures in nature. Even subtle "imperfections" are welcomed here. I enjoy the juxtaposition of unlikely materials to set up contrast, rich textures and depth. This celebrates plant life emerging in my fantasy microcosm.
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Melody Money, Boulder, CO
Hand painted silk. Recycled silk sari ribbon and trim. Embroidered buttons. Silk, rayon, cotton, and satin. Cotton batting. Felt backing. Hand cut and embossed metal birds. Folded and manipulated fabric. Machine quilted.
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Sky Prayers-Almost Heaven, 56” x 34”
Living in Colorado has given me many opportunities to be in the high mountains. I especially love when the peaks melt into the blue of the sky.
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Barbara Olson, Boulder, CO
Hand dyed cottons, raw edge appliqué, machine quilted.
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Where Do I End and You Begin?, 56” x 34” I was intrigued by the topic of boundaries in general but more particularly boundaries in relationships. I wondered what it might look like when two people are very close and entwined. Is there a danger of one or the other losing their identity? Where do the individuals overlap to become one?
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Cheryl Olson, Draper, UT
I begin with a hand dyed background. I then layer fused pieces of hand dyed cotton, silk and organza. Thickened dye, batik, resist, mono printing and screen printing are used for texture. Finally, the layers are stitched together in free motion.
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Anunda, 36” x 40” I am Love. Life has a way of testing our resolve. Through time and fortitude, I learned to let go of what was no longer serving me. I bravely let go of the limited beliefs that depleted the foundation of who I really was. When I let go of the dark film of judgement and shame, I found peace, forgiveness and joy. I recognized that I didn't need to search for love and acceptance, it found me. God's divine energy was already within me. I love to walk among the trees, and feel the energy of nature supporting me. "The innocence you are looking for, you already are..." Andanda.com The trees are a representation of life, wisdom, protection and growth and has been a significant influence in my recent body of work. Inspired by nature and the energy of life, my intension is to express hope, light, and beauty using color through an emotional and vibrational experience.
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Casey Pike, Littleton, CO
Whole cloth canvas with design drawn on. Appliquéd using hand dyed fabrics. Decorative stitching and free motion quilted using variegated thread.
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October, 48” x 36”
I love working with the visual language of shape, form and color to create a pleasing composition and express an idea using fabric instead of paint. This is just one of a series of work I have created over the last few years.
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Dorothy Raymond, Loveland, CO
Hand painted cotton on felt. Various embroidery threads stitched in random patterns to emulate waves.
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Dark and Stormy Sea, 12” x 17”
There's magic in the play of light on waves. In a storm, the colors interact leaving no distinction between water and sky.
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Dorothy Raymond, Loveland, CO
Hand painted and commercial cotton; felt. Machine pieced, appliquéd and quilted; hand embroidered.
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Three Leaves, 30” x 30”
Imagine a sunny fall day when the colors seem extra brilliant--blue sky; green, gold and red leaves.
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Jeannie Schoennagel, Dillon, CO
Materials- cotton, satin, synthetic yarn, tulle and cotton batting. Technique- raw edge applique, confetti under tulle, couching and free motion quilting.
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We Are Family, 19” x 27”
An aspen grove stands so majestic in lines of what appears to be hundreds of individual trees. But underground shows the real relationship. Aspens are connected together by a common root system making them one single organism; a multigenerational family.
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Anne Severn, Loveland, CO
Cotton sateen, acrylic paint, silk, felt batting, thread. Acrylic paint on silk, hand dyed cotton fabric, raw edge applique and stitching.
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Tidal Pool, 18” x 12”
Inspired by Pacific Northwest coastal tidal pools. This piece hints at the dark sands, sparkling water, starfish tentacles, and anemone spikes which flow back and forth with the receding tide.
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Joan Sowada, Gillette, WY
Commercial fabrics fused, machine applique and quilting.
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Motherboard, 29.5” x 40.5”
This piece is one in a series exploring the digital age. The motherboard is the guts of the computer and also the foundation and glue of many families. The image shows a child playing a board game with his mother. Black and white wild fabrics and pops of artificial color have been used to further the feelings I have about the world wide web.
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Karen Stalgren, Frederick, CO
Four layers of felt were quilted in a pattern similar to bark. (the top layer was painted) Then the felt was cut to expose the layers. A heat gun was used to open the cuts to show different colors. Wire was sew to back of branches.
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Ancient Tree, 57” x 41” "What ifs" are the basis of many of my art pieces. The original question was-what happens if a heat gun is used on polyester felt? Then-what if the felt was painted? The product reminded me of tree bark and an idea was created.
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Andra Stanton, Boulder, CO
Manipulated digital photographs printed onto surface-embellished cotton fabric, interfacing, beading, painting, cotton and silk thread, textured metal dowel.
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Postcards from my Broken Heart, 34” x 39” I make art quilts and three-dimensional fabric sculptures incorporating diverse surface design techniques to represent themes of importance to me. For this piece, I reflected on my massive heart attack last year at age 62, but also on my worries and concerns about the negative impact of the Trump administration, the divided state of the country, environmental degradation, and hatred and war among peoples in the world. It breaks my heart.
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Kathy Suprenant, Lawrence, KS
Hand-appliquéd cottons, hand-embroidered ribbon and aglets; machine-quilted; mounted on stretcher bars within a floater frame. Two quilts are hinged along one side and latched together. The assemblage is hung from the ceiling from two Drings.
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Strings Attached & Wired to Snap, 28” x 19” x 3”
Road rage, domestic violence, mass shooting—what makes a person snap? "It's the continuing series of small tragedies that send a man to the madhouse…" Charles Bukowski wrote in his brutal ballad The Shoelace, "not the death of his love but a shoelace that snaps." The poetic wrapping evokes familiar feelings of comfort, tension, mystery, and healing.
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Nancy Woods, Lubbock, TX
Batiks, my hand dyed cottons, fabric paint. Ink paint pens. Raw edge fused.
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When the Sun Beats Down, 48” x 31”
I am mesmerized by the kaleidoscopic reflections cast by sunlight on river, lake, and ocean water. The water ripples and each picture is prettier than before. A sunny day's visit to the Oregon coast inspired this piece. My challenge was to bring vision to life with fabrics, paints, inks, and thread.
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Charlotte Ziebarth, Boulder, CO
Mixed media on cotton, paper, and silk including acrylic stenciling, stitched, finished with acrylic UV resistant spray varnish.
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Rusting Away #2, 12” x 12”
Time, wind and weather Crumbling walls, castles, ghost towns Left standing vigil
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Charlotte Ziebarth, Boulder, CO
Digital art printed on silk, with cotton applique, cut, layered, and stitched, finished with acrylic UV resistant spray varnish.
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The Inundation, 36” x 53”
Beware creek now calm Water flowing in its place Reflecting beauty
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Acknowledgements Evolving Perceptions came from an opportunity to create an exhibit for the Foothills Art Center in Golden, Colorado. Knowing the level of accomplishment our SAQA CO/UT/WY members have reached, we knew the potential for an exciting and innovative show. Through the thoughtfulness and care of our jurors, Deborah Boschert and Eriq Hochuli, Evolving Perceptions has fully met our expectations. Our thanks to the Foothills Art Center for their trust in our ability to give them a quality show; to our jurors for their careful selection process, to all of the artists who submitted their work, and to all the volunteers who helped make this show possible. We also look forward to opening Evolving Perceptions at the Brigham City Museum, Brigham City, Utah, in June of 2020. Mary Louise Gerek and Anne Severn SAQA CO/UT/WY Regional Representatives www.SAQA.com saqacowyut.wordpress.com
Dorothy Raymond, Three Leaves