Two by Twenty (SAQA Global Exhibition)

Two byTwenty

This catalog is made possible due to the generosity of SAQA’s members.

ISBN: 978-0-9966638-0-9

Cover artwork: Caryl Bryer Fallert-Gentry Catalog design: Deidre Adams Contents copyright Š2015 Studio Art Quilt Associates, Inc. Images copyright the individual artists.

Images may not be reproduced or used in any way without written permission. All rights reserved.

PO Box 572 Storrs, CT 06268-0572 860.487.4199

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Foreword Two works each by twenty artists equals forty art quilts to

the topic in general that ties them together. Comparing and

explore and a multitude of potential pairings to consider. Each

contrasting these pairs enhance the viewer’s experience of them.

pair of works relates relates to one another, the exhibit overall encompasses a wide range of style and subject matter.

Two by Twenty is two exhibits in one. The first is a pairing of two

Many pieces are variations on a theme. With the same technique

amongst all the artists. The pieces as a whole demonstrate the

and subject matter, the artist explores subtle variations in line,

wide range of approaches in the quilt art genre. Representational

color or texture to fully understand the material. Some pairs have

imagery is achieved through use of collage, photographs,

a narrative element between them: perhaps the time of day has

painting, and selection of fabrics, to name a few techniques.

changed or the viewpoint has shifted. These little differences

Abstract works are no less varied, including appliqué, printing,

invite the viewer to engage with the work in a kind of “first —

machine stitching, and more. From bold and graphic to subtle

then,” or “spot the differences” game.

explorations of texture and nuance, there is plenty to explore in

In other pairs it is the point of view of the artist that ties the two pieces together. They may mark historic events, propose

art quilts by the same artist. The second is the variety overall

this collection.

— Kristin La Flamme, SAQA Education Committee

a juxtaposition, or celebrate nature’s variety. While the specific subject matter and composition of each artwork in the pair is different, it is the artist’s aesthetic approach and affinity to

Studio Art Quilt Associates, Inc. (SAQA) is a nonprofit organization whose mission is to promote the art quilt through education, exhibitions, professional development, documentation, and publications. Founded in 1989 by an initial group of 50 artists, SAQA now has over 3,000 members worldwide: artists, teachers, collectors, gallery owners, museum curators and corporate sponsors. Since its establishment, the organization has grown alongside the evolution of the quilt as an art form. Today, SAQA defines an art quilt as a creative visual work that is layered and stitched or that references this form of stitched layered structure.

One of the many member benefits SAQA offers is to bring beautiful, thought-provoking, cutting-edge artwork to venues across the United States and around the world. The exhibits not only give artists the opportunity to show their work, but also expose the public to the variety and complexity of the art quilt genre. In addition to mounting museum-quality exhibitions that travel the world, SAQA documents the art quilt movement through exhibition catalogs such as this one. These catalogs serve not only as preservation and educational tools, but also as sources of inspiration and beauty to be returned to again and again.

Juror’s essay It is both exciting and somewhat intimidating to serve as

two wonderfully composed commemorative quilts that

a juror for a quilt exhibition. Making the final selections

highlight two facets of remembrance: one a memorial

always offers a challenge, especially when the field of

to the devastating fire in 1911 at the Triangle Shirtwaist

entrants presents such a vibrant range of possibilities

Factory in New York that tragically took the lives of 146

as this one did. But the challenge can also bring great

workers, most of them women; the other a celebration of

pleasure in discovering new approaches to design as

the past, present, and future of Grand Central Terminal,

well as to technique, and the incorporation of unusual

a New York icon. Ilse Anysas-Salkauskas chose a

materials into the artworks. Two by Twenty was especially

more naturalistic mode to draw the bond between

stimulating in that there was not a specific theme for

her melancholy stitched landscapes of the prairies of

the artists — or juror — to play with. Rather, the artists

Alberta, where the slowly deteriorating farm buildings

who entered were asked to submit two to four works that

she depicts seem to reach out to each other for support.

would, in some way, relate to each other. These could be

Caryl Bryer Fallert-Gentry’s abstract images of watery

works produced as pairs, diptychs, or otherwise part of a

reflections create a dramatic positive/negative relationship

related series, or as individual pieces that held a common

between two quilts, work inspired by one of the artist’s

connection in motif, content, style, or technique. My job

photographs.

then was to choose twenty of the artists who entered and two related quilts from each of those twenty. The final submissions — which included over 250 artworks created by nearly one hundred artists from many parts of the world—presented at first a rather dauntingly large field, given that I was limited to a total choice of only twenty

The relationship between time and deterioration seemed to play a large part in a number of works submitted, and I found several of special interest both in their construction and use of materials as well as in the concepts presented.

Deborah Fell’s two Passage of Time works (Braunschweig

artists and a total of forty works.

1 and Braunschweig 2) serve as potent reminders to

While many of the works could each hold their own

as do Donna Radner’s Earth, Water, and Stone series and

individually, I was soon able to bring the list to a more

Maya Schonenberger’s works on climate change. The

manageable number as I focused on determining the

presentations, materials, and techniques of these three

relationships between the submitted works of each artist.

artists are radically different, but the relationships built

Some were clearly presented, as with Teresa Barkley’s

within their work also relate conceptually to others.

appreciate the weathered and changing aspects of life,

Some artists used elements of nature to build the

Stevens, who deals both with the passage of time in her

relationship between their submitted works. Marjan

work and the sometimes-tense relationship between

Kluepfel, for example, chose a naturalistic approach to the

humans and nature. Her powerful quilts balance ultra-

trees depicted in her two quilts, while Virginia A. Spiegel

realistic compositions with a painterly quality that provides

created abstract collage quilts to capture the dramatic

an extraordinary glimpse into an urban environment where

texture of the bark of shagbark hickory trees. Pat Bishop

nature still seeks to reclaim its own.

combined both a sense of realism and abstraction in her lovely compositions of walking — and gawking — cranes, and Déda Maldonado expresses her love of nature through two vivid compositions of the Everglades and its inhabitants as day fades into night. The elegant diptych

by Jane Dunnewold, based on altered photographs of feather and bone printed on cloth, is another elaborately patterned reference to the relationship between living creatures that presents nature in yet another way.

A limited amount of space has allowed me to touch individually on only a very few of the fascinating and creative works in this exhibition. I am sure, however, that you, too, will gain appreciation for the aesthetic qualities and technical expertise expressed in these works, and for the evocative content that provides depth to the relationship that each artist has drawn between their works.

—Dr. Jacqueline M. Atkins

Some artists create transformative pieces that do not fit easily into a specific genre. One such artist is Janet

Dr. Jacqueline M. Atkins, former Chief Curator and Kate Fowler Merle Curator of Textiles at the Allentown Art Museum in Pennsylvania, is a textile historian and independent curator who has organized and curated numerous museum and other exhibitions. She lectures and writes extensively on Japanese and American quilts, early modern Japanese kimono and textiles, and American textile history and has authored books and articles in those areas. Dr. Atkins was a SAQA Board member from 2008-2014 and served as juror for Sense of Adventure, a 2011 SAQA exhibition. From 2004 to 2011 she was the only western judge for the Japan Quilt Grand Prix contest, part of the annual Tokyo Great International Quilt Festival. She holds a Ph.D. from the Bard Graduate Center and was a recipient of a Fulbright Research Award to Japan, where she studied the impact of Western-style quilting in Japan.

Ilse Anysas-Salkauskas Cochrane, Alberta, Canada

Three Old Pals 26 x 38 inches

Ancient red granaries dot the plains of the province of Alberta, and time is taking its toll. These three granaries, abandoned and pelted by many years of stormy weather, look like three old pals depending on each other and standing in the middle of a rough field.

Cottons Raw-edge fused appliquĂŠ, free motion machine embellished

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The old metal granaries are being displaced by the newer, larger, and stronger metal structures seen on the large fields of corporate farms. When the strong Alberta Chinook winds blow, the empty structures rattle and moan — tin soldiers on the march off to oblivion.

Tin Soldiers 26 x 38 inches

Cottons Raw-edge fused appliqué, free motion machine embellished

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Two

by Twenty Ilse Anysas-Salkauskas

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Teresa Barkley

D. James Dee

Maplewood, New Jersey, USA

The Triangle 36 x 36 inches

The triangle is a shape often used in patchwork. It also represents the Greek letter “delta,” used as a symbol for change. When it is capitalized, “The Triangle” represents The Triangle Shirtwaist Factory — the site of a devastating fire that claimed the lives of 146 workers, mostly women, on March 25, 1911, in New York City. In the aftermath of the fire, changes were made to provide for greater workplace safety. This quilt includes 100 triangles to commemorate the centennial of the fire.

It was designed to resemble a postage stamp.

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Cotton, acrylic paint Machine pieced, hand appliquéd, hand quilted, hand embroidered, stenciled, painted

Jean Vong

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A Grand Centennial 36 x 33 inches Cotton, acrylic paint Machine pieced, hand appliquĂŠd, hand painted, machine quilted

A Grand Centennial celebrates the past, present, and future of Grand Central Terminal, New York City. Designed as a centennial commemorative postage stamp, the top portion depicts the sun, moon, stars, and the constellation ceiling. The middle section depicts the Main Concourse windows. The left window represents the past, as a missile was displayed there in 1957. The right window suggests the future, with service to Long Island represented by the Montauk Lighthouse. The bottom portion depicts the underground levels, with trains and the Oyster Bar. The acorn is a motif throughout the quilt and the Terminal.

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Teresa Barkley

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Pat Bishop Appleton, Wisconsin, USA

Walk of the Cranes 30 x 40 inches

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This piece was inspired by a photograph I took at my parents cottage several years ago. I knew I wanted to use it for inspiration, but it took me awhile to figure out how I would approach it. This family of cranes — Mom, Dad and the two kids — would pass through the property many mornings scavenging for their breakfast.

Commercial and hand dyed fabrics Fused and machine quilted

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Gawking Cranes 41 x 39 inches

Another view of three members of the crane family from a photograph taken at my parents lake cottage, looking at me gawking at them.

Commercial and hand dyed fabrics Fused and machine quilted

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Pat Bishop

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Sandra Townsend Donabed Jupiter, Florida, USA

Tune In Turn On Drop Cloth 2 29 x 29 inches

Starting with a dropcloth and some images of WWI soldiers, I changed both into a set of small quilts. Here a soldier works on the living room floor of his temporary home on the base, assembling his patchwork quilt and getting it ready to be sent out to a group of local Amish women for quilting. He uses the quiet contemplative time to let his mind wander to his family and former life near the beach. Canvas, ethnic and various fabrics, image transfers of vintage photographs, paint, embroidery, embellishments, inks, pencils Hand and reverse appliquÊd, machine pieced, hand quilted

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Tune In Turn On Drop Cloth 5 29 x 29 inches

This is a group project — the whole unit has different ideas on how this quilt should be completed.

The best thing to do is brainstorm on how to quilt the top and whether it should be embellished or not. A consensus is finally reached and work commences. This will be raffled off to raise funds for the local orphanage.

Canvas, ethnic and various fabrics, image transfers of vintage photographs, paint, embroidery, embellishments, inks, pencils Hand and reverse appliquéd, machine pieced, hand quilted

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Two

by Twenty Sandra Townsend Donabed

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Jane Dunnewold San Antonio, Texas, USA

Feather Study 4 30 x 36 inches

The Feather/Bone Studies originated as photographs taken with a digital microscope, combined with photos of skeletons in the Smithsonian Natural History Museum. Altered and printed on cloth, subjects vanish in mirror-imaged, elaborate patterning. Living creatures contribute to the sacred balance between seen and unseen; close up and far away. These pieces reference intricate patterns and relationships, which are missed if we don’t pay attention.

Cotton-silk printed with original image of a feather taken by digital microscope Photograph taken by digital microscope, altered, cropped and printed commercially, machine quilted and embroidered

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Feather and Bone 31 x 34 inches

Cotton-silk printed with original image of a feather taken by digital microscope, gel medium, sand Photograph taken by digital microscope, altered, cropped and commercially printed, machine quilted and embroidered, screen printed with gel medium and sand

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Jane Dunnewold

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Rahel Elran Tel Aviv, Israel

Primordials #5 50 x 31 inches In this series, I imagined the creatures which roamed on our planet before the creation of the human race. For me, these creatures symbolize the hope for transformation, new life, and novel open horizons. They are colorful, vivid, and full of life. This piece is about primordial life submerged in deep water.

Commercial and hand-dyed textiles AppliquĂŠd, fused, pieced, machine quilted

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Primordials #6 50 x 38 inches This piece is about the era when creatures crawled out of the water onto the earth.

Commercial and hand-dyed textiles AppliquĂŠd, fused, pieced, machine quilted

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Rahel Elran

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Caryl Bryer Fallert-Gentry Port Townsend, Washington, USA

Reflections of Cowichen #1 30 x 30 inches

In the summer of 2013, we chartered a boat and spent ten days cruising in the San Juan and Canadian Gulf islands north of our home on Puget Sound. One of our favorite ports was Cowichan, British Columbia, where the harbor was dominated by the headquarters of the Cowichan Wooden Boat Society which had railings that cast dramatic shadows in the water beneath. In the late evening, everything was black and white. By zooming in on the reflections I found dramatic images that looked like abstract expressionist paintings.

Cotton fabric designed by the artist Machine appliquĂŠd, machine embroidered, machine quilted

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Reflections of Cowichen #2 30 x 30 inches

This is the reverse image of Reflections of Cowichen #1.

Cotton fabric designed by the artist Machine pieced, machine embroidered, machine quilted

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Caryl Bryer Fallert-Gentry

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Deborah Fell Urbana, Illinois, USA

Passage of Time: Braunschweig 1 26 x 25 inches

The digital photo transfers of fragmented buildings in Braunschweig, Germany, demonstrate the beautiful dichotomy of ageing and weathering. The passage of time leaves its footprints in every aspect of our world and reminds us that flaws, scars, and deterioration can be lovely witnesses to endurance.

Canvas, paint, cotton, Thai paper, gel medium Digital printing, collaged, painted, machine stitched

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Passage of Time: Braunschweig 2 26 x 25 inches

Apparent in many forms, decay documents the longevity of buildings, bridges, and our bodies. We look in a mirror and see the lines that are proof of our living with sorrow and joy. We look at the underside of a bridge and see the decay wrapped in rust. Buildings slowly give way to the test of time. Decomposition is a celebration of living and being. What remains from decay can indicate strength, endurance, and longevity, allowing us to appreciate the passage of time.

Canvas, paint, cotton, Thai paper, gel medium Digital printed, collaged, painted, machine stitched

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Two

by Twenty Deborah Fell

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Sandy Gregg

photo by Joe Ofria

Cambridge, Massachusetts, USA

Call for Entry 2 44 x 35 inches Exhibits are advertised to artists by a document with the title of “Call for Entry.� This piece is a literal reconstruction of one such document using unique materials.

Cotton sheeting, tyvek, paint Hand-cut, painted, machine quilted

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photo by Joe Ofria

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Call for Entry 4 40 x 35 inches This piece is a literal reconstruction of a call for entry that was canceled.

Cotton sheeting, tyvek, paint Hand-cut, fused, machine quilted

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Two

by Twenty Sandy Gregg

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Marjan Kluepfel Davis, California, USA

Forest Fancy 37 x 25 inches The texture, color, and prints of fabrics fascinate me and often give me inspiration for a new design.

Most of my designs are organic.

They are influenced by my love of nature and all its wonders.

I fancy forests to always look like this...

Hand-dyed and commercial cottons, yarns Fused, free-motion machine quilted

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Forest Fire 37 x 25 inches I live in California where we are experiencing a severe drought for the fourth year in a row. As a result my “forest fancy” too often turns into a “forest fire.”

Hand-dyed and commercial cottons, yarns Fused, free-motion machine quilted

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Two

by Twenty Marjan Kluepfel

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Mary-Ellen Latino

photo by Joe Ofria

Northborough, Massachusetts, USA

Travel Muse: El Burro 1 36 x 36 inches

I was walking along a hilly, narrow path cradled by the Andes Mountains when I noticed a faded image of a donkey on a boulder with layers of peeling paint ravaged by time. Through Photoshop I brought this “rock art� to new life and with shibori I obscured areas to depict the influences of time. The donkey personifies the qualities of determination, service to others, and an undying faith in the creative force.

Silk charmeuse, batik and damask cotton, discharge, acid dye Digitally manipulated image printed on silk, shibori (kanoko), quilted

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photo by Joe Ofria

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Travel Muse: El Burro 2 36 x 36 inches

El Burro 2 has subtle differences from El Burro 1 in movement, position of the donkey, and shibori markings. With a deep dedication to the universe, the donkey has worked together with humans for centuries, responsible for carrying supplies throughout the jungle and the transportation of people.

I celebrate this simple creature known as donkey, burro, beast of burden...

Silk charmeuse, batik and damask cotton, thiox, acid dye Digitally manipulated image printed on silk, shibori (kanoko), quilted

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Two

by Twenty Mary-Ellen Latino

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DĂŠda Maldonado Miami, Florida, USA

Everglades 28 x 33 inches

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The Tamiami Trail runs straight through the Everglades. Much of it is surrounded by wetlands and canals. Airboats are a very common mode of travel in these waters. This scene shows an airboat floating by on tranquil waters on a calm moonlit evening in the Everglades. I was proud it was chosen that year to represent the Swamp Heritage Festival at Big Cypress Preserve, Everglades National Park, Florida.

Cotton Discharge painted, machine quilted

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I have always loved water, dolphins and the moon — what better way to show the beauty of all three.

Flight at Night 27 x 35 inches

Cotton Discharge painted, machine quilted.

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Two

by Twenty DĂŠda Maldonado

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Barbara McKie Lyme, Connecticut, USA

Botswana’s Beautiful Bird 32 x 31 inches

When I was on a trip in Botswana, I was amazed to be able to photograph this Lilac Crested Roller, which is the national bird.

Disperse dyed polyester print, hand-painted silk Digital transfer, trapunto dye painting, machine appliquĂŠd and quilted

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While eating lunch in Sydney, Australia, a kookaburra bird joined us and ate some scraps.

Kookaburra 26 x 36 inches

Cotton sateen digital print using UV resistant pigment ink, hand-dyed cotton border Digital print, free-motion appliquĂŠd and quilted

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Two

by Twenty Barbara McKie

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Elizabeth Michellod-Dutheil Villette/le Châble, Valais, Switzerland

XY – First Day of Creation 50 x 27 inches This work is part of my series Seven Days of Creation and represents the beginning of the creation of the world. The world is blank since it has been created that day from nothing. Antique trimmings represent sperm which will create humanity.

Fabrics and threads treated with water-soluble non-woven fabric, handmade trimmings, snow-dyed old cloth Machine quilted

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The Threshold of Life – Fourth Day of Creation 50 x 27 inches This is the day God gave the keys of the universe to humanity and told them to multiply.

Fabrics and threads treated with water soluble non-woven fabrics, old keys Snow-dyed, machine quilted

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Two

by Twenty Elizabeth MichellodDutheil

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Beth Miller

photo by Doug Cawley

Australian Capital Territory, Australia

Hollyhocks 44 x 33 inches The old-fashioned flower, Hollyhocks, can be found in all types of gardens. The upright stem supports many flowers that open from the bottom bud first and then progress to the top. The stamen often has pollen that falls across the flower petals to create an interesting contrast between the two.

Hand-painted cottons Fused appliquĂŠ, hand embroidered, machine quilted

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phoro by David Paterson

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Sweet Pea 44 x 33 inches The Sweet Pea is a highly perfumed and long-lasting delicate flower that has value in the garden and as a cut flower.

The fast-growing plant latches itself onto the trellis with fine tendrils, in this case supported by bamboo poles.

Commercial and hand-painted fabrics Fused appliquĂŠ, machine quilted

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Beth Miller

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Simona Peled

photo by Ran Erde

Tel-Aviv, Israel

Tactile Architecture 37 x 29 inches Modern architecture of large and densely populated cities impresses by its beauty. Very often the neon signs on the smooth and cold façades, and the multitudes of billboards along the streets involuntarily become calls to violence. But I believe that common sense and great architecture will help to avoid this.

Commercial cotton and synthetic fabrics, handpainted fabrics AppliquĂŠd, machine and hand stitched, machine quilted, painted

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photo by Ran Erde

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Planning 37 x 24 inches Once this place was a beautiful forest, and now there are modern houses instead. Streets and roads were built. But I still believe that with all this planning we won’t forget about nature, and we’ll live in harmony with it.

Commercial cotton and synthetic fabrics, jute scrim, tulle AppliquĂŠd, machine and hand stitched, machine quilted, painted

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Two

by Twenty Simona Peled

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Donna Radner Chevy Chase, Maryland, USA

Earth, Water and Stone #1 41 x 24 inches The inspiration for these two quilts was a photo of a slab of stone, which suggested the wearing away of the stone by the forces of nature over time.

The surface of the stone was worn away by the elements of rain, water, storms and possibly the shifting of the ground itself.

Hand-dyed fabrics, batiks Pleated, collaged, machine quilted

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photo by Mark Gulezian

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Earth, Water and Stone #2 41 x 27 inches I designed Earth, Water and Stone #2 first and then composed Earth, Water and Stone #1 to link up to it through the gold strip curving between the two pieces. The movement of color in #2 influenced the design of #1 so they would fit together but remain two separate pieces as well.

Hand-dyed fabrics, batiks Pleated, collaged, machine quilted.

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Donna Radner

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Maya Schonenberger

photo by Werner Boeglin

Miami, Florida, USA

Ice 49 x 26 inches Ice is part of my series “Climate Change”. The piece combines two of my passions, hiking and skiing. Through both activities, summer and winter, I can see and experience firsthand how our glaciers are melting.

Fabrics, dryer sheets, medium, paint Raw-edge appliquéd, machine stitched

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photo by Werner Boeglin

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Ice 2 49 x 34 inches Ice 2 is part of my Climate Change series. Visiting glaciers in the heat of the summer while hiking gives me a much closer and more colorful impression than literally gliding over them when I ski in the middle of winter.

Fabrics, dryer sheets, medium, paint Mono printed, raw-edge appliquĂŠd, machine stitched

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Maya Schonenberger

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Virginia A. Spiegel

photo by Deidre Adams

Byron, Illinois, USA

Shagbark 3 24 x 36 inches

A great leaning hickory tree has bark peeling back to reveal layers and layers of color and texture. More beautiful and alive in winter with its cinnamon-red inner bark contrasting with a dusting of snow than when covered with a green canopy of leaves in summer.

Upholstery fabrics, paint Screenprinted with screens from artist’s photos, collaged, machine stitched

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photo by Deidre Adams

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A dusting of snow highlights the colors of the inner bark from the palest tan to the darkest blue.

Shagbark 4 24 x 36 inches

Upholstery fabrics, paint Screenprinted with screens from artist’s photos, collaged, machine stitched

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Virginia A. Spiegel

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Janice Stevens Koh Samui, Suratthani, Thailand

Urban Jungle 42 x 27 inches Based on one of my photographs from Burma, this image conveys the effects of the passage of time. The rusting of the metal cookie cans and the mold and algae on the cement surfaces immediately inform us of their prolonged exposure to the elements.

Hand-dyed fabric, pencils, paint, silk organza Raw-edge appliquĂŠd, painted, surface design, machine quilted

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This image of a bicycle rickshaw from Burma speaks to the passage of time by its gradual obsolescence. It is being replaced by motorized transportation and is becoming a rarity. Although the wall in the background continues into the distance, the rickshaw remains stationary and abandoned.

Urban Transportation 32 x 39 inches

Hand-dyed fabric, pencils Raw-edge appliquĂŠd, painted, surface design, machine quilted

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Two

by Twenty Janice Stevens

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