interlaced: Making Material Process In Appalachia Nine Artists, Nine Approaches Susan Feller, Jessie McClanahan, Suzan Ann Morgan, Gri n Nordstrom, Ali Printz, Mary Roy, Nevada Tribble, Domenica Zara Queen, Louise Silk
West Liberty University Nutting Gallery West Liberty, WV
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October 7 - November 5, 2026
Meet the Artists Making Material Process Susan Feller
speaking
tactile
meditative page 4
Jessie McClanahan ecological ephemeral communal
8
Suzan Ann Morgan intrinsic inherited
12
cathartic
Gri n Nordstrom reformatting ingredients rhythmic 16 Ali Printz
remembrance
reuse
recovery
20
Domenica Queen meditation abundance connection 24 Mary Roy
hereditary
fusion
Louise Silk intention adaptability Nevada Tribble
being
grounding
methodical
skillful means 32 relief
ALL RIGHTS RESERVED BY ARTISTS No part of this publication may be reproduced, except for the purpose of research, criticism, and review, without rst seeking written permission from the publisher/artists. SusanFeller.com/contact
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All images © individual artists No Arti cial Intelligence used
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Curators’ Statement Susan Feller, Gri n Nordstrom Our exhibit theme asks artists what Making Material Process means to them. Each responded with unique perspectives that abstract to base ideas like curiosity & experimentation, family & community, health & healing practice, and resourcefulness & eco-consciousness. In envisioning Appalachian futures, these fundamentals are anchors in developing sustainable practices which embrace our surroundings and support new growth. In 2026, the textile arts are being provided greater platforms in major venues throughout the country. Surface Design Association’s fall Selections exhibition Marking Territory curator Luisa Stocco describes the theme “Through touch, repetition, tension, repair and transformation, textile materials become active carriers of meaning.” SurfaceDesign.org To highlight the importance of the handmade throughout history and in contemporary life HANDwork2026.org features exhibits, organizations and public institutions. The Stifel Arts Center at Olgelbay Institute nearby in Wheeling, WV presents NEW APPALACHIA traditional craft contemporary practice thru October 31. Techniques and materials featured in the exhibit include hand and machine stitching, pieced, whole cloth quilting, applique’, collage, rug hooking, embroidery, weaving, handmade paper, archival photos printed on fabric, silk screen images on hand dyed cloth, naturally dyed fabric, plastic bags, second hand textiles, and beads. Look at the three words each artist uses to describe their work as you study the collection. Think how you respond to making with your hands. What materials do you use or collect? Are you interested in exploring new techniques?
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Feel free to follow and reach out to the artists online for further resources on their process or materials - craft is Interlaced and handmade is a process of learning and sharing method.
Susan Feller speaking tactile meditative Raised in the Appalachian Highlands of New Jersey, Susan learned handicrafts from family, explored her rural environs, and earned life skills through Girl Scouting. A BFA from UMass/Boston and interest in history intertwined in 1994 when she was shown how to rughook. The craft’s traditions, ease in using the tools, and thrifting for materials, fit into the log home she and partner were building in West Virginia. Moving permanently in 2006, she easily integrated into the craft/art community. Thankfully West Virginia recognizes fiine craft and fine art as equals. Receiving a Master Fellowship from Tamarack Foundation for the Arts in 2013 to research the work and life of Otha and Blanche McDonald from Gilmer County, textile makers with rugs in the State Museum. Juried into exhibits locally in WV to OH, PA, ME, MN, KY and in textile publications, awards include the Governor’s Award in 2023. She has curated exhibits in OH, PA, VA and WV. She has served on the board of Tamarack Foundation, several regional grant committees, and as a mentor for the Creative Entrepreneur Fellows through WVCN. Follow on IG @ArtWools @BraveArtSpeaks and SusanFeller.com
Surrounded by woods, fields and mountains reminiscent of my childhood, my studio space inspires me. I would describe myself as a craftivist - using craft techniques to advocate for equal rights, social justice, and environmental protection. The traditional handcrafts of rug hooking, embroidery and applique’ all require lots of time rhythmically making a stitch or loop, simple tools, and materials my hands can identify by touch and memory. The process of designing, gathering materials, and working the techniques allows me to reflect on a subject. I know each completed piece will be a record, hopefully for decades, chronicling one individual’s response to life in Appalachia and within the world. I am one of the first to register to vote at age 18 and have ever since. My understanding of democracy and politics have evolved. Today I encourage youth to register and be involved. My work and votes are for the people, environment, and globe. It speaks as loud as if I were in a protest on the streets.
Miss Mountaintop Removal 2023 Susan Feller 20” x 16” framed, collage Starbucks bag, metal wire, beads, rug hooking with fabric, punch needle with yarn, applique’ Note Cards available from artist
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Inspired by Boom, Boom: The Video on YouTube by Douglas John Imbrogno featuring activist Paul Corbit Brown’s mountaintop removal aerial photography and a poem by Chrystal Brown relating extraction of coal to strip tease performers, Miss Mountaintop Removal captures reality. Clean water ows acidic polluting the villages below, approved by state legislators so the thin vein of coal can be exported by corporations.
Jan- June
2020 Journal
July - August 2020-21 Susan Feller
24” x 54” rug hooking with materials on hand including clothing, embroidery, applique’
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Covid hit when I had a full travel schedule planned. Luckily we live isolated and the months became my ‘artist residency’ at home. I write quotes and le them. The neutral value of each month evokes my hope or despair. When I ran out of black I used the brown neutrals. Colorful Covid molecules oat throughout. The numbers are deaths. I thought I would continue the next year but found this was too exhausting and turned to nature.
Iconic ERA 2016 Susan Feller 18” x 24” my Girl Scout badges, applique’, braiding, rug hooking embroidery The second in a series of ICONS beginning at the turn of 21st Century with Iconic LIBERTY, this piece is autobiographical. Girl Scouting shaped my self con dence, life skills, and advocacy. The ERA was proposed by Congress in 1972 but fell short of the 38 required states approval by 1982 deadline. Of the many rights being fought for with this amendment equality for wages, and health are prominent.
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The work was juried into Women of Appalachia Project, 2018, Morgantown and Athens, OH. The full series of ICONIC Liberty, ERA, VOTE and Jane S. Choice #2 were in Beauty & In uence of Appalachia, 2024, Artists Archives of Western Reserve, Cleveland, OH with a published catalog.
Jessie McClanahan ecological, ephemeral, communal
Jessie McClanahan is a storyteller, artist, and educator originally from Charleston WV. Her interdisciplinary practice includes ceramics, textiles, print, and photography exploring the connections that mountain communities have with the ecologies and geographies that they live within; and how these communities form themselves around interspecies relationships with craft as the catalyst. Her arts based research comes from the love of her Appalachian upbringing while integrating global perspectives she has gained by having an immigrant family and living abroad. Jessie McClanahan received her MFA from Syracuse University with a BA from West Virginia State University. She was a Tamarack Foundation Emerging Artists Fellow, with exhibitions at Governors Island in New York City, solo exhibitor in Buenos Aires, Argentina, and an invited Artist in Tilcara, Argentina. She was a recent resident artist at the Chautauqua Institute, and has been recognized as an Emerging Artist for the Clay Center of West Virginia. Currently she is teaching at West Virginia State University as an Assistant Professor of Art. Learn more at website https://www.jessiemcclanahan.com/
Honoring the Chestnut, Jessie McClanahan hand made paper, fabric, stitching, natural dyed with chestnut
Reflections Jessie McClanahan hand dyed with natural materials including chestnut fabric, embroidery Work in Progress I want to share my crops by choice.
Reflections Jessie McClanahan hand dyed with natural materials including chestnut fabric, embroidery Work in Progress
Suzan Ann Morgan intrinsic inherited cathartic I am a textile artist who has been living and creating in central West Virginia since
1988. I hand-dye and print all the textiles I use, as well as most of the other fibers found in my work. I was fortunate to be handed cloth and needle early in my life, and at age thirteen years, I was given a discarded Great Depression era Singer sewing machine; a creature that while having its share of significant limitations, opened up a new world for me. It was the mid 1970’s, everyone in my home economics class was female, my mother had a button jar, and the nuns had taught me to cross stitch. I fully embraced the fiber arts, by embroidering samplers, knotting macramé, knitting and even sewing my own clothing. I loved the art books I found in the local library, but somehow came to believe that I could never be a “real artist” because I was right-handed! Even with this “limitation,” by my twenties I was piecing quilts of all varieties. Everything changed in 1997; I learned to dye and print on fabric at the Oregon College of Art and Craft. And guess what?...no one there even checked to see if I was a lefty! I soon stepped away from creating art based on the patterns produced by others, and learned to travel my own path. I have chosen to work in the fiber arts as a result of my early influences of what is still largely considered “women’s work.” Through this lens my work brings a questioning voice of my military family, Catholic and decidedly anti-feminist upbringing. I feel my work shows that these influences remain salient to our modern world. I examine my beliefs while listening to NPR, reading about current events, or engaging in a lively discussion; all are integral parts of the process of creating my art. During the process, I find myself further reflecting, but often to my dismay, I’ve realized the contradictions and short comings of my personal beliefs. However, expressing my point of view through my art provides me with temporary relief, and the hope the viewer can identify with my imperfect truths. Connect on IG @SuzanAnnMorgan and web SuzanAnnMorgan.com
unalienable right Suzan Ann Morgan 17” x 29” Screen printed on hand-dyed cotton fabric. The intersection of a “Christian Nation” and the Second Amendment’s “right to bear arms.” $750
Commodity Suzan Ann Morgan 19” x 23” Screen printed on fabric from artist’s photographs. Printed NASA photograph of our Earth. Hand tufted. So much packaging, so little Earth. $700
protecting wealth Suzan Ann Morgan 20” x 24” Screen printed from artist’s photographs of her family’s storage unit and its attendant fencing. We have more than we need. $700
Adam’s Folly Suzan Ann Morgan 22” x 20” Cyanotype printed on cotton fabric, embroidered. Have we not strayed far from original sin? $800
Gri n Nordstrom reformatting ingredients rhythmic Griffin Nordstrom is an artist-curator living in the Wheeling area. His artwork is primarily in 'quiltmaking' though the definition is extended to include various textile forms including costumes and sculptures. He continues a family tradition of quilting but is predominantly self-taught and grew up in a non-sewing household. Griffin’s practice is built upon the reuse of inherited and waste textiles, such as sewing scraps, secondhand clothing, and single-use plastics. His quilts mix traditional scrappy techniques and modern improv style. Thematically, they are inspired by Appalachian folklife, queer counterculture, and regional history. Connect on web at gnordstrom.weebly.com
In modern history, the fiber arts have been minimized as the work of
‘lesser’ people such as women, the working class, and global south. This dismissal perpetuates a system of devaluing skilled labor and denying artistic identity to protect ‘elite’ authorities. The marginalization is not always pronounced or visible like fast-fashion’s inhumane working conditions; it often continues in quiet complacency. Makers refrain from calling themselves “artists” and work is celebrated for its ability to be functional and decoratively discreet as companions to a collection’s style rather than its own independent voice.
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In my quiltwork, I continue a collective effort to push against these traditions and demand attention and respect for the fiber arts. My quilts are loud and don’t attempt to be convenient to a viewer: they are not made with regular patterns interpreted in a single glance, and are designed with the expectation of the same examination given to a ‘fine art’ piece. I do not limit myself to standardized shapes fitted for bed coverings or discrete folding away in storage. I take pride in my quiltwork as an heirloom craft and opportunity for me to vocalize Appalachian perspectives, reuse, and independent artistic thought.
Gardens & Hills, Griffin Nordstrom 57.5” x 43”, mixed fabric quilt, hand-quilted with applique’ and beading.
Grid Guy, Griffin Nordstrom 58” x 51.5”. mixed fabric quilt; t-shirt, bandana, children’s clothing, bedsheet, necktie, denim, tablecloth, sewing cotton, buttons, hand-quilted.
Serpenine Gri n Nordstrom 16.5 in x 20 ft, mixed fabric quilt, hand-quilted with embroidery. Serpentine is focused on a series of embroideries Griffin made between 2023-2026 while completing his masters degree and starting his museum career. It hung draped on clothes hangers.
Catch me on the Moon. Toothpick lover
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A loss of faith is better than a loss of life”
I wish to know PEACE
Ali Printz remembrance reuse recovery West Virginia native Ali Printz is an interdisciplinary artist whose work focuses on ecological, labor, and cultural aspects of her Appalachian upbringing as well as reclaiming history and longstanding stereotypes about the region. Printz is also an art historian and curator, receiving her PhD from the Tyler School of Art and Architecture at Temple University in Appalachian Art in the spring of 2025, an MA in Contemporary Art from Sotheby’s Institute of Art, New York in 2012, and a BFA in Painting and BA in Art History from West Virginia University in 2009,. Her research has been supported by Crystal Bridges Museum of American Art, The Smithsonian American Art Museum, The Terra Foundation, The Center for Curatorial Leadership, and The Decorative Arts Trust. Recent artistic projects include the solo exhibition, Here Today, Gone Tomorrow at Bloomfield Richwood in 2025, Into the Mountains at the William King Museum of Art in 2023 and upcoming projects with GRIT collective, a group of five artists from Appalachia, and CrikHoller, a collaboration with West Virginia artist Ernie Roby-Tomic that includes the mural Carrie Williams: Saint of Coketon in Thomas, West Virginia and the installation Appalachian Extraction. Her recent curatorial projects include the biennial From These Hills: Contemporary Art of the Southern Appalachian Highlands at the William King Museum of Art in 2023 and Layers of Liberty: Philadelphia and the Appalachian Environment in 2024 at the Pennsylvania Academy of the Fine Arts (PAFA). Printz was the 2023-2024 Terra Foundation Curatorial Fellow at (PAFA) in Philadelphia and is currently the Luce Curatorial Fellow at the Smithsonian American Art Museum.
Follow on IG @AliPrintz see AliPrintz.com The Here Today, Gone Tomorrow series focuses on the history and presence of Appalachian wildflowers and botanicals that have been used for centuries in the region medicinally and in folk magic traditions. Like the extraction of coal and timber, many have been extracted to near extinction, complicated by the fleeting nature of their seasonal presence. The new works highlight personal photos of wildflowers in dialogue with photographs of deforestation from the 19th and early 20thcenturies in the West Virginia & Regional History Center collection, an echo of why many species have decreased significantly over the last century. The process of creating each painting is deeply rooted in research of the history and culture of Appalachia, as well as my own experience growing up in the West Virginia mountains and hollers.
Jack in the Pulpit, Ali Printz 40” x 40” paint on canvas with photo printed fabric applique’ photographs of deforestation from the 19th and early 20thcenturies in the West Virginia & Regional History Center collection.
Sang Digger, Ali Printz 40” x 40” paint on canvas with photo printed fabric applique’ leaves Echoing why many species have decreased significantly over the last century.
Ghost Pipe, Ali Printz (Safety Post, White Oak Coal Company, undated 40” x 40” oil, fabric, clay, and coal Work in Progress
Domenica Zara Queen meditation abundance connection Domenica Queen is a Hispappalachian (Hispanic & Appalachian) fiber artist, carrying on the traditional practice of creative re-use and repair culture. She uses heritage textile and fiber art techniques to create heirloom artworks and creative tools from waste plastics and other second-hand or foraged materials. Her practice is heavily influenced by a combination of the skills taught by the women in her life along with the aesthetics of Catalan Modernism and Art Nouveau. The work is likely to feature Gaudi-style mosaics, swirling natural forms, or stitches that would be at home on a hanky your grandmother made. Her grandmother (Avia) introduced her to fiber art. Her father was always making, repurposing, or repairing something and invited Domenica to do the same. Artistic expression and practical craft skills were a core part of her upbringing. *****************
My work focuses on discarded plastics & textiles that become both decorative & functional pieces through techniques such as embroidery, rug hooking, & weaving. Making work with these intentionally laborious techniques holds space for me to process the horrors and elations of a contemporary existence demanding speed, reactivity, consumerism & oversimplification. Consumerism has made my material super-abundant. I process second-hand materials, waste plastics, and natural fibers into strands of yarn and various other components that go into the work. One of my goals is to shift the developed world’s collective view of plastic from “disposable” to “heirloom material” by highlighting its operational life through the context of heritage crafts. Fiber art is a broad and complex practice. As an artist with cultural roots in Catalunya, Mexico, & Appalachia, I create work that exists at the intersection of my experiences. My process is about connecting my perspective with thousands of years of tradition and community, working to broaden the contemporary understanding of what folk & traditional art includes in West Virginia. Follow on IG @madartsci
The Hand That Weaves Domenica Queen Plastic bags, hand stitched, woven & braided with grocery bags as thread, bubble wrap, cardboard NFS
On my belly in the grass Plastic grocery bags hand hooked on Monk’s cloth NFS
South Elkins Standard Domenica Queen Tapestry woven plastic bags with hand spun plastic yarn as warp threads NFS
Leaf Litter Cherry, Sassafras, Maple Plastic bags, hand stitched with grocery bags as thread, bubble wrap
Dandelion View Domenica Queen Plastic grocery bags hand hooked and braided on Monk’s cloth with acrylic paint border $400
Pantry Staples Domenica Queen Plastic bags, hand stitched with grocery bags as thread, plastic lids, plastic & cardboard stretched on a wooden frame $250
Mary Roy hereditary fusion methodical
Mary Roy is a self-taught fiber and textile artist based in West Virginia, where she draws inspiration from her Appalachian roots. The daughter of a seamstress, Mary grew up surrounded by fabric, patterns, and the quiet patience of handwork. Her love of art grew naturally from those early influences, evolving into a practice that fuses tradition with personal storytelling. Committed to continually learning and refining her craft, she uses textile and fiber art to explore themes of place, memory, and resilience. Each piece she creates is an homage to the people and region that shaped her. Follow on IG @marystitches_
My work considers both the parallels and expectations of bodies—both physical bodies and bodies of land. Across each piece, are projected expectations of usefulness, productivity, and control. I perceive both land and body as places onto which purpose is continually projected. Bodies are asked what they can produce, how efficiently they can function, and what futures they are expected to fulfill. The impact of production and efficiency has catastrophic impacts to both types of bodies.
Amber Waves of Smoke Mary Roy 10” hand embroidery depicting Glacier National Park. Smoke stacks on cardstock and friendship beads spelling out “You’re being tread on, sweetie” as a blatant reminder.
“ChatGPT, show me those West Virginia hills” Mary Roy
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This piece is an example of the untrue landscape that ChatGPT would show to a user asking for a generated image of West Virginia rolling hills. Playing cards with a di erent form of ber art printed on them show the stark di erence when they are trying to blend in.
Gifted and Talented Mary Roy 10” embroidery on cotton, recycled prescription bottle, beads Recycled beads and pottle with friendship beads stating what many individuals with ADHD hear growing up undiagnosed, “Gifted and Talented”
Refuge for Relief Mary Roy 10” embroidery with friendship beads replacing the pills in the pack reading “It took years to find out. PCOS”. This conveys the medical frustration for those assigned female at birth and conditions/ symptoms that are typically dismissed. Pink embroidery floss has been used to create a tiny pink bow, since pink is typically included in products marketed and created for women.
Patchwork Autonomy Mary Roy Quilting with nontraditional materials Much like the autonomy of those assigned female at birth, this patch worked piece is created from recycled birth control packaging. The quilt square was created using jump rings instead of stitching.
The Pill Mary Roy 10” embroidery on gray cotton with beads, floss, and birth control pack. A birth control pack delicately surrounded by pearl beads. The pills in the pack have been replaced with friendship beads that state “You’d be a great mother”, a statement with underlying societal pressure.
Louise Silk Intention, Adaptability, Skillful Means
My quilting began with a 1972 article in MS Magazine explaining the importance of quilt making as a women’s art form. As my work developed, I came to combine personal, cultural, and spiritual components. This continued until the death of my parents; when I incorporated every piece of their clothing and textiles into a series of art quilts. Today, my practice explores the inherent deeper layers of meaning embedded in ordinary repurposed clothing and textiles.
Learn more at https://silkquilt.com/
The Witness Quilt was a temporarily stitched together collection of individual hand-embroidered affirmative maxims. It was the centerpiece of The Heinz History Center Exhibition: Louise Silk: A Patchwork Life and Brew House Arts: Dayenu It Would Have Been Enough. The quilt illuminates traditional confessionals, while demonstrating innovative ritual practices. Deconstructing the quilt is the metaphor for the transitory nature of life.
In its continuation here, Witness, is the heart of a transitory state with never-ending variations and unlimited possibilities. I invite you to remove and take The Wisdom Patchwork that speaks to you.
Tools and process for each of the hundreds of patches incorporated in WITNESS.
DAYENU/ NONE & ALL: WITNESS ;עֵ ד2020-26. 89”H X 178”W. 1500+ Individual Detachable Patches. Materials: Crème Colored Linens, Clothing, Embroidery Floss, Yarn, Old Quilts. Technique: Individually Hand Embroidered BubbeWisdoms & Phrases Of Contemporary Viddui Prayer. Out Of Patchwork: One World Kimono as Base.
Louise invited visitors to select a patch to take with them.
Nevada Tribble being grounding relief Nevada Tribble is an interdisciplinary fiber artist from Elkins, WV. She exhibits her work regularly in galleries throughout Appalachia, and has received recognition and grant funding for a number of projects, including public art in her hometown. Nevada completed her BFA at Shepherd University in 2020, and completed a WV Folklife Apprenticeship with master weaver Margaret Bruning in 2025. Nevada teaches workshops on weaving, fiber arts, papermaking, and more for both youth and adults. Her work has been included in the national publication Fiber Art Now, and she was awarded an Emerging Artist Fellowship from the WV Creative Network in 2020. You can see more of Nevada’s work online at nevadatribble.com, and follow her creative journey on
Substack @nevadatribble or on instagram @nevada.wv.
I create sensory experiences through fiber art, documenting the intricacies of slight changes in seasonality in the landscape around me. I look for subtle shifts throughout the year—the moment when crocus season gives way to daffodil season, or when the first leaf falls compared to the last. Each time I notice a shift, I pay attention to the way it harmonizes with my mood, echoing or amplifying, lifting or sinking, dissonant or harmonic. I create art to capture these duets sung between my inner life and the tactile living world around me. I use a wide array of fiber art techniques to create layered works with a luscious visual feast of textures. My tools include various weaving techniques, crochet, hand and machine sewing, papermaking, and more to capture the exact notes in the harmonies of color, texture, seasonality and emotional expression of a moment. The slow and time-consuming nature of these processes helps to ground me, centering myself through the repetitive movements necessary to create these works. I hope my art reminds you that we as humans are not alone in this world; our inner lives don’t have to be isolated from the lush and living landscape we find ourselves in.
Collected Colors For The Long Winter Nights, Nevada Tribble Handwoven fabric $800 Over the course of two winters I wove each of these color blocks on a frame loom small enough to fit in my purse. Weaving on the frame loom is a much slower process than others because you have to use a needle to individually lift every other string, instead of the loom doing that work for you.
Goldenrod and its Reflection Nevada Tribble Handwoven fabric, cyanotype, handmade paper, thread NFS, on loan from Susan Feller The white yarn in the background of this piece is handspun wool, one of the first yarns I created with a spinning wheel. At the time, I was still learning to keep the yarn width even, but I ended up liking the variety in this weaving so much that I started spinning yarns like this on purpose. The goldenrod flower is stitched on her handmade paper with a free-motion sewing machine foot. I used a photographic process called Cyanotype for the blue and white goldenrod silhouette.
Deep in my Soul is a Glorious Slice of Open Sky Nevada Tribble Handwoven fabric, handmade paper, madder root, wrapped wire $250 This piece prominently features a piece of handmade paper I created to look like a blue sky with scattered clouds. I created this paper with a special papermaking technique called a deckle box, which allows me to mix colors of pulp on an individual sheet-by-sheet basis. The weaving in the background was created on my tabletop rigid heddle loom. The fabric wrapped wire is an extra touch intended to echo the shape of the madder root sewn onto the paper.
Ironweed Against the Summer Sky Nevada Tribble Handwoven fabric, handmade paper, thread $300 This piece was made with a many-layered series of fiber art techniques. First I spun the weft yarn with a mixture of cotton and bamboo, producing the blue and white variegation. The weaving was made on a rigid heddle loom, a tabletop loom that operates relatively simply by lifting and lowering a heddle that raises and lowers every other thread to create the woven pattern. The ironweed flower and blue / white sky are handmade paper that I made from a mixture of plant fibers, including daylily leaves that she harvested, dried, and cooked down myself. The flower was stitched on my sewing machine using a free-motion foot that allows me to move work in any direction—not just straight ahead—while sewing.
Finding The Ground and the Sky Nevada Tribble Handmade paper, mixed fibers, thread $500 Created on a frame loom I warped with paper-coated wire instead of yarn, I was interested in playing with the stiffness and texture wire would give the piece. I also incorporated some plant-inspired creations made from my handmade paper and stitched with a free-motion technique on a sewing machine.