27 January 2015

Current Work - Heather Loney, Dartmouth, Nova Scotia

Christmas is over; I can finally show these off without spoiling the surprise. 
Years ago, my Dad's partner talked about her love of Clarice Cliff dishes. Clarice Cliff was an English ceramic artist of the 1920's and 1930's who favoured bright coloured landscapes and Art Deco designs. (Her work kind of reminds me of Dr. Seuss picture books.) At the time, I thought I would make Jan something with one of the designs, but I didn't know how to go about it. Fast forward fifteen years, and finally my ability is catching up to my inspirations!

These are a set of 6 place mats made for my Dad and Jan for Christmas 2014 ... when she opened the gift, she did not want to pass the place mats around, and when she finally shared them with the group, she recounted them several times to make sure all 6 remained with her once everyone had packed up their Christmas gifts. To be on the safe side, I also bound some clear plastic mats that could be placed over the Cliff mats to help out when grandchildren or great-grandchildren were visiting. The colours in the borders match the print in the furniture she recently had re-covered.

21 January 2015

What's My Favourite Material? - Holly McLean, Bathurst, New Brunswick

One of my favourite go to materials in my fabric art is Neocolor II water soluble crayons. I like to do quick watercolour washes which I will heat set, add stiff interfacing to stabilize, and then add thread painting to finish it.

This piece measures about 5” by 7” and besides more stitching, may have an added border when finished.


12 January 2015

Quilt Canada 2015 - Kathy Tidswell, NB - Designing One of a Kind Wearable Art

Have you been thinking of making a jacket, vest or cape that is distinctly "yours"? If so, come to Quilt Canada 2015 in Lethbridge, Alberta and take the Designing One of a Kind Wearable Art with Kathy Tidswell on June 4 and June 5. Sewers and quilters of all levels are welcome. 

This is a class designed to help you make individualized items that fit your lifestyle. You may chose fancy or casual. In addition to learning hints on the types of patterns to choose, you will learn embellishment techniques such as lace cutwork, bobbin work, trapunto, arranging appliqués and new methods for attaching appliqués. Information will be shared on choosing batting for quilted items, or you may choose not to quilt. My outfits often feature appliqué, or appliqué and cutworm with no quilting. 

Come and have some fun and learn some new techniques! You will receive hints on placement of appliqués and produce samples using free motion embroidery on a regular zigzag sewing machine. Then choose which techniques you want to incorporate in your piece and work on your outfit under my tutelage.

For information and to register visit www.canadianquilter.com/events/quilt-canada-2015.php

See more wearable art in the Gallery.

09 January 2015

What’s My View? - Jennifer Scantlebury Vienneau, NB whose heart remains in Cumberland, Prince Edward Island

There are large fat flakes falling which should be a reprieve from the -35 C degrees we have experienced the last few days. But, somehow, the rise in temperature accompanied by snow is not making me feel any warmer.
These photos do however remind me that there will be another summer and there will be opportunities to swim in these incredibly warm, sultry waters.

I have been very fortunate. I grew up on these banks and in these waters and my children have spent as much time as possible doing the same. It is a sirens' call that brings us back time and time again to the south shore of Prince Edward Island. 

These photos were taken in late September just after I had taken a lovely swim, not always a possibility that late every fall, but definitely a joy when it happens.

02 January 2015

Thinking about 'Structures'

Happy New Year!

I hope all SAQA - Atlantic Canada members are now giving some thought to creating one or two pieces to enter in the Structures show. I have done my share of pondering and sketching and am close to knowing the basics of each of my two pieces. The next step is to consider how they will be constructed. At this point it is critical to review the guidelines in the call for entry.

Here are some important considerations, with quotes from the guidelines:

• Size restrictions: work must fit within the boundaries of 30” wide by 48” long format.

This is a serious issue. We need to have a fixed size so that we can provide the juror some guidance about how many pieces he can accept, based on the size of the galleries. As you contemplate your piece, give some thought in advance to how you are going to finish the edges - border, binding, facing. Some of those decisions will increase the width and length and may force you to go back to the drawing board.

• All artwork must have a 4” sleeve across the top on the back for hanging; an additional sleeve at the bottom is recommended. The sleeve should stop 3/4” short of the side edges so that the rod will not show. The top edge of the sleeve should be placed 1” to 2” from the top of the work. DO NOT SHIP RODS WITH YOUR PIECES, venues will provide these, as needed.

We will be hanging the show ourselves in most of the venues. It is important that we have a standard approach to hanging each piece. For most of you, the standard sleeve and rod system will not create a challenge. But if you are going to use transparency or are going to stretch the boundaries of the definition of a quilt in other ways you should consider how you can incorporate a hanging system. By the way, I have asked Regina whether it will be alright to mount your piece on a piece of stretched canvas. I will pass along her answer as soon as I have it.

• 3-D, freestanding, and dimensional works will not be considered for this exhibit; in addition, the artwork may not contain any parts or materials that may damage other pieces in the shipping container.

We will be transporting the quilts ourselves from site to site. It is unlikely that they will be returned to their mailing packaging but will be carefully stacked on top of one another in a box. That is why you will not be able to attach something to the surface of your quilt that might damage another piece. Beyond that, please consider that if your art quilt is juried into the show it will travel for up to two years. If you can find a way to use robust materials and construction techniques your piece will hold up better to the vagaries of hanging and moving.