EDGE periodically introduces its artists. We feature current work, past work, and how things are changing.
April Featured Artist:
Color and texture inspired me to start expressing myself with fiber. My process has been evolving since 2008. I have learned to deconstruct what I see in the world into expressions of light and dark geometric shapes. From here, I work to reintegrate these forms in abstract patterns.
My aim is to incorporate a life-long experience as a healer. I use sewing, piecing, quilting and embellishment as meditation.
NonLinear Dream Time 40" X 35.5”
Photo by Sam Garnett
Ocean's Edge - Turbulence, 56" X 36.5”
Photo by Sam Garnett.
Rio Verde, 70" X 25.5”
Photo by artist.
March Featured Artist:
My work is informed by the advice of my grandmother and work in community mental health. I closed my practice in psychotherapy in 1999 to work full time in my studio.
Unity 14, Medicine Wheel series,
26 x 26
Dignity 3, 20 x 10
Quilt on A Frame series
We Rise 2, 8.5 x 4.5
Medicine Wheel series
February Featured Artist:
My work is inspired by the geometry of the world around me. It is abstract, but often suggests architecture, the influences of travel, and having grown up in New York City.
I use color, visual texture, and spatial ambiguity to convey a sense of balance and serenity.
The process begins with white fabric that I dye and print using a range of surface design processes. Each work begins with the selection of a palette of colors and fabrics and then proceeds intuitively and interactively, adding or removing fabrics and shapes as the composition emerges.
The goal is to create work that can be enjoyed as a whole from a distance and yet allow discovery new delights upon a closer look.
City Limits, 13” x 19” Photo by Paul Seder.
Braque-ish, 12” x 12”
Photo by artist.
A Distant Light, 21” x 38”
Photo by Paul Seder.
January Featured Artist:
My work has evolved from pieced, quilted works to those including my favorite fiber arts techniques such as embroidery, needle felting, and crochet. The flexibility of crochet allows me to express concepts and emotions, on a quilted ground or stand-alone sculpture. For the near future, I plan to explore and stretch this medium by creating larger works. I am perpetually delighted and surprised by this creative process.
Habitat, 14” x 12” x 14”
Bleached Tidal Pool, 30” x 36” x 2”
Maelstrom, 21” x 16”
Reverberations: Yellowstone Waters, 42” x 62”
My work, in large part, has been concerned with exploring the possibilities of using digital and photographic designs as a surface technique in mixed media art quilts.
Wave Equation, 36” x 42” All photos by Ken Sanville.
Between the Cracks, 36” x 37”
All Things Beautiful, 36” x 45”
My work is often based on photography from my extensive travel. My machine-embroidered, thread paintings start with a camera and a computer print on treated cotton fabric, backed with canvas or duck cloth and stitched with freeform machine sewing. As the stitching progresses, the photograph disappears, and the picture takes on a life of its own.
I use photographs as the basis of fabric appliqué that includes novelty fabrics as well as cotton or silk.
The felted wool fiber art is a construction made by piling dyed wool batting or roving to make a picture that is then felted by wetting, rolling and beating. These felted pictures may also be hand or machine stitched. The final work may be bound as a quilt or stitched to a painted, stretched canvas and framed.
November Featured Artist:
Above: The Window Washer, detail
Right, Detail, One Red Window, 14” x 15” x 2”
Right bottom, Detail, Window Box Geraniums, 14” x 18” x 2”
Above: Detail, Winter Sky,
33” x 22”
Log cabin has always been a favorite pieced block. The many traditional variations provide possibilities to play with the angles and sizes to create wonky versions for 20 years. It is a series I keep coming back to.
Current work focuses on whites and soft neutrals for the palette. This new work began when trying to create an invisible house for Anne Frank.
Above: The Labyrinth of Loss, 38” x 45”
All photos by artist.
New Flag, New Nation, 64” x 43”
Inspiration comes from mundane life experiences: a crack in a sidewalk, a decomposing tree, a crumbling wall, or even a shadow on the ground.
I have created pieces inspired by rough weathered plywood, aging buildings, barnacles, sidewalks, scars and other ignored or unappreciated beauty.
I prefer to paint or dye my fabrics. Layering organza allows me to obscure the obvious and reveal insignificant details that transform the dull into something magical.
I describe this as squinting to see something out of focus so that you see the shape, color or texture instead of mentally defining the object.
My favorite part of the process is hand-stitching: the repetitive act that can draw the viewer in for a closer look. Stitches require more intimate reflection. It takes time to stop and look closer at more delicate details—mirroring my experience of stopping to see the specialness of everyday beauty.
Top Left: Reference for Timeline. Top Right: Detail, Timeline. Above: Timeline, 14” x 35”
Left: Reference for Plywood. Right: Plywood, 21” x 25”
I use diverse techniques: free motion machine stitching, screen printing, hand stitching, crochet, yoomchi (felting mulberry paper) and basketry construction techniques. When approaching a specific work, one of the first challenges is to determine the techniques best suited to the topic.
Remains 2 dealt with loss and memory and was done with free motion machine stitching on soluble base material to emphasize the fragility of remembrance. On the other hand, I like experimenting and manipulating the materials, and then studying the outcome. This was the approach taken in Vessel of Secrets, below
Above: Vessel of Secrets, 10” x 5” x 5”
Above: Remains 2, 35” x 25”
July Featured Artist:
Judith Quinn Garnett
My work explores a diverse range of media yet I always return to painting for my core inspiration. A few years ago, I felt that my paintings were calling for something more. So, I cut some unsatisfactory paintings from their frames and began to stitch them with my sewing machine. There were plenty of blunders, broken needles, broken machines, as well as tears and fears. But I trusted I would find my way to what I was looking for... to use stitch as a drawing tool, — a way to move to a new level of texture, color incorporating the geometry I love.
I still launch every work with a painting of some sort, but it’s just a beginning of an adventure of which I can’t fully see the end. Through a cycle of gesture, paint, stitch, pattern and repetition, and the addition of post-consumer waste, this adventure arrives at finished pieces that are far richer a more expansive than I ever expected.
54” x 44”
Left: Detail from Fault Line, 60” x 36”
For me, the creative process is physical act. I have an idea what I want to say, but I am a hands-on person. I work spontaneously on the wall, moving materials around until my gut feeling says “that’s it.” The collage medium is the ideal way of working for me. I start every morning making a small paper collage.
This daily routine helps me develop confidence in my intuition for composition. I am inspired by writing. Writing becomes a tool reflecting how language shapes our memories and identities. I am inspired by the emotional quality of handwritten letters and the rude expressions of graffiti, overlapping posters and advertisements in the streets. The step for me to use text and lettering in my artwork was natural because of my background as a journalist, living in different countries and speaking different languages in everyday life.
The text on my pieces is not necessarily meant to be contemplated for its meaning. It is there to be seen as the human need to communicate - whether it being in the form of writing a poem, scratching initials into a rock, spray painting a statement on an urban wall, or making a quilt
June Featured Artist:
Metropolis 2, 46” h x 48” w
Notation, 14” h x 12” w
Photography by Pol Leemans
Metropolis 5, 43” h x 43” w
Snippet 16, 8” h x 8” w
I do free motion machine embroidery. Inherent in all my work is thread. The thread is a metaphor for me. I make thread do things that nobody believes it can do.... just like I wasn’t quite so sure I could successfully go back to school after my husband died when I was “north of 60!” My work also typically includes recycled materials, aka, “trash.”
The trash is a metaphor for widowhood. After one loses their best friend and partner of forty years, words like empty, useless, and spent come to mind — all descriptors for the throwaways of our society. I take trash, give it new life as something beautiful, just as art itself has done for me in my life.
As nature is such a huge influence in my work, the scenery of the Delaware river and its surrounds is a constant inspiration to me. A walk to the end of the pier to see the ships and smell the air is a tincture of rejuvenation on any given day. And one can never underestimate the developing support network of other artists as we develop in and with this unique new venue together.
Top: Burnout, 24” h x 36” w x 3” d. Beeswax with damar resin, California avocado and pistachio nut shells, Keurig coffee filters, charcoal, pigment and thread. A tribute to those who endured the wildfires of California.
Left: FunGi That You Art, 16” h x 18” w x 2” d. Thread, fabric, Tyvek and paper.
April Featured Artist:
I enjoy Picture Piecing where I can take a photo or one of my drawings and translate it into a pieced and quilted image.
In the beginning, this was an intuitive process, but I have developed it into an art form that from a distance is often mistaken for a painting.
I like to find commercial fabrics that help to create the image. I especially like to use batiks as they lend themselves to the portrayal of light and shadows as found in nature. Hand-dyed fabrics are wonderful for skies. My work is heavily free-motion-machine quilted.
Top: Layers of the Flint Hills
30” x 60”
Left: Beneficial Burn, 36” x 36”
March Featured Artist:
My specialty is what I call “thread sculpture.” For many years I had been creating landscape art quilts, and particularly enjoyed the technique known as “thread painting,” densely machine-stitching parts of the scene like a painter would brush on paint. Eventually I came to realize that I love thread so much, I dropped out the fabric. The artwork continues to evolve, but not my philosophy: fiber art should take advantage of its own nature, and not try to be a painting, a photograph, or an object made with traditional sculptural media.
Right: Furl, 14 x 19 x 7 inches . My intent with this shrine-like piece was to show a beautiful place that, when you look closer, isn’t what it seems. The scene is the view from a footbridge. Run-off from the neighborhood causes the water level to rise rapidly. The flow had seriously eroded the stream banks over several years, undercutting the trees, particularly a huge old oak whose roots dangle below the thinning soil. Two weeks after I made this piece, the tree fell.
Above left Kelp Forest Teapot, 6 x 7 x 5 inches. Machine and hand stitched, cotton and metallic threads.
Above right: Elm Tree Teapot, 9 x 9 x 6 inches. Machine and hand stitched, cotton threads.
I originally focused on improvisational piecing and occasionally return to that technique. Much of my work benefits from my husband’s and other family members’ photography skills. I draw ideas from their photos then research the subject before transforming those images into fiber art creations.
In addition, I collaborate with my husband, who uses his computer expertise to manipulate photographs, print images on fabric, and create unique colors and textures that I then use in my fiber art.
Currently, I am exploring and experimenting with dyeing techniques such as ice dyeing and eco printing. I learn new techniques to expand my repertoire so that I can use the best technique for a given piece and often adding emphasis with thread painting.
February Featured Artist:
Above: Compromise, 26.75” x 16.5”
Top Right: The Raven, 26.25” x 26.25”
Bottom Right: TChina, 27” x 25”
My current abstract works intuitively mark a mental journey of time and place. Beginning with manageably-sized works on paper has allowed me to work serendipitously, exploring figure/ground relationships while expressing the thoughts and memories of a singular day or place in time. I now alternate between these and large-scale paintings on stretched canvas. I use layers of mixed media, which frequently includes hand stitched thread. I create each artwork without figurative form, allowing the viewers to become the human element interacting with the abstract landscape and their own personal narratives and memories.
January Featured Artist:
December 2018 Featured Artist
I have served as the EDGE curator for more than 10 years. I have chosen to show detail images from two pieces of work.
Above: I often work in series. The image above right is a detail from the Line Series, this one is titled Fenceline.
Right: A detail of silk aspen leaves, machine stitched, embroidered and assembled for a temporary installation at Rocky Mountain National Park.
Above: Canopy of Hope, 58” x 42”
Top Right: Where Do We Go From Here?, 58” x 42”
Bottom Right: Letting Go, 58” x 34”
Artist’s Past Exhibitions
2017- Biennale Internationale du Lin de Portneuf - Deschambault, Quebec
2017 - Alice B. Sabatini Gallery - Topeka, Kansas
2016 - Stone School Gallery - Portage du Fort, Quebec
2016 - LaLande + Doyle Exhibition Space, Shenkman Arts Centre - Ottawa, Ontario
2016 - Sunderland Gallery - Omaha, Nebraska
2015 - LaFab Galerie d’art - Chelsea, Quebec
2015 - International Textile Exhibition - Bejing, China
2014 - World of Threads Festival - Toronto, Ontario
2014 - Trinity Art Gallery, Shenkman Arts Centre - Ottawa, Ontario