Artwork Details

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Selected Artists and Works Click more info to view details about each artwork

Word Play Word Play
Jill Ault   •   Ann Arbor, Michigan, USA More Info
I’ve pieced a word chain of related words. Each word is connected to the next in some way, although the spelling may change. The letters are pieced as black on white, followed by white on black. Cotton Machine pieced, quilted 60 x 51 inches | 1998  
Warm Light Warm Light
Elizabeth Barton   •  Athens, Georgia, USA More Info
I made a long series of quilts about windows. I grew up in a cold, dark, northern country—windows were very important to us. Hand-dyed fabric Machine pieced and quilted 57 x 43 inches | 1980
Bay City Balconies Bay City Balconies
Donna Brennan   •  El Dorado Hills, California, USA More Info
This image is based on a photograph taken by my husband. A San Francisco hill of apartment buildings was pared down to essential lines. They have rhythm in repetition, moving the eye along a path toward the mid-upper right, then down the lamp post and balconies to the lower right. Some of the repeated balconies take on the appearance of tiny abstract works of art. Cotton ▶
And the Living is Easy And the Living is Easy
Cher Cartwright   •  Surrey, British Columbia, Canada More Info
In the Pacific Northwest, where skies are so often gray and rain frequently falls, there are few ideas more glorious than summer. We revel in those scant months each year of sunshine and warmth, swimming and gardens. This piece is my ode to summer. Cotton Hand dyed, hand painted, machine pieced, machine quilted 62 x 66 inches | 2008 The Marbaum Collection, Gift of Hilary ▶
Precaria #4: Kinetics Precaria #4: Kinetics
Sandra Palmer Ciolino   •  Cincinnati, Ohio, USA More Info
Precaria #4: Kinetics is part of a series of quilts that explores bold geometric shapes that lean, shift, and fall in their search for stability in uncertain surroundings. Cotton Hand dyed, machine pieced and quilted 44 x 52 inches | 2015
Nepenthe Nepenthe
Linda Colsh   •   Middletown, Maryland, USA More Info
Nepenthe is the first quilt I set out to make as art. I lived in California at the time; an encouraging and nurturing place, where the draw of self-expression and free design in fabric was irresistible. The “bluer” side represents a drive down the Big Sur coast in the foggy morning light. The reverse, more golden side, shows the mountains of Big Sur basking in ▶
Study #11 Study #11
Nancy Crow   •  Baltimore, Ohio, USA More Info
This small study was created while I worked on an early series titled Bittersweet. Using both solids and commercial striped fabrics, I was interested in creating lines visually and asymmetrically. 23 x 23 inches | 1990  ©Nancy Crow The Marbaum Collection, Gift of Hilary and Marvin Fletcher San Jose Museum of Quilts & Textiles.
Jet Trails #8 Jet Trails #8
Marcia DeCamp   •  Palmyra, New York, USA More Info
This quilt was inspired by jet contrails streaking across the western skies as viewed from my studio windows. Their form, shape, color, and texture are strongly affected by atmospheric conditions. They are further conditioned by the angle of view, time of day, time lapsed since the passing of the planes, and our own willingness to pay attention and enjoy the unfolding of a ▶
Patchwork Fan-Tasy Patchwork Fan-Tasy
Jan Frazer   •  Elwood, Victoria, Australia More Info
Inspired by a greeting card, this piece is a contemporary interpretation of the Fan Block. Pink and blue fabrics are my first attempt at hand dyeing. Cotton Hand dyed, machine pieced, hand quilted 90 x 75 inches | 1989
Fire at Evening Fire at Evening
Ruth Garrison   •  Flagstaff, Arizona, USA More Info
Fire at Evening was created during a time when I walked each day through an office park near my home in Tempe, Arizona. On many occasions a brilliant sunset was reflected in the windows of the buildings. Cotton Dye painted, machine pieced, quilted  60 x 61 inches | 1992 The Marbaum Collection, Gift of Hilary and Marvin Fletcher San Jose Museum of Quilts & Textiles.
Lacrimosa . . . Gloriae Lacrimosa . . . Gloriae
Carol Ann Grotrian   •  Cambridge, Massachusetts, USA More Info
My designs in the 80s required learning to dye fabric due to the limited and trendy palette of commercial fabrics available. This quilt interprets a passage in Mozart’s Requiem, when the trumpets of the Gloria shine through the measured progressions of the Lacrimosa. Cotton, fiber reactive dyes Hand dyed, machine pieced, hand quilted 65 x 65 inches | 1988
Crosscurrent III Crosscurrent III
Michael James   •   Lincoln, Nebraska, USA More Info
Crosscurrent III is part of a series of quilts that deal with water and its movement. The unseen undercurrents beneath the surface are, for me, metaphors for the emotional undercurrents that flow through our lives. Cotton, silk Machine pieced, quilted 43 x 43 inches | 1990 The Marbaum Collection, Gift of Hilary and Marvin Fletcher San Jose Museum of Quilts & Textiles.
Edge 6 Edge 6
Marina Kamenskaya   •  Wauconda, Illinois, USA More Info
I am working with shape and color. This work is about a spark, a sliver of line and color. It explores the effect that this tiny spark adds to the overall feeling of movement and energy. Cotton Machine pieced and quilted 72 x 72 inches | 2009
 The Years Lost The Years Lost
Misik Kim   •  Seoul, South Korea More Info
My memories, both painful and joyous, change as time passes. Sometimes they remain, sometimes they fade away. Memories are like stitching and sewing; many small pieces join together to make a larger one, transforming into something new. Cotton Hand dyed, machine pieced, hand quilted 72 x 48 inches | 2002
Anxiety No. 6 Anxiety No. 6
Judy Kirpich   •  Takoma Park, Maryland, USA More Info
From the economic hardships of the Great Recession, and the trials and tribulations of running a 35-person design agency, to family issues that include depression and cancer, I have battled anxiety for many years. The techniques of slashing through fabric that I used in this series helped me both emotionally and physically to deal with my complicated feelings. Cotton ▶
 SYO #67 SYO #67
Harue Konishi   •  Tokyo, Japan More Info
“It does not matter if it is a human or an object. Each one of us should be unique and each one of us should be different from others.”  I am challenging myself to express this philosophy through simplicity. Silk Machine pieced and quilted 47 x 54 inches | 2013
Light Comes from Inside Light Comes from Inside
Beatrice Lanter   •  Aeugst am Albis, Switzerland More Info
Colors and structures are important to me. I like “painting” with small pieces of fabric—simple forms like squares, stripes, or log cabin blocks. There are always pieces left over which inspire me to start new creations, so there is no end! The parts don’t have to match exactly, but somehow they grow together, the whole remaining a playful ▶
Elizabethan 2 Elizabethan 2
Amelia Leigh   •  Southwick, West Sussex, United Kingdom More Info
I am fascinated by half-timbered houses. It is interesting that, in general, half-timbered houses in Great Britain are black and white, while in the rest of Europe they seem to be black and yellow. I have depicted a corner where both styles meet. Cotton sateen Hand dyed, pieced, quilted 45 x 64 inches | 2013
Jubilo Jubilo
Diane Melms   •  Anchorage, Alaska, USA More Info
I strive to depict ideas and experiences using color, shape, and line and the careful configuration of these visual elements. With this piece, I imagined a joyful spirit, playful colors, converging shapes, and radiating lines that dance across the surface in a joyous celebration. Cotton Hand dyed, machine pieced, free motion stitched 48 x 32 inches | 2014
Night Swarm Night Swarm
Jan Myers-Newbury   •   Pittsburgh, Pennsylvania, USA More Info
Night Swarm is part of a movement toward showing more expression in my work. While formal design concerns are still important to me, prettiness is less so. Working with tie-dyed fabrics has moved me away from total control and calculation, into a realm of partial chaos in which I am much less self-assured. I find myself responding on an emotional level. Cotton Dyed, ▶
 Razzle Dazzle Razzle Dazzle
Yvonne Porcella   •   Modesto, California, USA (d.) More Info
Cotton Machine pieced, appliquéd, quilted 39 x 34 inches | 1981
Where Dreams are Born Where Dreams are Born
Joan Schulze   •  Sunnyvale, California, USA More Info
Moving to California from the Midwest put me in thrall of the land, its various shapes, accessibility, and subtle yet remarkable seasons. My early work referenced what became my local landscape. This was my time of big quilts for big subjects. The quilts often became two-sided as there was so much to say. Cotton, transparent overlays, velour, lace, commercial fabrics ▶
Ebb & Flow 8 Ebb & Flow 8
Alison Schwabe   •   Montevideo, Uruguay More Info
Changes in landscape are a metaphor for life. Though all surfaces show signs of change over time, the forces that shape them are not constant. The things that shape us do not act constantly. People, circumstances, and influences come and go in a tide-like ebb and flow movement. Cotton Hand dyed, machine pieced and quilted, hand quilted 55 x 44 inches | 2004
Tribe Tribe
Maria Shell   •  Anchorage, Alaska, USA More Info
Tribe is one of the latest evolutions of my series called Color Grids. I have been working with the traditional quilt block best described as an uneven nine patch. This quilt block continues to surprise me. Each time I vary the sashing and the information in the larger nine patches, I get different results. Cotton Hand dyed, machine pieced and quilted Tribe 50 x 50 inches ▶
 Flight Plan Flight Plan
Janet Steadman   •  Langley, Washington, USA More Info
The traditional flying geese pattern evolved to become a flight plan. Using my hand-dyed cotton fabric, I created a colorful quilt. Cotton muslin Hand dyed, machine pieced, quilted 48 x 51 inches | 2006 The Marbaum Collection, Gift of Hilary and Marvin Fletcher San Jose Museum of Quilts & Textiles.
Waves #4 Waves #4
Etsuko Takahashi   •  Yokohama, Kanagawa, Japan More Info
A sudden flash of inspiration struck me while I was trying to figure out how these fabrics could make my design more effective. The waves are like life—sometimes bright and delightful, sometimes gloomy and difficult. But hope always shines again. This piece reflects my life as a quilter. Cotton Machine pieced, appliquéd, quilted 77 x 77 inches | 1998 The ▶
Butterfly Maiden Butterfly Maiden
Judith Trager   •  Boulder, Colorado, USA More Info
The Kachina Mana series is bringing my work full circle, from geometric to abstract to geometric. I have been exploring the female kachinas of the Pueblo peoples of the Southwest, seeking the strength in their elements and their spirituality. Hand dyed, painted, and commercial fabrics Machine pieced and quilted 32 x 42 inches | 2017
Seasons Quilt Seasons Quilt
Nancy Whittington   •  Chapel Hill, North Carolina, USA More Info
This very large quilt was one of my first as a young artist. I smile when I look back on my youthful exuberance to attempt to express through color, contrast, and pattern, the whole progression of light through the seasons, with the balanced divine source of all light in the center. Ultra-suede and satin commercial fabrics Machine pieced and hand quilted 112 x 112 inches | ▶
Sine Me Up Sine Me Up
Kent Williams   •  Madison, Wisconsin, USA More Info
I call this quilt Sine Me Up because the piecing arranges itself into a series of overlapping sine curves. Putting it together required a lot of measuring—down to eighths of an inch— and I had to pray that the thing would hold its shape, but it seems to have worked out okay. Cotton Machine pieced, quilted 82 x 62 inches | 2009 The Marbaum Collection, Gift of ▶
Constructions Constructions
Hope Wilmarth   •  Spring, Texas, USA More Info
Line and texture, angles and straight edges, are elements important to the surface design of this piece. Recognizing the usual experience of gray infrastructure in an urban setting, Constructions suggests a play of light falling on dark, geometric structures. Cotton Machine pieced and quilted 57 x 38 inches | 2015


 

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