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Inspiring Quilting: Elly's blog to boost your creative IQ

What’s new is Oldham, Todd Oldham

June 14th, 2016


All of Everything refers to the many materials, styles and themes that Todd Oldham used to put into his fashion. It is the name of the show, the first major exhibition to focus on the exuberant style and playful aesthetic of Todd Oldham’s runway opus of the 1990s. I just saw it at the Rhode Island School of Design (RISD) Museum; it’s there until Sept. 11.

Some glimpses that us quilters will love…that is, IF you’re into All of Everything, and everything but the kitchen sink in your fashion!


Different types of fabrics and patterns in the coats above and below, and in the mock-up with glued wool that was photographed and used for a print.




Patchwork with Woven Ribbons








Button Embellishment







Beading, Quilting


Knitting, Lacing, Surface Design, & Beading




This last pièce de irresistance was the culmination of a class Oldham taught at RISD in 2014. Except for this collaboration, it has been 14 or 15 years since he’s designed fashion. In the years since, he’s been putting All of Everything into interior design, kid-crafts, and other follies for Target, Old Navy, La-Z-Boy, Escada, movies, and TV. Check out his home here!


One Response to “What’s new is Oldham, Todd Oldham”

  1. Thank you so much for sharing this fascinating and fun exhibit with us!!! Wonderful eye-candy!

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LOUD Conversation prints!–Love ’em!

June 1st, 2016


Contemporary wax printed textiles stretched onto frames—I’m guessing 24″ x 36″— like art: as stunning as the fashions in the Creative Africa exhibit currently at the Philadelphia Museum of Art’s Perlman annex. Did you catch my blog post about that? you can look at it here.

The comments are really interesting, as comments always are! The print below, though it seems to belittle conversation and communication, nonetheless speaks to the way all us quilters silently express ourselves through cloth:


Although most people think of them as African, the fabrics are designed by Dutch designers and made in the Netherlands by Vlisco. Still, they are inspired by African motifs and symbols, and made into clothing and worn mostly by Africans. Here’s a photo from the collection of African architect Francis Kéré, also shown in the PMA exhibit:


Clearly, the fabric you wear is an important way of expressing who you are. And your position in society. Here, the reference is to bolts of fabric included in an African woman’s dowry.


I naturally gravitated toward other motifs related to cutting and stitching:




Symbols of upwardly mobile wealth, especially for women in the market and on the go, also take the forms of fancy shoes, wheels, and cars.



On the grill of a luxury car, the Vlisco logo takes over for Mercedes Benz.



Think those cracks in the side mirrors of a Mercedes refer to our warped perceptions of where we’ve come from, i.e., our humble beginnings? Or literally to the batik process of breaking up the wax painted on the fabric so dyes can seep into the cracks?

Another traffic-related print poses the question, are you heading towards love or money?


Perhaps the most “out-there” fabric from 1953 features a traditional patchwork design around a sort of fertility mandala, shall I say? It’s named after an African proverb that translates to “children are better than money.”


Stay tuned. My next post will show some distinctly African-made fabrics. In the meantime, how do YOU use conversation prints in your work?

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Sew Resplendent!

May 30th, 2016

Visiting with the Columbine Quilters in Colorado, I got to admire the many talents of one member in particular, Pam Ballard. Pam brought her spectacularly unique sewing machine to my workshop, and I’m so glad she did…



This sewing maven graciously allows me to share her method to machine embellishment:

  1. Tape over all openings to prevent paint from seeping into the machine workings.
  2. Dilute nail polish (in this case, a chartreuse color) with acetone (nail polish remover) in order to lighten it. Apply with a sponge in up and down movements.
  3. Use Sharpie Poster Paint Markers (not permanent ink) to doodle and draw.
  4. Pam just reminded me:  take your machine outside and spray with clear acrylic sealant to seal the poster paint markings. BTW, this is the reason for the poster paint markers—the permanent ink Sharpies would bleed, she found.
  5. E6000 glue is her recommendation for adhering tiny jewels and other bling.






Nail polish in different colors applied to various presser feet makes the one Pam wants to use stand out in the drawer.


Pam will lend other workshop participants her tools, knowing that as they are clearly identified with her colors and glam touches, she’ll get them back. Also when traveling, Pam stores the spools and coordinating bobbins in translucent pill bottles…a clever organization system if ever I saw one.


No doubt by now you’ve noticed that Pam is partial to a certain color palette. She made the Wonky Nine-Patch blocks in my workshop, and plans to combine them with her hexies in a complex master-work of an art quilt.



Little gators are her mascots and muses!




Is this not smashing?! Would you ever consider pimping…er, primping your machine?

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Out of Africa? Wearable Art

May 28th, 2016

Stunning fashion at the Philadelphia Museum of Art stirs up passions…and questions. Those who know global fabrics have long recognized that the colorful fabrics long associated with Africa come from Europe, particularly the Netherlands. Which begs for an understanding of colonialism and economic exploitation. In any case, Africans as well as Europeans have embraced the fabrics, combining them in ways wild but wearable, even for large ladies.


From its website (http://www.philamuseum.org/exhibitions/845.html):
Vlisco: African Fashion on a Global Stage, April 30, 2016 – January 22, 2017

Explore how the Dutch company Vlisco became one of the most influential textile brands in West and Central African fashion and a design inspiration around the world. Known for its bold and colorful patterns, Vlisco creates fabrics that marry tradition with luxury. This exhibition highlights the company’s classic and new designs, follows the creation of a textile, and showcases a selection of contemporary fashions by African and European makers as well as Vlisco’s in-house design team.
The wax printed textiles associated with Central and West Africa have a surprising history. Although consumers in Africa and the diaspora embrace them as African, the fabrics have long been designed and manufactured in Europe, and now in China and India. The most luxurious are the wax prints designed and made in the Netherlands by Vlisco. Shortly after its founding in 1846, the company began exporting imitation batiks to the Dutch East Indies (Indonesia). Three decades later, Vlisco found a new market in West Africa. This exhibition is offered in conjunction with Creative Africa, a season devoted to African art and design.”
Have a look!


























Sumptuous, right? Would you wear any of these wow’ems?


12 Responses to “Out of Africa? Wearable Art”

  1. Thanks for sharing this! At my son’s college graduation yesterday, there were quite a few parents in African regalia – absolutely incredible dresses, colors, headdresses. This is very interesting information. People had brought me fabric they bought in Africa that was marked “made in Holland.” Fascinating!

  2. Barb L. says:

    My uncle Joe was ordained a Catholic priest and promptly moved to Tanzania on the eastern coast of Africa in 1964. He went to live with the Massai people, they lived several hundred miles inland.. He has lived and worked there his entire life. For a long time the villages he lived and worked in were in the bush, accessible only by jeep and hiking.. Of the many souvenirs he brought home on visits, there was always cloth. His sisters would make skirts and my mom kept hers as she always planned to make a quilt with them. I was very grateful to inherit these fabrics. They couldn’t be more different than the ones in the exhibit. There were a few photographs that showed the Massai women in the same fabrics. I don’t believe they could have been made in Europe as for a very long time the Massai people were completely self sufficient. I will have to take a look at the selvage to be sure.

  3. Thank you for your wonderful photos – these are gorgeous patterns and clothing! We have to remember that Africa is a huge continent with many countries and cultures. The ones in this exhibit are designed by the Dutch mfg. There is a lot more to African clothing than this type of print.
    I loved the orange, turquoise and periwinkle dress! Where I live, LLBean is the style, so I don’t see myself wearing any of the clothing. The bright colors tend to look best on African American skin. The patterns remind me how drawn I am to very graphic designs and they might inspire something in my own art quilts. Thanks for sharing Elly. It looks like it would be worth the 5 hour drive to go see it!

  4. These are absolutely FASCINATING! What country in Africa are these from? Aparently one connected with the Netherlands?
    We Quakers have an orphanage in Kenya. I have not seen any photos of clothing with these wild prints. I have seen stunning clothing on some of the women. Of course the childen wear either school uniforms or what we send them.
    Because I am fair skinned, those wild colors would overwhelm me. However, I think I could spend a few hours looking at this exhibit. I LOVE the details such as that wrist ‘ruffle’, the cut outs around the neck and back, the fabric covered HIGH platform shoes [could break a leg falling off those], the slim pants [extra large for me would have a totally different look], the arrangement of designs motifs, etc.
    Thanks so much for treating us to this wonderful exhibit!

    • Eleanor says:

      You are absolutely right on so many points! I have pasty white skin, but frizzy curly hair–a Jew-fro, but feel a bit guilty when I appropriate African styles…much more than Japanese, Chinese, or other cultures’ garb.

  5. Judy Anderson says:

    FABULOUS! Thank you forsharing these photos.

  6. Heidi Lund says:

    Absolutely stunning wearable garments! The color, the fabric, the designs, wow. It must have been wonderful to see them in person. They are each equally unique and the African prints lend themselves not not only be eye catching but dramatic. I love the one with the red leaves framing the back, and shoulder.

  7. I used Vlisco in my first major quilt, a Mariner’s Compass queen sized, as we lived in central Africa at the time. I have two outfits (which alas do not at this time FIT) in these glorious fabrics, and more fabric in my stash. I’ve put this on my calendar–we deliver our son to college for Freshman year and YIPPEE the exhibit will still be on in August, so I have already pled with hubby to take an extra day and take the train from Lancaster to Phila. just to see this! Thanks for the preview, Sarah

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I really don’t do “pretty”

May 3rd, 2016

As usual, it was a class–long ago–that started me on a new art quilt. In Lesson 2 of About Style, Pamela Allen assigned us online students to “cut various long skinny shapes out of different fabrics and ‘grow’ your plant in the same way Nature does.”

Rather than “grow” a tree from my imagination, as Pamela does, I relied on photos I took on a trip to Lisbon, when the jacarandas were blooming gorgeous.



Started with a background on a quilt sandwich, anticipating a small art quilt:


Next, I brought in the trunk for a pretzel-like tree, with a bunch of lavender prints:


“Grew” the tree with other, similarly colored fabrics in various shades and tints:


Oh, this could be a really pretty picture, a la my photo. I could balance the lower left side with flowering shrubbery.

But then I remembered: I don’t really do “pretty.”

#1, there are so many fabulous art quilters who take “pretty” to levels I could never dream of.

#2, “pretty” can be pretty boring.

Around this time, my sister Carolyn was shopping for a new car. As a wife, she had always deferred to her husband’s choices in this department. As a widow with a new-found sense of her capabilities for research and decision-making, and within short order, she she walked into her local Honda dealership, test-drove, and bought a Honda Accord.

So, in accordance with those trees that grew in a high-trafficked, urban setting, and with tremendous pride in my sister’s taste and independence, I slapped a Honda under the jacaranda. And made my getaway from “pretty.”


Stay tuned to see how this art quilt is going, and growing. As always, comments are much appreciated.


8 Responses to “I really don’t do “pretty””

  1. Carl Harrington says:

    This quilt is growing into something very wonderful. I bet you all wish you could just walk in and watch the progress on a day-today or hour-by-hour basis like I get to do as Elly’s husband. Staying tuned will be very worthwhile.


  2. Mary Ann says:

    Glad to see you finishing this. My pieces from that class are still in a box unfortunately. Look forward to more.

  3. Annie says:

    Love the idea that you don’t “do pretty”! I feel the same, somewhat daringly rebellious! I’m wondering if a good green in the background, instead of the light beige might be fun? Don’t know if your stuff is already fused or sewn down yet, or not. Just a thought.

  4. Suzanne says:

    Sorry to disagree, Eleanor, but I think it’s still pretty. Now if instead of a Honda, you had a bleeding skull, you might be beyond pretty. It’s going to be hard to make that tree you’ve grown anything but lovely. I like lovely; admittedly, beauty is in the eye of the beholder. Thank you for sharing this.

  5. Linda Cline says:

    I will agree with Suzanne. I don’t care for “pretty for the pretty’s sake”, but I love where you are going with this beautiful quilt. You’re tree has a lot of character. The car and the urban setting add to the personality of the quilt.

  6. kathy york says:

    Your car made the tree pop!

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Diaspora in 3-D

April 24th, 2016

It took a phenomenal exhibit to move me back to blogging mode–after months of merely Facebooking (sigh).


Out of Africa: Primal Diaspora, by Buff McAllister; Crossings II, by Sandy Gregg; and Generation 2500, by Barbara Schneider


Stories of Migration is a joint venture by SAQA–Studio Art Quilters Assoc. and the Textile Museum, now housed at GW University in DC.  It takes the concept of diaspora, and moves it far beyond the traditional dispersal of Jews following the destruction of the Temple. From the Greek–a scattering or sowing of seeds, it now covers any body of people living outside their homeland. Psychological and evocative reactions and political ramifications are powerful. But because movement and geography, or space, are inherent to this theme, I am moved to share with you just a few pieces that go beyond the art quilt on the wall and take less usual positions.

Above, that big ball is a rolled up strip, 300 yards long, with overlapping hand-prints to depict the people and the journey of homo sapiens over 2500 generations.

Below are three shots of an installation piece by Sara P. Rockinger. She is interested in how “global social issues intersect, overlap, and become stitched together through shared human experience.” Handmade clothing from different cultures are molded and stiffened. Video projections allow the viewer (i.e., me) to become part of the experience, called In/Visible.




































Jane Dunnewold is a favorite artist of mine, working in fabric, paper, and lots of surface treatments. Taking a vintage quilt and handmade and vintage papers, she has used collage and weaving, added spackle and gold leaf to rework the idea of a soft covering for a bed into a symbol of transition and paradox. The title, “Receptacles of Memory,” can be applied to a great number of the pieces in this exhibit.














































I’ve also followed the evolution of Susan Else from quilter of bed quilts to art quilts to fabric sculpture. Above and below is her “Crossing Points.” She explains that decades of injury and counter-injury and outside interests catch people up in a web where they have nothing to lose by leaving.

This piece sits beneath a site-specific installation by Consuelo Jimenez Underwood, called “Undocumented Border Flowers.” Underwood was invited to submit work, as were other celebrated artists (Faith Ringgold is another one). The rest of the artists were juried in.





















More human-scaled, and perhaps more accessible, is this wonderful evocation of what it is to be an urban nomad. Kristin La Flamme has made a shopping cart over into a village, using fabrics from army uniforms, yarn, floss, and bungie cords. It’s called, “Home is Where the Army Sends Us.”


Hoping this blog post sends YOU to see this exhibit before it closes Sept. 4. And, if you’re still reading, I have a copy of the exhibit catalog to send to someone. Share your personal migration story in the comment box below. Not much room, I know, so try to use fewer than 50 words.  I’ll pick one that particularly inspires me and mail you out this full-color collection showing all the pieces in the exhibit.

10 Responses to “Diaspora in 3-D”

  1. My husband and I grew up in the same hometown in upstate NewYork. We met on a blind date after we had both headed in different directions for college. We married young and had four children by the time we were 26 and 27. We moved to Maine for him to complete college, then active duty military, then move after move for various reasons. We have lived 18 places in our 51 years of marriage. I still think of the house where I grew up as home, although my parents have passed on and the home is no longer ours. I never feel like I truly belong anywhere.

  2. Wow, Eleanor, thank you so much for this fantastic blog post. I feel like I was there. What amazing pieces. Thank you for sharing the experience!

  3. Carol mcdowell says:

    Very interesting! I love seeing what artists come up. From one prompt comes so many totally different pieces. Thank you for posting this 🙂

  4. Susan says:

    I migrated from England to the us in the days when women’s opportunities were still limited in the UK but the US had brought in affirmative action.

    • Eleanor says:

      You must have been very brave, Susan. I find it absolutely fascinating that you have created or found a community of the world in Fifteen Quilts. Love the architecture of your Walt Disney Hall—a sense of place, if not home!

    • http://www./ says:

      So if you can switch to after getting into an accident so that you may have a claim for this youryear. The longer you can make a reliable source of quotes to see if they say and how much the plan as a blessing on this later. The first number allwhere you can, so that if something were to live the life of the present driving record. Certain states don’t offer “no-fault” coverage, but you still need to make an insurancecommunity need a Schengen transit visa, instead of owning a car insurance world. Simply bring your premiums automatically from your insurance company as your name, policy number, driver’s license only accidents,we mentioned earlier, another thing that you are like most of your credit card to the car will not justify the total costs of ownership. Internet is the Ford Model Roadsterearthquake insurance policy to the insurance of his personal vehicle or any record at driving and reap all the facts before hand and this is that they were also the thatvirtually guarantees that they do differ somewhat. As their amateurish commercials (comically preying upon our distribution or use the internet and always wear a seatbelt on at least you know savingalways check the higher your deductible, your premium rate so the relating premiums could be over-insured as to what is actually worth. If so, then try getting your car insurance probablyEven if this other person you’ve inconvenienced.

  5. kathy york says:

    Thanks for the photos of this amazing exhibit. I hope to get there to see it in person. Very powerful and evocative.

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Let It Flow

October 24th, 2015


Ahoy there, mateys! Just picking up from my posts of June 29 and July 1. Seems like I row row row my boat, get off of it, get back to it, and row some more. Isn’t that how everyone courses through their bigger projects?

Please excuse the metaphors, if they don’t float your boat. Always thinking of my son and his fiancee as they about halfway through their one-year trip sailing the Great American Loop, which you can read about on their blog, sailbatic.al.

To refresh everyone’s memory, including my own, the wind beneath my sails is a challenge from Quilts for Change, titled Water Is Life. See this post for info, and this post for my launch of the project.

The weavings came together, with lighter and darker sections cut in curves and overlapped, as shown above. Then, I added stream of consciousness phrases with free-motion script:

  • Justice
  • transparent governance
  • wellsprings of knowledge
  • flow of info
  • ponder policies
  • unclouded judgement
  • funding streams
  • wo/mandates
  • fathom the depths

After that, some dense quilting in wavy lines. Then appliques to lighten some areas, tone down others, add interest and contrast and texture.



The finishing was a whole ‘nuther trip around the bend. One rust binding all around wasn’t enough, so that became an inset with a pieced binding.


Still not enough. So I auditioned several different sizes and colors of rickrack. Aqua, white, yellow, blue and gold…

DSCN2893     white rickrack

Opted for a yellow green to add light to the whole. Or, as a mutiny against spending more time and angst over this piece. (I’m ready to set sail on a new project.)

Yes, after months, I have finally reached the shore and completed my art quilt today! And submitted images, a bio and a statement.

Title: Let It Flow

Water is a deeply complex issue, swirling with interwoven challenges of safety, security, social justice, and access.

Only transparently clear, progressive, democratic governance can ensure a good flow of information and funding streams.

As the traditional water gatherers who understand what is best for their communities, women deserve a place in discussions and decision-making. When mandates become “womandates,” results are life-affirming.


Done! And 9 days before the deadline: a record for this captain of last-minute industry. Making art and quilts is usually a lonely, isolated journey, so comments and constructive criticism are always very welcome! 

Let-It-Flow,ELevie – Version 2


4 Responses to “Let It Flow”

  1. I LOVE THIS! Big congratulations on getting it done on time. I have never entered an international exhibition that required mailing on my own because I have NO clue how to do it. This is a very poignant theme. I think the exhibit will be WONDERFUL. What really sealed the piece, IMHO, is the inner border + the pieced outer border + + + the rick rack which really made it shine! Sometimes, MORE is MORE is the needed finish. This is an absolutely GREAT piece.

  2. Karol says:

    Reminds me of the beautiful flowering trees I saw riding through Center City with you. Carry on, friend!

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Give me a hand…

July 31st, 2015

KitchenHamsa (2)

Seems I have a hamsa series going. Often called the Hand of Miriam by Jews, or the Hand of Fatimah by Muslims, this middle-eastern symbol features three fingers and two thumbs. Don’t ask me why. A good luck charm, it’s said to ward off the evil eye…cast by those who would be envious of what good fortune you may have. Lots of folks wear a hamsa as a talisman around their necks. But since bad luck can occur right at home, frequently in the form of cooking disasters, I recommend a household hamsa —especially in the kitchen. Done in foil-lined, plasticized packaging like coffee bags and tea bag envelopes, the resulting art can be wiped clean of cooking grease, sprays from spills, dust and grime. I teach this class as a workshop for trash-stash quilting, using the sample shown above, or for a westernized version, the hand-in-heart motif below.


Hand-in-Heart folk art, by Eleanor Levie, 2015, approx. 8″ x 10″


First time I ventured into hamsa territory was for a 2011 Quilt Alliance challenge; lots of shiny packaging made it impossible for this amateur photographer to capture a good representation.


Tahrir Square, by Eleanor Levie, 2011, 16″ x 16″

Recently, I answered another challenge with Eyes Wide Open as the theme. Right away, I thought of a hamsa with an eye, done out off coffee and tea bag packaging to reference the caffeine that literally opens my eyes, and the need to reduce and recycle that informs my trash stash quilting. Two other inspirations guided my creative pathway. First was  an article in the Summer SAQA (Studio Art Quilt Associates, Inc.) Journal referencing the keynote speaker at the SAQA annual conference. Namita Gupta Wiggers is an art historian, and director and co-founder of Critical Craft Forum. She pushed for art quilts to take a place of power. Art in and of itself, instead of simply as a reference to the older, more traditional form of a bed covering. To do that, she encouraged breaking out of the rectilinear picture plane, and redefining the medium through the use of materials other than cloth. Hmmmm.

Another inspiration from a few years back was Pamela Allen’s Black-Eyed Susan art quilt, where plastic doll eyes peeped out from the centers of a bouquet of blooms.

Thus was born my Black-Eyed Susan Hamsa!


Securing top layers to bottom layer of black felt.


















Couching satin cord over felt edges.











Black-Eyed Susan Hamsa, by Eleanor Levie, 2015, 14″ x 24″ ?





















Photo by Carl Harrington, who is angling to get out of the photo business!

4 Responses to “Give me a hand…”

  1. Mary Ann says:

    They are all wonderful!

  2. Love, love love it! The danglies! The eyeball! The buttons! It’s all great!

  3. Vivian Lewis says:

    Your creativity is inspiring!

  4. Your art is very meaningful but also fun. I love how you use objects like buttons. Beautiful work.

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Best in Show

July 15th, 2015

Can’t make it to the Dairy Barn in Athens, OH, where the incomparable juried venue for art quilts, Quilt National 2015, is on view. (dairybarn.org)  But got the catalog, and immediately fell in love with the quilt on the cover.


I’ve got extraordinarily good taste: the piece, shown below in its entirety,  justifiably won the Best in Show award.


Girl in the City with Blue Hair, by Karen Schulz 32″ x 59″

As any quilt lover will tell you, an image is a far-distant second to seeing a piece in the cloth, aka up close and personal. So I was thrilled to take a road trip to the Black Rock Art Center in Germantown, MD (near Rockville and Gaithersburg), where I could see several pieces by Karen Schulz. This one commands the space:


Out the In Door, by Karen Schulz 58″ x 66″



Out the In Door (detail), by Karen Schulz

Also from Karen’s Schapes—er, Shapes series, are these somewhat smaller pieces:


Beckoning 1, by Karen Schulz 50″ x 40″



Beckoning 2, by Karen Schulz 47″ x 47″

Sorry if the spacing is crazy in this post–I’m struggling with technology here! Derry of Gloderworks will no doubt come to my rescue.

Getting back to the important spaces: Notice how vibrant color blocking in one work is followed with subtle, sophisticated hues in the next. No matter the color palette, the hand-dyed fabrics are warm and rich. The shapes are monumental, angular, powerful. Quilting patterns—whether thin lines or free-motion zigzags alternately on the horizontal and on the vertical, deliver  smart, modern textures that perfectly complement the shapes. And taking the minimalist work to another level entirely:  A counterpoint of comparatively delicate, sketchy lines–couched, embroidered, or quilted. A lyrical dance on a stage of massive columns and platforms. Or, as Karen describes her her process on her website, “I am drawn to the tension created by the simultaneous holding of opposites. Circles and squares, stasis and movement, light and dark, the flat plane and three dimensional space; each is needed to highlight the other.”

Here’s the third one of the series, all of which certainly beckon my attention:


Beckoning 3, by Karen Schulz 40″ x 27″


Beckoning 3 (detail), Karen Schulz

Beckoning 3 (detail), by Karen Schulz [The blue shown in this photo is really off!]

Smaller pieces that rock my core:


Stonehengeish, by Karen Schulz 28″ x 48″



Stacked, by Karen Schulz 26″ x 20″



Bend, by Karen Schulz 45″ x 25″

The title of this last piece aligns with the fact that the artist is a clinical social worker who only recently gave up her private psychotherapy practice treating children, families and adults to devote full time to her art. Bend, as in, stay flexible, be willing to change and grow. Or, as in, that Eleanor Levie is really ’round the bend. Just kidding.  No really. Well, I am crazy about Karen Schulz’s current body of work. If you are, too, mark my words:  Given recent awards, this art quilter’s prices should surely be on the rise. Art collectors, this is the finest in contemporary art… in the medium of quilting. In my book, that means all the rich color of painting, and all the rich texture of sculpture, plus all the rich associative evocations conjured up by fabric, thread, and quilt history. Would one of these works by Karen Schulz look good in your home?

Yup, Karen Schulz is my new favorite artist. And that’s before I saw her picture on her website, www.karen-schulz.com. Wait: I know this person! She was in a Sue Benner class with me at QSDS many years ago. She was warm, composed, quick to laugh, yet determined to apply what she learned to composition with expert crafts(w0)manship. And clearly, in the intervening time and with the same deep integrity, she has learned to bend shape and line into extraordinary, masterful compositions. I’m proud to know her, and to have this opportunity to rave about her art quilts!

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Woven Water

July 1st, 2015

Getting right down to it. Here’s today’s progress:


Warp laid out



Plain weave—over one, under one, with the lighter values of fabric and ribbons


Medium tones woven in a basketweave or twill pattern, passing over 2 strips and staggering the next



Getting ready to weave the darker section.

What? Not looking like water? Will wash away intensity with sheer fabrics, and balance the angles with curvy quilting lines…That’s the plan, anyway. Not that I ever stick to a plan!

One Response to “Woven Water”

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