The Moth's Journey
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The Moth's Journey
10"x90"

Margaret Cooter
London, United Kingdom

When moths ate holes in my favourite garments, I got my revenge -- not just by giving the garments new life in this quilted piece, but also by making a "moth", in fabric, for each of the holes in the piece. They have flown into the flame and met their end.



The Whole World is a Narrow Bridge
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The Whole World is a Narrow Bridge
5"x8"x28"

Heather G. Stoltz
Woodbridge, CT, USA

This piece was inspired by a famous Hebrew quote attributed to Rabbi Nachman of Bratslav, which states: "The whole world is a narrow bridge, but the main thing is not to fear." The planks of my bridge, therefore, are made up of map fabric and quilted to resemble wood grain. The fringes that hang from the four corners are tied in the same way as the tzitzit which hang from the four corners of a tallit (traditional Jewish prayer shawl). These tzitzit are a reminder of God's presence in our lives and our commitment to God's commandments. When one is constantly mindful of God's presence, the narrow bridge of life becomes far less frightening. (Each plank of the bridge is approx 1" x 5")



7 Little Pears
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7 Little Pears
28"x5"

Claire Bryan
Traralgon, Victoria, Australia

Recently I saw and held some wonderful and inspiring artist's books, so as part of this challenge I thought I'd make one of my own. I also took the opportunity to explore the use of straight stitch as a drawing tool. The pear shape has been a recurrent theme for me since I started on my artistic path late last year and the quilt units were intended to be a warm up prior to starting on the real work. However, I found the little pears to be charming in their own right, so I couldn't resist using them in my very own artist's book.



Life is What Happens When You're Planning Other Things

Life is What Happens When You're Planning Other Things
2"x132"

Cathy Vigor
Ashland, Kentucky, USA

The fabric is polychomatic screened and hand dyed pongee silk using Procion H Fiber Reactive Dyes. I chose to make a Moebius Strip which begins as a long rectangle given 1/2 twist and joined together on the ends. When the Moebius Strip is cut in half though the middle of the strip, is does not become 2 separate circles but rather a longer Moebius Strip. M. C. Escher frequently uses Moebius Strips in his work because of the illusion that you can't explain which side is the front or back.



Garrowby’s Hearth
detail

Garrowby’s Hearth
33"x6"

Deborah Boschert
Topsham, Maine, USA

I designed Garrowby's Hearth to hang in the long, narrow space between the top of our fireplace and the bottom of the mantel. Above our mantel hangs a print of David Hockney's Garrowby's Hill. I really enjoyed the process of creating a "companion piece." The shapes of the trees, the undulating hills and the road leading off into the distance are common to both pieces. This project inspired me to continue to look at other artists' work as a spring board for my own ideas and designs.



Without title
detail

Without title
40"x8"

Penny Irwin
Reno, Nevada, USA

My idea was to break this shape into two focal points, one primary and one secondary. I aimed also to keep the eye moving by the distribution of these focal points the placement of the different fabrics. I filled in the rest of the space with "straight and narrow" strips.



Color Dance
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Color Dance
10"x50"

Aynex Mercado
Paducah, KY, USA



Karst Fall
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Karst Fall
12"x60"

Barb Pozek
Kimberling City, Missouri, US

This is another piece in a series I've been working on involving Karst rock formations that are local to this region of the US. The Ozark Mountains consist of layers of limestone created when this area was an ancient sea. Years of water wearing the layers away create caves and weathering of exposed rocks. Water continues to effect the natural landscape, shaping and molding it into interesting formations. I attempt to create this natural effect by curving piecing and added embellishments of specialty yarns and fibers. I created an effect of the water spilling off the quilt by the use of beads.



Gossip Time 5
detail

Gossip Time 5
11"x60"

Barbara Parady
Hamilton, Illinois, USA

Lately I've been drawn to congregations of birds, hanging around a feeder or the shoreline. They appear to be catching up on the latest avian news. Through drawing them, I've learned to be looser in my rendition, capturing their spirit if not their details. The background is antique silk moiré. The tree is made of pieces of composted cottons. The birds are hand dyed silk. All stitching was done by machine.



Silk Sculpture I
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Silk Sculpture I
8"x40"

Betsy True
Alexandria, VA, USA

I had these silks and had wanted to use them in a piece. I also had been playing with putting mirrors in a quilt. The smallest squares are mirror tiles set in silk. The piece just evolved from those three elements. Silk with cotton batting and backing; machine pieced; hand quilted.



How tall am I?
detail

How tall am I?
1'x5'

Cathy Ortelle
Cotati, CA, USA

Children who come to my home want to be measured, and I put the measurements on a tape on the side of my refrigerator, with the names and dates. Not enough room on my refrigerator! So I devised this measuring quilt, which is 60 inches - one foot wide and five feet tall. It will hang in my studio with a chart showing each child's growth. The detail photo is the quilt backing.



Precipitation
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Precipitation
7"x37"

Cheryl Sterling
Chicago, IL, USA



Mobius Interrupted
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Mobius Interrupted
6"x60"

Cindy Cooksey
Irvine, California, USA

This quilt is a narrow patchwork of silks, velvets and other fabrics, each of which has been partially veiled with another transporent or translucent raw-edged fabric. Foiled shards, hand stitching and beads wind their way down the length of the quilt.



Repitoire in Blue
detail

Repitoire in Blue
5"x25"

Darma Redwine
Myrtle Beach, South Carolina, USA

This center was to evoke the illusion of water. The choice of materials were picked before the piece was executed. I think choice of material first helps me invision a design. I tend to create on thego. I decided to do something of dimensional design because of the freedom it gives me. Plus the fact the out come of mixing these materials had a storng appeal to me. I like the dance of the beads and the jewel like illusion it goves plus the color blue adds a bit of royalty.



Striae
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Striae
10"x50"

Deborah Lacativa
Lawrenceville, GA, USA

Made up of my own hand-dyed cotton muslin and some sheer metallic synthetic fiber, it is all hand-sewn and quilted although you have to lift the layers to see the stitching.



Ghost Gums
detail

Ghost Gums
10"x50"

Del Thomas
Placentia, California, USA

In Australia ghost gum trees rise above the forest canopy, white and smooth. In California they are grown as landscape trees which, unfortunately, come down in wet, windy weather.



Flowery language - AKA
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Flowery language - AKA "Up the wall and down the garden path"
12"x104"

Dolores Hamilton
Cary, North Carolina, USA

The handwriting on the predominant sheer fabric is in French, and it describes "le jardin," the garden. Half-hidden flowers are sprinkled along the irregular path, causing the visitor to pause on each stepping stone to see the layered details more clearly. Originally, these were individual, hand-stitched collages (without the frames). They didn't work individually, but they did when grouped. The added hand-stitched frames keep them visually separated but still connected, much like an irregular path keeps us connected to the our surroundings.



I AM the Vine
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I AM the Vine
12"x60"

Elsie Vredenburg
Tustin, Michigan, USA

The inspiration for this piece was Paul Cezanne's still life, "Apples, Peaches, Pears and Grapes". The vine in the background immediately caught my eye, and I had a title for the quilt before the design was worked out in my mind. This is not the first time that has happened. The vine reminded me of Jesus' words in John 15:5, "I am the vine; you are the branches. If a man remains in me and I in him, he will bear much fruit; apart from me you can do nothing." The background was pieced in randomly placed squares of red, orange and yellow, reflecting the colors of the fruit in the painting, and representing the fruit Jesus' disciples bear when they are connected to Him; fruit that is attractive and varied, as each of us is individually. The blue and white border repeats the colors of the plate in the painting. The blue also represents loyalty and steadfastness, "true blue". Jesus also said, "I am the truth." So, all of our fruit is held together by Truth, revealing to the world His work in us. I quilted the nine fruits of the Spirit in the border. An interesting thing occurred when I was looking in a book on trees to see how I wanted to thread paint the leaves. I had drawn them freehand in a sort of heart shape, and the real leaf shape I found which was closest to them was called "Balm of Gilead."

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