Alexandria, Virginia, USA
I am doing a series of these scenes
in different colors, with squares in a grid, a sheer fabric layer,
and found washers. They remind me of a city in different seasons,
dressed up for holidays or dressed in mourning after tragedies.
The colors in "Cityscape 1" remind me of the ethnic diversity
of a city, and music at night.
11" x 21"
Cotton, organza, staples, metal washers;
backing and sleeve, but no batting.
16" x 20"
Woodbridge, Virginia, USA
After two years of pain and
physical therapy, I had to have surgery on my right shoulder in
January of 2003. I designed the front view of my shoulder and
arm, and chose the "throbbing" magenta fabric, set against
the green background, to represent the pain I was going through.
Since I had orthroscopic surgery, they closed the openings with
staples or stitches. On this piece, I have many royal blue staples
in the shoulder area.
Winston-Salem, North Carolina, USA
This is following along
with my current space series. It is machine pieced and machine
quilted. I used colored staples (purple, green, and blue), that
are stapled into the quilt. Other staples were chained together
and couched on. These repeat the fabric swirls that are quilted
onto the piece.
"Staples in Space"
14" x 12"
Silver Spring, Maryland, USA
This piece came to mind immediately
after hearing about the challenge. I thought of a wonderful wearable.
In my mind's eye, I saw a large necklace or collar, sort of body
armor. While laying out the quilted pieces, my son said, "It
looks more like jewelry!" And it did.
The jewels are pieces of fantasy fabric made in grey-toned cotton
and lots of silver, grey, and black fibers. One large piece of fabric
was created, quilted with metallic threads, and cut apart to create
the jewels. They are all tapled on a piece of fuchsia and black
brocade, and trimmed in silver mesh. The jewels are attached with
regular and colored staples. The piece was also quilted by machine
with metallic thread, carefully so as not to break many needles.
I sewed over many staples while doing this, and I loved this work.
Lomita, California USA
I was invited to do the Staples Challenge, I remembered having surgeryyears
ago, and the doctor used staples to stitch me together. I always thought
that was so crazy, and when the Staples Challenge came about, it seemed
natural to make a crazy staple piece.
"Crazy Staple Quilt"
12" x 14.5"
12.75" x 15.75"
Cotton fabric, staples, children's metal
and plastic bracelets, plastic slinky
Sidney, B.C., Canada
I took this challenge
as another opportunity to update Sunbonnet Sue's image. She seems
to attract many negative comments, as if it is her fault
that she is forced into cuteness! Su has been on the quilt circuit
many years and has acquired a more comfortable wardrobe. Her garden
reflects Su's own contrariness.
Tomme J. Fent
Sioux City, Iowa, USA
During the war on Iraq,
I had the feeling that our world was being split into pieces,
only being held together by gravity, and not by any unity among
its occupants. Similarly, our own government is increasingly divided
into factions. This piece communicates my feeling that we are
a "house divided," held together by the most tenuous
of threads (the staples). We are divided by fear, prejudice, war
-- all for the sake of trying to prove who's "right"
and who's "wrong." The words that appear in the quilt
are war, prejudice, fear -- and why, why, why. The words are difficult
to read -- just as our differences are often difficult to apprehend.
I am a citizen of the world, and all people are my brothers and
sisters. The divisiveness makes it difficult for us to live together
as a world family.
"A House Divided"
8.5" x 11"
"Staples 1: Collage
15.5" x 16.75"
"Staples 2: Collage
20" x 20"
Ithaca, New York, USA
Tempted by the concept of
using a "forbidden" technique in quilt construction, I can
resist ANYthing but temptation!! The immediacy of stapling as as substitute
for quilting in "Staples 1," and for securing the bindings
in both pieces, was delicious.
While "Staples 1" is a direct continuation of my Collage
series, "Staples 2" developed as I cut "chicklet"
shapes from small squares of hand-dyed fabrics and watched the pile
of trimmings fall on my cutting board.
Bellingham, Washington, USA
The idea for this quilt has been percolating
in my head for some time. I had already started it when the Staples
Challenge was announced on the QuiltArt list. I used colored staples
to couch the bias tape and to quilt the whole piece.
30" x 30"
"I Will Never Be A Doctor"
18.5" x 18.5"
Nine-patch in black & white & one
red. I did reverse appliqué using staples instead of thread.
The under-layer is silk from Bursa (Turkey). The dark silk is coming
out of the wounds. The backing fabric is fine cotton that Turkish
women use to make their beaded and embroidered head scarves. Stars
are quilted in metallic thread, as are the circles that are echo-quilted
around the circle. I left the joining stitches from the factory in
the dotted silk coming out of the circle's center.
Portland, Oregon, USA
My challenge was to use the staples in their
raw form -- that is, not colored staples or painted staples or otherwise
manipulated staples. As fasteners connecting individual fabric elements
to one another, the staples became stitches forming a fabric that
is reminiscent of articulated armor.
"Armor Over Soft Parts"
14" x 14"
Commercial cottons, metal flashing,
staples, silver beads
12.25" x 12.75"
Hightstown, New Jersey, USA
The fabrics and threads for the interior section
of this quilt were collected from the scraps on my workroom floor.
These scraps initially were headed for the garbage. Instead, I decided
to gather them up and suspend them in plastic wrap. The cut wrappings,
combined with the torn edges of various fabrics I've painted for past
projects, are stapled to their neighbors and machine stitched to a
base of fabric I painted.
Leduc, Alberta, Canada
Pure Joy, Pure Fun, Pure Freedom, and nothing's
better than "Cuttin' Loose"!
7.5" x 10"
My own hand-painted and hand-dyed fabrics;
hand embellished and hand stapled.
"Requiem for Union Square
and the First Amendment"
12" x 12"
Berkeley, California, USA
Eighteen tiny, hand-painted images
of candles (acrylic on paper) float on a square of almost transparent
white fabric above a square of collaged newspaper strips. These strips,
torn from the financial pages, show the results of a day's stock trading.
Framed by a ring of staples, they rest on a backing of painted illustration
board. Some nearly invisible stitching holds all the layers together
- along with a few dozen pale green beads.
The title refers to a candlelight
peace vigil that took place (or didn't, depending on your point of
view) in San Francisco's Union Square on the evening of March 16,
2003, just before the start of the war in Iraq. By chance, a young
woman who worked, so she said, for the property management company
entrusted with upkeep of this outdoor public square happened to be
in her office nearby on the night of the scheduled vigil. On seeing
people gathered in the square holding candles, she took it upon herself
to shoo them away. Amazingly, she succeeded - perhaps because the
very hostility in her voice was more than the vigil participants could
bear. We had come to the square seeking solace, seeking
community in our grief. What did it matter that the law was on our
side? Our grief was too deep, her anger too ugly; we walked off into
the night, cradling our tiny flames.
Most of my life, I've lived
near Union Square - a refuge for pigeons and green plants and people
with tired feet. But lately, changes have come to the square. Money
has changed hands; tired feet have been expelled. All the old plants
have been uprooted, and a smaller cast of more stylish, more costly
plants have been put in their place. New slabs of granite have been
laid. The property management woman was worried, so she said, that
a drip of candle wax might land on the granite.
Boones Mill, Virginia, USA
This Staples Challenge was
a life saver for me. During the time I was making this piece, I
was having vision problems that required me to go without a contact
lens in my right eye. Being severely near-sighted, working on much
of anything was a challenge. I put in the staples by hand, then
sewed on the beads. All the while, I was hoping I wasn't going to
poke out my good eye while sewing 5" from my face.
winter weather this year was the inspiration for this piece. We got
snow every Thursday for several weeks in a row during January and
20.5" x 20.5"
"My, How Taxing!"
8.5" x 9.25"
Liza Lee Miller
Boulder Creek, California, USA
Not what I originally intended for this challenge,
I took my inspiration from the due date -- Tax Day. To create this
quilt, I started by printing the $ with the money images and the background
fabric -- with tax-related terms printed on it. The border and backing
fabrics are vintage silk from Hong Kong. The batting is 100% cotton.
The top and bottom borders are stapled on with plain, old, everyday
staples. In true tax tradition, I put this off until the last minute
and finished it at 12:45 a.m. on the 15th of April. Ahhh, tradition!
Parrish, Florida, USA
As I worked on this piece, I wondered why I bother
about specific 'layers' -- like 'clothing' -- that in only a short
time will be nothing. So, the three layers of a 'traditional' quilt
are found only under the flower parts. The staples were a fun and
quick way to get things DONE.
The flowers in my piece are bold and proud, and
telling others with the echoing of information of how GOD is good
and we worry about too much. Our clocks are ticking . . . time is
passing . . . echo the GOOD NEWS!
Matthew 6:28-30 :: New Living Translation
(NLT)"And why worry about your clothes?
Look at the lilies and how they grow. They don't work or make their
clothing, yet Solomon in all his glory was not dressed as beautifully
as they are. And if God cares so wonderfully for flowers that are
here today and gone tomorrow, won't HE more surely care for you? You
have so little faith!"
"Good News Echoes!"
14.5" x 15.5"
"There Is A Strange Plant In My
Garden With Shiny Stripes Up Its Leaves And A Bumpy Vine. . ."
17" x 20"
Ann Louise Mullard-Pugh
Las Vegas, Nevada, USA
Taking artistic license, my middle fiber layer,
between two layers of cotton, is a piece of ceiling tile . . . much
easier to place hundreds of staples into the leaves and to bead the
vine. A girl just has to have fun!
Carbondale, Kansas, USA
This whole-cloth mini, reminiscent of old traditional
block quilts, was made for the QuiltArt Staples Challenge, but that
is where the likeness ends. It is comprised of three layers "stitched"
together with lime green staples that pick up the metallic lines in
the fabric. The "batting" layer is blue felt, and it peeks
from between the fringed-edge layers to become a part of the design
elements. The original idea that excited me into signing up for this
challenge just didn't work out, thus the "II" in the title.
"Staple Study II"
8" x 9.5"
Clarkson Valley, Missouri, USA
All of my most creative ideas come to me when
I am totally quiet. This image is a reminder for me to allow this
to happen. "Silence is the element in which great things fashion
themselves." M. Maeterlinck.
Sidney, BC, Canada
Staples usually bring order by fastening together
documents and papers. Here, I'm playing with the idea of staples running
wild -- no longer confined to the upper left-hand corner, they have
"Staples on the Loose"
7.5" x 6.5"
Cotton, polyester, cotton and silk threads;
transfer printing, hand stitching
11" x 14"
Raindrops: blue staples
Plymouth, Michigan, USA
Keeping it together on one of "those"
Sayville, New York, USA
The sides of the hexagon are labelled
I, We, He, She, You, and They. Each side is connected to every other
side with colored cords, fastened at each end point with staples,
as are all of the labels. The staples show the fragility of these
connections -- they can be removed and the contacts
broken. . . .
This is the first try for me at
anything abstract or even attempting it, and I would have done some
things differently -- mainly, the printing on the Bubble Jet Set
treated fabric. The hollow letters don't show up well in the photo.
I did a good bit of fusing, including the binding, which is stitched
on the back but only fused on the front. The quilting was done with
gold Sulky Sliver.
"The Interconnectedness of Everyone"
8.5" x 12"
"Climbing the Corporate Ladder
on the Backs of Secretaries"
9.5" x 7.25"
Cotton, yarn, staples, paper, and stained
transfer with solvent; whole cloth, machine quilted
San Carlos, California, USA
I am inspired by phrases, quotes, and symbolism.
Staples reminded me of working in an office, which led me to the sayings,
"Climbing the Corporate Ladder," and "Hitting the Proverbial
Oakton, Virginia, USA
This quilt was made using
discharge fabric and printed with my computer. There is no stitching
in the quilt. It was fun tying in the tax date with the staple challenge.
8.5" x 11"
"Sometimes I Just Feel Stapled
16.5" x 19"
Louisa L. Smith
Loveland, Colorado, USA
As an entrepreneur, a fiber
artist, a wife, a mother, a daughter, and a grandmother, I wear
many hats. I sometimes feel that I am stretched to the max! Little
reminder notes are my life! I seem to function automatically, and
I feel I am on a treadmill, constantly moving from job to job. I
felt I had to steal time just to be creative! Ironically, I have
often stated that I feel I am just barely stapled together.
When this Staple Challenge came up, I could hardly wait to create
a self- portrait. I once saw an image of a woman with many hands
and many tasks in a visitor's guide, and I realized that was me!
I recreated the image for this Challenge.
Friday Harbor, Washington, USA
While musing over how to incorporate
staples, I thought about the use of both stitches and staples in surgery,
then the emotional context of mending a broken heart -- using staples
and stitches to symbolically heal the wounds. Then I went to the Mexican
Modernism exhibit at the Seattle Art Museum, where I saw for the first
time Frida Kahlo's paintings, which are replete with Latin mysticism
and overt sexuality. My mind made an intuitive leap: what was the
chastity belt but a way to staple women shut, figuratively as well
"Rites of Passage: Under Frida's Spell"
19" x 18.75"
"Twelve Tiny Triangles"
8.5" x 11"
Working on a scrap quilt generated
a million triangle scraps. Being a ragpicker, I am unable to throw
anything away, and I became fascinated with the scraps, especially
so with the tiny red triangles that piled up.
They spoke to me. I made this piece as a Journal Quilt, and also as
a study for a larger piece. Nobody at work even asked me what I was
doing, stapling this small piece over and over. I guess they are used
to me and my little "projects." I found out it wasn't nearly
as easy as it looked to staple in a straight line, so I let them straggle
as they would, between, over, and into the tiny triangles. They came
out as a sort of techno-tribal looking little thing. A bit of jumping
around with some variegated thread and it was done. Don't know what
it says, but it is finished saying it. I always listen when the art
talks back to me! This one had fun coming into being.
Julie Zaccone Stiller
Boulder Creek, California, USA
Layers of security surround
Stapled securely, holding firm.
Removable, sharp, shiny, rust
and decay lie somewhere in the future.
19.5" x 19.5"
Cotton, commercial and hand-dyed/painted;
velvet rayon thread; painted batting; and lots of staples, big and sma
Fairfax, Virginia, USA
"Staples" is an attempt
to move into the art quilt realm by using shapes instead of realistic
pictures. The quilt is machine appliquéd and quilted. The staples
are scattered all over the piece in random spots. The piece is not
bound, but instead is decoratively cut on the edge.
Pine Grove, California, USA
The 3D flowers are held on by staples, and some
of the fabric is held to the filler with staples -- just plain, everyday
staples. The silk paper vase is held on with striped paper clips that
I cut and bent, and then forced through the layers to form staples
-- thus, the paper clips that line the binding.
16" x 19"
"Spirit of the Stapler Mask"
16.5" x 16.5"
Davis, California, USA
When this challenge started,
my cousin (the real artist in the family), Debbie Doolittle, suggested
I scan a stapler. I thought that was a great idea, and my plan was
to turn them into a circular design. As soon as I started to do
that, I put two staplers together and saw a mask. So, the quilt
began. I used staples for the mouth and added the floss. I know
shrunken heads all seem (okay, "seam") to have stuff coming
from their mouths, and this looked like a great way to use staples.
I also used them to add the jewels, and as a quilting process in
the border. Technically, I had many problems and I'm not sure why
. . . I really can make something square, but this project just
didn't want to go that way. So, I let the "spirit of the stapler
mask" take me where it was going to go!