Archive for the 'quilt art' Category

Painted and Quilted: Up for Discussion, by June Underwood

A quick and dirty post this morning from June, since Kristin was unable to do one. I would like to have some continuation of a question that Terry’s last post and subsequent comments suggested. The question is — what are the differences between painting media and stitched textile media? Olga pointed out that making curves in textiles is less physical than doing so in paint, and I think that it’s much harder to make curves with textiles than with paint, and that the effect of the finished work differs subtly in the different media. Continue reading ‘Painted and Quilted: Up for Discussion, by June Underwood’

A Ramble through Shadows, by June Underwood

Shadows don’t play a very large part in quilted art.

In looking over SAQA’s Portfolio 14 (a fairly representational collection of quilted art work by professional artists), I find little in the way of shadows. Value ranges and darks/whites used to establish foreground/background are everywhere, but shadows as an important part of the conception, even when the SAQA work is representational in nature, don’t much appear. A 2003 quilted piece that I did, which shows a leafless tree shadow on bricks, might provide personal insights, but it is more pattern than shadow.

phillyshadowwap.jpg Underwood, Philly Shadow, quilted silk. Continue reading ‘A Ramble through Shadows, by June Underwood’

Optical Illusions in Art, The Continuum, by Sandy Donabed

Optical illusions happen at the intersection of art and science. There is a physical reason for the illusion. It’s not ‘magic’ but instead a trick that the eye plays on the brain.

Once one understands how the eye sees things and how it misinterprets what it sees, the artist is free to appropriate the phenomenon into her own art. For example:


M.C. Escher, Relativity, 1953

And a ‘Relativity’ made from Legos:


Andrew Lipson, “Relativity” Out of Legos

Continue reading ‘Optical Illusions in Art, The Continuum, by Sandy Donabed’

Color, by Terry Grant




I have been thinking about color, probably because the QuiltArt list has been talking about color. That discussion started when someone said they were having a hard time working with “bright” colors. Lots of advice has followed which has included, “don’t use bright colors if you don’t feel comfortable with them” to “here are some exercises to use to help in your desire to brighten your palette.” I have offered no advice, but have been thinking about what my advice would be. I tend to believe that the color palette we use evolves and in time becomes our own, regardless of efforts to adopt a particular way of working with color.

I found it particularly interesting that this person was striving for an ability to use brights. I think that most beginning artists, and maybe I am thinking more about painting, tend to start with a bright palette and work toward a more modulated, sophisticated, if you will, palette. On the other hand, perhaps this person comes from a traditional quilting background and was originally drawn to antique quilts and the modern fabrics that mimic the old, faded, earthy colors of the antique quilts, and that is where she is coming from.

Continue reading ‘Color, by Terry Grant’

The Painted Hills Codex

Isn’t that a wonderful title? A codex is a hand-printed book, but this is a brain-printed entry, taken from an Oregon area called “The Painted Hills.”
Our regular Wednesday contributor has run into difficulties, so I’m posting an entry I’ve had kicking around for use in just this kind of emergency. With any luck, we’ll have two “Wednesday” contributions this week.


The Painted Hills, Sept 2006, photo by Jerry Underwood

I am engaged in a multi-year project on a single theme grouped around specific geologic formations. The materials come from the John Day Fossil Beds National Monument (fondly known as JODA), in that empty, high desert region of Oregon east of Bend, north of Burns, and west of the town of John Day.

I am processing that landscape in a multitude of media and modes. I have done (and hope to continue to do) pleine aire painting in oils and watercolor, photographs (summation and reference rather than “hey look at this”), digitized images printed on fabric and studio oils and watercolors (mostly as studies but some as finished and complete-in-themselves). All these versions of the landscape have and will continue to culminate in works done with my primary media, the stitched textiles, painted, pieced, appliqued, representational and abstract. There are 8 primary kinds of formations in the JODA region. This first set of photographs, paintings and stitched textiles are from the first of the 8, the clays called paleosols. Continue reading ‘The Painted Hills Codex’

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