Please note our meetings for 2019 will take place on:
Please note our meetings for 2019 will take place on:
We have confirmed our meeting dates for 2016 and they will be as below:
Upcoming Guild Meetings for 2016:
Post by Colette
At our last meeting Shevvy talked to us about Improv Quilting. This is a popular way of working amongst Modern Quilters, the freedom to create, change your mind, not worry about matching seams and perfect points and to be led by the fabrics and colours is very appealing.
Many of Shevvy’s improv pieces come to life from her scrap stash, some of which are tiny. These tiny scraps are pieced together, sometimes chopped up again, mixed with solids and played around with until there’s a quilt top that’s pleasing to the eye, there are many examples on Shevvy’s Flickr page.
Ashley at Film In The Fridge is one of my favourite quilters, her quilts are all so different and she has a wonderful way of using colour and creating interesting designs with fabric.
This one, Cascading Pools has a wonderful balance of colour and neutral spaces.
This one incorporates a variety of fabrics including corduroy, linen and double gauze, together these create a wonderful texture and the colour palette is striking.
Lu Summers is another inspiration when it comes to improv quilting. Lu mixes up geometric shapes in blocks of different shapes and sizes to create intricate pieces in bold colours. Lu’s book Quilt Improv is packed with blocks, tips and inspiration to get you started. Remember this one? It’s still one of my favourites.
I’ve put together a mosaic of some Improv quilts that are inspiring. I think I’m going to have to try some improv curves, these ones look so good!
Click on the links to see who made these –
1. Assembly, 2. Improv. Blocks, 3. improv curve mini quilt, 4. wool improv quilt, 5. Keeping Eden, 6. add a border plus plus, 7. “Up Down” Quilt with Facing Finish – Detail, 8. Improv / free form quilt block number 5, 9. Quiet improv quilt
Luke Haynes visited the LMQG at our habitual meeting place the Star Tavern, Belgravia, on 12th on the October 2014. He brought with him stories, perspectives, bales of ideas that would shame the even his “Goodwill” fabric hunting grounds, and of course quilts. As quilts. And quilts as quilts, as art.
Luke loved Purple. Purple was made for him by his mother and was perhaps the beginning other visual and creative interests. One theory has it that he has been remaking Purple all his life. If that is the case, he has done the most challenging of all creative things. He has allowed his creations to change his outlook, he has engaged in what they mean to others. In his words, he “has a conversation about it”.
Luke trained in art and architecture and at the same time, pursued what was at once a distraction and an alternative, photography. These threads came together in quilting.
At an early exhibition Luke found himself to be the subject of an unexpected celebration;
“I LOVE how you don’t care if it is straight!”
He does not bind by hand, he uses the visibility of the seams as part of the framing of the quilt. He does use acid free glue. He does not do that which he doesn’t want to do. All very affirmative for a room full of modern quilters!
Other than steering clear of knitted fabric (there is a limit to the contemporary edge that even Luke can construct out of some material), Luke will try fabrics together that seem unlikely neighbours, shirting with synthetic fur, cotton labels with wool suiting, vinyl with denim….He sorts his Goodwill, by the kilo, purchases by colour. He doesn’t dye fabrics, he reconstructs them as they are. His editing is based on whether he would like to wear it. If yes, it is spared the rotary cutter. Until the next wardrobe cull. If not, curtains. And they might well be.
Luke’s work is a synthesis of different perspectives. Log cabins are suggested, and the lines deconstructed, the blocks don’t match the frames, they echo them. They stimulate inquiry, they disturb familiarity.
Photographs are photoshopped and reimaged in fabric, into portrait quilts. The fellowship of quilting’s heritage realised anew. The reverse of the quilt holds the negative image that the electronic photographs never had, picked out in a contrasting bobbin colour. Joe Cunningham’s signature “drawing with bias tape” has the same stature and space on the quilt as Joe’s image. The work of the long arm quilting machine becomes the earliest of craft methods, ink sketched onto a background.
In another portrait quilt, Whistler’s Mother becomes “a big bearded goofy guy” and as with Mrs Whistler, the physical map of a journey through life, patent on the face, present in the textures of the portrait quilt. Ambiguity brings questions. Is he care worn and tired a contemporary Whistler whose digital bubble has burst? Has he simply had a heavy meal and a night of video games?
Are we looking at the weight of the world or the passing effects of self indulgence? We are stimulated to ask the question, provoked to debate the response. Isn’t that what art does? And speaking history, across generations, in fabric, the maker evident in their sewing, isn’t that what quilting has done?
The accessibility of Luke’s portrait quilts makes them the “pictures on a blanket” of the cautious Seattle art gallery visitors he told us about. They are objects for use, they are personal, they are public. They are quilts, as quilts. They are quilts; as quilts, as art.
This month marks the second in our traditional block made modern challenge. Each block should be 12 1/2 inch square and we will be using them to make up charity baby quilts. If you’d like to join in, bring along your 12.5 inch block to the next meeting, on the 2nd March.
Next Sunday is our regular meet up, with a special guest from Liberty coming to get our views and feedback on the Liberty Lifestyle quilting range, amongst other things.
If you’re interested in coming along and for further information, please email us at firstname.lastname@example.org. Space is limited, so after our members have reserved their places any additional seats will be available on a first come first served basis.