saqa journal - neoncrm...saqa journal • 2018 | no. 3 • 3 i keep getting asked how i was able to...

Inside: A special preview of

quarterlyart quilt

Issue No.

12

In this issue…Featured Artists: DAMSS: Daniela

Arnoldi and Marco Sarzi-Sartori . . . . . 6

Branding Part 2:

Build your online brand . . . . . . . . . . . . .10

Website design tips . . . . . . . . . . . . . . . .11

SAQA Global Exhibitions: Guns: Loaded Conversations . . . . . . .12

SAQA Benefit Auction behind the scenes . . . . . . . . . . . . . . . .14

Create dynamic PowerPoint presentations . . . . . . . . . . . . . . . . . . . .20

SAQA Member Gallery: Great Outdoors . . . . . . . . . . . . . . . . . . .22

Navigate high-end craft shows . . . . . .24

Inspired: Martha Wolfe . . . . . . . . . . . . .27

JAM Showcase: Isabelle Wiessler . . . .35

SAQA Journal2018 | Volume 28, No. 3

Studio Art Quilt Associates, Inc.

Monsieur Bohin106 x 59 inches | 2016 by DAMSS

Thoughts from the president

Volunteer to make SAQA yours by Lisa Walton

SAQA Journal • 2018 | No. 3 • 3

I keep getting asked how I was able

to rise to the role of president of

our amazing organization. Sometimes

I am not sure myself, but one thing

that keeps coming to

mind is that I am curi-

ous. Previous incarna-

tions in my journey

included being a theater

stage manager and a

chef. Both of these roles

are backstage roles. I

like to be involved and

nosy, if the truth be

known. I want to know

what makes things tick

and what is happening

behind the scenes. The

only way I know to do

both of these things is

to be part of them. If you know how

things work, you get a better appreci-

ation of what is happening on stage.

As a new SAQA member, I couldn’t

work out why I was always being

asked for money. Didn’t they already

have my membership money? It

wasn’t until I became more involved

as a regional rep that I saw the full

extent of what SAQA does and how

our membership dues cover less than

half of our activities. It was a light

bulb moment and I gained a better

appreciation and understanding of

the need for more funds. Volunteer-

ing to be a regional

rep also opened my

eyes to what we do

and how we could

do even more. I

became a pretty good

recruiter as I devel-

oped more passion

for SAQA. I think this

is why I received a

phone call one day

from Mary Pal, board

secretary at the time,

with the news: “We

have been watch-

ing you!” I thought

I must have done something wrong,

but I was asked if I was interested in

being on the SAQA board!

Everything we do as regional reps,

board members, or committee mem-

bers is a volunteer activity. Volunteers

are the absolute lifeblood of our orga-

nization and I personally thank every

one of you for your dedication and

commitment to OUR organization. I

say OUR because it is ours. Apart from

Thoughts from the president

Volunteer to make SAQA yours by Lisa Walton

In MemoriamWe are sorry to report the passing of three of our members, and express our condolences to their beloved friends and families. Our members who have recently passed are June Rose, Mary Ann Klussman, and Virginia “Ginny” Abrams. We will greatly miss their contributions to SAQA and the art quilt.

a far too small group of dedicated

employees, everyone working behind

the scenes to provide our amazing

exhibitions, educational opportuni-

ties, and conferences is a volunteer,

working because they believe in what

SAQA does.

Of course, we can never have

enough hands, brains, resources,

or ideas to keep us developing. So

if you, like me, want to be part of

what makes SAQA tick, think about

volunteering. Check out the commit-

tees on the SAQA website and write to

[email protected]. Maybe you are a

future board member or president.

I want to know what makes things tick

and what is happening behind the

scenes.

4 • SAQA Journal • 2018 | No. 3

There is a great deal of discord

in the world. Still, good things

happen, especially to people who put

plans in place to realize their dreams.

All around me I see people succeed-

ing, whether it is by letting go of bad

situations or by taking steps to get

to the next level. You can’t sit back,

think happy thoughts, and expect

something good to happen.

You need a plan. Want to go to

Tahiti? You’re not going without a

Get ready!Make plans today for future success by Diane Howell

current passport and reservations.

Want to sell your house in a year?

Learn to love beige and paint now!

I love this issue’s professional devel-

opment stories because they demon-

strate how planning delivers success.

Susan Lenz, in her story on high-end

craft shows, gives us the nuts and

bolts of how those shows work. She

takes us on her journey, which most

recently found her at the Smithson-

ian Craft Show in Washington, D.C.

Michele HardyHigh-Country Color #1

48 x 32 inches | 2017

Autumn in the mountains of Colorado is a time of glorious color.

This work is part of Member Gallery: Great Outdoors on page 22.

Editor’s Notes

How did she get ready to be success-

ful? She had a plan and put in a lot of

hard work. Acceptance to and navi-

gation of a high-end show requires

everything from a professional booth

setup to substantial on-hand inven-

tory. Did I mention she had a plan?

Clara Nartey lets us in on the secret

to dynamic PowerPoint presenta-

tions. The secret? Careful planning

and attention to detail. In this issue,

Nartey also completes our series on

branding as she zeroes in on building

an online brand. The answer to how

you best represent yourself online

involves being consistent across

platforms, something you only get

through planning.

Our behind-the-scenes look at the

2018 SAQA Benefit Auction reveals

something bidders might not know.

Our three-week annual event has a

yearlong planning schedule.

So much planning!

I end with two selfish requests.

One, have you put a plan into action

that succeeded and relates to art

quilts? Send me a story idea at edi-

[email protected]. Two, from September

14-October 7, bid high and bid often

in the benefit auction—just not on

the quilt I want.


We're looking for people who look outward to see the big picture, people like SAQA Visionary Ivy Jensen whose story is at saqa.com/ivy.

SAQA's Visionaries are a leadership group who invest in our vibrant global art quilt movement.

A monthly gift of just $20 makes you part of the Visionaries group. Or you can give a generous annual gift of $240.

We're looking for people who look outward to see the big picture, people like SAQA Visionary Ivy Jensen whose story is at saqa.com/ivy.

SAQA's Visionaries are a leadership group who invest in our vibrant global art quilt movement.

A monthly gift of just $20 makes you part of the Visionaries group. Or you can give a generous annual gift of $240.

Visionaries also receive:• biannual newsletter which highlights early bird news about upcoming happenings in SAQA and exciting global textile trends• exclusive invites to conference receptions and online events • special recognition in the SAQA Journal and website www.saqa.com/gift

isionarY

Do you see the big picture?Become a SAQA Visionary

I findinspiration from

Materials in

my studio.

I find support from SAQA.

Ivy JensenSpring, TX


Featured Artists

DAMSS:Daniela Arnoldi and Marco Sarzi-SartoriExpansive artwork spreads message of sustainability

by Cindy Grisdela

Italian artists Daniela Arnoldi and Marco Sarzi-Sartori—known

collaboratively by their initials DAMSS—have turned recycling into an

art form. Based in Milan, Italy, they make use of all types of cast-off

textiles to build their large-scale works and installations.

Marco Sarzi-Sartori and Daniela Arnoldi pose with an enormous pile of fabrics waiting to find their way into the couple’s large-scale artwork.


“Our creations aim at recycling

and at promoting the sustainability

of artistic and industrial products,”

they say. Their first step is to seek out

waste fiber materials. Once they have

the materials in their studio, they

must be classified and stored. The

fabric may be divided into attribute

types such as color, weight, pat-

tern, thickness, quality, and storage

method needed.

One image of their studio shows

Arnoldi and Sarzi-Sartori sitting

behind an enormous mound of fiber

strips rolled into balls. Their materi-

als are not just cotton, but almost

every type of fabric, from voile to

heavy winter textiles, silk shantung

to organdy. Once the material is

on hand, Arnoldi and Sarzi-Sartori

manipulate and process it into

shapes, using a variety of techniques,

such as cutting, restructuring with

acid, and coloring with dripping

alcohol. These processes turn material

into fabric “tiles” for their projects.

“The fabric tiles are reassembled

like bricks,” they explain. The

Roma 300013 x 33 feet | 2017

influence of the French Impres-

sionists is clear in their approach to

textile design with images formed by

the strategic placement of the fabric

tiles. The 2016 portrait of Monsieur

Bohin pictured on the cover is a good

example, particularly in the construc-

tion of his jacket. The process is also

apparent in Cinque Terre Corniglia

from 2015. Thread painting adds

color and detail. “Random stitching

[is used] for a realistic scene and more

precise and careful [stitching] for the

fine details.”

The way the Impressionists used

their brushes to create their paintings

resonates with Arnoldi and Sarzi-

Sartori. “Our methods derive from

in-depth analysis of their brushstrokes

and their way of holding the brush,

the characteristics of their colors and

study of subjects.”

All the work is done by machine.

Sewing machines are set up in the

studio for different tasks. Most of the

work is done on a frame they built

themselves that is nearly 10 feet long.

It has “two sliding layers, set with fast

Cinque Terre Corniglia98 x 98 inches | 2015


and powerful sewing machines and

presser feet modified to perform more

difficult tasks.”

The fabric tiles are assembled on a

base layer, as seen in the photograph

of the large sewing machine setup in

their studio. “The sewing of various

layers of fabric with rows of stitching

at varying widths allows us to vary

the [textural look] of the textile to

create the appearance of topography,

hills, rocks, and other pieces of the

picture.”

Their studio is located in the same

building as their apartment in Milan,

making for a short work commute.

They work every day of the week,

Milan Cathedral63 x 63 inches | 2010


see “DAMSS” on page 33

Iron39.5 x 142 inches | 2011spending time in the studio during

the day and doing computer work in

the evening to create the computer

graphics needed for their projects.

They also keep up with email, market-

ing, blogging, and other work related

to their business.

By training, Arnoldi is an engineer

and Sarzi-Sartori is an architect. They

began to explore

the possibility of

working together

to create art in

2000, and were

drawn to the

textile medium

during a visit to

an international

quilt exhibition

in France. “Textile

is a fascinating medium as it is soft

and flexible. It can be cut, disrupted,

restructured and reassembled, spun,

twirled, painted, embroidered,

burned, and wrinkled—a wide range

of manipulating possibilities not

provided by any other medium,”

they say. Iron, completed in 2011,

shows some of these transformative

possibilities. The panels were burned

with acid and then ironed at a high

temperature.

Their first tapestries were fabricated

using vertical looms they built. Later,

their work developed into frameless

textile art supported by metal, using

enameled metal threads.

“We followed any technique that

we thought could be useful in our

future,” Arnoldi and Sarzi-Sartori say.

In recent years, the couple has

created large-scale work measured in

feet rather than inches. Roma 3000,

finished in 2017 and pictured on

page 7, is one example of this gran-

deur, measuring about 13 x 33 feet.

Photographs of the art-

ists standing in front of

the pieces give a sense

of the works’ enormous

scale.

A project such as this

can take many months

to complete. Once the

topic has been decided,

they plan it using com-

puter graphics which

have become an essential part of the

creation. The composition is then

divided into sections and printed

full-size onto canvas to be used as a

template.

At this stage, each artist chooses

an area of the piece to work on. As

the image grows, they exchange their

work so each has input on all the

panels. “It is practically impossible

to define the paternity of the stitches

within our work because they are

mixed in such a manner as to define

our common style.”

In addition to large-scale textiles,

they also collaborated on fiber art

installations such as Connecting

People, installed in 2017 at a craft

exhibition in Vicenza, Italy. The work

features 300 pounds of colorful fabric

strips attached top and bottom in

diagonal lines. The process for one

of these pieces is somewhat differ-

ent from their hanging quilts, as the

artists create a scale model for the ‘Textile is a fascinating

medium as it is soft and flexible.’


We live in the age of Google.

If your name or artwork

comes up for discussion, chances are

a Google search is part and parcel to

the dialogue. Online access creates

an exciting opportunity by giving

you direct access to an audience. But

how do you stand out from so many

websites?

Your online brand is made up of

two components. The first part is the

written story you tell about yourself:

artist statement, bio, and blog posts.

The second part is your visual iden-

tity: logo, web design, profile photo,

and images on social media posts.

Your online brand needs to:

• Create awareness

• Make you likeable

• Make people trust you

• Encourage people to work with you

I approach online branding by

crafting a compelling story that

communicates how I want to be

perceived. Your story should answer

what kind of art you create, why you

make it, and who you make it for. An

example is:

Art feeds my spirit and I want to

help people find fulfillment in creative

self-expression.

Tailor your branding to effec-

tively communicate your story on

your platform assets, which should

include:

• A professional website/blog

• A professional email address

• Social media accounts (such as Face-

book, Instagram, LinkedIn, etc.)

• A newsletter

Build a cohesive identity by main-

taining consistency on all platforms

in terms of your name, design

standards, logo, and profile picture.

I chose to use my given name as my

brand name. This allows people to

search my name and to find me on

all platforms.

DesignIf you would prefer not to develop

branding on your own, there are

design services to create a unified

design for your brand. If you use a

professional designer for your web-

site, discuss up front the colors, fonts,

and mood you want to represent you.

Remember, everything has to relate

to the story of who you are and how

you want your clients and followers

to perceive you.

If you do your own design, two

things you can use to tie your design

together are consistency in color and

fonts. Not only does this make you

recognizable, but it allows you to

have a template for everything from a

website page to a Pinterest header.

Building your online brand means

building your visual identity. A logo

and tagline are effective tools to

identify you, although you can work

without them. A great profile picture

is another key to personal brand-

ing. Use the same professional photo

across all of your online platforms.

This puts a face on your brand and

connects people to the person behind

the artwork. My online profile photo

matches my color theme as well.

Artist websiteYour online identity centers around

your website or blog. The places you

socialize online should direct people

back to whichever of these is your

primary online presence.

To make your website your online

brand central, follow these tips:

• Create a domain name or web

address that is consistent with your

brand name.

• Include an About page where you

share your brand story.

• Curate your art portfolio to match

the story on your About page.

• Update your website frequently

with recent news about exhibitions,

new work, sales, classes, etc. Give

visitors a reason to come back to

your website

• Plan for change. As you grow as

an artist, your brand can and will

evolve.

Clara Nartey is a SAQA member who resides in West Haven, Connecticut. She is an artist who creates video lessons and writes about the practice and science of creativity. Learn more about her at www.claranartey.com.

A brand new youBuild an online brand that lets you shine

by Clara Nartey

Branding: Part 2


Tips to grow your brandby Clara Nartey

see “Website” on page 30

Your website powers your online brand. Make

sure it tells your story and is easy to use.

What key features make websites efficient? These

answers from SAQA members give insight into how

art and information is best presented for viewers.

“I like to see websites that clearly categorize an

artist’s work by medium and/or dates. I always go

directly to ‘new work’ then work my way back.

Vague series titles don’t really help,” says Sharon

McCartney.

While searching for art online for exhibitions,

Kevan Lunney found the need for clarity. “Most

websites were particularly frustrating to comb

through the images. Paging through images one by

one, looking at thumbnails that were too small, or

at a run-on list of work that wasn’t categorized just

takes too much time,” she says.

Lunney turned her experience into a positive,

though. Her personal website [kevanart.com]

What makes a website zip along?by Diane Howell

Pro Tip #1

To easily remember and get the right color each time, find and save the number code for the colors of your design. This way, when you want to create something new such as an image for a blogpost, a newsletter, or an announcement, you don’t have to visually guess which colors to use.

Pro Tip #2

Email plays an important part in your online brand. Let your email reflect your brand name. For example, when you receive an email from me, it will be from [email protected].

Use an email signature in your emails to reinforce your brand and direct people back to your website. You can also provide links to your social media accounts.

Pro Tip #3

Use templates to create consistency. Create one template with your brand’s colors and fonts. The text or image will change when you need to create a new post, but the overall look will be the same.

Pro Tip #4

Choose your brand colors wisely to evoke the emotions or mood you wish to convey.

Pro Tip #5

Each social media platform has specific image sizes. Check to make sure you use the right image sizes in your headers and posts; otherwise, your images could be cut off or display oddly.

Pro Tip #6

I use Canva.com to design my blog images and social media posts. You can use Photoshop or other graphics software. PicMonkey.com and Snappa.com are other online graphic design tools you can try. These online tools have templates that allow you to plug in information. You could also hire a graphic designer.

presents art images the way a buyer or curator

thinks, with categories for abstract, representa-

tional, and three dimensional. She says other help-

ful groupings would be landscape, still life, nudes,

buildings, or sports.

Closely related to this topic is image navigation.

Terry Howard Grant says she loves galleries of work

where a viewer can easily navigate from one image

to the next without going back to the main page

after each one. Images should also be a decent size,

she says.

Other members focused on teaching informa-

tion. Bern Johnson says: “I like to see clearly where

artists give classes, particularly online classes.” She

also wants easy-to-find instructions to subscribe to a

newsletter. “I find that I follow an artist more when

they send out an email newsletter or blog post.”


Selections from Guns: Loaded ConversationsToday gun violence feels commonplace. Yet an enormous divide exists between people who cherish their heritage of gun ownership and others who are concerned about the rising tide of gun violence. Guns: Loaded Conversations seeks to engage viewers of differing opinions to listen to each other and to encourage community initiatives that may inspire action in seeking solutions.

The juror for this exhibition was Dr. Vicky A. Clark. The exhibition premiered at San Jose Museum of Quilts & Textiles in California. It will be installed at the New England Quilt Museum in Lowell, Massachusetts, Jan. 9-April 6, 2019.

To view more artwork from Guns: Loaded Conversations, visit www.saqa.com/loadedconversations. A catalog also is available for sale in www.saqa.com/store.

Sabrina ZarcoOne Pulse 58.5 x 32.5 inches | 2017Photo by Liliana Hueso Productions

Shawn QuinlanThis Is Not the Time to Talk about Gun Control 53 x 53 inches | 2016

Pamela RoccoWithout Gun Control

44 x 33 inches | 2015


Kelly BurkeQuilted Reimagined American Flag

Series III: Don’t Lives Matter? 58 x 108 inches | 2016

Photo by A. Stuart Hanson

Alisa GoldenHand Gun 39 x 45.5 inches | 2017

Kathryn PellmanEnd Gun Violence 58 x 39 inches | 2017Photo by Johanna Wissler

Elizabeth Michellod-DutheilThe Madness of Men – La Folie des Hommes 66 x 30 inches | 2017


SAQA’s Benefit Auction is a fast-

paced competition energized

by the love for textile art. In 2017,

the auction raised nearly $65,000 to

promote the art quilt. But what does

it take to make this three-week event

a smashing success?

It all starts with the artists—443 of

them this year—who pledge to make

and donate a 12 x 12-inch quilt. The

quilts are the engine that drives the

auction. Anticipation builds for weeks

as images of the auction quilts start to

appear on saqa.com/auction. Bidders

make lists. They check the site again

and again, hoping to collect a favorite

From start to finishBehind the scenes at SAQA’s Benefit Auction

Clockwise from upper left: Anna Viadero, Buzz; Carolyn Skei, Prickly Pear Fantasy;

Regina Marzlin, Red Giant; Jim Hay, Two for Lunch; Charlotte Bird, Close Encounters of

the Lichen Kind; Katie Walwyn, Coy Koi; and Catherine Kleeman, Inspiration Exists.


artist at a steal or snag the work of a

rising star. As the auction nears, many

SAQA members engage viewers with

online Dream Collections, six-piece

mini-exhibitions curated to themes

that members develop.

The first stepsBefore the bidding can begin, the

finished quilts make their way to the

SAQA shipping center. If the donor’s

photography shows the quilt in its

best light, it is placed in a labeled

plastic sleeve and shelved in alpha-

betical order with the other quilts. If

not, it is re-photographed and then

processed.

The digital images are uploaded

to the website with the artist’s name

and title. Later, they are grouped

into weekly time slots for bidding

purposes, which allows bidders to

strategize their purchases. Of course,

there’s always the chance a bid-

der’s most sought-after work will be

purchased on Diamond Day, Sept. 14.

That is the auction’s virtual black-tie

affair, an early-bird opportunity to

purchase any quilt for $1,000 each.

And that’s pretty much it, right? Au

contraire.

People need to know the auction is

coming. The SAQA marketing team

promotes the auction through news-

letters, social media platforms, and

the SAQA Journal. The team also asks

members to invite their friends and

collectors to view the auction offer-

ings. Postcards are mailed to winners

and are also handed out at events and

exhibitions.

We’re live!On opening day it gets real. Bids

arrive, quilts are marked SOLD, credit

cards run, and thank-you emails


Auction by the numbersThe 2018 SAQA Benefit Auction opens Sept. 14 with 443 donated art quilts. As if to prove that auction fever runs high throughout SAQA, an amazing 23 percent of this year’s quilts are from first time donors and 22 percent are from members outside the United States. Twelve of the quilts are from artists who have donated to all 12 auctions. An impressive 40 percent are from artists who have donated a quilt at least five times.

And then there are the 443 thank-you notes written by SAQA executive director Martha Sielman, one to each donor artist.

This year brought a regional competition for the highest participation rate, determined by the number of donated pieces divided by the number of members. The results are:

Regions over 100 members:First place: OceaniaSecond place: Texas

Regions under 100 members:First place: NebraskaSecond place: Alaska

sent to winning bidders with a list of

their purchases. Unsuccessful bidders

are invited to bid again. Artists are

thanked for the sale, and provided

with the price realized and the buyer’s

contact information.

Daily totals are posted on the web-

site and social media, which continue

to build sales momentum. At the

end of each week, it’s still not over.

Any unsold quilts are moved to the

SAQA Store for sale until December

28, with a brief hiatus to make them

available for sale at the SAQA Booth

Nov. 8-11 at the International Quilt

Festival/Houston. After that, they are

shipped back to the artist or swapped

for another artist’s quilt, according to

each artist’s instructions.

Paperwork The auction event wraps up in

December as final income and

expenses are analyzed. The analysis

is provided to the SAQA Board and

then to membership. Feedback about

what worked and what steps need

to be improved is noted for the next

auction.

In January preparation begins for

the next auction when the auction

donor form goes live. That means the

annual Benefit Auction is a yearlong

labor of love. So remember: bid high

and bid often! —Diane Howell

Joanne Alberda, Sunset Over a Red Field

Stephanie Crawford, The Harbour Inn


Every quilt is available for a Buy It Now purchase of $1,000 for the duration of the auction, even if the section is not yet open for bidding. Prices change at 2 p.m. ET. No bids will be accepted between 1:45-2 p.m. ET while system updates are being made.

$750 $550 $350 $250 $150 $100Section 1 Sept. 17 Sept. 18 Sept. 19 Sept. 20 Sept. 21 Sept. 22

Section 2 Sept. 24 Sept. 25 Sept. 26 Sept. 27 Sept. 28 Sept. 29

Section 3 Oct. 1 Oct. 2 Oct. 3 Oct. 4 Oct. 5 Oct. 6

The 2018 Benefit Auction is almost upon us! Diamond Day kicks off the bidding at 2 p.m. ET on Friday, Sept. 14, when all quilts are available for $1,000 each.

The auction’s weekly schedule runs from September 17-October 7. A new section opens each Monday at a bid price of $750.

The price is reduced each day until it reaches $100 on Saturday. The first bid for a piece wins.

At week’s end, any remaining quilts in that section move to the SAQA Store, where they are for sale at $100 each. The quilts will be for sale November 8-11 in the SAQA booth

at International Quilt Festival/Houston. They will make one last appearance in the SAQA store through December 28.

For full details, visit saqa.com/auction.

How the auction works

SAQA 2018 Benefit Auction Pricing Schedule

Barbara Yates Beasley, Kimba

Nancy Bardach, Circus 10Jenny Bowker, Abu Ali, Cairo, Egypt

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After its debut at the 2017 International Quilt Market and Festival in Houston, it has been flying off our dealers’ shelves!

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As such, Innova has been working for some time now to develop a unique, superior-quality thread. After much research and development, Innova is pleased to introduce INNOVATECH™ Quilting Thread.

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Innova longarm quilting machines are manufactured by ABM International, a three generation family owned and operated business near Houston, Texas. The Innova® has been engineered to meet the most discerning quilter’s needs. Based on a long term commitment to excellence, ABM International offers a full array of high quality quilting machinery.

Contact a local Innova Dealer for special offers on the only longarm machine that’s “Built to Quilt®” www.innovalongarm.com

ABM International is known for its innovative and cutting-edge technology and products. We constantly strive to stay ahead of the curve; to be at the forefront of major advancements in the quilting industry.

After its debut at the 2017 International Quilt Market and Festival in Houston, it has been flying off our dealers’ shelves!

INNOVATECH™ is available in 60 of the most popular color choices, and can be purchased in 3000 or 6000-yard cones. Contact an Innova® dealer near you to buy INNOVATECH™ quilting thread.

Use the only thread designed specifically for use on a longarm quilting machine BY THE PEOPLE WHO KNOW longarm quilting machines.

INNOVATECH™ is an exclusive thread engineered specifically for longarm quilting. It is a tex 27, 40-weight poly wrapped poly, and its sleek design and beautiful finish allow for maximum efficiency while providing superior visual appeal. One customer even claims, “It runs like melted butter.”

As such, Innova has been working for some time now to develop a unique, superior-quality thread. After much research and development, Innova is pleased to introduce INNOVATECH™ Quilting Thread.

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Innova longarm quilting machines are manufactured by ABM International, a three generation family owned and operated business near Houston, Texas. The Innova® has been engineered to meet the most discerning quilter’s needs. Based on a long term commitment to excellence, ABM International offers a full array of high quality quilting machinery.

Contact a local Innova Dealer for special offers on the only longarm machine that’s “Built to Quilt®” www.innovalongarm.com

With the recent storms that devastated the gulf coast region this past summer, Innova has been involved in quilt drives whose goal is to get comfort quilts into the hands of the hurricane victims, specifically those devastated and/or still displaced by Hurricane Harvey. Innova’s factory and main office are located just north of Houston, so it is perfectly situated to act as a shipping destination for comfort quilts sent to them by quilters from all over the country. Innova, in turn, has been organizing quilt donations to those in most need of these beautiful quilts, and it has been a huge success.

Within just weeks of the devastating hurricanes that hit Houston and surrounding areas, the Las Vegas Massacre occurred. On his recent trip to Nevada, ABM Innova’s president, Neal Schwarzberger, met Chantal McCrorie, an attendee at the concert during the shooting. She shared with him her story, and he knew Innova needed to do something to help the victims and their families. So again, calling upon what seems like a never-ending supply of generosity from the quilting community in this country, Innova sent more donated comfort quilts to McCrorie, and she has been distributing each quilt individually to victims most in need of healing from this horrible tragedy. McCrorie says it has been immensely therapeutic for her and has done wonders in her own emotional healing to be a part of something like this.

One of the major aims of ABM International is its corporate responsibility – not only to the entire quilting community, but its local community as well. Innova has always strived to make it a top priority to give back to the community and those in need.

Comfort quilts are made and donated with love and generosity, and that comes through to those individuals who receive them at times that are often the most difficult. Comfort quilts represent the sheer goodness of complete strangers. They illustrate the goodwill and caring attitudes of people who want nothing more than to help their fellow man. It is a labor of love for the giver, and, for the receiver, a source of comfort and positive reminder of the world’s goodness.

Hurricane Harvey Comfort Quilts

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PowerPoint’s longevity is a testa-

ment to its effectiveness as a

presentation tool—when used prop-

erly. I say when used properly because

everyone knows how painful it is

to sit through a terrible PowerPoint

presentation. You can’t wait for it to

be over.

Do you have to use PowerPoint to

make a presentation? Absolutely not.

If you are motivating a group of peo-

ple or making one or two key points,

a slide presentation is not necessary.

However, a dynamic PowerPoint

presentation can help your audience

remember key points when your talk

is information-packed.

The most common PowerPoint mis-

takes are easy to avoid. Start by know-

ing what you want to achieve with

your speech. You should want your

audience to leave with takeaways.

Decide which points you want people

to remember and craft a storyline to

engage your audience on multiple

levels: intellectual, emotional, visual,

and auditory.

Once a plan is in place, write your

speech. Do this step before you cre-

ate your slides because the slides are

visual aids; they are not your speech.

From your completed speech, identify

the main points found in every two

or three paragraphs. These highlights

are the basis for your PowerPoint

slides.

There are a lot of design and

content possibilities for slides. Don’t

be tempted to use too many of the

design options found in Power-

Point. Keep your choices simple and

consistent.

Think about the most effective way

to make each point. Is it by using

text, graphs, images, or video? What

will keep your audience members

engaged and help them remember

the points or respond to a call for

action? Hint: It’s not always text.

Four elements play a critical role in

designing your PowerPoint slides.

TextText needs to be legible so the person

sitting at the back of the room can

read it. Sans serif fonts such as Arial

are easier to read. A font size of at

least 30 points is recommended.

Limit the amount of text by includ-

ing one idea on each slide. Your slides

should be filled with a lot of white

space, not text. Your spelling and

grammar must be correct.

ColorWhen it comes to color, think high

contrast. For example, don’t combine

a dark-colored or busy background

with equally dark text colors. Colors

on opposite sides of the color wheel

are complements. This combination

gives you high contrast, but make

sure you select a color saturation level

that is pleasing and makes text easier

to read. You don’t want your audi-

ence focused on a discordant color

scheme. If you choose to use a photo

as a slide background, ensure the text

is typed on a portion of the photo

where it will be legible.

GraphicsUse graphics only when they help tell

your story. Blurry photos are not a

Use best practices to create dynamic PowerPoint presentationsby Clara Nartey


good choice. Diagrams, infographics,

charts, and graphs all help tell your

story visually. However, don’t make

your graphics so complicated that

they require extensive explanation.

A picture must be worth a thousand

words.

ConsistencyPull your design together with con-

sistent design elements. The creators

of PowerPoint know this approach

works, so they’ve provided templates

and themes, which are collections of

colors that work well together.

When you use a template, the

colors, fonts, layout and entire design

of your presentation remains consis-

tent throughout. You are not limited

to the available templates in Power-

Point. You can always tweak them

or brand them to make them your

own. To tweak a template, all you’ve

got to do is edit the slide master. The

changes you make to fonts, colors,

and layout will be applied to your

entire presentation. You can also

choose or change themes.

AnimationsMany presenters believe animations

will keep their audience engaged.

That’s not the case. Indiscriminately

using animations in your presen-

tation can be distracting to your

audience. If at all possible, skip ani-

mations or use them sparingly.

Now that you’re done with prepar-

ing your slides, do a few practice runs

of your presentation. Get comfortable

with the content and the timing.

After all, you don’t want to read the

slides to your audience. Use the slides

as a cue for what you’ll say.

If you have more to communicate

beyond your speech, create handouts

to pass out after you’re done speak-

ing. That way your audience will pay

attention to your presentation and

not read your handout while you

speak.

Remember, your PowerPoint pre-

sentation is effective when it engages

your audience on multiple levels, is

a complement to your speech, and

provides the desired takeaways.

Clara Nartey is a SAQA member who resides in West Haven, Connecticut. She is an artist who creates video lessons and writes about the practice and science of creativity. Learn more about her at www.claranartey.com.


SAQA Member Gallery: Great Outdoors

Ruth BriggsMending Fences III 27 x 38 inches | 2017

Border fences separate countries and families. These breaches are often irreconcilable. Fortunately fabric is easily mended.

Carolyn CollinsMangroves 12 x 30 inches | 2016

In New South Wales, Australia, the boardwalk through the mangroves on the edge of Jervis Bay is a magical place.

Rickie SeifriedSheila 21 x 21 inches | 2012

The lizard, Sheila, developed a smile during the creative process.

Dianna VanderDoesAutumnal Equinox

46 x 48 inches | 2017

I love being outside at night in the autumn. The mystery never fails to move me.


Marianne WilliamsonVery Early Frost 43 x 43 inches | 2017

A very early frost catches nature by surprise; the rhythm of the seasons is disrupted.

Margaret AbramsheNarrows

39 x 32 inches | 2017

This quilt was inspired by a photo captured in early spring on a hike

through Zion National Park in Utah on The Narrows trail.

Katie Stein SatherMondrian Paddlers 24 x 24 inches | 2017

A photo from my friend Betty McLeod was transformed in Prisma and interpreted in raw-edge appliqué.


Six years ago I decided to join the high-end

craft show circuit. I had an established body

of work, a website, and gallery representation, plus

the desire to share my work with potential buyers.

I researched events and focused on three indoor

shows: the Smithsonian Craft Show, the Philadel-

phia Museum of Art Craft Show, and the Ameri-

can Craft Show produced by the American Craft

Council. These are among the most respected and

competitive such marketplaces in the United States.

My first step was to attend a show. I looked at

booth designs, approaches to lighting, and even

the size of pricing labels. I saw the need for a

hidden storage area within the allotted space. I

learned that booth design is important and often

works hand-in-hand with an artist’s branding and

demands of a particular medium.

The setupArtists working in all media are presented side by

side in long convention center aisles. The standard-

sized booth is 10 x 10 feet and rent can be $850 to

$1,280, depending on the show. Larger booths or

corner locations are priced higher. An additional

fee of $95-$160 is often charged for electricity.

I decided against a custom-designed booth. I

purchased a basic structure from ProPanels ($1,349

and up) with four track lighting strips and eight

bulbs ($580). My purchase was delivered on a truck,

which added considerably to the shipping charge.

Since then, I have ordered a matching shelf, a few

extra lights, two shorter wall panels, and a heavy-

duty cart.

Flooring is another consideration and expense. I

started with a package deal on interlocking carpet

tiles for a 10 x 10-foot booth ($188 plus shipping).

For the Philadelphia Museum of Art Craft Show, I

was accepted in two categories—decorative fibers

and basketry—and needed a 10 x 15-foot booth. I

had to purchase a new floor because my original

floor tiles were no longer available.

The start-up expenses to participate in these

shows can be overwhelming and the distances

between artist and show vast. As a result, some art-

ists don’t own a booth. They rent pipe-and-drape

units, display cabinets, and other fixtures from

companies specializing in art trade shows. These

providers also store privately owned booths in a

temperature-controlled warehouse and transport

booths to the venue. These services come in handy

for artists living on one coast but exhibiting on the

other. I transport my booth in a cargo van. At first,

I rented a vehicle. Now, I own one.

Selling detailsBeyond the physical considerations of a booth and

the artwork to fill it, many other preparations must

be made. Every artist needs a business license and

the proper forms to file sales tax in the state in

which the trade show is held. For the Philadelphia

Museum of Art Craft Show, a city business privilege

license also is required. To conduct a sale, duplicate

invoices are needed. Credit card processing is essen-

tial; I have a handheld PayPal chip reader.

Customers expect their new purchase to be

appropriately wrapped and/or bagged. Most shows

Research. Apply. Pack.Detailed plans ease navigation of high-end craft shows by Susan Lenz

In Box CCXCII, Detail


provide a small number of small- and medium-

sized paper bags. Unfortunately, most of my

framed artwork doesn’t fit in those bags. I bring

a roll of bubble wrap and plenty of extra-large

handled bags.

The detailsThen there are the little things. My checklist

includes extension cords, multipronged electri-

cal strips, extra light bulbs, a handheld vacuum

cleaner, tape, pens, business cards, small labels for

prices, and a folding chair. Because my artwork is

framed, I also bring glass cleaner and rags, wood-

toned markers, and other items to keep my inven-

tory in tip-top condition.

Everything must fit into my cargo van and be

packed to allow for quick unloading. Each show

designates a time for artists to arrive on site. There

is usually a line of cram-packed vehicles with out-

of-state license plates waiting to unload at their

assigned time. The typical amount of time for

unloading is a mere half hour. Your vehicle must

be moved immediately to make way for the next

artist. Some shows allow artists to drive onto the

convention floor. Others require artists to roll their

booths and artwork into the space from a desig-

nated parking lot.

With so many artists in so little space, you are

expected to work within your booth space and not

block aisles. Fortunately, there is always plenty

of time to set up and fine tune the look of your

booth. I’ve never been rushed to aim flood lights or

hang artwork. During this period, artists meet their

neighbors, snap photos for social media, and find

the hospitality room.

Susan Lenz adjusts lighting in her booth at the Smithsonian Craft Show.

The Smithsonian Craft Show is held in the National Building Museum in Washington, D.C.

Booth design often works hand-in-hand

with an artist’s branding.


The showMost high-end craft shows have a private room for

exhibiting artists with coffee, light refreshments,

and helpful show committee members. The Phila-

delphia and Smithsonian shows hold preview galas

before they are open to the public. These dress-

attire evenings present a perfect way to start selling.

It is paramount that artists know how to best

approach potential buyers. This introduction varies

from artist to artist according to work and person-

ality. The opening conversation is what many call

an elevator speech. Most people who enter my

booth ask, “What is it?” They don’t immediately

recognize my work as fabric. Therefore, I wait for

a bit before saying: “What you’re looking at is

polyester stretch velvet on recycled packaging felt

with machine embroidery and melting techniques.

I know that’s a mouthful so I brought this step-by-

step demonstration piece.”

Quickly, I explain the process using my small

visual aid. I always end by focusing on a nearby

hanging work. If the browser lingers, I talk about

my inspiration: “Much of my work is based on

architecture, especially the fanciful 20th century

buildings designed by Friedensreich Hundertwasser,

an Austrian who stressed individualism. My work

represents an aerial view of an imaginary Hunder-

twasser city. In each little box is a unique motif to

reflect the individuals who live there.”

Most people who attend high-end craft shows walk

the entire show before buying. Artists refer to these

people as “be backs”, people with whom a conver-

sation went well, especially ones that suggested a

purchase might happen. It is important to remember

what these people look like. Eye contact and a smile

are often the way a transaction is initiated.

Show survivalI’m lucky because my husband, Steve Dingman,

works the shows with me. When a selection is made,

I hand the invoice on a clipboard to him. He han-

dles the payment while I bubble wrap the artwork.

For artists who do the shows alone, the craft

shows provide booth sitters, committee members

who staff a booth during prearranged times so that

the artist can take an occasional break.

Lenz agreed to fill a corner booth this year after being wait-listed for the Smithsonian Craft Show.

see “Craft shows” on page 29

Careful packing means everything has to fit in the van plus be arranged for quick unloading.

Lenz and her husband, Steve Dingman, add some

levity to setup.

Photo by Teddi Fine


A tweet was the inspiration for Martha Wolfe’s Privileged Times:

“The epitome of White Privilege = I don’t follow the news.” That short missive caused Wolfe to think hard about who she is. To recognize—and accept—things about herself that were difficult.

“Some of us inherit a number of privileges at birth and never give a lot of thought to all of the protections and advantages they provide through no effort of our own, or how our privileges may impact everyone else.”

Take the men displayed in the quilt, men of privilege who sign bills con-cerning police violence and the ban on Muslim migration, issues that do not affect them but impact the lives of millions, she says. “Their privilege has the potential to shield and isolate them from the concerns of predominately marginalized populations. It’s important to recognize that this is not just about ‘white’ privilege, but it extends to things like religious freedom and protections for LGBTQ community members, and even women’s health issues.”

Coming to termsWolfe’s biggest challenge in terms of personal growth was coming to terms with where she fits into the discussion of white privilege. Her parents were outspoken and actively involved in the civil rights movement. “I’m proud of that, but the missing part was the privilege piece, the fact that we could fight battles

and come home to a safe comfortable house with plenty of food, employment opportunities, and the chance to get an education.”

Considering those two factors—white privilege and personal growth—the quilt can be interpreted as a reminder of how one’s decisions affect others. “It’s also a bit of an indictment of those pictured, I’ll admit, as they have been some of the more prominent faces proposing, imple-menting, or being complacent about troubling things we’ve seen recently.”

Building blocksWolfe used layered organza to give the quilt a gauze-like appearance, a technique seen in her other works. The subtle types of privilege overlay the newsprint, which she created by repeat-ing those descriptions over and over again. The relative dimensions are the same as a standard folded newspaper.

by N.K. Quan

Inspired by

Martha WolfePrivileged Times

28 x 29 inches | 2017

The font is similar to that used by the New York Times.

When creating quilts, Wolfe starts with a subject and then considers what would visually tell the story. Sometimes it is literal, sometimes it is metaphor. If the idea starts from a word or event, she will look up definitions, synonyms, news, and history.

This quilt was created for the Threads of Resistance exhibition and has been part of its traveling exhibition since July 2017. To learn more about the quilts for this project, visit www.threadsofresis-tance.org. To learn more about Wolfe’s work, visit www.marthawolfe.com.

N.K. Quan is a Phoenix-based writer and editor.

ideology

Hundreds of art quilts. Hundreds of bidders.

The competition is on. Bid for your favorites September 14 - October 7

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CALL FOR ENTRIES:Oct. 1, 2018 – Jan. 10, 2019Life’s Journeys: Joy, Healing, Spirituality, Grief, Peace

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Craft shows

from page 26

Breaks are needed, especially on

a day that runs from 10 a.m.-8 p.m.

Show schedules and times vary, but

there is generally at least one day that

courts the after-work crowd. Com-

fortable shoes are essential. Having a

water bottle is helpful, too.

PracticalityBefore any of this happens, there’s

an application process. It is hard to

gain acceptance into a high-end craft

show. The application fee is gener-

ally $50. The Philadelphia Museum

of Art Craft Show accepts only 190

artists across all media from a field of

applications numbering more than

1,000. I have made it in four times,

including the upcoming 2018 show

in November. The Smithsonian Craft

Show accepts 120 artists; this year,

there were more than 1,200 hopefuls.

I wasn’t among the successful. I was

wait-listed and for months Steve and

I joked that “someone would have to

die” before I got a spot.

Three weeks before the April event,

an artist had to withdraw and I

agreed to take over the booth. Within

24 hours, I had charged the $1,925

booth fee to a credit card, returned

a signed contract via email, and was

listed on the official website. Steve

booked an Airbnb basement apart-

ment. We were soon on our way to

the Smithsonian Craft Show in the

National Building Museum in Wash-

ington, D.C. To be among this tal-

ented group of artists had been one of

my lofty goals. I was only able to take

part because I was totally prepared.

And before going, I agreed to write

this article to help others make their

dreams come true.

Susan Lenz is a SAQA JAM who resides in Columbia, South Carolina. You can view her work at www.susanlenz.com.


Website

from page 11

San Jose Museum of Quilts & Textiles520 S. First Street, San Jose, CA 95113

www.sjquiltmuseum.orgJuly 22 - October 14, 2018

2018 Surface Design Association International Member Exhibition

Exhibition Dates July 22-October 14, 2018

July 22, 2018 Opening Reception

www.surfacedesign.org/events-exhibits/exhibits/ Questions? Email us at: [email protected]

Jurors Carole Frances Lung, artist/activist/academic Amy Di Placido, SJMQT Exhibitions Curator

San Jose Museum of Quilts & Textiles520 S. First Street, San Jose, CA 95113

www.sjquiltmuseum.orgJuly 22 - October 14, 2018

2018 Surface Design Association International Member Exhibition

Exhibition Dates July 22-October 14, 2018

July 22, 2018 Opening Reception

www.surfacedesign.org/events-exhibits/exhibits/ Questions? Email us at: [email protected]

Jurors Carole Frances Lung, artist/activist/academic Amy Di Placido, SJMQT Exhibitions Curator

Catherine McDonald’s comments

expand on teaching information.

McDonald likes to see workshop

menus that provide good descriptions

of the classes. She also wants to read

what teachers request from workshop

organizers, not necessarily pricing,

but other requirements to run the

workshop.

Ellen Lindner’s main focus is to

add dates to her teaching calendar.

“Therefore, I try to sell me, speaking

in first person and including a casual

headshot on every page. I have a

very large ‘Learn with Ellen’ section

[on adventurequilter.com], which

includes not only class offerings, but

lots of how-to articles and informa-

tion. I [want to] come across as per-

sonable, knowledgeable, and willing

to share.”

No matter the focus, keeping the

site updated with new work, events,

or a link to an active blog is benefi-

cial. Susan Lenz says: “I regularly

update [susanlenz.com]. Keeping the

information current is important.

Who really likes clicking on a bio

with 2014 or 2015 listed as the latest

date? Plus, I’ve been told that chang-

ing content on a regular basis helps

a site’s Google ranking,” she says.

No matter the focus, keeping the site

updated with new work, events, or a link

to an active blog is beneficial.


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“Linking to an active blog helps too.”

Lindner says her blog does generate

visits to other areas of her website.

Elena Stokes says her website [ele-

nastokes.com] stands out because of

user-friendly navigation, well-chosen

color scheme, and large full-screen

images available as a slide show on

her home page. “I purchased a theme

from Imagely that is extremely flexi-

ble, allowing me to change the design

and look of my website at a whim.

One of the design options of the

theme is the header placement, either

across the top or down the left side.

I like the left side header as it allows

the viewer to always have access to

the menu for easy navigation. No

more having to scroll all the way back

up to click to another page. It also

has my name and color scheme so

the viewer knows where they are and

whose website it is.”

Stokes makes a good point about

image use. “I want a website that can

display full screen images of my art-

work. Anybody can create a website

that looks and functions like mine if

they want to, but nobody else has my

artwork. That’s mine and mine alone.

And I want it big and beautiful so

viewers can feel like they’re right up

close to the work. I only use the full

screen on my home page with a slide

show, but I hope that first impression

makes an impact on my audience.”

Linda Colsh’s consistency makes

her website easily recognizable, even

though it has undergone updates.

“When I had my website redesigned

in the last year to improve appear-

ance and full use of screen real estate

on cell phones and tablets, I kept the

basic look of my previous website as I

wanted to transition while maintain-

ing the look I established for present-

ing my artwork on line.”

Diane Howell is editor of the SAQA Journal.


Grand Rapids, MIAugust 22–25

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DAMSS

from page 9

project and then acquire the materials

and assemble the piece on site. Fabric

compositions have an optical-kinetic

relationship with the viewer because

they can be experienced in three

dimensions.

Arnoldi and Sarzi-Sartori teach

master classes to students interested

in learning about their style of work-

ing. They teach in their studio, as

well as travel to other venues. “While

teaching we learn more than we give.

This positive outcome is due to the

acts of sharing, discussing, pondering,

confronting, and discovery.”

The scale of many of their pieces

means their approach to exhibiting

and selling their work is specific to

a certain type of collector or dis-

play. “We are bound by the large

dimensions of our displays, which

means that they are more [suitable]

for collectors, hotels, companies, and

institutions linked to the topic of the

work itself, and [who also] have large

areas for display.” Focusing on the

idea that their work is made in Italy is

helpful too, they add.

Arnoldi and Sarzi-Sartori use the

acronym DAMSS to brand their work.

Their tagline is “from discarded mate-

rial to vibrating compositions.”

Cindy Grisdela is a SAQA JAM who resides in Reston, Virginia. You can see her work at cindygrisdela.com

[Editor’s Note: Arnoldi and Sarzi-

Sartori responded to written

questions for this article through a

translator, their English friend David

Ashworth, who also lives in Milan.]

2019 SAQA Annual Conference

Threads of InnovationApril 25-28, 2019

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Enjoy a full schedule of activities, informative presenters, local outings,

exhibitions, and more!

Early-bird registration opens in September

LEARN MORE AT www.saqa.com/conference

Phot

os: T

eam

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Jose

SAN PEDRO SQUARE MARKET

SAN JOSE MUSEUM OF QUILTS & TEXTILES

Issue No. 12quarterly

SAQAStudio Art Quilt Associates, Inc. art quilt

Art quilts in FRANCEJudith LarzelereIndiana State Museum

METAMORPHOSIS

art quilts100

SAQA quarterly publication designed

for collectors, arts professionals, and

admirers of art quilts everywhere!

Subscribe today!www.saqa.com/aqq


Quick NotesTo find out more about SAQA, contact Martha Sielman, executive director, at 860-530-1551 or [email protected]. Visit our website at www.saqa.com. Annual membership (U.S. and international): artist/associate member, $80; juried artist, $145; student (full time with copy of ID), $45.

Studio Art Quilt Associates, Inc. (SAQA) is a nonprofit organization whose mission is to promote the art quilt through education, exhibitions, professional development, documentation and publications.

The SAQA Journal is published four times a year. To submit articles, contact the SAQA Journal editor at [email protected]. See the submission guidelines at www.saqa.com/journal-submit.

For more information about advertising in the SAQA Journal , visit saqa.com/ads.

Board MembersPresidentLisa Walton, Sydney, Australia

Vice presidentDeborah Boschert, Lewisville, Texas

TreasurerMarvin Fletcher, Athens, Ohio

SecretaryMartha Wolfe, Davis, California

Vivika Hansen DeNegre, Guilford, ConnecticutCarolyn Ducey, Lincoln, Nebraska Susan Else, Santa Cruz, California Jayne Gaskins, Reston, VirginiaGül Laporte, Linho Sintra, PortugalJeanne Marklin, Williamstown, MassachusettsDolores Miller, San Jose, CaliforniaChris Nielsen, Nova Scotia, CanadaGwyned Trefethen, Cohasset, Massachusetts

Executive directorMartha Sielman, Hebron, Connecticut

SAQA Journal EditorDiane Howell, Chandler, Arizona

DesignerJennifer Gauerke, Denver, Colorado

You can help SAQA save on printing and mailing costs by choosing to read the SAQA Journal online only. Login to mySAQA (www.saqa.com/mySAQA) and select Manage Your Account.

SAQA has provided support, counsel, information, inspiration,

and joy over the twenty-seven years I have been a member. I

have learned enormously from others in the organization. It has

given me an opportunity to share my talents and dreams, and

to help others do the same. I want SAQA’s work to continue after

my lifetime—the work of educating people about the art quilt

and providing a “home” for artists like myself who are seeking to

express themselves through art quilts. That’s why I’ve left a gift to

SAQA in my will.

—Judith Trager,

Board member, SAQA Legacy Circle donor

Join Judith in supporting SAQA’s future! Contact Jean Tutolo, SAQA’s Development Director, for details about how you can give a legacy gift.

[email protected]

Is SAQA in YOUR will?

SAQA Art Quilt Quarterly special preview | 1

Issue No. 12quarterly

SAQAStudio Art Quilt Associates, Inc. art quilt

Art quilts in FRANCEJudith LarzelereIndiana State Museum

METAMORPHOSIS

art quilts100

In each issue:• A broad array of art to enjoy, including work by

SAQA’s Juried Artist Members

• Artist interviews offering inspiration and guidance on navigating your creative career

• Galleries of artwork from SAQA’s exhibitions PLUS insider details about private collections

• And MUCH MORE!

SPECIALPREVIEW

Art Quilt Quarterly is published 4 times a year.

To subscribe or purchase back issues:

www.saqa.com/aqq

Contents

As the world turnsSAQA now has more than 3400 members in thirty-six countries, with twenty percent residing

outside the United States, mainly in Australia, Canada, Europe, and the United Kingdom. As

part of SAQA’s Global Exhibitions Program, Masterworks: Abstract & Geometric is touring

Japan, Concrete & Grassland is being exhibited in the British Isles, and My Corner of the World

can be seen throughout Australia, with SAQA’s new president, Lisa Walton, hailing from Sydney.

In recognition of this global interest in art quilts, we have launched an initiative to publish a

series of articles on international quilt artists. This issue brings you Gül Laporte discussing

French artists, and later this year Jacqueline Atkins will be writing about art quilts in Japan, with

more worldwide coverage planned for 2019. In this issue of Art Quilt Quarterly we explore the

Indiana State Museum’s collection of art quilts in an article written by Kate Lenkowsky. SAQA Journal editor Diane Howell shares how several collectors document their quilt holdings, while

our SAQA exhibition feature introduces Metamorphosis, which considers several aspects of the

inevitability of change.

— Sandra Sider, Editor [email protected]

Collecting art quilts at the Indiana State Museum . . . . . . . . . . . .1

Document your art quilts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .4

Focus on Commissions: Merle Axelrad . . . . . . . . . . . . . . . . . . . .8

Art quilts in France . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .11

Light Show exhibition . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .14

Artists to watch

Maggie Dillon . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .16Terry Grant . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .20Jim Hay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .24Kit Vincent . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .28

SAQA Global Exhibition: Metamorphosis . . . . . . . . . . . . . . . . . .32

Art Quilts Unfolding . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .34

Collector’s bookshelf . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .35

Portfolio. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .37

Studio Art Quilt Associates, Inc. (SAQA) is a nonprofit organization whose mission is to promote the art quilt through education, exhibitions, professional development, documentation, and publications.

©2018 Studio Art Quilt Associates, Inc. All rights reserved. Reproduction without permission is strictly prohibited.

SAQA Art Quilt Quarterly is published by Studio Art Quilt Associates, Inc., a nonprofit educational organization.

Publications Office: P.O. Box 141, Hebron, CT 06248.

ISSN 2379-9439 (print) ISSN 2379-9455 (online)

Editor: Sandra Sider Managing editor: Martha Sielman Artists to watch contributing editor: Diane Howell Collector’s bookshelf editor: Patricia Kennedy-Zafred Designer: Deidre Adams Circulation consultant: Peter Walsh

Subscription is $29.95 for four issues Outside USA: add $12.00

Subscribe online: saqa.com/aqq

Cover: Jennifer H. Landau, Transition 37 x 34 inches, 2017 photo by Sibila Savage Photography

see story, p. 32

Art quilts in Franceby Gül Laporte

Until the 1970s, quilting in France consisted almost exclusively of the

traditional Provençal “boutis,” whole-cloth quilts of which the most famous examples are intricately hand-stitched white quilts from Marseilles. In 1972, the Museum of Decora-tive Arts in Paris hosted a large exhibition of mostly Amish quilts made in the U.S. curated by Jonathan Holstein. That exhibition caught

the attention of the French public. Soon after-wards, Sophie Campbell, an American woman living in France, began teaching classes that helped popularize quilting. But for many years the concept of quilt making as a form of studio art did not exist in France, and outside Paris, which had a quilt shop, it was difficult to find the materials and tools for quilting.

Anne Woringer Huis clos

(Closed Session)61 x 46 inches, 2001

Photo by Bruno Jarret

SAQA Art Quilt Quarterly | 11

special preview special preview2 | SAQA Art Quilt Quarterly SAQA Art Quilt Quarterly | 3

The founding in 1984 of France Patchwork gath-ered together quilters from different geographic areas who worked in different styles. By organizing classes and exhibitions, France Patchwork contrib-uted to the spread of traditional patchwork in France. Soon, however, a more creative movement began to emerge, enabling studio artists to express themselves using textiles, and leading in 1998 to the creation of a new movement inside France Patchwork called “Artextures.” This group attracts a number of fiber artists, most of them professionals. They use innova-tive materials, create three-dimensional pieces, and, thanks to the help of France Patchwork, are exhibited in national museums. A new generation of 30-some-thing artists is joining this movement, an encouraging sign for art quilts throughout France. Most of the French artists work alone, perhaps due to the fact that the French are quite individualistic.

Anne Woringer, Edith Raymond, and Cosabeth Parriaud, who live in Paris, are probably the individu-als most credited with initiating the art quilt move-ment in France back in the 1970s, followed by artists throughout France, including Geneviève Attinger, Maryvonne Deville Guillot, Solange Lasbleis, Lena Mezsaros, Marie Claude Bertin, Lydie Clergerie, France Brechignac, Gabrielle Paquin, and many more.

Anne Woringer studied fine arts. The 1972 quilt exhibition was a major discovery for her, after which she made traditional quilts. But then she found her

above:

Edith Raymond Echelle jaune (Yellow Ladder)31 x 24 inches, 2011

Photo by Yves Denoyelle

above right:

Cosabeth Parriaud Métro parisien (Paris Subway)40 x 40 inches, 2014

Photo by Yves Denoyelle

opposite:

Geneviève Attinger La rumeur (The Rumor)46 x 46 inches, 2011

Collection of the International Quilt Study Center & Museum (Lincoln, Nebraska)

12 | SAQA Art Quilt Quarterly

own style, inspired by ethnic art, and began dyeing her own fabrics. Woring-er’s art quilts are now in international private collections as well as in muse-ums, such as the International Quilt Study Center & Museum in Lincoln, Nebraska, and the Museum of Arts and Design in New York. Woringer believes the art quilt needs to find more followers in France, and textile artists have difficulty being recognized as such in France.

Edith Raymond is an architect, an illustrator of children’s books, and a fashion designer. She is a self-taught textile artist, influenced by her own naive drawings that she reproduces in textiles. Raymond loves to embroider, as this handwork enables her to relax. About her approach to art making, she says, “Patchwork is the appearance, the large format, a physical work, an open-ing; it’s also the precision of shapes; it’s a day-time work, while embroidery, masks, and small characters are inti-mate, a secret work, thus a night-time work.”

Cosabeth Parriaud explores colors, adapting them to simple geometric shapes — squares, rectangles, circles, and stripes, whose familiar lines are universal. She combines different techniques and materials and continu-ally tries to refine her work, keeping in mind that “less is more.”

Gabrielle Paquin, unable to find an identity through painting, found hers in creating art quilts. She started by making traditional quilts while attend-ing design classes in an art school. Fifteen years ago, after reading a book on the history of striped fabrics by Michel Pastoureau, a French medieval scholar, she started to combine striped fabrics in her quilts. “I consider myself

a part of the group of French artists who explore all the aspects of textile creation without being influenced by any particular style, while the Amer-icans tend to follow a certain trend. The Modern quilt movement is one example,” says Paquin.

Geneviève Attinger lives in Brittany and works alone in her studio. Her work is very personal; she considers herself a storyteller who writes what she feels with textiles and threads. “I am a self-made artist who took some embroidery and lace-making classes. Because I never took any art classes with textile teachers, I have never been influenced by their work, and my cre-ations reflect my feelings exclusively.” Attinger’s quilts have been acquired by various museums and private collec-tions in France as well as in the U.S. One of her pieces was selected for Quilt Visions 2018 San Diego, California. “I

am so proud and happy! I tried many times without success and at last here it is, my work has been selected, which means that we should never give up,” she says.

My apologies to all the artists whose comments cannot be published here for lack of space. We could talk at length about the art quilt situation in France and how much we still need to strive to be recognized as artists and accepted into national museums. Slowly but surely, that will happen!

Gül Laporte discovered quilting when she moved to Houston, Texas, in 1982. Back in Europe, she helped spread new techniques learned in the U.S. to French and other European students. She also authored two quilting books, one in French and one in English, and today she writes articles for Magic Patch magazine. From 2003 until 2016, Laporte served as a consultant for the European Patchwork Meeting. A board member of SAQA and member of several SAQA committees, Laporte now resides in Portugal.




artists to watch

Kit VincentOttawa, Ontario, Canada

Kit Vincent’s painterly, abstract pieces are the work of a master colorist. Strip piecing forms the powerful strokes in her work. Hand-dyed fabrics and surface design techniques build true personal color and layered meaning into each piece.

Catching the bugI came to quilting through the back door for an odd but practical reason. A few years ago, my new din-ing room was an echo chamber. I needed something large and colorful to dampen the sound. A large, mid-century masterpiece was not within my budget, so I made a wall hanging. After all, I could sew a bit, but what I knew about quilting would have fit into a teacup.

I found a Threads article on Judith Larzelere’s strip-piecing technique. I was impressed with her beautiful, bold quilts and also with the efficient


“quilt as you go” technique. Inspired by the article, my very first quilt measured no less than 8 by 8 feet. It hung on my dining room wall for several years despite the fact that it was a technical mess.

More importantly, I had caught the quilting bug.

Style evolutionI soon came across the work of Nancy Crow. I had dabbled with several fine arts media over the years, but Crow’s large, bold fabric com-positions stopped me in my tracks. Her stun-ning work reminded me of large and colorful mid-century abstract paintings. Her work proved that quilting could be fine art. I took her classes and have benefitted from her artistic insight ever since.

I found success shaping fabric freehand with a rotary cutter and composing directly on a design wall. I learned how to compose and piece large abstract and semi-abstract works. I experi-mented with several construction methods.

My work is all about color and cloth. I begin without expectation and allow the design to surface. Gesture, movement, and color are the key elements as I stitch across pieced substrate panels with narrow strips of cloth. Each panel sets the tone for its neighbor. The only things I know up front are the approximate size of the final piece and a sense of the overall texture and color palette. The top layer works with under-lying shapes to create a visual dance that feeds its neighboring panels. This is the part of the design process I enjoy the most.

Each surface strip is cut to measure and applied in a specific direction to create a line, a mark, or a group of lines that produce a colored

right:

Tricolor White72 x 72 inches, 2017

below right:

Tricolor Blue72 x 72 inches, 2017



shape. Pinning and sewing these strips is the slowest part of the process, but it’s not unlike applying daubs of paint or collaging shapes to a colored surface. The fabric strips butt against each other and work together to create patterns within each square and across the piece.

New directionRecently, I felt the need to breathe new life into my work. My goal is to create a magical color vibration with several layers of dyed fabric sewn atop each other. I want to suggest movement using narrow

strips of fabric. It wasn’t until I began cutting and layering thin strips of hand-dyed fabric that I could see this as a possibility. Still working in an improvi-sational way directly on the wall, I have let go of the clean, sewn, quilted surfaces and “no loose threads” rule of my early work. I now feature raw edges and loose threads. These new compositions have taken on a painterly aspect that I like.

In 2008, I began an art-cloth study program with Jane Dunnewold of San Antonio, Texas. For three years, I was immersed in dyeing, painting, discharg-ing, laminating, and foiling. These processes allow

me to build in true personal color and layer meaning into my work. I gained an in-depth understanding of what art cloth is and how I could use it in my textile work. I now buy prepared-for-dyeing cotton and silk fabrics and create my own personal color palette. The resulting fabrics represent a sensual and easily mani-pulated ground that can be dyed, painted, folded, cut, stitched, or embroidered. They can be made to have weight, mass, and texture, and are less constraining than primed stretched canvas.

Making abstract art with cloth involves varying degrees of getting it right, doing something with it, perhaps even redesigning it. I get a thrill by honoring and universalizing my own personal views.

I’m currently focused on creative lines, shapes, spaces, forms, and textures. These elements underpin most images I see every day and with which I am familiar. The variety of ways these elements can be mixed, matched, and reinterpreted is mind-boggling and thrilling.

InspirationAll genres in art are valid. All are authentic. Elemen-tal lines, shapes, forms, and textures are universal in nature and embedded in our subconscious. I seek these out to recombine them into an overall textile composition — not unlike an abstract painter. My goal is to challenge the perception of this chosen material and create an emotional response with the viewer.

Apart from the inspiration that comes from the tac-tile appeal of dyed cotton and silk under my fingers, I am often inspired by other visual art. For me, inspi-ration can be elusive; there’s no formula to it. It could result from a trip to a museum, a news item that grabs me, or simply a piece of fabric.

www.kitvincent.com

left:

Chaos Butterfly65 x 65 inches, 2014

below:

Seagate47 x 67 inches, 2013



Portfolio

Nan33 x 29 inches (84 x 74 cm) | 2017private collection

Margaret AbramsheSt. George, Utah USAmetaphysicalquilter.com


Garden Party #253 x 36 inches (137 x 91 cm) | 2016

Caryl Bryer Fallert-GentryPort Townsend, Washington, USA

www.bryerpatch.com



Portfolio

Council of Six71 x 73 inches (180 x 185 cm) | 2016photo by Jack Kulawick

Kathleen SharpTucson, Arizona, USAwww.kathleensharpartquilts.blogspot.com

Art Quilt Quarterly

To subscribe or purchase back issues:

www.saqa.com/aqq

We hope you have enjoyed this special preview of SAQA’s


JAM SHOWCASE

Isabelle WiesslerRindenspiel I31.5 x 12 inches | 2016

Nature, life, strength, and durability—there is hardly another symbol that could be as meaningful as the tree. The color and the structure of tree bark, which comes through weather and time, was my inspiration for a varied combination of stitching and mark making. In this three-dimensional sculpture, my aim is to give room for everyone’s own imagination.

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saqa journal - neoncrm...saqa journal • 2018 | no. 3 • 3 i keep getting asked how i was able to...

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