The Studio Art Quilt Associates (SAQA)’s newest touring exhibit of art quilts debuts this month at the National Quilt Museum in Paducah, Kentucky, just in time for the annual AQS Quilt Show in Paducah.  I’m thrilled to be among the 34 artists in this exhibit, and equally thrilled with the exhibit catalog (which just happens to be available for sale here on the SAQA website–thank you to Deidre Adams for doing such a great job on it.)  More information about the exhibit is here on the SAQA website.

The new Food for Thought catalog from Studio Art Quilt Associates. Available to order here.

My pages in the catalog. Great layout and design on the pages–love the enormous detail photo on the left. The booklet is about 8.5 inches square.  Click to view larger.

When visiting my mother we would often go to a restaurant called Insalata, housed in a building that had been a bank when I was a child. The chef/owner met the challenge of the enormous ceilings by commissioning oversized artwork of fruits and vegetables scaled to fit the soaring walls. I loved the persimmons, especially, and remembered it as I made another quilt in my tomatoes series.   As I worked on these salad ingredients, I recalled the flavors of our food and the company of my mother and her friends as we lunched there.

Insalata, (c) Sarah Ann Smith 2014.  For sale.  40 x 42.5 inches.

My first tomato quilts became the basis of my Quilting Arts/Interweave video workshop which teaches my collage process.  As Helen Gregory, VP of content for F+W said, the title may be the longest ever:  Art Quilt Design from Photo to Threadwork, with Fabric Collage and Machine Quilting (link here, also available as a download here).  But as she also said, there is just so much in it!  Here’s one of the early tomato quilts:

Insalata is made of Artist dyed and painted fabrics, commercial batiks, poly-wool blend batting, textile paint, Mistyfuse, crisp interfacing, Superior Threads 40-wt poly and 60-wt poly thread, raffia.  Techniques include dyeing and painting fabric. Fused collage. Intensely machine quilted.

The exhibit will travel to Great Britain (England and Ireland) next year, and additional venues thereafter. Sure hope I get to see it in the cloth somewhere!

Ice Storm by Sarah Ann Smith (c) 2014, part of the SAQA 25th Anniversary Trunk Show and selected to be among 50 works in the collection of the National Quilt Museum in Paducah, Kentucky

It pays to check your ISP’s spam folder.  I found the news that my small art quilt, Ice Storm,  is one of 50 selected, out of 407, from the SAQA 25th Anniversary Trunk Show, to be in the collection of the National Quilt Museum!!!  SAQA is the Studio Art Quilt Associates.  Here’s the announcement in the May 2014 SAQA e.Bulletin:

The trunk shows have started traveling!  It was so incredible to see all the pieces together at the conference.  These pieces are from Trunk A: (note:  images not copied since I haven’t asked the artists for their OK).

If your area would like to borrow a trunk show, please contact your regional representative to make arrangements.

Congratulations to the following artists whose trunk show pieces have been chosen to become part of the permanent collection of the National Quilt Museum  in Paducah, Kentucky.  Jurors for the selections were Trudi Van Dyke and B.J. Adams. (List not copied.)

For the full list of selected artists and to see the 8 trunk shows created from the 407 quilts, please go here on the SAQA website. All these quilts are 7 x 10 inches, mounted on black mat-board to 9 x 12 inches. I am beyond thrilled and honored to be selected:  there were SO MANY wonderful quilts.  I wish there could have been more going to the Museum.

I completed this piece in the nick of time–just before the entry deadline, stitching it and sending quick mail to get it there in time!   And let me tell you, it was a bumpy ride to finished! I had just finished viewing and reviewing Diane Rusin Doran’s wonderful Digital Surface Design video workshop (blogpost here, if you are interested in purchasing the DVD or downloading this video, use the link to the Interweave Store to the left in the sidebar) and wanted to try some of Diane’s techniques with a photo from the brutal ice storm earlier in the winter.

In this next photo, you can see how I began to quilt the outside edges.  From the fact that the edges are sliced off you can gather that I DID NOT like the way it looked!

First effort at quilting the outer edges. Yuck. Chop ’em off and figure out Plan B.

I figured rather than pick it out (which would make me miss the deadline), I’d create a quilt on top of a quilt. So I did.  The back of the quilt tells the story:

The back side of Ice Storm.

I printed the photo a second time.  I quilted just as much as needed to be done to fit underneath the new, smaller, nicely bound “top” quilt.  Then I stitched in the ditch of the binding of the top quilt to secure it to the lower layer.   Add binding, call it done, and send it off by Priority Mail without even stopping to take really good photos!  EEK!

And now, it is going to be in the National Quilt Museum, once the trunk shows finish touring that is.  Use the link above to get to the page on the SAQA website where you can see all 407 quilts.  SAQA did LOTS of work to take photos, name them all with the artists name and upload them by the trunk show into which they were put.  Quilts selected for the museum are marked with an asterisk.  I’m in Group A, but those selected are in all of the different trunk shows.

So it’s a good day!  And I’ll close with a detail of the quilting and corner.  Sure glad I worked my tuckus off to get it done!

Detail, Ice Storm, (c) Sarah Ann Smith.

All I need now is more time to play with the techniques in Diane’s workshop–I have this idea…….

I’d like to ask you to consider supporting a funding drive to complete a documentary on the Tentmakers of Chareh El-Khiamiah.  The fund drive is being held on Pozible (here) and they will accept any donation.  Even if you can donate only a few dollars, every bit helps.  Let’s get this documentary of textile art funded and made.  Today, Tuesday the 19th February, the total pledged is $13250, and 160 made a pledge – but they still need to reach their target of $20,00 by the end of February.   I hope you will find you can to support this important project with at least a small donation and by passing this on to some of your friends. Please feel free to link to this post and borrow from it to help support this project!
For more information, read on!

An Egyptian Tentmaker’s hanging in the collection of Alison Schwabe

Several years ago Jenny Bowker, a fabulous Australian art quilter and teacher, moved to Egypt while her husband served as the Australian Ambassador to Egypt.  While there, she came to know and love the land, and especially the Tentmakers.  In that culture, beautifully decorated tents were used for special events, but with the rise of machinery and the modern era, the art and craft of tentmaking was fading.  Jenny was so moved by this beautiful textile art, that she began to share it with the rest of the world.  I first read her posts on her blog and on the QuiltArt list.  Later, I attended a lecture at the International Quilt Festival in Houston where I sat with tears in my eyes as she shared the appliqued textiles they make and what she has done to bring pride and respect to their art.  She has since been able to bring a couple of the tentmakers and many men’s work (the tentmakers are men) to Australia, the United States and Europe where their works sold like hotcakes and impressed many.  The quilt above is one of two  in Australian quiltmaker Alison Schwabe’s collection (Alison’s website is here). Here is a detail photo:

Detail of the quilt at the top of this post.

And Alison’s other textile:

Egyptian tentmaker’s applique work, in the collection of Alison Schwabe

Detail photo

After the “Arab Spring” that began with demonstrations and protests in Dec. 2010 and continued through spring of 2011,  Jenny was involved with an exhibit in the UK; one of the tentmakers–having seen what is going on in our international quilt world from previous exhibits–had broken with the traditional imagery of their craft, and made a piece depicting the demonstrations in Cairo.  This was the first personal expression of this sort Jenny had ever seen, and I still get goosebumps remembering when Jenny posted to an internet list that the piece had been purchased by a Museum in England!  How utterly wonderful.

AQS then hosted the tentmakers for an exhibit here in the US and published a book about these pieces.

Alison and Jenny have written some detailed information which I will share here so you can follow the links.  Thanks Alison for allowing me to re-post your message!

From: alison schwabe al>
> Subject: The Tentmakers of Egypt – please read at least !
> Date: February 17, 2013 7:32:31 AM MST
>
> Dear Friends –
> You all know me as a textile and fabric artist – a quiltmaker, an art quilter – however you think of me, you know of my intense interest in things in fabric and thread. Because of this, I hope you will read and find interesting some of the material in this recent email from one of my close friends, prominent Australian textile artist and quiltmaker, Jenny Bowker.
> Jenny spent several years in Egypt where her husband Bob was Australia’s ambassador. When we visited in 2007 Jenny took as to several textile places (in addition to the pyramids, valley of the kings and other wonderful places around Cairo) and we found the time we spent in the Tentmakers' street in the old markets quite wonderful – its hard to describe the marvellous times and experiences there but, as just one indication we had to buy a suitcase to get what we bought there back here! If you are a Montevideo friend please remind me sometime you’re here that you’d like to see the magnificent 2m sq pieces of their art we have in bedrooms on the first floor…
> Jenny’s letter is frankly to explain and support the current appeal for funding to complete a quality full length documentary on this textile art with an ancient heritage stretching back over 800 years… but her words are far more authoritative and comprehensive than mine, and so I am copying her letter in full and sending it to you, hoping that by the time you’ve looked into some of the links, you too will feel able to pledge a small donation (or a large one, of course) to ensure this project goes to completion. To me, the importance of the project ranks up there with films I’ve seen on The Bayeux Tapestry, the quiltmaking of the Amish, the Overlord Embroidery and some of the many lacemaking and knitting traditions.
> I invite you to read what Jenny has written below, and if you are pressed for browsing time to follow links, I recomment the short videos and the pinterest images. And, please contact me if you want further details – I’ve been posting things about int on my facebook page and blog, but you may not be a FB friend or might not follow my blog ( but I hope you will sometime go there for more insights to what I do and what things influence me and my art)
> But, now over the Jenny Bowker., who wrote:
> “The Tentmakers are a group of men in Cairo who make spectacular applique. Nowadays most of what they make is intended for the walls of houses or on beds, but in Pharaonic, early Islamic, and Ottoman times it was intended for the inside walls of tents. With canvas behind it which formed the outside wall, the rich appliqué glowed with light on it, and was intended to amaze visitors to a leader’s tent. Did you know that Cairo was originally called Fustat – which means the big tent? In pharaonic times the tents were appliqued leather, now all the work is cotton.
>
> You can read more text about them here:
> http://www.jennybowker.com/tentmakers/
>
> You can see pictures of the work here:
>
> You can see a short video made by Bonnie McCaffrey for Luana Rubin here:
> http://www.youtube.com/watch?v=wHzWRui7Kjk
>
> And a longer one made by Bonnie as one of her wonderful vidcasts here:
> http://www.youtube.com/watch?v=39zkCcQqWp0
>
> And if you go to my Pinterest board on the Tentmakers you will see a lot of current work – and some that is much older and also some of the truly old tents so you can see how they were used.
>
> http://pinterest.com/jennybowker1/tentmakers-of-cairo/
>
> I think almost the best if Kim Beamish’s Facebook page for the film as he is putting up constant new images, and there is a lot lot of historical input as well.
> https://www.facebook.com/CharehElKhiamiah
>
> The art has been slowly dying. Big pieces of cheap, badly registered, printed fabric made in China have poured into Cairo and people buy this rather that the real appliquéd pieces. On top of that disaster – tourism has stopped with unrest for the last two years. Without the work sold in to exhibitions that I have been arranging in other countries they would all be gone by now – instead – stitchers who left are coming back and young ones are learning again. I am thrilled with the progress we have made and very happy with the AQS (American Quilters Society sic )who committed to them for three years. But – it is still hardly documented at all. There is not one piece in the Cairo Museum or even in the Cairo textile museum. The best article I have ever found is in the Uncoverings magazine and there are no books. Older stitchers are dying and no history has been written.
>
> Kim Beamish is an Australian friend who – when I took him to visit the street on his third day in Cairo – picked up the baton I offered and ran with it. He is making a film about the Tentmakers in these difficult times. He has given most of five days a week for the last seven months – or more. He has paid his own way to shows in England, and has had to pay for three more that have not even happened yet in France and two in America. He has become part of the street and the men are used to him and his camera. He has two young children and a wife who works in the Australian Embassy in Cairo. They have to pay a nanny so that he is free to film. He is, like I was, a trailing spouse. He did not choose to live the ‘cocktail parties and bridge’ life, but has chosen to go out on a limb to tell a very moving and necessary story. I know that at the moment he is on the bones of his behind financially and simply cannot afford anything else.
>
> The movie will not be made without funding for the essentials – the long and boring stages when the filming is done and the hard work starts. Editing, top level translation and the rest has to be done by experts and paid for. Please help. Even a little bit from a lot of people will add up to a lot – that is what crowd funding means. The link is now open and working. If he does not get to his total he gets nothing. Kim will spend the month hovering over the site and biting his fingernails.
>
> The work is really special and the film is essential.
>
> http://pozible.com/tentmakers – this is the link to support the Film – The Tentmakers of Chareh el Khiamiah. If Kim Beamish does not get this money the film cannot be made. Even tiny donations will help and big donations will help more. Please.
>
> If you use PayPal it will ask you to preauthorise. It sounds odd but it simply means that when the total is reached the money will then be taken from people’s accounts so it has to be done this way. Kim gets nothing if he does not reach his total and that is the way that Pozible works. He is a bit worried at the moment as only about 29 have helped in three days.
>
> I am hoping a lot of people will have read this far and be willing now to help us. PLEASE send this on to as wide an audience as you can reach. The moment the total is reached the project will be assured. Until then it looks as if it might be dead in the water.
>
> Thank you
>
> Jenny ”
>

Hi all…great news this week:  I’ve been selected to be on the Faculty at the International Quilt Festival in Houston, Texas…as in: I’m teaching at the best show in the world! (I taught there are few years ago, and am thrilled and considerably less terrified now return… I know I can do it!)  I will have full-day classes Monday, Tuesday and Wednesday, will participate in the Machine Quilting Forum on Thursday morning, and may well do a 30-minute “Meet our Teachers” demo on the quilt show floor (schedules permitting)  and participate in the “Friday Sampler” from 10-Noon.  If the scheduling for the latter two works, I’ll be demo-ing my fused collage technique at the “Meet our Teachers” and on Friday will share/demonstrate free-motion quilting!  And as always, Janome-America will be able to lend me a machine for my demos…yeah and thank you Janome!

Here’s my Festival schedule:

• Monday, October 29:  Fine Finishes–edge finish techniques; full day class
• Tuesday, October 30:  Birch Pond Seasons–fused collage landscape; full day class
• Wednesday, October 31:  Decorative Stitch Applique–learn to use all those fun stitches on your machine! Full day class
• Thursday, November 1:  Fun with Fancy Threads–the trick to metallics, holographics an other fussy thread; 9-Noon
• Friday, November 2 (tentative): Friday Sampler–free-motion quilting; 10-Noon
• Thursday afternoon or Friday afternoon (tentative)–a 30 minute demo at the Meet the Teacher area on the show floor
• Thursday afternoon or Friday afternoon (likely)–demo(s) at the MistyFuse booth again… love MF and Iris (the owner)!
• Saturday:  PLAYTIME!

Not sure yet if I’ll stay and see the show on Sunday, too… I just may given how busy my schedule has become!

I sure hope to see some of you in Houston and, even better, in my classes! When the show/class catalog comes out, I’ll post to the blog with pictures from the classes and links to previous classes I’ve taught so you can see student work.  FUN!

AND….. drum roll…. the portrait of my son, Joshua, has been juried into the AQS Lancaster show (March 14-17)!

The quilt is too small to fit into the categories for Paducah (must be 40 inches wide, and this one is 36 inches wide by 48 long), so this is the show for which it fits into a category.  I’m thrilled, as I think this is probably the best quilt I’ve ever made.

The Quilters Heritage Celebration show (now defunct) used to take place in Lancaster in March, and it was the first major quilt show I ever attended, driving up from when we lived in the metro DC area.  I love going there and hope some day to be able to teach at AQS Lancaster (which picked up the show-in-Lancaster after QHC ended/retire).  If I can just get my schedule clear for March then I can apply (currently there is a conflict with son’s wrestling season!).  Anyway, it’s been a good quilty start to the year!

This blogpost continues my work on a quilt inspired by Kathy Schmidt’s Cell Block Blues pattern from her bestselling Rule-Breaking Quilts book.  (Check here for my book review.) At first I thought all my blocks (and I had no idea how many I would make or how large this quilt might be) would have bright hand-dyeds (all made by me!) as the stems and veins.  As the quilt took shape, though, I decided a bit of subtle would be a good think and make a good transition to the outer edges of the quilt which, in my mind, would be the remaining squares and rectangles from the original ten fat quarters of batik.

Another set of blocks, adding some blues to the bright mix

At this point, the design wall was getting crowded, so I removed the other “stuff” so I could spread out my blocks into what might become the final quilt.  It is fairly unusual for me not to have a final image inside my head before I begin, so I was enjoying working this way for a change.  It definitely won’t become my “new favorite” way, but I sure had fun with this one.  You’ll notice in the photo above that there are blobs of white-white fabric and dark-dark, and it got tricky getting the direction of the stems correct and preventing same-fabric from touching the same-fabric in another block! In this case, contrast is good.

The quilt grew and grew; finally, I decided I had enough blocks.

By this point, I had as many blocks as I thought I needed.  My design wall is 6 feet wide at the widest point, and I had just about reached that size, which I decided was plenty large.  As the blocks went up, I scattered the colors and the direction of the blocks as if they were swirling upwards in an autumn gust.  The bright colors are clustered in the center with the blue-vein blocks on the edges.  Now it was time to fill in the pieces.  To my dismay, I didn’t take in-process photos until after the whole thing was sewn together.

Filling it in to become a rectangle

The top is now about 40×60 inches.  This is what is left of the initial ten fat quarters, with a 6×12 inch ruler for scale:

what's left out of 2 1/2 yards of fabric (ten fat quarters)

Not much!   Seven of the ten original fabrics are pictured here.  The rest is totally used!  The white one on the right and the dark blue on the left were purchased for value-range (i.e. light-light and dark-dark) and were essential, but they really grab your eye almost too much so I stuck to the medium-dark to medium to medium-light fabrics for most of the work.

When I went to the Batiks by Design website it appeared some of the fabrics I used were sold out, so I called the store and thankfully they still had some of them, so my outer border and binding will not have to feature prints not used in the center.  I’m so glad they were willing to custom cut some pieces for me to match what I already had. Here’s to good quilty service…thanks ladies!  I’m planning on a narrow inner border of the bright colors all the way around the top shown above (probably a finished 3/8 or 1/2″ wide multicolored strip), with a wider (3-5 inches?) of squares and rectangles of the blues, with a slightly darker blue batik for the binding.  What do you think?  Suggestions?  I’m thinking maybe some of those larger rectangles on the outer edge need to get sliced up with some of the medium-value pieces set into them.  Maybe with some angles? Let me know what you think!