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Retired art teacher from Colorado. I have a Masters in Art. I am passionate about Studio Art Quilting, I love to read, golf and enjoy the life of my dreams!

Leap Year

Leap Day 29 February

Leap Year is....

A common year has 365 days and a leap year 366 days, with the extra--or intercalary--day designated as February 29. A leap year occurs every four years to help synchronize the calendar year with the solar year, or the length of time it takes the earth to complete its orbit around the sun, which is about 365 and 1/4 days

Since it’s a leap year, I thought I would look at some artistic leaps of faith I’ve made in the art quilt world since the last leap year in 2016. Some have worked out and some have fallen flat.  In the end I learn as much from failure and I do success.


Here is my list of artistic "leaps" since 2016

  • Attending yearly  intensive art quilt workshops with National Teachers
  • Submitting to National and International Art Quilt Exhibitions
  • Hiring a professional to manage my website
  • Moving my studio (and my home)  to larger dedicated space
  • Buying a HQ Sweet Sixteen
  • Entering exhibitions at traditional quilt shows 
  • Dedicated time and training to improve my quilting 
  • Created introductory workshops to art quilters
  • Participated in a critique group
  • Used Social Media platforms as a business tool
  • Started a YouTube Channel
  • Submitted articles for magazines
  • Established a local art quilt group within my traditional guild
  •  Had an solo exhibition
  • Booked a speaking engagement and workshop outside of my local community

Not everything on this list has worked out.

For example I found that teaching introductory workshops and local venues is not interesting to me. As a trained art teacher I love to share my knowledge but getting paid to do so is not a motivation. Time away from my studio is a burden. I needed to find teaching environments were I can feel enriched by the experience.

I have tried a few times to form a critique group without much success over time. As my confidence has grown, I have developed a system for testing ideas outside a group process.  Entering shows and social media tracking has helped me get feedback I used to find in critique.

What will be on my next list of artistic leaps?
Expand the number of speaking engagements
Photo to Fabric Workshop Series
Having another solo show
Validate my technical skill with an award at a juried quilt show
Continue to submit articles for publication
Subscription YouTube Channel

 On the business side of my leaps:
Increase social media following.
Total Website Refresh
Promotional Materials
Gallery sales through my website.
Try to publish a book.

Who knows what leaps I’ll take!

Until next time.....


The new year brings with it a list of new juried exhibitions. Some I have been thinking about for a couple of months, but most are simple opportunities to share my work with a larger community.

Blog February

I think about exhibitions from different perspectives. This helps me create work that encourages me to improve technical skills,create work which challenges me to respond to a specific idea and to create a series of quilts that hold together visually and thematically. 

Quilt shows offer opportunities for me to improve my technical skills.

I am becoming a skilled quilter. After taking a Handi Quilter workshop I have increased my understanding of how my mid arm machine works. My approach to common issues like thread tension has become systematic. I try to regularly play with quilt motifs that I pick up from books, minute motifs on the Handi Quilter YouTube Channel and from my own doodles. This focus on technical prowess is designed for quilt shows like Houston, Paducah and Road to California.

Exhibition calls for entry from organizations like the Studio Art Quilt Associates  have a specific visual prompt.

My quilt “Sky Lanterns” was created as a response to a SAQA call for entry. When I thought about the theme, initially I looked through my photographs that I keep in a file called Future Projects. Nothing seemed to fit. So I turned to the definition of the word “Aloft” which is up into the air or overhead. Then I wrote a mental list of words I associated with things I see as I look up to the sky.

Clouds float in the sky.  Astronauts explore space.  Balloons fly up until they disappear from view. After several days of tossing ideas around in my head, I decided to use sky lanterns floating through banks of clouds as my vision of being aloft.

This quilt tested me digital skills because it required me to create a digital collage. Creating this quilt has added new possibilities for me to add to my portfolio. I have since made a few other quilts using digital collage.

Having a exhibition of my work is a dream that came true this year.

In the fall of 2019, I was asked by Handi Quilter to display my quilts at their corporate headquarters. Luckily for me I have a stash of quilts. As I sorted through these quilts  I gathered 12 quilts that fit into different thematic groups. 

One of the groups was of vintage photographs with elaborate or decorative backgrounds. They are quirky and were the first quilts that got me attention on a national scale. It is a group that seem to be my most successful work.

The next group was of landscape quilts. I have quilts depicting the beautiful landscape near my home in Southern Utah including Zion National Park. I also have some quilts from a trip to San Antonio Texas. I am expanding this series with a quilt of the Denver Botanic Gardens and some wonderful scenes from a recent trip to the Baltic and trips to Italy.

In the last couple of years I have extended by portraits to contemporary images of  taken on cell phones. One potential series is of my daughter’s selfies. The signature element is of a face and shoulders that take up almost the entire composition. They are larger than life and I am taking some cues from Chuck Close and from advertising.

It was while putting together a show of my own work, I was able to see the possibilities of creating a series of work that could potentially become something to market as an exhibition in a gallery or to a small museum.

2020 is proving to be filled with opportunities!

Until next time.....




Investing in Progress

Many people write New Year’s resolutions.

Most people don’t follow through with their big plans and by the following year they are resolving to she those same ten pounds

Creative people are not different.

New Years

Artists vow to spend 3 hours a day in the studio this year  and enter so many exhibitions, have a gallery show, etc.... I know myself better than to make that kind of promise. In years past I have made a list of specific things I wanted to do. Take a workshop. Redesign my studio, etc.....

What I find helpful is taking time to review what I have accomplished.

It’s my end of year “Ta Dah!” list instead of a “To Do List”

 This year I made 12 quilts.  The previous year I made 8 quilts. I had 11 exhibitions in 2019 and have been accepted into 4 additional exhibitions scheduled for 2020. The previous year I was included in 8 exhibitions. This is the first time I have had a solo exhibition .  I will be featured in two Magazines in 2020 and I have booked both a workshop and lecture. It’s been a productive year. 

These opportunities came about because of the investments I made over the last five years as a studio artist. 

Investment #1: The studio

I have a space where I can work consistently. The machines I use (A Bernina and a HQ Sweet Sixteen) are well maintained. I have  taken advantage of training provided by my local dealer and have put in enough practice hours to troubleshoot most issues.

I collect images in a computer file for digital manipulation. My computer is in my studio so I can work on getting my digital images  ready for printing on fabric. Printed fabric can take 2 - 4 weeks to arrive. My goal is to have four digitally printed yards on hand.   

My process involves painting each digital image. I keep my paints stocked and organized. When I quilt the painted top, I have a least 10 bobbins (I use pre wounds) and a selection of multiple colors, values and weights.

I always bind the quilt, add a sleeve and label immediately after I am done quilting. There are no half finished projects in my studio.

Investment #2: Record Keeping

As a former public school teacher, I am a “natural” record keeper. When I finish a making a quilt use a consistent process of record keeping.  First I photograph the  quilts . I save the file in TIFF, JPEG and Web ready formats. By doing this work I can enter any exhibition easily. Next I add the title and dimensions to my inventory spreadsheet for the year. Finally  I write an artist statement .  I keep my images on my computer and on an external hard drive. The spreadsheets and documents are stored on google drive. I can access those files from any device. 

My system for keeping track of exhibits is simple. I print out calls for entry, write the deadline at the top of the page, place them in date order in a pile that pinned to a wall in the studio. When I enter I write name of quilt and the date of notification at the top of the page. I move this to an entry pile in date order. If  my entry is accepted, I move the print it to a pile for shipping. If it's reject I throw it out. 

Investment #3: Community

When I complete a quilt, get into an exhibition or have an article in a magazine; I share this on social media. This work is made easier because I already have a “web ready” image on my computer. I have multiple social media accounts;  Facebook , Instagram, Linkedin and  Pinterest.   I also share my Facebook posts to a variety of art quilt groups. Recently I have even spent a little money to boost the impact of posts. I reached 10,000 + people in a single recent Facebook post. Social media is the prime delivery system for sharing what I make and leads to many other opportunities. 

I belong to my wonderful local quilt guild and to the Studio Art Quilt Associates. These are my two primary networking  groups. Participation provide me the opportunity to share what I do and learn from others.

Investing in workshops like Art Quilt Tahoe or Empty Spools Seminars has allowed me to learn from artists who are at the top of the profession and to connect with fellow art quilters from around the world. 

Going to exhibition openings at venues like the  Visions Art Museum in San Diego connects me with museums and collectors. I always carry business cards to any event and use my cell phone to share images

I want to end my wishing everyone who reads this post “A Happy, Healthy and Joyous New Year!”

until next time....

Art and the Scientific Method


Steps in the Scientific Method

  • Step 1: Ask a question. 
  • Step 2: Do background research. ...
  • Step 3: Construct a hypothesis. ...
  • Step 4: Test your hypothesis by doing an experiment. ...
  • Step 5: Analyze the data and draw a conclusion. ...
  • Step 6: Share your results.

I was recently in a workshop with Betty Busby at Art Quilt Tahoe. The workshop  focused on learning processes to paint/alter fabric.

If I had to describe the experience, I would call it a week of “science camp” for the artist. 

 Participants completed a series of experiments. Like a science lab there were supplies that had been tested and a step by step procedure was demonstrated. Students then attempt to duplicate the experiment. When students completed the process they shared their results.

Although the class created a variety of beautiful cloth, the results were as varied as the individual. This is what I love about art and artists. There is no way to keep unique perspective at bay.

When I returned to my home studio, I began a series of my own experiments. I started, as a true scientist would; with a question.

“Can I replicate the process I learned at this workshop in my studio with different materials?”

I modified my acrylic paint with water to create a similar consistency to fabric paint. Then I repeated  the process I learned in Betty’s class of painting on scrunched cloth, letting the cloth dry and finding a pattern similar to shibori cloth. 

I found that the result, without fabric paint was disappointing. I went back to Step 2. Research. What if I took my cloth and soaked it in soda ash? This would be similar to what one does with dyes. I made another batch of cloth and found the results much improved. 

“If this process works with standard acrylics, then what other water soluble paints will it work with?”

I have a collection of liquid watercolors. These are bright transparent colors and made some beautiful samples. The issue with the set I used is they are washable.

"How do I make washable permanent?"

I tried heat of an iron. That didn’t work. I tried adding soda ash to the water color. Didn’t work either. Then I read an article in the recent quilting arts and found an article about  painting textile medium on the cloth and then watercolor......

My experiments are ongoing. What I know as a teacher is that learning is not replicating. To simply repeat a process is like knowing how to add and subtract but never adding up check at a restaurant. As an artist I apply the knowledge learned in a workshop and take it back to my studio where I change that process to work within my own environment. 

The final step in the scientific method is to share. I share with my local art quilt group and here on my blog. Sharing helps me gather valuable feedback  to take to my studio and make further modifications.

Next time you watch an “how to”video, take a workshop or read an article think about yourself as a scientist.

Go back to your lab (studio) and do a few experiments with the process you learned. 

Until next time....

Take a Second Look


 “ Take a second look. It cost you nothing.” 

Chinese Proverb

I had a quilt that I originally titled “Flag”. As I looked at the finished quilt I had that sinking feeling:

For all my efforts this was not a successful composition. 

Then I took a second look.

Before I started this quilt I had been reading articles about the current wave of art labeled as “craftivism. The term had been coined in 2003. 

Craftivism is a form of activism, typically incorporating elements of anti-capitalism, environmentalism, solidarity, or third-wave feminism, that is centered on practices of craft - or what can traditionally be referred to as "domestic arts"

Several experiences with "craftivism caught my imagination.  The  images of a sea of  hand knit pink pussy hats  after the 2016 election was wonderful . I had seen a museum exhibition where artists were highlighting the damage of  climate change by crocheting reefs. Instagram had numerous post of yarn bombing trees in urban landscapes with large audiences. 

In the art quilt world there were  a growing number of exhibit opportunities exploring social consciousness through visual media. I have two pieces travelling “Guns Loaded Conversations” and “Forced to Flee”.  Both these exhibits required me to research the topic before coming up with a concept.

Although political art is not a focus of my own work, exploring the challenges our country and society faces is interesting to me. Given the trend and my  success incorporating social commentary, I decided to make a quilt called “Flag” which started with some research into historic periods of political unrest. 

The quilt was in a shape of a flag with design elements that would be easily identified. Stripes in red and white, a rectangle along the right side and a color palette of red, white and blue. The central figure placed in the rectangle was taken from  a photograph of my father dressed up in an American soldiers costume when he was a little boy.I choose that image because it was taken in a period of political division.  

  • Text was included as the primary design element.
  • Dominating the upper portion of the  composition is the term xenophobia. Behind the figure a dictionary definition of that term becomes a wallpaper.
  • In the lower portion compassion, tolerance and acceptance are arranged as pattern. In another use of text as pattern
  • I used portion of the sonnet "The New Colossus" to form a subpattern. This poem is featured on plaque at the base of the Statue of Liberty. 
  • At the very of the composition is a quote about how history can be seen as a pattern of repetition. 

Despite the rich surface and complex composition, when “Flag” was hung with a horizontal orientation  the composition was derivative rather than evocative of larger issues.  I entered this in a few exhibitions with no success and put it away.

It was when I looked over a call for entry called “Opposites Attract” that I took a second look at that quilt.  

Flag was a good fit for the theme of opposites because it scrutinized the current political divisions in the United States today.  The surface of the quilt was elaborate. It was painted, stamped, used text, had small scale and large scale pattern. There were layers waiting for a viewer to inspect them closely. Up close a viewer had additional information and a intellectual access point for thinking about the values that hold a country together or tear it apart.

As I took “Flag” off a quilt rack and laid it on the floor, I saw “Flag”  as a long rectangle instead of a wide rectangle. I pinned it on my design wall and took a new photograph using this new orientation. It was that second look that made a big difference. I could now see how by letting the stripes lead the viewer up and into the focal point using this new  orientation, the composition was vastly improved.

I also took a second look at the title. While “Flag” might have described an iconic image, it did not describe the artwork I had created. My work was a visual dialogue about the divisions in America today. 

New photograph. New title. And now “Divide” will be travelling with an exhibition called “Opposites Attract” to venues here and around the world.

Until next time