This is the final post on the quilts I saw at Road.
Fiesta Mexico was made by Karen Kay Buckley and quilted by Renae Haddadin.
The back was amazing, with all the colored thread. Details of the front are below.
Chromatic Transitions. Rachel Wetzler adapted a late 1800s Minton tile pattern to make her quilt. Four tiles pivoting on center makes one block and there are 25 blocks in the quilt. She played with the placement of values to de-emphasize some shapes and empasize others. Details below.
This quilt fascinated me by the way she appliqued it. Some swirlies were turned-under (freezer paper method?) and then appliqued using a small zig-zag.
And then there’s this section which is raw-edge appliqued. I love the combo of both in one quilt.
Cranes in Motion was made by Gloria Gilhousen and quilted by Jean McDaniel of Oregon. So you’re thinking: nice birds, nice autumny background. And then you realize that the background is all flying geese, set on the diagonal. Clever.
Inspiration came while she was vacationing in Florida where “cranes are ubiquitous and sunsets are an extraordinary visual experience.”
Sheil Frampton-Cooper is the one who put together the Perspectives exhibit where you saw lots of landscapes yesterday. This is her quilt, Fantasyland. She writes: “Created during an emotionally challenging time, working on this quilt was an escape to a fun place. It was my ‘amusement park’ and regardless of what I had to deal with, as soon as I entered my studio and felt its vibrant energy, I was comforted and full of excitement.” She is from California.
I included this quilt because when was the last time you ever saw a cream and green quilt? Green Miles was made and quilted by Peggy Kragnes of Minnesota. She writes that it was made “using green fabrics gathered on a 7,000 mile road tip with patient husband.” No kidding. There are many different fabrics in here and the quilting is wonderful, too. Detail shots below.
Annette Guerrero made two solid-fabric quilts. This first one is titled Convergence.
This quilt is titled Iris.
She included a quote from Emile Zola on her sign: “If you asked me what I came into this world to do, I will tell you: I came to live out loud.”
Lily Pad, made by Patti Van Oordt and quilted by Cory Allender (both of St. George, Utah) is a paper pieced design that had its origins in a class by Claudia Meyers. Since I’ve been working on a hexie-shaped quilt for eons, I was interested in how she displayed the pieced hexies against the rusty-orange background.
This little stunner, titled McTangerine Rose, was the 2011 Block of the Month patter by Sue Garman for “The Quilt Show.” Lynn Droege, the maker, added an additional border. It was quilted by Lisa Sipes; both are from Kansas.
For a change of pace, here’s a miniature quilt. Kaye Koler of Ohio, “set out to see how small I could make a log cabin.” Each block is ONE AND ONE-HALF INCHES!! Which means, my thumb (and yours) would just about cover one log cabin. She used 172 different fabrics. All of the miniatures were amazing, but because of the plastic tape, I couldn’t really get in to see them.
Pam Hadfield, from California, saw a trivet in the airport, and used it as inspiration for her quilt We Moost be in Yellowstone. I have a Christmas ornament similar to this from when I visited Yellowstone: a moose filled with designs.
Another exhibit in the show was something called “Power Suits,” and each quilter used their own ideas to depict the theme. I liked some of these very much.
Someday I aim to make a pineapple log cabin quilt!
The annual awarding of The Ugly Quilt came from this exhibit, but this year we had a tie. You’ll find them at the end of this post.
Remember the swirly quilt above in yellows and blues? Well, Rachel Wetzler did it again: Rare Birds is a quilt depicting the six of her friends in a their quilt critique group: (l to r) Denise Havlan, Rachel Wetzler, Annette Hendricks, Beth Gilbert, Ann Fahl and Robbi Eklow. That’s quite a group!
Along the front wall of the ballroom was a Route Sixty-Six quilt. It consisted of large panels with lots of small quilts adhered to the “road,” showing off the sights in the area of the cities along the route. Here are some of the panels, with some close-ups of the mini-quilts as well.
I included this one because my daughter used to live in Kingman Arizona, and I’m pretty sure the movie Cars was based on some of the scenery around there.
We have a giant orange stand like this in Riverside, in our State Citrus Heritage Park.
Let Sleeping Cats Lie, by Cheryl Giovenco (quilted by Sheila Osbrink, both of Corona, California). This quilt is made of 19 different batik fabrics, and was designed by Helene Knott.
Vincent–Haunted Genius was made and quilted by Danna Shafer of Temecula, California and is her interpretation of Van Gogh’s “Starry Night.” She used fused appliqué, secured with monofilament thread; it was five years in the making. Detail below.
This is for you applique fans. Joan Lebsack made Welcome to My Tea Party, based on a pattern by Verna Mosquera.
The sign next to this quilt was wrong, so I have no idea who made it or what the title is. It’s really lovely.
A couple of years ago (March 2010), there was an exhibit of red and white quilts in New York City, “Infinite Variety: Three Centuries of Red & White Quilts,” which took us all by storm. Thelma Childers made this quilt as an homage to that amazing show, but also as a way to show many different quilts, and how one might have obscured the other as a person walked through that show. I’m a fan of Thelma’s, so was really excited to see it in person, as I read about on her blog as she made it.
The beautiful quilting is by Connie Lancaster.
This is another Childers’ quilt: Two Score and Seven Stars, and it is quilted by Judi Madsen (both are from Illinois).
Tree of Life, by Allison Lockwood of California, was based on a trip to Thailand, where she was “enthralled with the color and sparkle of Thai Buddhist temples.”
What made this quilt by Gayle Pulley stand out for me was not only the coloring of her hand-painting on a whole cloth, but also where the color isn’t, and how the stitching fills in. Two Tenacious Crows are certainly having their feast in a cornfield.
And now I bring you my truly subjective category: Ugliest Quilt. One is easy and you’ll probably agree with me. This first one, however, may make you howl, especially if you loved this Award-winning Quilt. I couldn’t find anyone who did, so I think there are more that might give me a thumbs’ up on my awarding of this quilt one of two in the Ugly Quilt category.
I like red. I like gold. I’m not opposed to feathers. But I couldn’t make any sense of this one, other than it was one of those quilts that was just a show-off for technique, and not for design, or cohesiveness. It’s made by a couple of big-name artists (I never reveal my Ugly Quilt makers), and while a lot of times I see their quilts up here on Winners Row at Road, this one just made me scratch my head and realize that my puny efforts will NEVER get in, if this is what the winning quilt looks like.
This is just all wrong on so many levels: the art, the composition, the appliqué wads of dyed cotton batting for hair. It has nothing at all to do with the subject matter, just like the quilt above.
I guess I look for quilts that have some intrinsic beauty, when I pick out my favorites, or colorations or design elements that are interesting. I also appreciate technique, but “over” technique is just as big of a sin to me as is “under” technique.
Other observations: The people that hang the quilt show still have that affliction of hanging subjects together, such as all the flowers together, all the birds together, all the zombies together (I didn’t show any but we did have some Halloween quilts) so that you don’t let the quilts interact in a more natural way. Wish that would go away.
I think the show overall was better than last year (it could only go one way), but I was not as charged up about the vendors as I usually am. Perhaps that’s just because I’ve gone too many times and seen everything that is brought to the show (or maybe I have just too projects on the back burner with too many yards of fabric home in the closet). I did buy a bead bracelet (quilt shows are a great place for jewelry), and some solids from Ginger’s, but other than a few bits here and there, it wasn’t a Big Haul. I think the group that we were with didn’t buy as much as usual, either.
I do appreciate having a quilt show nearby, and look forward to Long Beach the first week of August. The best time of all was with my friends–both new and old–eating together, doing Show and Tell, taking a break. See you all next year!
And that’s a wrap for 2013.
5 thoughts on “Road to California Quilt Show 2013—part III”
Thanks for the morning eye candy! I loved the mini log cabin and the tea and cake quilts especially. I just saw the green and white quilt at the Quilt Fest.
Amazing workmanship and talent!
Such a wonderful conglomeration of classical and modern, representational and abstract. I really love the first two, and quite a few after that, and I couldn’t agree with you more on the last two.
Even though I looked at all these quilts with my very own eyes, I always see so much more when reading your posts and viewing them through YOUR eyes!
I so enjoyed seeing all of these, Elizabeth. Thank you for sharing. I was particularly excited to see Lynn Droege’s quilt, McTangerine Rose, among your favorites! What a small world! Lynn is president of the quilt guild I belong to and an awesome quilter!
Hi Elizabeth, I loved viewing all the pictures here of Road to CA show. Nice job!. I wasn’t able to attend. I am the maker of the little log cabin, Home At Last. I’m honored that you found it worthy of posting here… I just happened on your blog by accident and there it was. Thank you for sharing….