I hope the combination of the above three piques your interest, for it was an interesting juxtaposition of quilters. We also had SAQA in the same space, as well as Mirjam Pet-Jacobs, with her pieces on wastefulness.
I kept track of who was where by looking at my charts:
(You can click to enlarge them, but really, they are just my scribbles.)
These artists were all in the Space des Tisserands, a large room that had been subdivided to accommodate all these quilters. While some of these pictures are tiled in groups, you can click on any individual image to see a larger version.
First up is Ian Berry. Yes, he’s the blue jeans guy. He cuts up blue jeans into shapes and tones and colors and contrasting pieces, then re-assembles them via gluing, into recognizable images. We had a few minutes before the crush of fans wafted in again to visit with him, and found him a lovely conversationalist. We talked about quilting, what else?
Then he was called in for a group picture, one of many I saw him do that day. I wish I would have snapped the photo of the group of ladies posing on the blue tiles in front of the washing machines in the laundromat. I didn’t know you could step into a work of art that way, but no one was stopping them.
Next up is Luke Haynes (self-portrait, above), who burst onto the scene about three years ago, and remade the quilt world into his world, by utilizing traditional art studio techniques. This means that he uses assistants to do the work, but they work under his name, and in this way he mounted his Log Cabin show. At QuiltCon 2016, some quilters weren’t too happy with him, for to them this smacked of the subsuming of “women’s work” into the male creative world. But Luke is a happy guy (really fun to hear him talk, and I admire his creativity) and he then morphed into this show (of course, this is all MY view of things–he may have a different take), which was called a collaboration of quilters. Or Quiltllaborations, as his exhibit was called.
Top Row: [Collab #8] Indigo DWR by Luke Haynes and Rachael Dorr (2017) 90″ square
Second Row: [Collab #6] Polka by Luke Haynes and Libs Elliot (2015) 71″ square
Third Row: [Collab #5] Kills It with Fire by Luke Haynes and Libs Elliot (2015) 68″ square
Fourth Row (L): Untitled It is one of my favorites, so please click on it to enlarge; however, it is not quilted. Still cool, though.
Fourth Row (R): Another wedding ring, but I didn’t find the title card. Some of his were nearly on the ground, or around a corner.
Nancy Crow, who helped co-found the Dairy Barn (in previous post) also had a few quilts there under her name; I assume they were either colleagues or students. One of my fantasies in my younger quilting years was to travel to Ohio and take one of her two-week classes. I have just about every book of hers, and screwed up my nerve to read her class supply list. I was completely intimidated and decided that wasn’t the direction I’d be going. But still, she is one of my Quilting Fairy Godmothers, although she probably wouldn’t like me calling her that. (She is a serious quilter–she has a quilting studio with multiple GIANT design walls, scads of tables holding yards and yards of fabric). Serious.
Sea Ice–Cook Inlet, by Bonne M. Bucknam (USA) 79″ long
Conflict No. 7 by Judy Kirpich (USA) 76″ square If you’ll remember, she had a quilt in the Quilt National exhibit titled Conflict No. 5 Mugging. I know that Crow encourages those she teaches to work in a series. If this is two quilts away from No. 5, Kirpich seems like the anguish has eased (if you can read that into a quilt)
Thirty-four? by Helen McBride Richter (USA) 75″ wide 70″ long Did I mention that the name of this exhibit was Mastery: Sustaining Momentum?
Colleen Kole’s Time Fragments #11 In the Distance (USA 2015) 82″ wide 83″ long Detail is below, that shows the really interesting quilting.
Okay, I didn’t love this exhibit of Mirjam Pet-Jacobs, with her pieces on wastefulness, but that could have been just my mindset, or how things struck me that day, for she is a talented textile artist with many exhibits on many different topics (please visit her website to see the range of her artistry). Her exhibit was called “What a Waste!” The above (on the floor in the middle of the gallery) is the waste that came out of a creative quilt studio. [Update: She wrote to me to explain that this was a three-years accumulation, which made it feel more real, for after three years, perhaps my waste stream would be the same?] Perhaps I don’t like to be reminded that there is lots of waste in quilting, and how many of us donate doggie beds full of scraps to our local humane shelter? My hand isn’t up. I try to recycle my scraps, using them, sharing them. But I do know that our textile has long been known for waste–just type in “waste in the textile industry” and see the listings. We try to ignore all that. Maybe the way it was presented to me just didn’t make my heart leap? Or maybe I don’t want to know about this? Does our cycle of quilt fabric collections — almost too many to keep track of — contribute to this waste?
You can see that it caused me to think. Also in this building were the quilts from SAQA–Studio Art Quilt Association. They never let us photograph their quilts in stateside shows, so I felt positively delirious to be able to take photos of these quilts. That’s in the next post about the European Patchwork Meeting. I have created a main page, with a listing of posts.
10 thoughts on “Luke Haynes, Ian Berry & Nancy Crow”
Another fascinating post, Elizabeth! I’m familiar with the work of Luke Haynes, but not the other 2 artists and really enjoyed reading about them. Amazing, just amazing – in a good way. Thank you SO much for doing all the leg work!
It’s good to read your perspectives on these different quilters. I’m not in-the-know about Mr. Hayes and “women’s work.” I only know that I don’t care for his quiltmaking style. It’s too artsy for me. As for Nancy Ctow… she’s all I’ve heard about for years, as my Swiss friend has attended every one of Nancy’s weeklong workshops in Switzerland. I am certain Edith’s work was in the exhibit you viewed. I believe this is Nancy’s last year of teaching… at least traveling to Switzerland to teach. Nancy is quite an iconic quilter!
Interesting. I’ve always enjoyed Nancy Crow’s work for it’s graphic style although have no delusions about a workshop with her. I just don’t get that serious with my work. While not familiar with the last artist, the idea of waste has been on my mind just recently. Our local guild is discussing a quilt show around the topic of sustainability so the idea of waste from the floor caught my attention.
Ok, I have long been a fan of Luke Haynes, and have heard his entertaining talks! Nancy Crow is amazing too. But I had never heard of Ian Berry and I am completely blown away! I have a bag of old blue jeans in basement storage, hmmmm!
I was disappointed that the Nancy-Crow teaser didn’t lead to actual Nancy-Crow quilts. Oh well, I guess promoting students is a good thing, a little like a directing professor ‘co-authoring’ a student’s paper so it is more likely to get published. I too went from dreaming of a workshop with Nancy Crow to reading the course description and supply list and deciding I wasn’t ready yet. If as Flourishing Palms says, this is the last year for Crow to be teaching, I didn’t catch up quickly enough!
I don’t know the scale of the Mirjam Pet-Jacobs piece, unless that’s a shoe at the top? But some of those pieces look too big to be waste; I’d be saving them. Of course, what will happen after I’m gone is that all my saved bits will become waste in one fell swoop, as my children clean house.
Interesting review. Want to know what I do with my smallest scraps? I stuff them in a brown paper bag and use them to start fires in our fireplace. Not sure if that’s recycling…..
Wonderful Post – loved seeing this innovative work and makers!
Thank you for having commented on my work. Making it a viewer cause to think is in fact one of the greatest compliments an artist can get.
I am sorry to read that you didn’t like it. Of course everyone is free to think of artwork what they want. Tastes and opinions are always subjective, as are personal interpretations. That is importance of the presence of a free space of meaning in an artwork. No one thinks/feels the same about what they see. Elements might resonate or not in a person.
Having said this I think it is a pity that you didn’t approach me so that I could explain a bit about the works shown in “What a Waste”. Many people did and often interesting conversations came out of it. I did put some information on the wall that clarified the concepts of some pieces.
The floor installation of studio waste you posted (in this venue L240 x W120 cm, using the best space possible with 20.000+ visitors to be expected) is indeed a saving of 3 years. Of course I am fully able to re-use even the tiniest thread in new work, but somewhere one puts a limit on what is saved. I started doing this out of curiosity of what I actually produced myself, and gradually it became clear to me how I could use it in an conceptual artwork. The title of the work is “US – THEM”, and it’s not about these savings anymore; that wouldn’t be interesting, and lack layering in meaning.
I am honoured that it has been invited into a traveling exhibition “Stuff for Thought” curated by Heidi Drahota from Germany, and that will be exhibited at The Festival Of Quilts in Birmingham, UK, in 2018.
For more images of my solo and info about the works: http://www.mirjampetjacobs.nl/Selected%20works/What%20a%20waste.html
Thank you for your posts about the European Patchwork Meeting. As I hadn’t been able to visit anything else but my own building I was able to enjoy what was going on elsewhere.
Keep up the good work, working with textiles is good for us!
Best wishes, Mirjam Pet-Jacobs