To start off this post, I thought the Baltimores would be a good thing, and since we already know from past posts that the person that hangs this show groups everything in a clump (Hello?  Have you heard about habituation?) it’s easy to find them. Oh, yes.  I get that I’m doing habituation too.  (Life’s little irony.)

The Bizzy Bird Farm is made and quilted by Julie Prose of Ottumwa, Iowa.  She writes that she did a lot of fussy cutting from Kaffe Fassett fabrics.  It’s a variation of  Kim McLean Roseville Album pattern, but Prose notes that she changed the borders.  Sorry about the mediocre picture–those shiny lines are the plastic tape they use to keep up from the quilts.

Detail.  I love the background fabric she used.

I’m a fan of the “pencil” fabric from Kaffe Fassett, used here for the logs in her log cabin.

Several members of the  Shadow Mountain Quilters, a guild from Pahrump Nevada, got together to made this quilt, titled American Tradition. While it looks like the borders are a free-floating zig-zag, the quilt is actually rectangle, with deep navy blue edging on the outside of the white vine border.  It was a beautiful quilt.

A little less traditional Baltimore Album quilt is this one, titled Our Garden, His and Mine.  It’s made by Judith Ledford, of Oceanside, California and quilted by Shawn York of Elfin Forest, California.  It took her nearly thirteen months, working every day to complete this.

Detail, showing the garden rake, trowel and plaid gloves by a pot of blooming red flowers.  I also love those blue morning glories, dangling down near her pieced triangle sashing.

Susie Wimer of Ranson, West Viriginia didn’t want to make a quilt like everyone else’s, so she went miniature in Mon Petit Baltimore.  She began by making one small block, then another, and another, using fabric left from other projects.  She used themes from antique albums and other 19th century genres.  She writes “For the cutouts, I just put scissors to paper and experimented.”

Close-up showing quilting.  The hand quilting took two months, stitching every day.

I think this is a type of Baltimore, although it doesn’t have the traditional white background.  Instead, Denise Nelms of Irvine California, chose to work her magic using wool instead of cottons on a black background.

The title of this beauty is Home and Harvest.  When you look closely, you can see the blanket stitches around each piece.  This is her second quilt using wool.

I took about three pictures of this block, trying to replicate the rich black background and the vibrant colors, but the massive overhead lights distorts everything.  You just have to know it was beautiful.

Mary Kay Davis’ quilt, A Sprinkling of Stardust, was made for a McCall’s quilting challenge and uses only two blocks: Delectable Mountains and Lone Star.  It positively glowed.

She made good use of Jane Sassaman fabrics.

Rare Catch is made and quilted by Diane Steffan of Lake Ozark, Missori.  She writes: “Blue lobsters are very rare genetic anomalies, a one in five million occurrence.”  This is both machine pieced and quilted.

I snapped a close-up to see the interesting variety of stitches used in the quilting.  These quilts, a pair, were some of my favorites.

Such a good use of fabric and quilting.  And because I am not a judge, I may not know what I’m talking about but to me a good quilt makes good use of both the medium and the way its used.  This quilt qualifies.

Ann B. Feitelson depicted the Ice on the Sawmill River with her pieced quilt.  This was another little gem of a quilt, tucked away without fanfare or ribbons that was beautifully executed.  She used different colors to represent snow, ice and water, and over-dyed African fabrics (the birds) to represent “what remains animated despite frigid temperatures.”

Detail, both of piecing and of the over-dyed bird fabrics.  Her use of stripes was masterful.

I can’t read the sign on this exquisite little pieced quilt of hexagons and free-form piecing.  It’s probably 2 feet high by about 18″ wide, and I loved it. [UPDATE: it is “Peace by Piece” by Violet Cavazos.]  It was hanging in the hallway near the back of the show along with what we called the Cow Quilts.

Holy Cow! by Melody B. Macfarland; quilted by Pam Dransfeldt.

To go along with the theme of “holy” she had sewn milagros in among the cow’s spots.

Apparently these are all from a book by Mary Lou Weidman, and her cow quilt, above is titled Psy-COW-delic.  It was quilted by Kathy Woods.

Pana-Moo-Canal, made and quilted by Susan Typpi, was inspired by a quilting cruise she took with Mary Lou Wiedman and all the mola (fabrics) she purchased while on the cruise.

Veggie Cow, made and quilted by Kathy Collins.

COWmen Miranda, pieced by Sue Kresse, quilted by Kathy Woods

I’ve had some really good comments from readers about Road to California and it’s interesting how they parallel what I was hearing behind me and around me from the attendees: nice quilts, but I’ll never make one of those.  And certainly I felt that way about the quilts I wrote about earlier.  So, thanks everyone, for writing.

There were a lot of quilts that when I looked at them  I began to ask myself: what is it about these that is different, special?  Here’s some more that I saw.

Beauty Parlor De Los Muertos, by Nancy C. Arseneault is a classic, as she got all the details just right.  She’s from Tucson, AZ.

Notice the clever use of fabric in the floor tiles!

Sunlit Circles, from Ann Petersen of Surprise, AZ uses spiky circles floated over the top of her quilt.  What makes this one really interesting, I think, is that border of quilted circles, with an occasional scalloped edge.

Nice quilting, and while close together, it’s not excessive.

And not one sparkle (yay!).

This is one of those quilts that you had to see to believe.  Titled The Loading Dock, and made by Mary Buvia of Greenwood Indiana, it reminded me of those books by Jan Brett with ornate illustrations all alongside the main panel. Bruvia hand appliqued much of this “during the long hours of chemo treatments” for her late husband.  She made this quilt in homage to him, as Christmas was his favorite holiday.

It was beautifully done.

Yes, it had sparkles, but this is one quilt that should have — to show the snow sparkling in the North Pole moonlight.  Just my .02 worth, here.

There were a series of quilts that used fabric to show texture in interesting ways–another use of hexagons in this quilt by Jean Spring (from Steamboat Springs, Colorado) and titled Three Gulls on a Wall.

Holly Dominie, from Readfield Maine, took Australian fabrics to a class given by Susan Carlson, intending to experiment in the “Pointillism” style.  This portrait of her daughter is titled Queen of My Heart.  It was stunningly beautiful, and I am sad that they hung the ribbon right on this work of art, which was based on photographs Dominie had taken.

I crept in right up to the quilt, then zoomed in, so you could see her amazing work with the fabrics, cutting, laying them down, then the random stitching.  I have to say I thought of one of my favorite blogs, written by Kathy Doughty, who features these fabrics (because she’s from Australia, for one thing) to great effect.

This one of her son is titled Irrepressible.  Same artist, same technique.  When I visited the vendor’s booth that had stocked these fabrics, they were flying off the bolt, snapped up by all of us quilters as we now envisioned what could happen.  Not that we’ll ever do it, of course, but we hope and believe that we can, inspired by these quilts.  And that’s my big gripe with those “show quilts” from the other post.  They DON’T inspire us.  We look at them, amazed by the hours and hours, but the stray comments I heard never indicated that a quilter wanted to go home and fire up her sparkle gun, or get busy quilting with lines 1/16th-inch apart.  I can admire their work, but that’s as far as it goes.  Of course, I could just be weird, an anomaly, but judging from what I heard, I don’t think I am.

This was just the perfect little piece–wavy edge reminiscent of a postage stamp–a tiny snapshot of a day.  And that’s the title: Snap Shot from Seaside, and it’s made by Mary Kay Price of Portland, Oregon.

I was very interested in the edge of that bridge–the spiky grasses, the grayed ledge. The grasses were raw edge appliqued, but really fused down somehow so they looked painted on.  And the edge?  Some fabric paint to blur and soften that so it melted into the picture.  Really beautiful.

Early Snow, by Yuki Harding from Green Valley, Arizona, was based on a photograph she had taken, of what I assume to be cherry blossoms shedding their blossoms.

Or I could be completely wrong, and it IS a first snowfall.  Whatever, it was interesting, and I loved how she created texture with fabrics and thread.

Here was another stunner of a quilt, that unbelievably only garnered a second place.  Titled The World, and made and quilted by Rachel Wetzler of St. Charles, Illinois, is her rendition of the genesis of the world.  It’s a well-balanced composition with great detail and good use of color and technique.  Maybe it only got a second because it didn’t have any sparkles on it? (Can you tell I’m so done with the sparkle business?)

Such an amazing quilt.  I hope it comes to a quilt show near you so you can sit and study it as well.

Kathryn Nolte, from La Habra Heights, California created this visual feast, titled Take in the Night Blooming Jazz, Man.  Sinewy, fluid shapes echo the subject of her quilt, with a real live “piano key” border.

Great quilting, too, putting more motion into this quilt.  Whenever I went by, there were lots of onlookers clustered around this quilt.

Check out the quilting on the piano player’s pants!

Obviously you are subject to my biases and personal preferences, but if I were to consider a quilt for the Best of Show Award, the following would be on the short list.

The Archer was made and quilted by Wendy Knight of San Diego, California.  Unfortunately, it was hung on a side aisle so the lighting isn’t as good I as I hoped for.  This quilt is expertly composed with lots of movement, color shifts and values, detail and on top of that is interesting.  It also had a crowd every time I went by.

Was I influenced by her expert quilting, writing in text into the background of her quilt?  No doubt.  These are words from the teachings of “Bushido–which is the way of the warrior.”  Her husband is a “student of Japanese history, in particular the Samurai culture” and it obviously influenced her subject matter.

The circular piecing and quilting on the horse’s neck really showed the form of the animal.

More detail. . . and more quilts in the next post!  My husband has just made me some fresh-squeezed orange juice downstairs and I’m headed to a late Saturday morning breakfast.  Enjoy your day!