Art Quilt Associates, Inc

CELEBRATING 30 YEARS

JSTUDOI OU ART RQ UILTN ASSOCIATESAL 2019 | Volume 29, No. 3

INSIDE: SUE RENO • BENEFIT AUCTION • HAVE PASSPORT, WILL TEACH • ART TALK • VOLUNTEER SPOTLIGHT • INSPIRED • EXPANDED JAM SHOWCASE • STUDIO SAFETY • MEMBER GALLERY • FORCED TO FLEE • SAN JOSE CONFERENCE

IN THIS ISSUE

FEATURE ARTICLES: Featured Artist: Sue Reno...... 8 BOARD MEMBERS PRESIDENT Be safe and comfortable in your studio...... 14 Lisa Walton Sydney, Australia Benefit Auction honors SAQA’s 30th birthday...... 22 VICE PRESIDENT Tips for teaching around the world...... 31 Deborah Boschert Lewisville, Texas COLUMNS: TREASURER Marvin Fletcher Thoughts from the President...... 4 Athens, Ohio SECRETARY Editor’s Notes...... 6 Martha Wolfe Davis, California Art Talk: Walk to boost health and creativity...... 18 Inspired by photography: Caryl Bryer Fallert-Gentry. . . . . 38 Holly Brackmann Ukiah, California Vivika Hansen DeNegre Guilford, Connecticut GALLERIES: Carolyn Ducey Lincoln, Nebraska SAQA Global Exhibitions: Forced to Flee...... 16 Susan Else Santa Cruz, California JAM Showcase...... 20 Cindy Friedman Member Gallery: Face Off...... 26 Merion Station, Pennsylvania Jayne Gaskins Reston, Virginia SAQA NEWS Gül Laporte Linho Sintra, Portugal SAQA Award ...... 7 Dolores Miller San Jose, California Volunteer Spotlight: Candice Phelan Georgia French...... 7 Wellington, Florida Gwyned Trefethen San Jose Conference: Cohasset, Massachusetts Threads of Innovation...... 28 EXECUTIVE DIRECTOR In Memoriam ...... 35 Martha Sielman Hebron, Connecticut ON THE COVER: SAQA JOURNAL Nancy Bardach EDITOR Bravo! Brava! 41 x 34 inches | 2018 Diane Howell From Member Gallery: Face Off, page 26. Chandler, Arizona DESIGNER Jennifer Gauerke QUICK NOTES Denver, Colorado To find out more about SAQA, contact Martha Sielman, executive director, at 860-530-1551 or [email protected]. Visit our website at www.saqa.com. Annual membership (U.S. and international): Artist/Associate, $80; Juried Artist, $145; Student (full time with copy of ID) $45. Go Green! Studio Art Quilt Associates, Inc. (SAQA) is a nonprofit organization whose mission is to promote the art quilt. We provide education, exhibitions, professional development, documentation, and publications. You can choose to read the The SAQA Journal is published four times a year. To submit articles or story ideas, contact the SAQA SAQA Journal online only. Journal editor at [email protected]. See the submission guidelines at www.saqa.com/journal-submit. Login to mySAQA (www. For delivery questions, please contact [email protected]. saqa.com/mySAQA) and For more information about advertising in the SAQA Journal , visit saqa.com/ads. select Manage Your Account. SAQA Journal • 2019 | No. 3 • 3 THOUGHTS FROM THE PRESIDENT

Conference provides reminder of what’s important

The Threads of Innovation on donated fabrics and tools to allow how SAQA members can help SJSA conference in San Jose is now a young people to create blocks and on page 29 as part of our convention wonderful memory. I know many whole quilts which are then sent to coverage. of you shared my pleasure in the volunteer embroiderers to stitch and I know that there are many activities and speakers we enjoyed in return. This amazing collaboration worthy programs throughout our California. has resulted in quilts that express communities, and it is important to Sometimes at such an event, you the social concerns of the makers. support ones that you feel strongly have the honor to see something that These quilts are being exhibited and about. SAQA has enabled me to see makes you stop and think. This year, winning awards at prestigious quilt and think beyond my own little we were given the opportunity to shows, including the Modern Quilt world and feel part of the larger hear from the Social Justice Sewing Guild’s QuiltCon. The pride in their community of like-minded souls. Academy (SJSA). I had the pleasure work shown by these two young men Sometimes we are so consumed by of meeting SJSA founder Sara Trail in was evident and inspiring, as was our own issues that we forget what Houston last year, but did not fully their connection to the women who is happening daily to thousands of understand the organization’s work. helped complete their quilts. others. It is good to be reminded. Sara is an amazing young woman I would encourage you all to look who learned to sew at age 4, wrote at their website, sjsacademy.com. I Regards, a book at 13, and, after graduating have signed up to be an embroiderer, from the Harvard School of Educa- as people from all over the world are tion, founded the Social Justice welcome to be part of this amaz- Lisa Walton Sewing Academy in 2017. The orga- ing effort. When I return nization is “piecing together youth my blocks, I will also send voices, textile art, and community in some fabric from my stash, a 21st century sewing circle.” What which is far larger than I will a worthy mission! They introduce ever need, perhaps just like young people to sewing, empower yours. Of course, cash dona- them to express their concerns about tions are welcome as well. social justice, and create opportuni- You can read more about ties for growth and change. In San Jose, they included two of their participants in a panel presenta- The Social Justice Sewing tion, Juan Tapia and Bryan Robinson, Academy presenters were young men who have been able to (left to right): Sara Trail, Nancy create deeply meaningful quilts. Williams, Juan Tapia, Bryan Robinson, and Kate Godfrey. Bryan’s flag quilt moved many of us to tears. SJSA’s main program relies

4 • SAQA Journal • 2019 | No. 3 Be part of SAQA’s most anticipated fund-raising event! 2019 SAQA View. Dream. Bid. Dream. View. BENEFIT AUCTION SEPTEMBER 13-OCTOBER 6

Donate a 12 x 12-inch quilt to support SAQA’s Global Exhibitions program. Last year, these small works raised nearly $75,000. Can we top that in 2019? It starts with you! Don’tSUBMISSION let your favoriteDEADLINE get IS JUNEaway. 1. For details on how to donate, visit Sept. 13-Oct. 6 • Details: saqa.com/auctionsaqa.com/auction

Clockwise from upper left: Sonya Prchal, Day’s Over; Alice Beasley, The Race is On; Frances Murphy, Invasion of the Body Snatchers; Margaret Abramshe, Typewriter; Thelma Newbury, Millau Viaduct; Kathy Angel Lee, Sunday Drive.

SAQA Journal • 2019 | No. 3 • 5 EDITOR’S NOTES Letting go, reaching out by Diane Howell

The last few weeks have been a roller awe at the level of blood pressure 30 quilts on exhibition at the Inter- coaster ride. Our little man, Dusty, medicine he takes. national Quilt Museum that promote was diagnosed with congestive heart At some point, I had to start letting the event and help celebrate SAQA’s failure. My main occupation has go of the fear of losing him. I had 30th anniversary year. Museum visi- been living in a state of suspended to look around and see what I could tors love the quilts! They find them animation as I wait for my precious treasure in the here and now. Here is an unexpected gem as they tour the dog’s next pill time. what I found: venue’s various exhibitions. Learn Why did this happen? We don’t First, I had to learn to look out- about a selection of works from that know. Did he eat a food suspected of ward. The first thing that came exhibition and all manner of facts being causally linked? Yes. How long from this realignment was a creative and figures about the auction on will he be with us? Vets are of varying collaborator in the form of Patricia page 22. opinions. What are we doing? What Gould, our Benefit Auction coordina- Second, I discovered the value of a the doctors tell us, although two tor. She produced an article about our good walk. I found it is okay to take pharmacy techs have expressed beloved auction. She wrote about the a break and enjoy the company of my little man. We go the distance he is able, and I am free to relax and think happy thoughts. This activity is validated in this issue’s Art Talk column by Jennie Johnston. Learn how walking can be a valuable part of your artistic practice and keep you healthy Ruth Powers on page 18. Don’t Piss Off Third, I learned to let go. A com- The Fairies mitment I couldn’t meet was post- 12 x 12 inches | 2008 poned. Normally, I would gear up into high stress for days or weeks over This fairy is in a right little snit such a disappointment, but instead because I’ve separated her I looked at it as a blessing. I couldn’t from her compatriots. It’s for a do the task and I needed my atten- good cause: to announce that tion elsewhere. As I continued to pace Face Off, this issue’s Member Gallery, is on page 26. see Editor’s Notes on page 35

6 • SAQA Journal • 2019 | No. 3 Curvaceous 1 41.5 x 41.5 inches Sylvia Gegaregian receives SAQA Award

Congratulations to Sylvia Gegaregian, recipient of the SAQA Award at Quilt National ’19. Her work, Curva- cious 1, was selected by Quilt National jurors for being “compelling, dynamic, and progressive.” Sylvia says her work was inspired when members of her quilting bee decided to try a new technique. “Since then, (that) small exploratory project has given me the courage to expand on my initial ideas and step out of my comfort zone.” Curvaceous 1 includes many techniques: hand embroidery, painting, fused appliqué, and cut/slashed strips. The SAQA Award is presented to one artist at three prestigious textile exhibitions: Quilt National, Art Quilt Elements, and Quilt Visions.

VOLUNTEER SPOTLIGHT Georgia French

Q: What volunteer roles do you perform Q: How does volunteering reinforce your for SAQA? art practice?

A: This year I am co-chairing the Special A: Sometimes it has replaced my art Events Committee, which plans the SAQA practice, but when I do get back to the Annual Conference. Our committee works studio, I know there is much going on that with local SAQA members and SAQA staff wouldn’t happen without all I have learned percent of what it is today. I am guessing to make each conference the best possible from SAQA. Right now I am seeing a larger that was around 2005. I had been a member experience for attendees. I am also helping window for my own creativity: Time is on my for a long time before then, even though out in the SAQA/Oregon region with our side at last and I’m enjoying making my art a there was no opportunity for any local first regional retreat. priority instead of a leisure activity. I still have involvement. so much to learn, and so much to make! Q: How do these roles enrich your SAQA My membership may have lapsed once membership? Q: Tell us about your time with SAQA. or twice, but I always came back, because A: Every committee or project allows A: I have worked on prior SAQA/Oregon I knew then as I know now that art quilts me to get to know and work with new regional conferences and several of our are the visual art I most want to see, and people, and I’ve made many friends who regional exhibitions. I am co-chair of the supporting SAQA ensures I will have a lot share my passion for supporting SAQA seven-region exhibition Shifting Tides, which to look at. The art enriches my life. The and its mission. I’ve learned (and am still will travel through autumn 2021. Nationally, relationships enrich my life. And I am happy learning) how SAQA works; it is so much I was the first chair of the regional grant that I can contribute some administrative more than the mere sum of its many parts. program and still sit on that committee. I experience and support volunteer It’s an amazing organization and so well- began as a regional co-rep years ago when empowerment, which has always been a managed. Oregon membership was less than 10 major interest.

SAQA Journal • 2019 | No. 3 • 7 FEATURED ARTIST

Sue Not color corrected Capturing the light, Reno reflecting nature by Cindy Grisdela Capturing the light, reflecting nature

by Cindy Grisdela

Heat Index 54 x 51 inches | 2018

Sue Reno has lived near the Susque- experimented with “wet” cyanotype, hanna River in Pennsylvania most of which introduces “moisture and her life, and the river and its natural extreme exposure times into the pro- environment play outsized roles in cedure, with semi-predictable results. her art. The cyanotype chemicals break Sue’s technique of choice is cyano- down into a range of colors and type prints on fabric. Cyanotype is a patterns that make the prints really photographic process that combines exciting and addictive to produce,” chemicals and sunlight to create blue she says. Reno adds patchwork to prints of the artist’s chosen images, frame the imagery she creates and either on photo paper or fabric, as free motion quilts various motifs in Reno’s case. She uses both plant on her Bernina domestic sewing matter and digital images to cre- machine. She has a large collection ate cyanotypes. Recently she has of fabric, ranging from commercial

8 • SAQA Journal • 2019 | No. 3 In Dreams I Drifted Away 60 x 45 inches | 2018

Heat Lightning 78 x 32 inches | 2018

cotton prints that date back to the Thermofax printing. Simply put, 1940s to silks from a sojourn in India she employs several methods to put while a student. imagery on fabric; she mixes and Heat Index, from 2018, is a great matches them as appropriate for the example of Reno’s process. She com- focus of the quilt. bined four blocks of botanical prints Reno learned to sew at a young age. created with wet cyanotype and solar “I had a very traditional, practical dye printing on a hot, humid August Pennsylvania Dutch upbringing that day with luminous silk patchwork. included a full, informal schooling The result is a dynamic composition in life skills.” Her first quilts were that evokes summer’s heat, a lively utilitarian, but her work evolved in a mix of blue and white prints with red more artistic direction thanks to the and green patchwork. early pioneers in the art quilt move- Reno also uses sun printing, ment who opened her mind to the free-form gelli plate printing, and possibilities.

SAQA Journal • 2019 | No. 3 • 9 Rabbit and Maple 71 x 86 inches | 2018

Reno’s studio time varies with the time to “really get into the flow of seasons. In the summer, she does the design process without interrup- most of her printmaking with plants tion.” She doesn’t normally sketch or gathered from her garden or on hikes. create a formal plan. “I sincerely, on Winters are for more indoor pursuits. a deep level, hate measuring things.” She has a studio in a walkout base- While she was trained as a traditional ment of her home, where the sink, quiltmaker and understands precision washer, and dryer are easily acces- sewing, improvisation fits better with sible. There are few frills. Fabric is her creative design process. stored in plastic bins, and bookcases She usually works on two or three of binders hold notes about each large quilts at a time. That way, if quilt. This simple setup allows Reno she runs into a stumbling block on to focus on what she has on the one, she has something else to focus design wall at any given time. Her on as her subconscious mulls over a most creative time is in the afternoon solution. and evening hours, so she uses morn- Not all of Reno’s prints are made ings for routine tasks. from plants. She also uses skulls of When she begins a new piece, woodland animals that she finds on Squirrel and Locust, detail, 2011 Reno assembles the prints and the her hikes or ethically sources. Rabbit patchwork in place, then blocks out and Maple, 2018, uses a combination

10 • SAQA Journal • 2019 | No. 3 of botanical prints and prints made from a rabbit skeleton. Reno also included some small embroidery panels in the composition, part of her Flora and Fauna series. Another quilt in that series, Squirrel and Locust, was included in SAQA’s Metamorpho- sis exhibition. A detail of the piece shows one of the squirrel skull prints next to a leaf print with intricate beading separating the images and Silk Mill #3 adding color and sparkle. 53 x 60 inches | 2013 Another series focuses on buildings, primarily historic architecture in Lan- caster County, Pennsylvania. Silk Mill #3, 2013, was inspired by the former Ashley and Bailey mill in Columbia, Pennsylvania, and now is part of the permanent fine art collection of the State Museum of Pennsylvania in Harrisburg. Yet another series was a yearlong project Reno tackled in 2017 called 52 Ways to Look at the River. She visited different places along the Susque- hanna River every week for a year and took photographs. Back in the studio she used the imagery to create a 9 x 12-inch needle-felted panel for each week. She assembled them into a quilt when all 52 were complete. Reno’s work documents the things that grow, the seasons, and the historic buildings in her corner of the world. “It’s important to me that my work is beautiful; even when I’m por- traying death or decay, the work ends up with a joyous aesthetic. I work intuitively so I’m not certain how that happens, but I’m glad it does,” 52 Ways to Look at the River she says. 72 x 82 inches | 2017 Reno took advantage of a unique opportunity in late 2016. She heard about a call for artists for an event at NASA’s Goddard Space Center called the James Webb Space Telescope Art- ist Event and applied, even though 52 Ways to Look she didn’t have any space-themed at the River, detail

SAQA Journal • 2019 | No. 3 • 11 artwork. Twenty-two artists in a vari- ety of media were chosen, all creating art inspired by the telescope. Luminos- ity, was her result. Reno began this piece by hand stitching gold hexagons on site in the telescope viewing room. There were no restrictions on the artwork created, which was “simultaneously liberating and slightly terrifying,” Reno says. The hexagons represent the mirrors of the telescope. She set her telescope representation on a beaded, needle-felted background to represent the cosmos, and bordered it with cyanotypes, solar dye prints, and digital prints made from the photos she took on site. Exhibition is the primary focus of her work. She started out mainly applying to quilt shows, but as her work has evolved artistically, she has Luminosity, detail

Luminosity 60 x 74 inches | 2017

12 • SAQA Journal • 2019 | No. 3 Jack in the Pulpit 60 x 72 inches | 2014 Photo by Gregory Chase

been seeking acceptances at fine art also appeared on Quilting Arts TV natural phenomena, paired with the and fine craft shows as well. She does and writes magazine articles. All this sheer glee involved in manipulating her research and applies to exhibitions drives requests for lectures and trunk materials and creating something where she has a reasonable chance shows to guilds and groups. brand new to the world.” of acceptance and to some that seem Because her work is large, sales are You can see more of Reno’s work at more of a stretch. Even with research “sporadic but gratifying.” She creates suereno.com. n of the venue and the jurors, some some smaller work to sell at presenta- Cindy Grisdela is a SAQA JAM who resides acceptances are “just luck.” Good tions and is looking into increasing in Reston, Virginia. You can explore her work, high-quality photos, and well- her stock of those pieces and adding work at cindygrisdela.com. written artist statements can increase prints to her offerings. your “luck quotient,” Reno notes. She It is a challenge to balance time still gets her share of rejections where for creative work with the demands her work did not match the juror’s of exhibiting, maintaining her blog, concept of an exhibition. “I never take updating social media platforms, trav- rejection personally.” eling, and honoring other responsi- Reno has a website and main- bilities. “I prioritize making the work tains a strong blog and social media that’s important to me because that’s presence where she shares her the foundation that holds up all the process and inspiration. “None of rest of it.” the techniques I use are proprietary, Reno plans to keep her focus on most yield very different results creating. “I’m in the process of rear- when wielded by different artists, ranging my life to free up more time and I enjoy using the internet for its to focus and work on making art. highest and best purpose of advanc- Being an artist lets me indulge my ing human knowledge.” She has penchant for close observation of Sue Reno in her studio.

SAQA Journal • 2019 | No. 3 • 13 Avoid studio pitfalls Know the hazards, risks, and dangers of being a quilt artist by Phyllis Cullen, MD

Experienced textile and quilt artists cardiovascular system, gastrointesti- stiffness, soreness, etc.), bony inju- know the challenges presented by the nal tract, and urinary tract. Localized ries, nerve damage, and lacerations. chemicals, tools, and machines of our damage from hot glue, bleach, heavy Vibration-producing tools can cause trade—mostly. They also know how metals in paints, and solvents are finger spasms and permanent nerve to maintain a safe working environ- some common problems. damage and numbness. ment—mostly. But our studios do Skin Prevention is less painful than hold their share of danger. The skin can be damaged by contact treatment! Even for quick processes, Let’s divide our work hazards into (dermatosis), and, along with the wear gloves—at least small plastic two phases. The first phase is what we lungs, serve as an entry point for bags—when handling chemicals. Be do to our fabrics. Chemical, mechani- certain toxins that cause chemical careful with irons, heat guns, glue cal, and heat treatments impact our destruction via percutaneous absorp- guns, or rotary cutters and other fabrics and subject our bodies to the tion, which occurs through unbro- sharp objects. A needle guard on the same processes. ken skin. sewing machine can prevent injury. The second phase is construction, Acute contact dermatitis can be Lungs which involves physical and mechan- caused by hundreds of irritating The lungs and upper airways are ical issues that affect musculoskeletal, and sensitizing chemicals, plants, sensitive to aerosolized chemicals, neurologic systems, and the like. and photoreactive agents. More are especially through liquids or powders Often referred to as ergonomic issues, being developed daily. Read every that can damage the throat and cause these arise from tools and the way we label. Even skin color change from asthma in the airways. Repeated or use them. non-heavy metal dye or paint is not highly toxic exposure can perma- harmless. Some damage is being nently damage lungs. Some plastics Phase 1: Fabric treatment done. Symptoms can include heat, require high heat for manipulation, Hazards include heat and burns, swelling, redness, blistering, ooz- which can release toxins. Aerosolized poor lighting and eye strain, and ing, itching, burning, and general glues do what they are made for— physical injuries from broken needles, discomfort. inside your lungs! Many poisons are sharp pins, and rotary cutters. These More long-term problems can occur absorbed through the lungs which, as hazards are inherent in any sewing due to a cumulative effect of repeated through skin absorption, can damage or quilting process. However, surface contact with weak or moderate every organ in the body. design and material manipulation irritants. These can end up as dry red Even if you don’t do surface design, increase the risk for injury. Inhala- plaques or chronic dermatitis with fabrics may be treated with formalde- tion or contact with dye powders, dry, thickened, cracked, and scaly hyde or other chemicals which cause bleaches, photoreactive, and other skin, especially on hands. sensitivity in susceptible individuals. chemicals, as well as toxic exposure We also see mechanical damage to If you buy bargain-priced, lower- via various paints, mediums, glues, the skin from friction, pressure, heat, quality fabrics of questionable origin, and cleaning products, can cause cold, crushing, scratching, macerat- most experts advise that you wash extensive damage to the skin, mucous ing, and other trauma. These can it before you handle or breathe it. If membranes, and lungs. The damage result in tenosynovitis (inflammation you use a spray or powder, make sure may be more serious when these tox- of tendons and soft tissues), myositis to use proper respiratory protection. ins gain access to our nervous system, (muscle inflammation with swelling,

14 • SAQA Journal • 2019 | No. 3 If you don’t know if a substance Environment & workstation edges that curve downward—on your you are using is hazardous, find In many studio environments, poorly chair seat may put less stress on the out or take universal precautions. designed workstations, tools, and backs of your thighs. Read the labels. Know the products, equipment are the norm. Studios Sewing machine height should maintain proper ventilation, and use are cluttered with bags and boxes of allow your elbows to be at about 90 respiratory protection every time. materials. Liquids teeter precariously. degrees when you sew, with shoul- Eyes Electrical issues include cords knock- ders in a relaxed position. An adjust- Eye protection is critical when you ing over toxic chemicals, electrocu- able chair can help you obtain this work with chemicals, sharp objects, tion, and exposure to excessive heat. position. Another tip is to tilt your vibrating tools, etc. A lot of chemical Keep floors and passageways clean, machine slightly forward. You can burns, foreign bodies, and injuries are clear, well lighted, and dry to minimize get a couple of rubber door stops to due to compressed air. Also problem- slips, trips, and falls. Electric-powered put under the back of the machine to atic are effects of poor lighting, dirty equipment should be certified flame- protect your neck from being sharply air, and eye strain, which produce proof and should be grounded to bent; this will also protect your low cumulative effects on vision. Eye prevent static electricity buildup. back from strain. Having enough dryness and age-related eye changes Sitting and standing table space to the left of your sewing machine is important when you work accelerate damage. When working at sewing machines, with large or heavy projects. That It allows us to notice possible hazards cutting tables, ironing boards, or setup supports the project’s weight from chemicals, sharp implements, desks, poor posture combined with without straining your neck, back, and heat sources. highly repetitive work is prevalent. and shoulders. Having a mat or non- This is true even though major stick surface below your foot pedal is Phase 2: Construction Phase advances have been made in the also important. A sliding pedal may Hazards to the neuromuscular system design and production of ergonomic, force you to extend or twist your occur most often during construc- well-lit stations for sewing, cutting, knee, and lose your back curve. tion. It is common to have strains to ironing, painting, and other tasks. Standing on hard floors for muscles, joints, tendons, and liga- I see a lot of patients who don’t use extended periods isn’t good for your ments from repetitive motions. Con- appropriate adjustable chairs. This back. There are many good foam or torted positions of the hands, elbows, leads to leaning forward and reversal rubberized mats (make sure they are shoulders, neck, knees, and low back of the curves of the upper and lower nonslip!) that can be placed where can lead to occupational cervicobra- spine; that posture stresses the hip you cut or iron. chial (neck and shoulder) disorders, joints and lower back. You might cumulative trauma disorders, and develop problems with the low back Tools overuse syndromes. Repetitive hand and the lower extremities if your Proper storage and placement of and wrist movements lead to arthritis chair doesn’t have a back rest, which equipment and tools is key. Art- at the base of the thumb (often the minimizes hunching over. Sitting too ists and craftspeople cut, sew, lift, first location of arthritis), carpal tun- long in an awkward position puts press, and twist in awkward posi- nel syndrome (earliest sign may be strain on the upper back and the tions to retrieve items in cluttered numbness in your hands when you shoulders, neck, and skull, causing environments. wake up), ganglion cysts, and forearm cervical disc injuries and degen- Using heavy irons for extended tendonitis. eration, spinal arthritis, muscular periods can aggravate disorders of the Acute injuries often occur from spasms, and stiffness. wrist, shoulder, elbow, and fore- crushing injuries, (dropping irons on Make sure your legs fit under a arm. You may develop related nerve our feet!) and entanglement in cords table or desk comfortably and that entrapment disorders from pressing and wires. your feet are flat on the ground. A as well as repeatedly setting the iron waterfall front—one with rounded see Studio Safety on page 37

SAQA Journal • 2019 | No. 3 • 15 Selections from Forced to Flee

Throughout history people have been forced to flee from their homes for their own safety and survival due to war, oppression, natural disasters, and atrocious human rights violations. The refugee crisis has impacted the social, economic, and political structures of host countries, especially poor and developing countries. Forced to Flee was juried by Dr. Susan Beryl Marks, associate fellow of the International Quilt Museum in Lincoln, Nebraska. It premiered at the Ruth Funk Center for Textile Arts in Melbourne, Florida. It is now on exhibit at The Historical & Cultural Society of Clay County in Moorhead, Minnesota, where it will be through October. Visit saqa.com/ forcedtoflee to view the video featuring Dr. Marks and the exhibition artists who attended the premiere. More details about the exhibition are available there too.

Sara Sharp Fleeing from Drought 53 x 34 inches | 2015

Eunhee Lee Jim Hay They Are Also Us Refuge or Refuse: Offer Sanctuary or Discard as Trash 42.5 x 29 inches | 2018 91 x 78 inches | 2018

16 • SAQA Journal • 2019 | No. 3 Diane E. Wespiser Wanted—A Home 68 x 54 inches | 2018 Photo by Robert Wespiser Jo Thomas Child Behind Barbed Wire 36 x 27 inches | 2018 Inspiration photo by Zoriah Miller

Catherine A. Drummond Anne Daughtry Displaced Aleppo 26.5 x 31 inches | 2018 55.5 x 38.5 inches | 2018 Photo by Larry Goldstein

SAQA Journal • 2019 | No. 3 • 17 ART TALK

Walking creates healthy, creative avenues by Jennie Johnston

What links Beethoven, Charles Dick- SAQA/Michigan member Beth our thoughts,” writes Rebecca Solnit ens, and Georgia O’Keeffe? Markel puts it this way: “Being a in Wanderlust: A History of Walking. They were habitual and devoted quilter is often a sedentary thing, Within our screen heavy mod- walkers. While we often discuss so walking gets my body moving in ern world, we have more and more artistic tools, such as paint brushes, ways that really help with circulation. excuses to sit and look rather than rotary cutters, or sewing machines, I swing my arms, sometimes like pen- experience things as our ancestors we can easily overlook the deeper dulums, sometimes bent and close to did. While some of us may try to walk reasons successful creative people my body like I’m race walking, and while looking at our smart phones, maintain high levels of productiv- sometimes it’s leisurely when I hold our mental health does not thank us ity. What are their secrets to success? hands with my husband.” for this habit. When out walking, our What routines do they adhere to, and Movement is a human act that our brain has the chance to encounter how do those routines inform their bodies need. Working a daily walk new things and this helps us settle work? Let’s consider how we can, and into your creative routine can provide our minds, slow our breathing, and should, incorporate walking into our the added benefit of a more fit body just be. The pace of our days can artistic tool box. as it gets your blood pumping. While lead to anxiety and depression and this may be a given to many, it is easy being outside is a proven mood lifter. Physical health to let the simple act of a walk around SAQA/Pennsylvania member Peggy The hum of the sewing machine the block drop from our schedules. Black says that walking “clears the fills our days and the intricacy of Even adding in a 5- to 15-minute mind and allows the focus to shift handwork requires stillness. Unfortu- walk will increase your circulation, to meditation and reflection.” This nately, sitting for long periods is not stretch out your muscles—especially health benefit is one that any artist

good for our health. In Born to Walk: if you have been holding one posi- can utilize. After all, we are human

beings first. Taking care of our mental and physical health is necessary to “ produce the work we love. Movement We are human beings first. Taking care of also decreases the risk of develop- our mental and physical health is necessary to ing dementia and cognitive decline, “ according to multiple sources, includ- produce the work we love. ing England’s Walking for Health, which organizes a large network of network of health walks. The Transformative Power of a Pedes- tion for too long—and revitalize your trian Act by Dan Rubinstein, he lists eyes and mind after the strain of Creative inspiration the unequivocal benefits to our bodies making. The wonderful places one can walk that walking provides: “Walking builds when seeking inspiration can also be bone mass, strengthens the muscles Mental health a motivating factor. Artists who draw in your arms and legs, and gives “Walking allows us to be in our bod- their primary ideas from nature need your joints better range of motion. It ies and in the world without being to get outside to feed their inspira- enhances your balance, preventing made busy by them. It leaves us free tion. Their interactions may take the falls, and eases back pain.” to think without being wholly lost in form of walking with camera in hand,

18 • SAQA Journal • 2019 | No. 3 sketching, or gathering plant materi- is not working, or if you cannot als for dyes and printing. Markel fills decide between two fabrics for your her mind with possible new creations foreground, put down the work and as she walks. She finds that “walk- let your body wander through your ing informs my creativity (by) seeing neighborhood for a few minutes. This things more clearly.” Her description physical act may give you clarity on of a recent walk brings that statement the issue you are struggling with. Of to life: “The blue of the sky next to course, ideas may emerge later, but Learn more about the brown of the winter tree limbs walking can be much more calming walking’s health and suddenly inspired me. The crunch and beneficial than panicking in your creative benefits through of the snow under my feet made me studio and becoming more frustrated. the following resources: think of new ways to sew angles into my work attempting to create that Walk every day Books crunchy dynamic. The first robin of Forming a new habit is a challeng- spring moved me to pull reds from ing feat. If we are used to the steady • Walking in the World: The Practical Art of Creativity my fabric stash and even purchase daily rhythm of coffee, newspaper, by Julia Cameron new red fabric when I was out shop- and then sewing, it may seem almost • Born to Walk: The Transformative Power ping. Walking informs my creativity impossible to insert a 10-minute walk of a Pedestrian Act in countless positive ways, from atti- around the block into our morn- by Dan Rubenstein tude to inspiration.” City walks can ing. Many of us also struggle with • Daily Rituals: How Artists Work also prove invaluable when artists see outside constraints such as children by Mason Currey architecture, storm drain covers, or or elderly parents to care for, jobs • Wanderlust: A History of Walking by Rebecca Solnit walkway railings. Angles, textures, or that start early or finish late, and the light shining onto glass buildings col- reality of cold, ice-covered walkways Websites lectively prove there is no end to the or extreme high temperatures. If you • walkingforhealth.org.uk new work that daily walks can spark. are not a morning person, consider • everybodywalk.wpengine.com mid- to late-afternoon walks. This • healthline.com/health-news/ Unblock creative channels will help with the afternoon slump walking-indoors-outdoors-increases- Creative block is the dread of most many of us experience, boost your creativity-042814#1 creative people, but it happens to us energy levels, and hopefully give you • realsimple.com/health/fitness-exercise/ all. Things can be humming along a second wind. If outdoor tempera- how-to-walk? smoothly one minute and in the next tures are soaring, early morning or everything shuts down. What do evening walks are a good idea. Many will notice how movement is making artists who walk do in that moment? people walk in the mall to avoid a positive change in your health and They get moving. extreme temperatures. If the pavement creativity. “How you walk matters Regina Marzlin, a SAQA/Atlantic is uneven in your neighborhood and less than that you walk,” champions Canada member, says walking helps you are worried about injuries or falls, author Cameron in her Walking in her conquer creative blocks. “Look- look for a walking or running track in this World book. ing at a faraway space broadens my your town, or consider walking with So look at walking as your newest view, literally, and instead of staring a friend or family member. A walk- creative tool. It may bring you fabu- at fabric from a close distance I take ing buddy can be a good way to keep lous results! n in the bigger picture and free my yourself accountable and allow you to Jennie Johnston resides in British mind from the restrictions of the socialize during your day. Columbia and is co-rep for the SAQA/ small studio room I work in.” Author If walking proves a challenge for Western Canada region. She has shown her work in venues throughout North Julia Cameron, who wrote Walking in other reasons, the key is to start small America. She blogs and shares her mixed- this World: The Practical Art of Creativ- and gradually increase your time. Five media art quilts at jenniejohnston.com ity, says walking is where “difficult minutes is better than nothing, and clarity emerges.” So, if a technique as you build up your stamina, you

SAQA Journal • 2019 | No. 3 • 19 JAM SHOWCASE

Martha Ressler Purple Sky, Red Roof 16 x 20 inches | 2018 Photo by Jay Ressler

Marjan Kluepfel A Year in the Forest 40 x 66 inches | 2016

20 • SAQA Journal • 2019 | No. 3 Barbara Lange Urban Bugs 27 x 66 inches | 2018

Sheila Frampton Cooper Ruins of Roussillon 28 x 33 inches | 2017 Grace Harbin Wever, Ph.D. And the Sky Rolled Up Like a Scroll 66 x 40 inches | 2018 Photo by Jeff White Photography

SAQA Journal • 2019 | No. 3 • 21 Benefit Auction offers ‘wonderful’ mix of quilts by Patricia Gould

SAQA’s Benefit Auction celebrates our 30th anni- I completely understand the delight the 2019 versary with a special exhibition of 30 auction auction quilts bring to IQM’s visitors. The great quilts at the International Quilt Museum (IQM) in advantage to being the Benefit Auction coordina- Lincoln, Nebraska. These quilts were on display at tor is that I get to see all of the quilts as they come the museum through August 4. in. And this year, they are wonderful. The pieces The quilts proved to be a popular point of inter- convey heartfelt messages often expressed through est at IQM. “We have had a great response to the the innovative use of materials. SAQA 30th Anniversary exhibition. Our viewers I’ve reviewed a few pieces from those I selected have really enjoyed the wide-ranging topics and for the 30th Anniversary exhibition to give you a techniques. I think the art quilts always intrigue glimpse of what awaits bidders during the three- visitors, as they are not as familiar with the week auction from September 13 through October 6. (medium),” says Carolyn Ducey, IQM’s curator of collections. “I hear things like, ‘Wow, I didn’t know Animal kingdom people made quilts like that!’ or comments on the In addition to being an artist and an adventurer, I fun imagery. People have spent a lot of time perus- am an animal lover. So it is no wonder that four of ing each of the pieces closely and marveling at the my favorite artworks beautifully depict animals and artistry.” their connection to us and their environment.

22 • SAQA Journal • 2019 | No. 3 From left to right: Jane Haworth, Otis 1; Sue Sherman, Thoughtful Penguin; Susan Smith, Those Eyes; and Mary Ann Van Soest, Spring.

Jane Haworth’s piece, Otis 1, is a great example of how the artist’s loose approach works so well. This funny, and perhaps lazy, dog’s personality is Benefit Auction by the numbers captured in raw-edge appliqué and free-motion What does it take to launch the SAQA Benefit Auction? Lots of effort by lots of stitching, which build texture and furry details. dedicated people. Sue Sherman’s Thoughtful Penguin is a majestic An analysis of this year’s auction quilts yields impressive data. A total of 443 portrait of a Magellanic penguin. I was fortunate to quilts were donated, a tie with 2018’s record-breaking sum. Each quilt is made spend time in the Falkland Islands and on the Ant- by a different artist. Of the 443 contributing artists, 23 percent live outside the arctic Peninsula in 2002, where I fell in love with United States, which closely aligns with our overall membership makeup. all the penguin species that we encountered. Since New contributors also totaled 23 percent. There is a strong chance the they have no predators other than leopard seals and newcomers will continue to be a part of the event, based on the fact that 40 skuas (a bird that preys on the penguin chicks and percent of 2019’s artists have donated a piece for five or more years. Those eggs), we could sit on the ice and penguins would who have donated for 10 years or more make up 10 percent of the total donors. come right up to us without fear. Sherman’s portrait captures that inquisitive nature of the species while We want to give a special nod to the ten artists who have made a piece for all thirteen auctions: Linda Colsh, Judith Content, Bodil Gardner, Monique her painting and stitching depict the unique feather Gilbert, Denise Oyama Miller, Alison Muir, Wen Redmond, Susan Shie, Lynn patterns and handsome face of this beautiful bird. Welsch, and Diane Wright. Susan Smith’s Those Eyes brings back wonderful Again this year we held a regional challenge, with regions split into large memories of my three-week trip to Tanzania and and small categories. A rundown of quilts by region shows that SAQA/ Kenya. We camped in a small tent and were greeted Oceania contributed the most quilts in the large region category; second only by wild animals, such as zebras and lions, who was Southern California/Southern Nevada, with Oregon a close third. In the breathed on our tent at night. Smith’s zebra’s eyes small region category, SAQA/Alaska was the winner, followed by Nebraska are enchanting and engaging. You feel as though and Arkansas/Louisiana. Each winning region received $250 to support its you are looking into his soul and conversing with activities. him. Smith splits the portrait into two distinct

SAQA Journal • 2019 | No. 3 • 23 Christine Predd, Wading by the Rocks

Penni Barger, The Artist Within

parts, each with its own color and fabric treatments, to make the piece all the more eye-catching. Spring, by Mary Ann Van Soest, seems like a simple design at first, but her collage of written elements and a sketchbook appearance add depth beyond a mere portrait of a bird. I especially like that she has cropped off the feathers at the edges so that it looks like a page from a sketchbook rather than a formal composition. Maria Stoller, Stuart All the people Penni Barger’s The Artist Within highlights her passion for and expertise at painting. This still life Stuart, by Maria Stoller, is an engaging portrait is reminiscent of Vermeer’s paintings with lovely of a man that is open to interpretation on many highlights and subtlety of color and shadows. Only levels. He’s not looking at us or even beyond us. after careful examination do we see the reflection What exactly is he looking at? I love the ammo- of a painter, perhaps Barger herself, working at her nites that comprise the backdrop for this portrait. easel. They almost make you believe he is underwater—or I love the energy of the child and the rocky maybe he views himself as a fossil. He’s a fascinat- beach in Wading by the Rocks by Christine Predd. ing conundrum. You can sense the excitement this little girl is feel- ing as she enters the water, definitely the way I felt Our world as a child collecting rocks, shells, and beach glass Two artworks in this anniversary collection on the Atlantic Ocean. address environmental issues with very different

24 • SAQA Journal • 2019 | No. 3 Lisa Jenni, Rings of Eternity II Pixeladies, Watercolor Pencils 5: Let’s Talk About Water

approaches. Lisa Jenni’s abstract collage, Rings of water by human activity. The use of watercolor pen- Eternity II, includes plastic rings and netting that cils as their backdrop for newspaper clippings and can be found on beaches, in rivers and lakes, and other references to water is a bold composition, one in massive piles in all the world’s oceans. This is a that attracts attention and opens dialogs about seri- very strong statement that these pieces of plastic ous threats to a critical element of life on Earth. will be around when we are long gone and are a As you can see, the work in the 30th Anniversary serious threat to the health of our planet. exhibition proudly represents SAQA and the art Deb Cashatt and Kris Sazaki have collaborated for quilt medium. Enjoy an online view of all 443 pieces years as Pixeladies. Their dynamic piece, Watercolor donated by SAQA members at saqa.com/auction. Pencils 5: Let’s Talk About Water, highlights the crises Make a list of your favorites and bid in our popular we face with water shortages and the polluting of fundraising event September 13-October 6. n

How the auction works Our 2019 Benefit Auction begins with in three sections. A new section opens Remaining quilts also will be in the Diamond Day, an opportunity to make any each Monday at a bid price of $750. The SAQA booth at International Quilt Festival/ auction quilt yours for $1,000. This top- price is reduced daily until it reaches $100 Houston Oct. 31-Nov. 3. If any remain tier bidding starts at 2 p.m. ET on Friday, on Saturday. The first bid on a piece wins. after that event, they will make one last September 13. At week’s end, any remaining quilts in that appearance in the SAQA Store through Then, from September 16-October 6, the section move to the SAQA Store, where December 20. 12 x 12-inch auction quilts will be available they will be for sale at $100 apiece. For full details, visit saqa.com/auction. SAQA 2019 Benefit Auction Pricing Schedule $750 $550 $350 $250 $150 $100 Section 1 Sept 16 Sept 17 Sept 18 Sept 19 Sept 20 Sept 21 Section 2 Sept 23 Sept 24 Sept 25 Sept 26 Sept 27 Sept 28 Section 3 Sept 30 Oct 1 Oct 2 Oct 3 Oct 4 Oct 5

Every quilt is available as a Buy It Now purchase of $1,000 for the duration of the auction, even if the section is not yet open for bidding. Prices change at 2 p.m. ET. No bids will be accepted between 1:45-2 p.m. ET while system updates are being made. SAQA Journal • 2019 | No. 3 • 25 MEMBER GALLERY Face Off

Denise Oyama Miller Eunice 31 x 17 inches | 2010

Jeanelle McCall I’m Listening Still 13 x 13.5 inches | 2018

Tiziana Tateo Mary Pal Inside and Outside 42 x 63 inches | 2012 Willie 45 x 34 inches | 2018

26 • SAQA Journal • 2019 | No. 3 Claire Passmore Do You See What I See? 46.5 x 71 inches | 2018

Barbara Schneider Beautiful Faces, var. 1 16 x 20 inches | 2016

Sarah Ann Smith Cookie? PLEEEZE COOKIE! 22 x 17 inches | 2009

Peggy Blei Hracho Small Talk 4 x 6 inches | 2018

SAQA Journal • 2019 | No. 3 • 27 2019 SAQA Annual Conference Wrapup Threads of Innovation charged with creative energy by Diane Howell

The creative energy flowed freely at creative spark is present at every con- Napa, California. Her new company SAQA’s 2019 annual conference April ference, with each conference shaped produces the Craft Napa art retreat 25-28 at the San Jose (California) by the unique resources and strong and publishes select projects. Hilton. talent found in each locale. In San Bolton was followed by artist Lisa “I am not sure how you could Jose, conference attendees benefitted Congdon, who presented an up-to- market the creative energy and joy from a tip of the hat to Silicon Valley date program on how to use Insta- on steroids that is a SAQA confer- and strong regional speakers, includ- gram in your artistic practice. Because ence,” stated one new attendee in her ing Patricia “Pokey” Bolton and fine it is the largest visually driven social post-conference survey. That palpable artist and illustrator Lisa Congdon. network, it is a natural home for The conference kicked off with the visual artists. Some of Congdon’s Thursday evening ice breaker. Mem- points were: bers at each table brainstormed about • The Instagram algorithm decides one topic, such as creative rituals or what you see, which makes engage- innovative tools. Mel Beach compiled ment important; engagement notes from all 18 table topics into includes likes, shares, and reposts. one document to share. • Recent posts are favored over older The next morning, Patricia “Pokey” ones. Bolton gave the opening keynote address. Her main message was that • Introduce yourself periodically to you can succeed by doing what you help new followers. love. She traced her professional • Be responsive to comments and journey from founding Quilting Arts direct messages. LLC, which published Quilting Arts • Engage with and support others and other magazine titles (the firm who do similar work. was sold, first to Interweave and then to F+W Publications), to her current • Post consistently, but not more venture, Crafting a Life, based in than once or twice a day.

SAQA thanks the sponsors who helped make Threads of Innovation a success. Our corporate sponsors were: Bronze Sponsors Alegre Retreat Platinum Sponsor

All photos by Maggie Vanderweit Innova Aurifil Silver Sponsors eQuilter.com Attached Inc. / Mistyfuse The Quilt Show.com Top: Gerrie and Lisa Congdon shared a C&T Publishing Turtle Hand quick break during the plenary sessions. We also thank the volunteers and attendees who energized this conference with Bottom: Georgia French hands out registration info to Susan Else. their creative spirit and support.

28 • SAQA Journal • 2019 | No. 3 • Consider following a schedule, Monday gave an excellent intro- such as Inspiration Monday, etc. duction to digital design. Her practical advice is to focus on your artistic Breakout sessions voice to navigate and choose among Breakout sessions were also part of the many available apps. “Make it Friday’s schedule. Photographer James your own by spending time and Dewrance discussed fine art photogra- knowing what you want to say.” She phy and SAQA member Katie Fowler teaches an online course in digital led a creativity exercise. Two more design twice year. SAQA members, Valerie Goodwin and Susie Monday, detailed their experi- Finding a way ences with laser cutting and com- On Saturday, attendees learned about puter design. a successful collaboration: RoCoCo. Goodwin has created many intri- Formed in 2015 by KC Rosenberg cate designs through use of a high- and Modesto Covarrubias, their work tech laser cutter; she has recently most often takes form through sculp- mastered similar techniques on the tural installations, but has included Cameo Silhouette. Noted for her video, performance, drawing, paint- ability to transform real places into ing, and audience participation. abstract representations, the laser Saturday also brought a moving cutting adds new depth to her work. presentation by the Social Justice Sew- She notes that where art and tech- ing Academy. Founded by Sara Trail, nology overlap, magic happens. She it is an innovative, intergenerational brought some of her finished work initiative that produces intensely to share with attendees, as well as a moving work (see sidebar). box of laser-cut materials to examine. Pleasant walking tours of art exhibi- Goodwin will teach workshops using tions and spaces in downtown San the Cameo machine beginning in Jose—including SAQA’s H20h! exhibi- summer 2020. (You can read about tion at the San Jose Quilt & Textile Top: Diane Nunez, Valerie Goodwin, Judith Trager, her use of laser cutting in SAQA Journal Museum and the regional exhibition and Nancy Turbitt enjoy networking time. Vol. 26, No. 1) Shifting Tides: Convergence in Cloth at Bottom: Lisa Jenni tried on some wings during our downtown art tour.

Lightning Talks

This series of short presentations became Special Interest Group, Art Quilt Design on a project to life. It started as a temporary a conference favorite when it debuted at Longarm. installation to mark the original shoreline at the 2016 Philadelphia conference. The talks Kathy Suprenant gave a tour of her series, Cooley Landing in East Palo Alto. It became bridge longer plenary sessions and offer What did Ming Miss? It highlights events in a living land installation; the California native insight into studio practices. the lifespan of a 500-year-old, deep-sea clam plant Juncus patens now marks the location. Jane Haworth presented her approach to that was dredged up by scientists off the Cindy Parry advised how to boost creativity meeting one-of-kind requests for memory coast of Iceland in 2006. by devoting one day a week to studio time: quilts. Elisabeth Nacenta de la Croix’s A fascinating compare-and-contrast lesson be consistent, don’t answer the phone or presentation (read by Maria Shell), explained was given by sisters Jean Renli Jurgenson read email, and turn down everything else. how memory guides her to add shapes for a and Aileyn Renli Ecob. One makes quilts Sandra Bruce encouraged attendees to more personal piece. based on architecture, the other on nature. overcome fears. “What you need to know Candice Phelan spoke about using a Side by side, their works are full of depth and about your next piece is in your last piece,” longarm to appliqué, piece, thread paint, wonder. she said. “Do whatever scares you; you’ll and more. She moderates a new SAQA Linda Gass brought her Living Shoreline overcome it.”

SAQA Journal • 2019 | No. 3 • 29 Bryan Robinson Blood, White and Blue Works/San Jose—led up to Saturday 2018 SJSA Summer Institute 60 x 45 inches night’s banquet. A feature of every banquet is the Spotlight Auction, which features small 6 x 8-inch works donated by members. Conference attendees eagerly anticipate owning these tiny works. The event raised more than $17,000 for Social Justice our exhibition and other programs. Sewing Academy Group creates ‘artivists’ A final bow to foster change Closing out the conference on Sunday were two more dynamic The Social Justice Sewing Academy (SJSA) exhibition operations, donor relations, presentations. The first was a panel brings together young people, ideas, and bookkeeping, workshop facilitation, and art--a winning combination that yields partnerships. “If you have special skill sets discussion with Martha Sielman, Sandra ‘artivists.’ such as nonprofit compliance, or know how Sider, Lisa Ellis, and Nancy Bavor, Founded in 2017, the California-based to price for and partner with museums, we’d the authors of Art Quilts Unfolding: organization empowers young people to love to learn from you.” 50 Years of Innovation. They talked express themselves in textile art. SJSA made One near-term goal is creation of a about the decisions made to create a lasting impression on SAQA members who revenue strategy that will allow SJSA to this comprehensive history of the art attended the 2019 Threads of Innovation be self-sustaining. The group is raising quilt movement. Everything from the conference. On the dais for the group’s panel approximately $10,000 to build and enact timeline to who would serve as edi- presentation were founder Sara Trail, two this plan. tor had to be worked out. There was young artists, quilter Nancy Williams, and Startup capital also is critical. Initial funds will also the tedious process to find good SJSA’s publication director Kate Godfrey. go toward professional curriculum design photographs and obtain permission The art created by artists such as Bryan in several different formats. A train-the- to use them. That step revealed an Robinson and co-panelist Juan Tapia creates trainer program is needed to prepare the opportunities for growth and social justice. volunteers around the country to work important lesson for today’s artists: Through a series of hands-on workshops in with youth in their own communities. The maintain high-quality and up-to-date schools, prisons, and community centers, addition of an adult corporate curriculum photography. The book, published by SJSA artists create art that explores issues of will generate significantly more revenue per Schiffer Publishing, is a labor of love gender discrimination, mass incarceration, workshop, offsetting what schools are able as the authors donated all proceeds to gun violence, and gentrification. to afford for SJSA programs. SAQA. It is available at saqa.com/aqu. To help complete the artists’ designs, quilt Sponsorships of all types are another The final keynote presentation blocks are shipped to volunteers around the cornerstone. “A shipping sponsor would was by Joan Schulze, who presented world to embroider and embellish. Finished make a huge difference for SJSA as our a reflective overview of her artistic quilts are displayed in museums, galleries, business model relies on quilt blocks journey. Schulze has always used and major quilt shows across the country. traveling around the world,” Trail says. This visual dialogue bridges differences in Finished quilts are heavy and expensive to innovation in her work, such as race, age, and socioeconomics to ignite a ship to quilt shows and museums, “but our image transfer, and writes poetry. social revolution for change. impact comes from getting exposure for Her advice included to consider SAQA members found Robinson’s quilt youth artivists’ work and the meaningful everything an experience. Schulze’s particularly moving. Godfrey painted red dye conversations sparked amongst those who was a contemplative ending to a on the vertical stripes, adding to its starkness. see it.” conference full of ideas, networking, Robinson represented himself with the In the San Francisco Bay Area, volunteers energy, and innovation figure wearing a graduation cap, emphasizing are needed to piece quilts together in SJSA’s Join us March 19-22, 2020, in howhard it is to overcome prejudice. sewing studio. Longarm volunteers are Toronto for moSAiQA, our first To continue this work, Trail says they want to needed to help finish the quilts. conference outside the United States. build their organization through human and To help SJSA, or to sponsor a workshop in Registration opens in September at financial resources. Volunteers are needed your area, contact the organization at saqa.com/conference. n for marketing, grant writing, fundraising, [email protected].

30 • SAQA Journal • 2019 | No. 3 TEACHING: PART 3 IN A SERIES

Wing your way to success Tips for international traveling teachers by Lyric Montgomery Kinard

The opportunity to explore the points. Decide how much you will international law and neither are world was a top reason I became charge and what currency you will be you. Read the host country’s immi- a traveling textile teacher. It took paid in; make sure you understand gration website carefully and talk about ten years to build name recog- exchange rates. It is a good idea to to as many teachers as you can who nition and make the right connec- spell out in writing the amount in recently travelled to your destina- tions, but meeting quilters around both currencies: “Teacher will be paid tion. If you need a work visa, apply the world is one of the best parts of (x)USD/(x)EU to be directly deposited well in advance. There is nothing the best job ever! into (X) account via wire transfer.” more nerve-racking than waiting for It’s also complicated. You will deal How will you be paid? You can use a last minute visa. with laws, currency, customs, and cash for spending money if you stay languages that might be unfamil- past your workshop dates, but you Medicines iar. There will be things you don’t will need to exchange leftover cash. If you take regular medications, bring expect and questions that you don’t Airport exchange fees take a good them in your carry on. Use an abun- even know to ask. My advice is to be percentage of that cash, as will your dance of caution; have your doctor professional. The same processes apply bank at home. If you are paid by write a note listing your medications abroad as they do for a domestic work- check in a foreign currency, find out and supplements and stating they are shop booking, but with a few added how your financial institution pro- all being taken under her supervision. complications. cesses international checks. My credit It is a good idea to ask what immuni- Your most important asset is a con- union once took almost six months zations are recommended and sched- tact where you will teach. Try to find to deposit my payment. I find the ule those in plenty of time. You don’t someone who knows the teaching easiest payment method is a direct want to discover an adverse reaction trade, preferably one who has taught wire transfer into my account. to a shot while you are on the plane in your home country so that they Spell out your daily food per-diem or risk getting an illness. can compare and contrast experi- or which meals will be paid for. What It’s a good bet that at some point ences. You should also reach out to is your budget for airfare? What your gut will be unhappy one way or teachers in your home country who ground transportation will be pro- another. Bring medications with you have recently taught in your destina- vided and paid for? Exactly how many to help either way. tion. Ask how travel to your destina- nights of lodging will be provided? tion works and what adjustments Packing were needed in classes. Language Research the weather. A local’s Here is a rundown of things to do Will you need a translator? Does description of blistering heat might before you go: your translator understand quilting be your idea of a spring breeze. Bring lingo? It pays to learn as much of the layers. On my last international trip, Contracts and Payment language as you can before you go. the weather conditions went from Whether you use the hiring group’s At a minimum, learn the necessities: winter chill to hot summer all in one contract or yours, it is more impor- hello, thank you, how much, and day, and a lightweight rain jacket was tant than ever to have everything where is the toilet? the most useful thing in my suitcase. spelled out in advance. Include all of Wear shoes you can walk in, and the usual information noted in previ- Visa bring a fancy pair for your lecture if ous articles (SAQA Journal Volume This can be one of the most dif- you must. Find out whether locals 28, No. 4, and Volume 29, Issue 1), ficult bits to nail down. Your orga- dress casually or wear nice clothes but pay close attention to several fine nizer is most likely not an expert in most of the time.

SAQA Journal • 2019 | No. 3 • 31 Flights passport and all your cards; keep the handled craft brushes for my surface I prefer making my own reservations. copies in a different bag than the design class. I recommend using a travel agent for originals. Leave another copy sealed I was unprepared for tea breaks international bookings. She/he can in an envelope with a family mem- when I taught in New Zealand. I am handle what might be complicated ber or friend at home that you can used to cramming as much informa- schedules, especially if a partner will call in an emergency. Upload them tion as possible into my six hours, but meet you mid-journey, and the agent to the cloud (encrypted) so you can my students much preferred a more can get a better price than you or access them from a local computer. relaxed pace. your organizers. If you work with a translator every- Travel Insurance thing will take twice as long; adjust Ground Transport Get it. International travel is expen- your class syllabus accordingly. Make sure you clearly understand sive for you and your hosts. Insur- If you work with electronics such as how ground transportation will ance can cover delayed luggage, a projector in the classroom, under- be handled. You will probably be emergency, or delayed departures as stand the differences between electri- exhausted and disoriented when well as illnesses and accidents. Talk cal systems. I brought both a power you land. You will need to navigate to your travel agent or homeowner’s converter and a plug adapter, having customs screenings. It’s sometimes insurance to find your best cover- been told the former was necessary difficult to get out of a huge inter- age. Things do happen. Luggage for my projector. I’m glad I had both national airport that is also a bus, might never make it to a destina- because the converter didn’t work and train, and subway hub, with signs tion. A family emergency may the adapter did. Your projector will be you can’t read. Will you need to make require a quick flight home. Make different than mine, so simply be pre- your own way to the venue? If you a copy of the policy and all of your pared. Bring extra adapters and cords. arrive in the middle of the night, will other contact info and upload that For my lectures I brought my iPad there even be transport available to to the cloud as well. and three USB sticks, each stored in a your destination? Will public trans- different bag. The USB had the lecture Money port require advance tickets or can stored in Keynote and PowerPoint you pay onboard? Do they accept Get some cash in the currency before formats, as well as numbered photos. I onboard payments or must you buy you go, especially if you are arriving used all three on my most recent tour. a ticket ahead of time? Will the ticket in the middle of the night and aren’t Once you arrive, more details will station be open when you arrive? being met by a local. There is no be in play: I recommend requesting a local to guarantee that ATM machines will Jet Lag meet you at the airport. be available and working. How many travel hours will you Don’t assume that the hiring group Teaching will provide transport for you from use to get to your destination? Will Make sure you go through every your lodging to your classroom. you get off the plane and need to detail of your teaching schedule Remember, you might be hauling go straight to a welcome dinner and with your organizer and with expe- a hundred pounds of luggage. Are lecture? Will you need an extra day or rienced teachers before you leave. there elevators? How far will you be two to adjust your internal clock and Supplies might be the stickiest walking? Are the streets cobbled? Will catch up on sleep? Who will pay for issue. If students cannot find spe- your driver or public transport be able extra days of food and lodging? cific items, they can’t continue your to accommodate your luggage? Go lessons later. You may or may not be Lodging through as many details as possible able to ship or bring items in your ahead of time with your organizer. There might be no elevator in luggage. Adjust accordingly. If you your hotel and even toilet customs Safety can work with a local shop owner, might be different from yours. that’s the best scenario for you and Research conditions in your host Is tipping customary? How does it creates a win for your students. country but don’t get paranoid. You heating and air conditioning work? Pay close attention to what materials will likely be with locals who know I spent two nights freezing in an each country prohibits. I found out how to navigate the environment. unheated room before I realized at the last minute that I could not Carry a money belt or a purse that there were wonderful electric heat- bring wood products into New Zea- is relatively pickpocket-proof. Make ing pads on the bed. Don’t be too land, and I scrambled to find plastic copies of the front and back of your

32 • SAQA Journal • 2019 | No. 3 embarrassed to ask about things lodging might be in a room with local number. Use WhatsApp to you can’t figure out. someone else unless you’ve speci- phone and video call your family fied otherwise. You might be used overseas. It might also be useful to Food to windows or doors being open load a world clock app so that you I’m an adventurous eater and abso- or closed, or sleeping in a different don’t accidentally call them at 3 a.m. lutely love trying new food. You temperature. Meal schedules might Learn to use your mapping app might not be. You might need to be entirely flipped from what you are offline, as access to cell service might bring something familiar to snack on used to. One country I visited didn’t be limited. A language translating app just in case, but beware. Many coun- start the evening meal until well after is a fantastic backup tool. tries don’t allow food of any kind the time I’m usually asleep, and open through customs. windows meant lots of evening noise. Enjoy Yourself If you have food allergies make Figure out what will help you rest. I Learning about new places and sure your hosts are clear on what use earplugs. On flights I have a large people is one of the best things about that means. Are they life-threatening dark silk scarf that I drape around my travel. You have the advantage of or are you flexible? You decide head to block out light and filter the being with locals eager to show you whether this teaching gig is a time to air when I sleep. the best of their homeland. Don’t be take a reasonable risk or be extra cau- embarrassed to ask all the questions tious. Do some research on the local Smart Phones that pop into your mind. It’s amazing cuisine so that you will have an idea In most places I’ve been able to use how much you can learn. n ahead of time what will work and my mobile phone by purchasing a Lyric Montgomery Kinard is a SAQA JAM what to avoid. local SIM card with a good amount who resides in Cary, North Carolina. Her of data on it. It’s much cheaper than book, Tips for Traveling Quilt Teachers, is Sleep paying your carrier for an interna- available from Amazon.com. You might be a person who can tional plan. Text your organizer and sleep on a long overseas flight. Your contacts and let them know your

SAQA Journal • 2019 | No. 3 • 33 Studio Art Quilt Associates quarterly art quilt Issue No. 16

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I am AQS SHOWS 2019

Join the fun this fall at an American Quilter’s Society QuiltWeek Show.

GRAND RAPIDS FALL - PADUCAH Charleston August September September 21–24 11–14 25–27

• Take a class from a world-renowned instructor • Shop at the huge Merchant Malls Learn more at QuiltWeek.com

• Have a quilt appraised by one of our certified appraisers NATIONAL BRAND PARTNER • Enter a quilt in an AQS Quilt Contest – Quilt Detail: BARBARA’S CIRCLE by Beth Nufer and Clem Buzick and DIAMOND EFFERVESCENCE by Charleston entry deadline May 31, 2019 Beth Nufer and Clem Buzick Image Credit: Experience Grand Rapids, Terry Johnston

34 • SAQA Journal • 2019 | No. 3 Editor’s Notes from page 6 In Memoriam myself, more good things started to It is with regret that we report the Alabama, was a true joy, quietly helping happen. Quotes and images I needed passing of four SAQA members. those in need. She supported many arts-based organizations and her life for this issue started to come in, Katherine Balfour, of Australia, was was filled with art making, dance, and individual treasures I took to make always eager to learn and create even time well spent as a fairy godmother a whole. They were added to items while battling with her body, says SAQA to all. I already had, like Phyllis Cullen’s president Lisa Walton. We will miss her piece on safety issues in our studios enthusiasm. Marion Coleman, a force within the contemporary quilt movement, (page 14), Cindy Grisdela’s interview Eliza Brewster was one of SAQA’s provided community art education with featured artist Sue Reno (page 8), first members, a longtime donor, in schools, libraries, community Lyric Montgomery Kinard’s how-to and an innovative artist whose work organizations, and juvenile justice can be seen in the book Art Quilts article on teaching abroad (page 31), centers, while exhibiting her own work Unfolding (page 285), and in Issue 3 and our Inspired column’s look at a nationally and internationally. In 2018, of SAQA’s subscription magazine Art work by Caryl Bryer Fallert-Gentry, Coleman was the recipient of the NEA Quilt Quarterly (called Art Quilt Collector Splash (page 38). National Heritage Fellowship—the at the time of Eliza’s Artists to Watch nation’s highest honor in the folk and It is an issue of creative outlook and interview). Her work also can be seen at traditional arts. accomplishment. May I suggest you fineartquilt.com. let go and enjoy the read, preferably We express our condolences to the Catherine Joan “Joanie” Pigford, of with a favorite pet at your side, where families and friends of all four of these Taos, New Mexico, and Birmingham, my little man was as I wrote this beloved artists. column. n

Enjoy SAQA’s 2020 conference in Toronto, our first outside the United States!

moSAiQA will be a reflection of the diverse global, artistic, ethnic, and cultural elements that make both SAQA and Canada wonderful.

March 19-22, 2020 | Hilton Toronto

Registration opens in September. Visit saqa.com/conference for details.

Photo by Jesse Milns

SAQA Journal • 2019 | No. 3 • 35 press easy

get 15% off with code SAQA15 at www.oliso.com

Thank you for opening a window of opportunity for art quilts!

Your generous gifts in support of SAQA exhibitions ensure viewers around the globe will see our work in renowned museums. Fine art venues are requesting our exhibitions, and your donations have made it possible for SAQA to have 15 themed exhibitions available to tour this year.

Support from donors like you is vital to our organization and its mission to promote the art quilt.

36 • SAQA Journal • 2019 | No. 3 Studio Safety from page 15 on its heel and turning it back onto its face. Using irons that you don’t have to stand up in between pressing City Side Lights, detail, Melody Randol; Topography II: Crest Trail, detail, Shannon Conley; tasks, such as the Oliso Pro iron with The Journey, detail, Kathleen McCabe a pop-up feature, may be helpful. Cutting devices, especially rotary Quilt Visions 2020 cutters, lead to many emergency room trips. Using a rotary cutter that Call for Entries doesn’t close on its own every time January 1 to February 15, 2020 you put it down is asking for trouble. Use cutters that retract the blade Jurors when you put it down, especially Nancy Bavor, Melody Randol and Emily Richardson when working with kids, friends who don’t often use rotary cutters, stu- Cash Awards dents, or pets. This will save your feet too, especially if you work barefoot— For more information, visit www.visionsartmuseum.org. another hazard considering what lies on studio floors. Scissors are safer, but 2825 Dewey Road, Suite 100 still have sharp edges. Use scissors San Diego, CA 92106 that spring open if you are prone to tendonitis or you’re developing any hand problems. Your fusing/drawing/folding/painting/cutting table should be elevated so that your elbows are, again, at about 90 degrees. Keep your tools in a convenient location to avoid the need to twist and turn to reach them. This practice will save your back and help maintain good posture. It’s all common sense isn’t it? Yet, in the throes of creativity, in less than ideal conditions, or with deadlines looming, safety sense does not seem to be all that, well, common! Before you start another project, look around and see if you can improve on any of the conditions I’ve discussed—just don’t look at MY floor!n

Phyllis Cullen, MD, is a SAQA JAM and the regional rep for Hawaii. Her work has been included in many SAQA global exhibitions. As a physician, she specializes in treating patients with chronic pain, many of whom are artists, musicians, and other creatives.

SAQA Journal • 2019 | No. 3 • 37 INSPIRED BY photography by N.K. Quan

Splash 41 x 41 inches | 2018

newfound interest in photography manipulated the photograph using particular combination of colors or Aled artist Caryl Bryer Fallert-Gentry Corel Draw and Corel Photo-Paint organic shapes that catch my eye and to add digital fiber art to her practice. software, heavily modifying the dolphin, are purely abstract when they show up “The use of photography and digital splash, and reflection. The final image in my quilts. Splash may be the most manipulation is not new, but it was new was printed on cotton fabric and realistic piece I have completed so far.” to me. It introduced me to unexpected incorporated into a background made Fallert-Gentry’s longstanding ability to possibilities in terms of my art.” from four different fabrics. While most create visual illusions, master intricacies of her past quilts have been pieced, Fallert-Gentry’s quilt, Splash, was of light and shadow, and produce pre- she finds the need to include some inspired by a photo taken by her cise stitching is the reason she is a rec- appliqué in her more realistic pieces. husband, Ron Gentry, during a ognized leader in the art quilt medium. The work was then quilted with photo tour to Vancouver Island in Her skilled, artistic approach to digital art dozens of different colors of thread. An British Columbia, Canada. True to her underscores the creative new possibili- iridescent thread and dots of textile philosophy of creating art that lifts the ties she has discovered in its use. spirit, she sought to capture the majesty paint were added to give sparkle to and Fallert-Gentry lives in Port Townsend, of a pod of dolphins swimming and extend the splash. Washington. You can view her work at jumping through the waves. “I choose to Best known for her abstract quilts bryerpatch.com. n focus on positive images and things that featuring organic, curved-seam designs, bring me joy.” Fallert-Gentry’s art quilts are based on N.K. Quan is a Phoenix-based writer Working directly on the screen her very real immediate environment and editor. of her Microsoft Surface laptop, she and travels. “Sometimes I just use a

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