In Dreams I Found Utopia included in Susquehanna Inspired

I am delighted to announce that In Dreams I Found Utopia has been selected by curator and artist Rob Evans for inclusion in "Susquehanna Inspired: 3 Centuries of Artistic Interpretation. The exhibit will be at the Kerlin Gallery at Creative York, York, PA, from April 4 - May 18, 2024.

In Dreams I Found Utopia

"The Susquehanna River is one of the great rivers of the United States and one of the earliest to be explored. Curated by York County artist, Rob Evans, and partnering with the Lancaster Conservancy, Creative York will feature artwork, spanning 3 centuries, about the Susquehanna River and the surrounding land in Lancaster and York counties.

An opening reception will be held at Creative York on Thursday, April 4 from 6 to 8pm."

In Dreams I Found Utopia, detail 1

In Dreams I Found Utopia, detail 2

The Susquehanna has been a major focus of my artwork, and my outdoor life, for decades. The Lancaster County Conservancy continues to do a remarkable job of preserving wild and forested lands and clean waterways in the river basin and surrounding areas.

In Dreams I Found Utopia, detail 3

Rob Evans will be featuring some works from the astonishing collection Drawing on the Susquehanna, " This exhibit ... examines the influence of the Susquehanna River as an artistic muse and commercial driver for prominent American artists who, over several centuries, explored the river’s shores and utilized its imagery as part of a greater initiative to promote the American landscape. These artists worked in a diverse range of media often experimenting with some of the newest technologies of the day including wood, copper and steel engravings; hand colored lithographs and chromolithographs; etchings; transfer decorated china; and paintings and drawings."

In Dreams I Found Utopia, detail 4

Truly, I am honored to have my artquilt included as one of the examples of contemporary Susquehanna themed art. 

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New Work - Greenhouse Effect

Greenhouse Effect

I am delighted to share my latest work, Greenhouse Effect. It combines large wet process cyanotype prints of leaves gathered in my local woods with elaborate patchwork borders.

Greenhouse Effect, detail 1

It measures 62"h x 48"w

Greenhouse Effect, detail 2

It's very heavily stitched to add lots of detail and texture.

Greenhouse Effect, detail 3

I am equally delighted, and honored, to share that Greenhouse Effect has been selected for the Fiberarts Guild of Pittsburgh's upcoming Exhibit at the Erie Art Museum. It will be on display from April 4 through January 19, 2025, with an opening reception on the 4th.

Greenhouse Effect, detail 4

This is another of my artquilts where the imagery can go only so far to capture the interplay of all the elements. I hope some of you can visit the Erie Art Museum at some point during this long run to see my work and the work of the other talented Guild Artists.

Greenhouse Effect, detail 5

My statement for this artwork: 

Alarmed by global climate change and frequent dramatic weather events, I’ve been working on a series of weather-related quilts. The greenhouse effect is a process that occurs when gases in the Earth's atmosphere trap the Sun's heat. This makes Earth much warmer and contributes to extreme weather, wildfires, droughts, and agricultural disruptions. For this quilt I made prints of leaves from species native to my micro-environment in Pennsylvania, as many are showing stress related to these changes. For decades I’ve been experimenting with cyanotype printing on fabric as a surface design technique. These prints have become the basis of my artistic practice. Combined with the print imagery, I use traditional quilt making techniques to assemble a patchwork of fabrics. The work is then layered and heavily stitched. Materials: artist painted and commercial cotton, silk, wool fabrics Techniques: wet process cyanotype and solar dye prints, monoprints, patchwork, stitching

Alarmed by global climate change and frequent dramatic
weather events, I’ve been working on a series of weather-related quilts. The
greenhouse effect is a process that occurs when gases in the Earth's atmosphere
trap the Sun's heat. This makes Earth much warmer and contributes to extreme
weather, wildfires, droughts, and agricultural disruptions. For this quilt I
made prints of leaves from species native to my micro-environment in
Pennsylvania, as many are showing stress related to these changes.

For decades I’ve been experimenting with cyanotype
printing on fabric as a surface design technique. These prints have become the
basis of my artistic practice.

Combined with the print imagery, I use traditional quilt
making techniques to assemble a patchwork of fabrics. The work is then layered
and heavily stitched.

Materials: artist painted and commercial cotton, silk,
wool fabrics

Techniques: wet process cyanotype and solar dye prints,
monoprints, patchwork, stitching

Greenhouse Effect, detail 6

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Art Quilts: Breaking Rules, Honoring Tradition - acceptances

Under the Pink Moon

I am thrilled and honored to share that two of my art quilts, Under the Pink Moon and Under the Thunder Moon, have been selected by juror Shelly White to be included in Art Quilts: Breaking Rules, Honoring Tradition, at the Vision Gallery in Chandler, AZ. The exhibit will run from November 18, 2023 - January 12, 2024.

Under the Pink Moon - detail

Both quilts are part of an emerging series where I examine folkloric names for the full moon throughout the year. Under the Pink Moon represents April, when the full moon shines down on the tender emerging foliage and flowers of spring. The center panels are direct solar dye prints of garlic mustard, Virginia creeper, and dock leaves, all very prevalent in the woodlands of Pennsylvania. The vintage hexagon blocks, pieced from feedsack cottons, are bordered with vivid silks.

Materials: artist-painted and commercial cotton and silk fabric, vintage patchwork hexagons

Techniques: wet process solar dye botanical prints, piecing, stitching

Size: 49”h x 34”w

Under the Thunder Moon

Under the Thunder Moon represents July, in reference to this month’s frequent thunderstorms. These wet cyanotype prints capture the effect of moonlight on some of the perennial stars in my garden borders.

Materials: artist-painted and commercial cotton, silk, and wool fabrics

Techniques: wet process cyanotype prints on cotton, patchwork, stitching

Size: 39"h x 23"w

Under the Thunder Moon - detail

As always, thanks for reading! A reminder that this blog is packed full of all kinds of good info, so have some fun exploring the tabs in the top header. Also an admin note-- I have left the dumpster fire that was once twitter, and am now posting on Threads. Pick your platform to find and follow my content: 

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Textiles Unleashed Acceptances

In Dreams I Slept in a Cabin

I am thrilled to announce that two of my large scale quilts, In Dreams I Slept in a Cabin and In Dreams I Went Fishing, have been accepted into the SAQA-PA exhibit Textiles Unleashed.

In Dreams I Slept in a Cabin, detail

Textiles Unleashed will be at the Southern Alleghenies Museum of Art in Loretto, PA, from April 28, 2023 through July 15, 2023.

In Dreams I Went Fishing

There will be a reception, with artist gallery talks, on Saturday, April 29.

In Dreams I Went Fishing, detail

Both quilts are from my ongoing series The River.

In Dreams I Slept in a Cabin: I lived near the mighty Susquehanna River most of my life and it is the inspiration for much of my artwork. This piece stems from a dream where I lived a simple life in a cabin near the river, lulled to sleep each night by the sound of it flowing, and awakening to its fresh beauty each morning.

Wool and silk fibers, silk and cotton fabric, cyanotypes, monoprints, needlefelting, patchwork, stitching. Size: 55"h x 94"w

In Dreams I Went Fishing: Inspired by a move to Pittsburgh, I’ve begun exploring the landscapes of the three rivers. Imagery in this quilt reflects my thoughts on the past use of the resources of the rivers by indigenous peoples, changes wrought by industrialization, and post-industrialization restoration efforts.

Materials: wool, silk, and mylar fibers; artist-painted and commercial cotton, silk, and wool fabric; embroidery thread, glass seed beads.

Technique: wet process cyanotype/solar dye, needlefelting with hand embroidery and beadwork, hand stitched patchwork, stitching. Size: 49”h x 77”w

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Heat Index on Tour

 

Heat Index

A quick and exciting update about Heat Index, currently on tour as part of the SAQA Global Exhibit "Light the World". It will be on display at the following venues this spring and summer: 

• SAQA Global Exhibit, Light the World, AQS Quilt Week, Branson, MO, March 22 - 25, 2023

• SAQA Global Exhibit, Light the World, AQS Quilt Week, Paducah, KY, April 26 - 29, 2023

• SAQA Global Exhibit, Light the World, Brigham City Museum of Art & History, Brigham City, Utah, June 1 - September 30, 2023

• The exhibit theme: Light is our primary tool for perceiving and understanding the world around us. Without light there is no vision. Light allows us to appreciate the world through shape and form and evokes emotions. Common qualities of light are intensity, quality, color, direction, distribution, texture and movement. Artists were encouraged to explore how light creates and transforms their art. 

Heat Index, detail

I made these prints in August, when a combination of record high temperatures and humidity had me checking each day for the predicted heat index, an indicator of how unbearable outdoor activity would be. They were an experiment in combining wet process cyanotype with solar dye printing, and have a bit of an apocalyptic edge to their beauty. The patchwork of silks adds to the shimmer and intensity.

Wet cyanotype/solar dye prints on cotton, silk fabrics, stitching.

Size: 54"h x 51"w

As always, I am very grateful SAQA, which has allowed me to exhibit my works in a wide and impressive variety of venues.

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Under the Pink Moon included in Soft Associations Exhibit

 

I am thrilled to announce that my newest art quilt, Under the Pink Moon, will be part of the invitational exhibit Soft Associations.

Fiber artists Meredith Grimsley and Paula Swett have curated this special fiber art exhibition. Artists in this show explore the meaning of soft associations: defined as the moment of awe in our relationship with nature - the moments that take our breath away. Soft Associations will be on display in the Olewine Gallery of the Ned Smith Center for Art and Culture in Millersburg, PA, from February 28th to May 20th. A free reception and gallery talk with drinks and hors d’oeuvres will be held on April 22nd from 2-5pm.

 Particpating artists include Beth Carney, Cathy Stechschulte, Linda Colsh, Rachel Dorr, Sue Reno, Betty Busby, Andrea Finch, Merrill Cormeau, Elena Stokes, Petra Fallaux, Daphne Taylor, Libby Cerullo, Sarah Dugger, Meredith Grimsley, Paula Swett, Arle Sklar-Weinsten and Elizabeth Bennett.  To learn more about the artists, click HERE

I am honored to be invited to exhibit with this roster of exceptional artists. 

Under the Pink Moon

I had a solo show in the Olewine gallery in the fall of 2017, and can testify that it's a fabulous space to display art, located in a beautiful nature preserve. I am tickled that my quilt about April's full moon will be on display in the month of April.

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New Work - Under the Pink Moon

 

I am delighted to share my newest work, Under the Pink Moon.

Under the Pink Moon

The second in an emerging new series about the folkloric names ascribed to full moons throughout the year. Under the Pink Moon represents April, when the full moon shines down on the tender emerging foliage and flowers of spring. The center panels are direct solar dye prints of garlic mustard, Virginia creeper, and dock leaves, all very prevalent in the woodlands of Pennsylvania.

Under the Pink Moon, detail 1

The vintage hexagon blocks, pieced from feedsack cottons, are bordered with vivid silks. I had a tremendous amount of fun designing and stitching this one together. I love vintage blocks-- these had been neatly, if not entirely accurately, handstitched, and as I worked I thought of the anonymous woman who had made them, and wondered what her hopes and dreams and plans had been.

Under the Pink Moon, detail 2

I realized when I finished that this is an extremely rare quilt for me; there are no cyanotype blues in it! They would have distracted from the glorious extreme pinkness.  

Under the Pink Moon, detail 3

The size is 49" high by 34"wide.

This quilt will be included in an invitational exhibit this spring--more on that in the next blog post.

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New Work - Fever Dream

 

Fever Dream

It's time to share the final new work! This is Fever Dream. It's one of the quilts making its debut at the Virginia Quilt Museum in my solo show, Beyond the Blue: Contemporary Narrative Quilts by Sue Reno. The exhibit runs from August 16 - October 23, with a reception on September 23.

Fever Dream, detail 1

At times in the past several years I felt as though I'd been experiencing a fugue state, combining fear and anxiety with isolation and boredom. I worked through it with fevered print making, using botanical materials close at hand. I was not reticent in my embrace of bold shapes and even bolder colors. The top print in this quilt is a wet process print made with cyanotype and solarfast solar dye chemicals. The leaves are white mulberry and sumac, which I've worked with before, and big red mulberry leaves, which are also in the bottom panel. 

I have a childlike admiration of big leaves and use them whenever I can. White mulberry leaves are easy to recognize because they have three shapes all on the same branch--an oval, a mitten, and a double mitten. The trees were brought here in Colonial times to feed the nascent (and ultimately unsuccessful) silk industry, and they easily escaped cultivation. Today they are often found on verges and disturbed ground. The berries are much loved by birds and quilters out on a hike. The larger leaves of the native red mulberry have been a bit more elusive to find, for me, so this was a score.

Fever Dream, detail 2

As my days were spent printmaking, my evenings were spent obsessively hand-stitching hexagons. I've loved working with this shape ever since working on my James Webb Space Telescope quilts, and of course it's a common shape in traditional quilt design.

Fever Dream, detail 3

With all these big bold shapes going on, I thought it prudent to sneak in some quiet little wet cyanotype prints of snowdrops, but immediately set them to vibrating with monoprinted green striated panels I made.

Fever Dream, detail 4

No matter what is going on in my life or in the world around me, I always seem to end up making bright, cheerful, joyous quilts. I don't quite understand it, but I've done it again and here it is. This imagery is my gift to you, dear viewer. I hope in some small way it helps sustain you should you experience the occasional fevered dream.

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New Work - In Dreams I Went Fishing

In Dreams I Went Fishing

It's time to share another new work! This is In Dreams I Went Fishing.  It's one of the quilts making its debut at the Virginia Quilt Museum in my solo show, Beyond the Blue: Contemporary Narrative Quilts by Sue Reno. The exhibit runs from August 16 - October 23, with a reception on September 23.

In Dreams I Went Fishing, detail 1

Sometimes it happens that I feel compelled to make a quilt and I have a clear vision of what it should look like, but I'm not aware as I'm working of its meaning and significance. This was one of those quilts. I've finished it but I'm still thinking about it, and it's still very much open to interpretation. Seeing it hung in the gallery might help. It's large, at 49" x 77", so given the size of my studio I've never stood back at a distance to contemplate it.

In Dreams I Went Fishing, detail 2

I do know it represents a shift from my emphasis on making quilts about the Susquehanna to making quilts about the convergence of the three rivers in Pittsburgh. I visited the 'Burgh for years before I moved here, so I have some experiences and visuals stored up, but nowhere near the familiarity I had with the Susquehanna. I'm still exploring, which is tremendously exciting.

In Dreams I Went Fishing, detail 3

I began with the panel on the left, a print of mullein leaves. (I do adore a good sized leaf, bonus points if it is fuzzy!) The print is a mix of wet cyanotype and solarfast solar dye chemicals, and when finished it reminded me of fish swimming with the current. Next I worked on the needlefelted river panel, a mix of silk, wool, and mylar fibers, with wooly borders, hand embroidery, and hand beadwork. As I worked I thought not of the current urban landscape, but of the past use of the resources of the rivers by indigenous peoples, changes wrought by industrialization, and post-industrialization restoration efforts.

In Dreams I Went Fishing, detail 4

The right panel is made from obsessively hand stitched hexagons, with two colorways merging together, much as the two rivers merge to form a third. The stripes were making me very happy as I worked--there's a lot of movement going on with this one!

In Dreams I Went Fishing, detail 5

I moved across the state for personal reasons, but welcomed the idea that new surroundings would shake up my artistic perspective and practice, and this has proven to be the case. I love delving into the unknown. I'm glad this quilt is still a bit of a mystery for me, and I'm sure I've left plenty of space for the viewer to bring in their own personal narrative. 

In Dreams I Went Fishing, detail 6

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New Work - Sanctuary

 

Sanctuary

I'm happy to share another new work, Sanctuary. It's one of the quilts making its debut at the Virginia Quilt Museum in my solo show, Beyond the Blue: Contemporary Narrative Quilts by Sue Reno. The exhibit runs from August 16 - October 23, with a reception on September 23.

Sanctuary, detail 1

I am particularly fond of the small rock crevices and caves commonly found in the geological formations in Pennsylvania. They form a sanctum sanctorum for all sorts of creatures, from invertebrates burrowing in the leaf litter, to snakes in hibernacula, and small mammals seeking shelter from the elements. There's a few in Lancaster County where I've ventured a short distance inside, to feel the cool air on my skin while on a summer hike. 

Sanctuary, detail 2

The eastern woodlands always feel like an sanctuary to me. I can identify a good number of the trees and plants around me, and can fantasize which ones I would use for food and shelter should the need somehow arise. I live in suburbia and the need is not at all likely to arise, but combined with my gardening skills I am appeasing the spirits of my Germanic ancestors who did indeed live off of the land. The knowledge puts me at ease. 

Like all of my work it has specific meaning to me, but I have left it open ended enough so that the viewer can bring their own story to the experience.

Sanctuary, detail 3

The leaves in this wet cyanotype print are catalpa, green ash, red oak, sassafras, white oak, Joe Pye weed, and maple. I added the leaf veining with stitching, then quilted the background with "pebble" quilting that reminds me of a gentle rain falling. The patchwork is a mélange of cotton and silk fabrics. meant to symbolize earth and sky.

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