Quilting, Camaraderie, and Critiquing

It's taken me 69 times around the sun to go to my first quilt retreat--something that most other serious quilters do regularly--and that retreat was both warm and fuzzy while also bracing and invigorating.  To my great surprise, and beyond my expectations, the setting turned out to be a rolling, wooded one, with yellow leaves drifting across the landscape and the smell of woodsmoke in the air.  The weekend was wonderful on that basis alone, and you can read about the wonderfulness here:

https://stitching-it-all-together.blogspot.com/2018/11/i-went-on-quilt-retreat-i-found-cedar.html

Besides the magical setting, the retreat offered quilting camaraderie:  New friendships made and older ones renewed and strengthened.   Quilting is by its nature a solitary activity, except maybe in rural areas like Pennsylvania Dutch Country. So it's validating to come together in one room with others who also have a passion for this demanding and rewarding art form. 

There was a lot of clackety clacking in that room when everyone got going!

One high point of the weekend for me--aside from discovering, and walking through, a cedar swamp on the property--was a quilt critique offered by Sandra Sider, a SAQA (Studio Art Quilt Associates) member who has a lot of experience at this.

I offered my quilt-in-progress, Spirit Moving Over the Waters, for a critique.  It's a smaller quilt on top of a larger quilt.  The smaller quilt is a collage of photo transfers of sand ripples:

Spirit Moving over the Waters is intended to be a smaller quilt mounted on a larger one.  This is the smaller quilt.

The larger quilt on which the smaller one will be mounted is made of blue silk, sewn with rippled lines of stitching.  It's been layered with Fabric Magic, so that when steam is applied, the blue silk will shrink and create dramatic raised ripples.

Here are both parts, mounted for critiquing.  That's Sandra Sider there, sharing her thoughts.

That's me, listening and thinking

One suggestion was that the stair-step arrangement of the smaller quilt was jarring.

 
It was suggested to convert it into a diamond shape, which I did, by basting:

I think it looks kind of cool that way, but possibly too stylized.  And when I put it on an angle on the blue silk rectangle, as someone else suggested, it looks like a UFO.

If this smaller quilt (brown) sat on an angle on top of the rectangle of the larger quilt (blue)., it might look like a flying saucer.  It weirds me out a little.  I didn't intend for the Spirit Moving Over the Waters to be an extra-terrestrial.

Then somebody else suggested a more natural edge on the smaller piece, eliminating the troublesome stairstep arrangement, but looking more organic, possibly more like a real shoreline.  I like that idea and will try it, temporarily, on one of the four sides of the diamond.  Just to see.

It was also suggested that my background quilt may not be big enough, as the Fabric Magic, with which it is layered, will shrink 30 percent when steam is applied.  Can this blue rectangle shrink  30 percent and still leave a decent margin around the smaller quilt?  Now I'm thinking about starting all over again with another piece of blue silk.  Gah! Do I know how to have fun or what?

These are things to think about on the road to completion of this quilt.  The feedback is refreshing, and even if I  don't agree with everything, it helps me see my work with new eyes.

A couple of other ladies had their quilts critiqued, including this one, which is to be part of a tribute to women artists that will be hanging soon in the Tolland Library, Tolland, Connecticut.  This particular quilt, one of many this quilter is making, is a tribute to the photographer Vivian Maier.  Do you know about Vivian Maier?  She was a nanny who took candid photos on the streets of New York as she went about the city with her charges.  There was even a film about her:  http://www.vivianmaier.com/film-finding-vivian-maier/.

Here's an 18 x 24 art quilt honoring her, and Sandra Sider giving her comments:

We all liked the way the artist mimicked the scalloped edge of old-time photos, complete with black photo corners, and included a slice of Manhattan streetscape in the background.

Here's another piece, this one, like mine, a work in progress.  The artist constructed this seahorse from dozens of sewn circles, called yo-yos, made from recycled prom dress fabric:

Gorgeous, isn't it?  It's going to be part of a larger seascape, with the sea horse's tail wrapped around a piece of underwater vegetation.

Part of the value of the critique process also enhanced the group dynamic, with all participants going into it as interested and invested art quilters.  Satisfying all around.

I haven't told you about the accommodations yet.  They were monastic and scrupulously clean.  I slept like a rock in that little bed.

It was inconvenient to have the room's one electrical outlet on the opposite side from the bed.  But that's why God invented extension cords.

So it was all good.

And I'm grateful to be able to come home to this:

My yard, late afternoon, Sunday, November 4, 2018