Posts tagged exhibition

Houston Festival part 1
2TWEET: While I’m in Houston, I’m sending my tweets to my personal FB & my FB Page. I apologize for double tweets but want everyone to see the pics!
This is how I started my exciting 48 hour adventure to the Houston Quilt Festival. I wanted to share it with as many as my friends as possible. I was so excited and nervous about going, I accomplished practically nothing in the last couple of weeks leading up to the show other than packing my suitcase.
I went alone. I haven’t traveled alone since I was much younger and I looked at it as a grand adventure.
TWEET: Checked into Hilton Americas — isn’t the Chihuly glass chandelier amazing?
It’s impossible to mistake a Chihuly. There are two of them like this at Hilton Americas. I was lucky to find a room in the Hilton — it’s connected by a walkway to the Convention Center — something greatly appreciated by me when it poured rain on Wednesday and Thursday.
TWEET: Walked down bad streets to find this amazing place — District 7 Grill.
But this Tuesday, the skies were clear. I checked into the Hilton. I was starving — it was so late — but I was determined to be more original than eating in the hotel. I turned on my iPhone & looked for a restaurant nearby with at least a 90% approval rating. The closest one was District 7 Grill. I crossed the street to the convention center and made a left — which unhappily took me in the wrong direction. I ended up walking completely around the convention center — which is huge and covers probably 4 or more city blocks. I had to be careful about the streets I walked down and stick to ones with cars on them. I eventually found this haven of wonderful food. I had someone tell me it was in China Town. It was certainly a place that the locals go.
TWEET: Did I mention — no calorie counting on this trip?
I know it’s cliche’ to have a picture of my plate — but I couldn’t help it. It was 2:30 my time & I hadn’t eaten since 6am. This is a grilled veggie pizza on naan bread with feta cheese & pecans. I ate the entire thing. No regrets.
TWEET: An hour until I get ready. Decided I can’t eat dinner before I go — too nervous. Next tweet — Winners Circle.
I ate so late though that I wasn’t hungry later. Mix that with the excitement of getting ready for the Winners Circle — and the most I could get down was a banana. At least I was able to find some fruit downstairs in the lobby.
TWEET: The infamous Paula Nadelstern carpet.
Many quilters know the story of Paula Nadelstern, a quilter famous for her kaleidoscopes, showing up one year, looking down, and seeing her designs on the rug leading from the hotel to the convention center in the walkway. She successfully sued them for copyright infringement.
TWEET: I’ve seen Charlotte Warr Andersen & Jamie Fingal in the halls — rock stars in the quilt world.
I kept passing people that I know — but I don’t know. It was very surreal. Although non-quilters won’t necessarily know these people, I’ve seen their work & followed them for years — some of them I’ve even spoken with on Facebook. And yet I couldn’t bring myself to say something to them. I suppose a part of me thinks that famous people should be allowed their privacy.
TWEET: I’m here!
I finally found the correct ballroom. There are signs every 100 feet for a ballroom down the length of the convention center — none of them marked anything other than “ballroom”.
This is Karey Bresenhan speaking at the beginning. She is the the nexus of the entire International Market and Festival. She is the founder and without her, none of us would be there.
TWEET: Ran into my friend Denny Webster & her friend Marilyn Wall! I took pic with my camera so I’ll blog those later in the week.
I was standing by myself in line waiting to go in to the ballroom when I spotted my friend Denny Webster! She used to live here in Atlanta but moved a few months ago to North Carolina. She was there with Marilyn Wall who I was delighted to meet.
TWEET: I’m in my red Vera Wang — I’m overdressed.
I did feel overdressed — although later I was glad that I had chosen it. There was a full range of dress code — from jeans to full kimonos.
TWEET: I’m really close to Sharon Schamber — too strange!
She was sitting in the front row. I’ve followed her work for years. I follow her techniques for my bindings. I have my pressing board built like hers. Thank goodness for YouTube — I’ve never met her in person though. She’s petite like me.
TWEET: Bonnie McCaffrey is videoing at the front & Luana Rubin is sitting next to her.
Again, two people who I find interesting and follow. Bonnie was videoing the ceremony from the 2nd row and Luana was seated next to her.
TWEET: My heart just stopped! Did you hear it? 1st place in Art-People.
That was a moment to remember. They called 3rd place — so I thought — oh good! 2nd place! And then they called 2nd place — and I knew. I whispered “I think my heart just stopped.” I certainly stopped breathing.
I wish I had a picture of me on stage. I managed to get this picture from Victoria Findlay Wolfe.
TWEET: Fairfield Mastery Contemporary Artistry to Noriko Nozawa — gorgeous!
I took this pic the next day but it came out better than the ones I took the previous night. I found this quilt (Photographer Darling) worth studying. The background is quilted with a grid of black thread on white (mostly) — the postcards are black thread-work on white — and the image of the photographer is cross stitch! I did wonder how she managed to keep this piece flat — given the change in thread layers across the piece, it had to be challenging.
TWEET: Babylock master award for innovative artistry — Jane Sassaman!
This is also a pic from the next day (Illinois Album). It has a black border that is difficult to see because of the black hanging background. The design is phenomenal, but what struck me as surprising is that the white background is not a typical cotton fabric — it’s an embroidered white, probably not cotton. She also used a lot of embroidery stitches from her machine. These are not details that affect the overall design but they are interesting details for close inspection.
TWEET: Superior Award for Thread Artistry — Masanobu Miyama! (He’s a man!)
The majority of quilters are women so I’m always struck by a man that’s a quilter. He was the only man in the top winners. This piece (Wind) is very small. He painted the fabric with Tsukineko dyes, fused all the pieces down, and then heavily thread painted it. His wife was there and also had a piece in the show. They were from Japan. (30% or so of the winners were from Japan.)
TWEET: Pfaff Award for machine artistry — Shirley Gisi!
I didn’t get a great picture of this — but you can see it on the IQA Winners page here. It’s an abstract piece that effectively uses gradation fabrics to create 3D effects. Very clever.
TWEET: eQuilter award for WOB — Christine Alexiou — love this one!
This piece is called Septum Peccata Mortalia (Seven Deadly Sins). It opens like a book and has several pages.
That night, I was sitting next to Karen Ponischil (who won an Honorable Mention) and Christine on the other side. We shared our joy of the evening together and ended up meeting the next day to spend time together. My experience in Houston wouldn’t have been the same without them.
TWEET: Founder’s Award – Karen Seivert & a 2nd one to Margo Hardie!
I was confused here. Karen Seivert won a Founder’s Honorable Mention. Then Margo Hardie and Janet Stone both won Founder’s Awards.
TWEET: Another one to Janet Stone!
TWEET: Best Of Show — $10,000 award — wait for it ………
TWEET: Best of Show — Melissa Sobotka — stunning!!!
I don’t know that she could have found a better dress to stand beside her piece.
TWEET: Will get a better pic soon!
This, of course, is my better pic. It looks like a painting — or a photograph. It is raw edge with commercially bought batiks. I was stunned that raw edge has gained such acceptance. I hazard to guess that this is the 1st raw edge that has won Best of Show in Houston. And when I saw raw edge — I mean that there is no appliqué stitch — only tight quilting. I saw this on many pieces at Houston — raw edge but tight quilting or thread painting. It’s making me wonder if I should continue to spend so many hours covering my edges with appliqué stitches.
TWEET: I stood by my quilt for an hour — wow!! Everyone was so nice!!
I’m so glad that my new friend Karen insisted on taking my pic as I didn’t get one with me later the next day when Lincoln had it’s blue ribbon next to it.
And the money shot. This is also Karen — I don’t know what I would have done without her.
TWEET: I took a bunch of pics that I’ll post on my blog when I get home.
And so I’ve incorporated them here — both my tweeted pictures and the ones on my phone.
And finally — I couldn’t ignore the coolest shoes in the room. These were Philappa Naylor’s boots. She won first place for Scarlett’s Crimson in the Wearable Art category. She does beautiful quilts usually around a medallion so I was surprised to see her in the Wearable Art category — but I understand that it can be thrilling to step outside your comfort zone. Even better to do it and succeed at such a high level.
I had a blast. Although I didn’t get to stay very long, it was incredibly fun.
Part 2 will come tomorrow and I’ll show pics from my second day in Houston.

Happy Friday
0I just found out that Amelia Earhart has won 1st place in the open division, original design realistic pictorial wall category at the La Conner International Quilt & Fiber Arts Festival. Life has been full of blessings lately. I wish I could see the exhibit but it’s on the opposite coast from me. Hopefully some kind soul will take a pic and send me a copy.
It will hang in the extended exhibit through December at the La Conner Quilt & Textile Museum in La Conner, WA.

Going to Houston
1I have been working away here on my Golden Retriever. This is what she looked like before appliqué and quilting. I have since completed appliquing her and just finished pinning her this morning in preparation for quilting.
I bought several backgrounds before I settled on this batik. I didn’t want anything busy to distract from the Golden — so piecing a background was out. I also had decided to stick with analogous colors on the color wheel — so I knew yellow green was the correct color choice. The first piece I bought was a lime green that I thought would be perfect, but the minute I brought it into my studio, I knew it was wrong. I also bought a yellow green with some gray in it — which worked, but it didn’t make the Golden sing. It was just too flat. There was a batik at the store I had decided wouldn’t work because it had too much yellow in it — but at home, looking at my other choices, I knew it would work — and it does. Sometimes you have to move out of your own way.
I have also had some exciting news — I’ve been given the honor of being invited into the Winner’s Circle at the International Quilt Festival in Houston this year for my piece Lincoln. I’ve never even been to the show before — but I’ve made my reservations and I’m looking forward to meeting other artists I’ve only met on the internet and feeling honored to be in their presence. When I find out my prize at the end of October, I’ll be sure to share.

It’s All In The Cards 2013
0A couple of years ago, I started helping my friend Rebecca Reasons Edwards curate an annual show at The Art Place in Marietta, GA. This year’s show opened last Thursday night.
We asked the artists to make a piece 24″ x 36″ using a playing card as inspiration. Our artists came from the group Fiber Art Fusion and some invitational artists.
Curating is a funny thing. When a show isn’t juried, not all of the artists follow the rules — in fact, most of them don’t. Sadly, some artists hold the curators responsible. In the end, we had a responsibility to fill the gallery walls. Not everything fit the theme and not everyone followed the size restrictions. In the end, I still think that the show hangs well and shows how fiber art is progressing in North Atlanta.
Here is my co-curator Rebecca in front of her wonderful Cubist piece.
Sharon, on the left, made this wonderful piece, thread-painted and mounted on paper and canvas. Diane Shultheiss stands to her right.
This is my piece, Jacks are Wild, next to Susan Big’s piece I Felt Happy.
Debbie Smith made this whimsical piece.
Maggie Gershon from SEFAA joined us for the show and created this silk piece based on the Joker’s Wild card.
We managed to convince our old friend Heidi Miracle to make this marvelous (and HUGE) piece for the Queen of Hearts. She looked lovely in the center of our back wall. Heidi used to make more textile pieces but now concentrates mostly on paintings.
She also made this smaller piece we put in one of our niches.
Hellenne contributed this luminous piece created from silk. The colors in this are truly amazing — I don’t know that my camera was up to the task of truly capturing its magical sense of light.
And finally, Hellenne also contributed this silk piece with trapunto and hand stitching.
This is only a sampling of the wonderful pieces hanging. The exhibit will be available to the public at The Art Place through October 3rd. Then the majority of the collection will be available for viewing at the SEFAA Center October 8 – 26 with a reception October 10 10am-2pm.

Golden
0As I’ve mentioned before, I was lucky enough to have two pieces in the recent Sacred Threads show in Herndon, VA — Beach Guardians and The Bowl Judgments. It’s a biannual show and I haven’t participated in about four years — so I was delighted to find that the show published a book with all of the pieces from the show. Not having the ability to see the show in person, it gave me the chance to enjoy the exhibit from home and read all of the artist’s statements with time to study them alongside the work. You can order a copy of the book here.
Then a couple of weeks ago, I received a manila envelope in the mail. Inside was this new copy of Machine Quilting Unlimited and nothing else. I don’t have a subscription (although I might have to get one now — it’s really well done) — so I was confused until I saw the little strip at the top that said “Sacred Threads 2013.” I flipped to the article for the exhibit — and Beach Guardians was one of the highlighted pieces.
I was really stunned. I have never had my work included in a magazine before. I felt like I had reached a milestone. My 15 minutes anyway.
I have not been writing much on the blog lately. Part of me thinks that to have a blog, you need to write at least weekly. Another part of me really despises blog writers that fall off subject or write about nothing just to get a post out. I try to prepare something interesting and present it in a large enough piece that you can see progress. If I just showed you one day at a time, the blog would show everything in reverse order and it wouldn’t be nearly as interesting — to me anyway.
Once I had the girls back in school in August, I started thinking about my next piece. I really had no idea what I wanted to do. I started sifting through pics I took in the Spring and came across one that I really liked of a golden retriever. She is looking over her shoulder at her owner and has such a look of love in her eyes. If I found it captivating, maybe someone else would too.
I spent about a week drafting her. I typically bring the pic into Photoshop and reduce it to values only, adding lines of separation between differing objects — like the dog from her harness — or even her eyes and her nose from her fur. Then I spend a lot of time drawing in Photoshop using my Wacom tablet pen. Not only do I clean up the light scatter, I deepen shadows, add shadows to create definition, redraw the eyes, and simplify shapes.
From there, I continue the drafting process by pulling the final pattern into PosteRazor as a BMP file & scaling it to what I wanted. In this program, I can then tile print. Then I take the puzzle pieces, cut off the margins, and tape it back together. Now my pattern is back together — but larger.
Then I outline everything with an ultra thin black Sharpie. It bleeds through to the back giving me the reverse image that I’ll need for WonderUnder templates. I’ll have to go back & re-draw the lines on paper overlap — but it’s otherwise done. And FINALLY, I place a layer of see-through vinyl over the top of the pattern, tape it down, and trace it. I can then sew the vinyl to a piece of muslin (using a teflon foot that won’t stick) to use as my guide when I fuse the pieces down — or I can work on a very large fusing sheet and tape the vinyl pattern over that.
This is the beginning showing the first & second value. The first value is almost impossible to see as it’s white like the muslin background.
The third value gives you a better idea of the face.
The fourth value shows the outline of the entire dog.
The fifth value begins to give shadows and therefore definition to shapes.
The sixth value goes into an orange. There is only so far you can go with yellow — even cream. The color that shows for this value will depend largely on what is placed next to it. In the pic, it looks a lot more orange than it actually is.
The seventh value gives more depth and tones down the orange.
I debated having an eighth value — I though about just making it black — but between yellow and orange, I had room to move into a dark brown cinnamon. There isn’t a lot of it anyway.
Now the eyes. The pic normally gives me useless information here. I’ve found it best to draw them myself. The pupils are wide — and the irises are brown but has more gray in it than the brown tones in her fur. The outline of her eyes is black. You have to have a deep contrast here to feel the depth of the eye and most dogs can easily take the rich black for that function.
The nose is an experiment — although I’m leaning towards keeping it. You would think that all the fur around the mouth would match her other fur — but it doesn’t. It’s shades of back and gray.
Seeing a full picture of her, I think the nose makes sense. The gray and the black have to work together to give the impression of a snout — which I think they do.
The open patches around her shoulder are for a harness — which I’ll work on today.
I ripped off the orange under her left eye — I found it distracting.
I’m not sure about the light gray at the bottom of the mouth — I’m still considering it.
I made the entire piece without extra around the edges — which I should have done since I put her right on the muslin. Making her this way, I should have fused her to a fusing sheet where I could detach her & place her on a background. I wasn’t thinking through it — I was too excited to get to my favorite part — the cutting! I love the meditative process of fusing the shapes, cutting them out, and layering them until I start to see recognizable shapes.
I’ll have to think around what to do to correct this.

Shipping Demystified
0At some point along the way, I started entering exhibitions far away. My quilts have always traveled better than I have. I always have some trepidation when I drop them at a shipper, but I have know that shipping them is the best way to show them to large numbers of people.
At home, I either store my pieces on the wall or rolled up and placed in a pillowcase. At one time, I only wanted to ship my pieces rolled, but not only were round shipping containers hard to find at the time, the shipping charges were MUCH higher. My more conservative nature took over and I learned how to ship my work folded. Even though I quilt my pieces tightly, 1/4″ apart or less, folding them for a couple of days in this way does not cause drastic wrinkles.
This week I was shipping Lincoln and The White Raven to IQF: Houston. I have small boxes for one quilt, but for two, there is a great box at Staples that is 14″ x 14″ x 14″. The depth is too high — but I can cut the sides of the box down to 10″ — and this particular box all ready has crease marks at 10″ — so it’s a very easy adjustment to make and I don’t have to fill the box with extraneous materials to keep the pieces from floating around in a box that is too big.
The goal is to fold the piece into a square that is 14″ x 14″. For Lincoln, I laid it out on the floor and crumpled up some tissue paper on the top.
And then I made my first fold — from the top to the middle. I then put more tissue paper in the middle.
And then made my second fold. This is now just under 14″ wide.
For this piece, I’ll need to make one more fold in the middle so I crumple up more tissue paper in the middle. It doesn’t have to be a lot. The tissue paper gives enough volume that the crease isn’t too small and won’t cause a nasty wrinkle on the top.
And this is what I looks like when it’s done. I then folded my second quilt in the same way so that I had two squares just under 14″. Some shows ask that you place the work inside a pillowcase with your name and other information written on it and then place it in a clear plastic bag. IQF does not want the pillowcase or muslin — they only want your work in a clear plastic bag.
I keep the plastic bags I get back from shows and re-use them, but if you’re just starting out, you can buy XXL Ziploc bags in the grocery store.
I stacked them one on top of the other and folded the remainder of the plastic bag around the work. They fit perfectly into the box.
For any show, I always have an envelope. At the minimum, the envelope should have your name on it. Inside I put an index card with my name and other contact information. For IQF, they also have some paperwork that they want included. Since there are two quilts in this box, I have included two separate envelopes. I tape the tops of the envelopes to the bag.
If I close the box as it is, I would have extra room, so I merely cut down the four corners with some scissors.
Then I fold the sides over and tape them with clear packing tape — once on the top, then the two sides, then across the top again. (By the way, this is exactly how I tape the bottom of the box as well.)
I don’t reuse boxes. They can be reused to be sent home — but I don’t keep them beyond a round trip. It’s the least I can do for the safety of my work.
I have one more piece going to Houston to be in a special exhibit — Firecracker — but I won’t send that one for a few weeks.
I have had Amelia Earhart accepted into the La Conner Quilt Show — so I’ll be shipping that one out soon as well.
And finally, I have Jacks Are Wild and It’s All Relative (which I’m finishing now) to be included in a local show that Rebecca Reasons Edwards and I are curating. Those two will show in It’s All In The Cards at The Art Place in September and at the SEFAA Center in October.

Silk To Dye For Exhibit
2The Silk Painter’s of Atlanta are exhibiting right now at the South East Fiber Arts Alliance space downtown. My friend Hellenne Vermillion had several pieces in the show so I took one of my daughters with me to see it today.
Many people think of wearables when they think of silk, and this piece called Luna by Margaret Agner is a wonderful example. (It’s also laid out on the exhibit card above where you can see how it fans out beautifully at the ends.)
There were also many pieces by Martha Andreatos. I loved the colors of the silk in this piece and how they are tiled together like a roof.
This is another stunning piece from Martha.
And this is a piece from Hellenne Vermillion. She has added a lot of hand stitching in this piece. I fear that the reflectiveness of the silk combined with the broad value range were too much for the camera on my iPhone — it doesn’t do the piece justice.
This is one of Hellenne’s silk masks. She forms a clay mask and covers it with silk. This was my daughter’s favorite piece.
This is another one of Hellenne’s pieces displayed on a canvas. I just love the heat coming off this one.
This is another piece by Martha, also painted silk on a canvas. It has a very luminous feel to it.
And finally, another piece from Margaret. I love the playfulness of this one. It is a silk wrap hung vertically on the wall with pins. It would be stunning draped on someone’s shoulders.
All of the work included in the exhibit was beautiful. Silk is such a vibrant medium and holds the color so well.
Please contact the artist individually if you are interested in their work.

Entering Shows
0This week I’ve been appliquéing my rabbit onto my background. It’s almost done. There isn’t a lot to show in that process. It’s been hard for me to concentrate as the routine of my girls is already starting to change. I fear I may be a victim of Spring fever.
I did think I would take a few minutes and talk about entering shows. Why do I enter shows? Well, why do I make art? I make art as a form of self expression. I enter shows so that people can see what I do. It is more satisfying for me to have my work in shows than for my work to collect dust in the closet. In fact, I have a growing collection in my closet — it makes me sad. Art is meant to be seen.
My first show ever was back when I lived in Alabama. The fabric store advertised for the Alabama Quilt Symposium to be held (that year anyway) in Birmingham. I thought it would be fun to enter and take a few classes. It was my first time. When I walked into the hall, I was enthralled by all the pieces. I had been working with textiles for a couple of years. I turned a corner — and saw my piece Childhood hanging — with a blue ribbon beside it! Best of Show & 1st place in its division. (That was, by the way, the only time I’ve won a Best of Show.) It was shocking — and thrilling!
I took that piece and Dalmatian Downs and entered them in the AQS Quilt Show in Paducah in 2004 — and what a surprise I had when they were both accepted. No ribbons, but I did visit the show and get to see them hanging. There was row after row after row of the most incredible quilts I had ever seen in my life. I couldn’t believe it. I couldn’t process how a judge could pick a best in show.
I also entered one of the Mancuso shows — Pacific International (PIQF)– and the International Quilt Festival (IQF) in Houston. I had several quilts accepted over the years into PIQF — but I was not lucky enough to be accepted to IQF. I stopped entering AQS-Paducah as my work became artistic and fell outside of their size restrictions. (At one time, they wouldn’t accept a quilt whose width was between 24″ and 40″ — although I don’t know if they’ve since changed that rule or not.) I told myself year after year that if I didn’t enter IQF, I’d never get in — so I kept entering.
Several years went by and I started to lose hope. We all do at one point or another — but then one year, I thought “one last time.” That was 2006, and my first monochromatic portrait Faces in Cloth I was accepted.
I have since entered Quilt National, Quilt Visions, and Quilts=Art=Quilts — but have not been accepted. I do admit that I haven’t been as diligent about entering as I had been with IQF. Sometimes it is because of the expense — and sometimes it’s easy to see from the other work accepted why mine was not.
I have also been accepted at some other wonderful shows — Art Quilts (at the Chandler), Sacred Threads, and the La Conner Quilt Festival — as well as some local Atlanta shows — Georgia Artists, Fiber Art Fusion (which I now co-curate with Rebecca Reasons-Edwards), SEFAA’s ARTlanta, and East Cobb Quilt Guild.
Right now, my desk is littered with folders — for quilts and for shows — as I try to decide shows to enter, how much it will cost, which quilts to send, how long they’ll be gone if they’re accepted, and how to enter pieces in such a way that I don’t enter a piece in more than one show at a time (because that’s just bad business). Decisions, decisions. I tend to enter & support the same shows that I have in previous years — but throw in a new one here and there to see if I get in — to expand my horizons.
I have had one piece juried into the East Cobb Quilt Guild Show this June — Beach Guardians. In July, both Beach Guardians and The Bowl Judgments will travel to Sacred Threads in DC. They have both also been chosen for an extended travel exhibit of Sacred Threads in Omaha, NE.
I also have been working on entries this week — but I think it’s bad luck to mention an entry before the jurying process is complete.
Sometimes I help Lyric Kinard with her list of Shows to Enter. At one point years ago, she thought about not keeping up the list and I offered to help. It was the only resource of its kind at the time and I wanted to see it continue. It’s a great way to look at the landscape and see what venues are available. Although many of the more local shows have not survived the current economy, there are still a lot of opportunities available.

2013 Georgia Artists Reception
0Last Friday was the Georgia Artists reception at the Abernathy Arts Center in Sandy Springs. I was excited to go. This is my 3rd year to be included in this exhibit and it’s always a great way to meet other Atlanta artists.
So this year, I prepared myself. I designed business cards & had them rush printed. I even went so far as to buy a new dress — something I never do. I came prepared as the professional artist.
I’m still glad that I did that — I should always do that — but this year was different. The artists didn’t mingle. I didn’t have the opportunity to meet one other artist other than the one that I already knew — and I pushed my card on her so I could at least have given one away. In retrospect, we didn’t have name tags like we have in previous years. Maybe that made the difference. Also, there was only one artist in the show that had been included previously. I wonder what damage the economy has inflicted on its community of artists.
Lincoln was beautifully hung. I always love to see my work hanging in a professional gallery.
This is me with my Lincoln.
And this is SPLAT! created by Leisa Rich. I’ve known her for a few years although we have mostly conversed on Facebook. I was blown away by this piece. It looks more like sculpture than fiber given the way it undulates from the wall. It’s mostly stitching on a vinyl material but there are holes filled with what I think is fine silk.
And here is Leisa with an Honorable Mention! Well deserved. Probably my favorite piece in the show.

SPLAT! with creator Leisa Rich

New Exhibitions
0I have been blessed with several exhibition opportunities lately that I wanted to share.
Bukonyan Elder was chosen as one of two pieces to represent my Fiber Art Fusion group in our sister organization Southeast Fiber Arts Alliance show Fiber ARTlanta. The opening reception will be May 3rd at the Unitarian Universalist Congregation of Atlanta 6:30 – 8:30pm. The show will run through May 27th.
Lincoln has been juried into the Georgia Artist exhibit opening at the Abernathy Arts Center in Sandy Springs, GA also on May 3rd 6:30 – 8:30pm. The show will run through June 14.
Both The Bowl Judgments & Beach Guardians have been juried into Sacred Threads 2013. Show dates are July 10 – 28 at Floris United Methodist Church in Herndon, VA. The artists reception is July 13 1 – 4 pm.