Saturday, February 16, 2019

January began a new year here at Mountain Art Quilters, as well as bringing a special treat. Sandra Bruce, a former MAQ member and quilter extraordinaire, gave a slideshow presentation on "Art and Fear." We also completed our second name tag exchange, welcomed a new member, and strutted our stuff. Please join us for a wonderful journey through quiltdom!

Art and Fear

by Sandra Bruce



We were fortunate to have Sandra Bruce as our presenter this month.  She shared her journey in art, the lessons she has learned along the way, and the fear that dogs an artist on that journey.  Sandra did not start out as a quilter.  She had been drawing since the age of six and suggests that by drawing 'what is in front of your face,' one can become skilled.  Her art career began with illustration and lettering and has embraced wearables and polymer jewelry as well as quilts.

Sandra's first quilt was hand-pieced and hand-quilted, and a showcase of traditional blocks.

"Color Dance"
"Color Dance" was Sandra's transitional quilt, a bridge between traditional quilts and art quilting.  Art making involves skills and knowledge (such as color theory) that can be learned.



Sandra reminded us that failures are an essential part of the creative process.  This octopus quilt featured a slew of yo-yo's, painstakingly sewn on to the quilt surface.  But Sandra soon realized that the yo-yo's had become the focal point and that wasn't the effect she wanted, so the yo-yo's had to go.


"Octavius"
This is the finished quilt after the yo-yo's were replaced with circles of hand-dyed silk organza.  To others, the final the finished piece is 'the thing,' but to the artist, it's all about the journey and the learning that takes place.

"Matteo 2014"
This quilt explored the importance of value in a study of black, white and grays.


"Dame Lorraine"

This intriguing figure was based on a photo taken by a friend of Sandra's.  Sandra removed a distracting background and then focused on getting the eyes right.  Perfect Circles were used to create the 'beads,' and the quilt was enhanced with hand-embroidery and hot-fix crystals.  Sandra entered the quilt in the Houston show and received some critical comments from the judge.  Sandra took the criticism in stride and reminds us to "do what you are happy doing" and that "Simply courting approval, even that of peers, puts a dangerous amount of power in the hands of the audience.  Ben Rosenfeld, Art and Fear. 




One last bit of advice -- do something that scares you, such as appearing on "Quilting Arts TV," or going zip-lining, or even braving the existential terror of a car wash.

"Zara"

And a last look at a few of Sandra's matrix quilts.  This quilt, based on a photo of a Syrian refugee, has travelled all around the U.S.


If you look closely at Zara's eyes, you will see both the photographer and the desert sands reflected there.


"Summertime," a commissioned quilt

And a work in progress . . .


Name Tag Exchange

We did this project a while back -- write a few little-known facts (or lies!) about yourself on a slip of paper, throw it in the hat, and draw out the name of one of your fellow members.  Then create a name tag for that person using any or all of the information provided.  Well, with so many new members, it was time to repeat the project.  Some of us had so much fun the first time around, we participated again just for the heck of it.  As you can see, the name tags are a varied as their creators!






New Member Showcase

"Psycadelica"
by Ginny Petersen
It seems we have new members just about every month now, and we are thrilled to have the energy, talent, skill, and interest they bring to the group.  Our newest member, Ginny, shared this quilt she made, which was quilted by Cherie Shaeffer of Quilts in the Attic.

"The Barn"
Another lovely quilt by Ginny.  This one was begun in a class at Whistle Stop taught by Candy Brown.

Show and Tell

"Sunset Squared"
by Shelli Fried
One of our newer members, Shelli was unable to participate in October's challenge due to an injury.  This quilt had been destined for the "Driven to Abstraction" challenge and was inspired by a class at Asilomar.  Shelli created this quilt as a series of mini-quilts, some of them sitting on top of the larger background quilt.  This is the first quilt she has completed entirely by herself, and Shelli credits Michelle Peerson for having given her the support and encouragement she needed.


"Message in a Bottle"
by Jane Haworth
Several of our members entered the Studio Art Quilt Associates (SAQA) challenge this year.  The theme, "Shifting Tides," inspired this quilt by Jane.  The quilt features the Mid-Way Atoll where plastic debris has become a huge problem.  Jane quotes a CNN report from December of 2016: "The Eastern island is now littered with tiny fragments of plastic. The birds die and decay, but the plastic inside them stays forever in the sand -- a layer of man's doing that will never go away.  Midway will probably vanish under rising ocean levels before the plastic decays."


"Untitled"
by Ann Sanderson
Ann's entry into the SAQA challenge was this depiction of eel grass, painted on fabric.  It took Ann three tries to get the effect she wanted -- she ended up painting on linen fabric and adding some interest with commercial fabrics.  Ann was inspired by her concern for Bodega Bay where the eel grass, a critical habitat for dungeness crabs, salmon, and oysters, is dying off.


"Pacific Garbage Patch(work)"
by Lynn Tubbe
Lynn's goal this past year was to show her quilts in new venues, and she succeeded with this entry into SAQA's "Shifting Tides" challenge.  This quilt includes a little fish made in a sun-dying class, and pieces of plastic painstakingly hand-stitched with mono-filament thread.  Congratulations to Lynn, as well as Sig Simonds and Jackie Manley for having their quilts selected for the traveling exhibit!

Monday, December 10, 2018

December is a month for celebrations and here at MAQ, we do it right. Join us for our annual Christmas potluck luncheon and enjoy along with us as we celebrate the season.

'Twas three weeks before Christmas and all through the place, the quilters did party with style and grace . . .




The room was hung with quilts, some finished just in the nick of time, and some from back in the day.






The attire was festive,
as seen here with Ardy Tobin and Trish Morris-Plise.

The food, as always, was overwhelmingly bountiful as well as delicious.  It's obvious we are women of many talents!




We had a rousing quilters' version of "The Night Before Christmas" as we passed gifts from hand to hand each time the word 'quilt' or 'quilter' was spoken.





And quilters being quilters, there was much to Show and Tell.  Michelle Pearson shared a quilt begun in Brenda Gael Smith's Serendipity Circles workshop at PIQF.





Trish shared a quilt she's made as a Christmas gift for her granddaughter (shhhh, don't give the secret away!)  The center panel is hand-embroidered and the border is courthouse steps created from coordinating fabrics.  One lucky granddaughter!

Linda Siska shared a technique she learned from Esterita Austin during her Iridescent Painted Irises workshop at PIQF.  Esterita developed this technique in order to transfer paint onto fabric.  A base coat of metallic paint, such as Lumiere, ensures that the paint will transfer easily from the silicon coated parchment paper on which it is painted to the sheer organza.  After the base coat is laid down, any kind of paint, colored pencil, marker, or pastel can be layered over top creating the desired effect.  The parchment paper is then covered with a layer of Mistyfuse, a layer of organza, and another layer of parchment paper.  The sandwich is ironed together, allowed to cool, and peeled apart.  The paint adheres to the back of the sheer fabric with little loss of color or detail.


Karle deProsse sported a UFO turned into a sweatshirt jacket.


Claudia Rourke brought in a Freddy Moran inspired quilt that featured freehand cutting.  Freddie's assertion that 'color is joy' is certainly evident in this bright quilt.  The "Barnyard Pets" quilting motif was done by Karla Rogers.


Pat Gillings brought in some of her pine needle baskets to share with us.  But that wasn't all . . . 


she also shared some fabrics she had printed out at Spoonflower.  This one started out as Pat's own photographs, manipulated in Photoshop, then printed on chiffon.


And lastly, Pat shared fabric she had created in a multi-stage process.  First, she poured acrylic paint and pouring medium on canvas.  Then she took a photo of the canvas, Photoshopped the picture, then had it printed on satin.  She says the satin is difficult to work with and next time she would probably try silk.


Julie Broughan shared the goldwork she has been doing.  She took an online Facebook class in Byzantine embroidery taught by Yulia Artemeva and created this collection of stitches.


Carole Rossi shared her most recent quilt, "Whales."


Ginny Lee brought a couple of quilts that have been made for the "We Care'" organization to donate to children affected by the Camp Fire.  She sparked a conversation on ways that we can help.  "We Care" is providing kits for these quilts -- available free of charge at Ben Franklin.  There is a continuing need for fabric donations, especially for fabrics suitable for boys.  High Hand Nursery is taking monetary donations -- and posting on Facebook about how the money is being used.


Another quilt for Camp Fire victims.


Ginny Lee also told us how she had used acrylic paints and pouring medium (such as Floetrol) to transform glass ornaments.  She finished the ornaments with a clear coat for protection.


Jane Haworth showed us fabrics she had printed at Spoonflower on cotton-linen fabrics.  Some featured old family photographs . . .


and some were reproductions of her own quilts.


Robin Hart created a painting of a lighthouse, had it reproduced on wrapped canvas, and added lighting for special touch. 

Pat Nelson shared a favorite book on artistic inspiration, Creative Authenticity by Jan Roberts.


Kate Grant has been spending her time weaving while healing from a broken hand.  Under the guidance of her teacher, Eileen Lee, she created these two pieces -- "Broken" . . .

and "Holstein."


One last thing before we go.  An older painting by Robin Hart is featured in this month's edition of the Smithsonian's "Air and Space" magazine.  The caption reads: "What fascinated Robin Hart about Apollo missions was 'the contrast between the lifeless sphere of the moon and our Earth, which was so full of life.' With 'Luna Victoria,' a 34- by 32-inch triptych painted and airbrushed with gouache and acrylic, she expressed the 'human presence' she believed the astronauts carried with them to an alien world."

I hope you enjoyed this celebration of art and talent and camaraderie as much as we did.  Happy holidays to one and all, and a Happy New Year!


Sunday, November 11, 2018

October is always our biggest reveal of the year, and this was no exception. So, without further ado . . .

Beauty of the Ordinary


"Simple Circles"
16" x 43.5"
by Marylee Drake
Marylee was inspired by Elin Nobel's beautiful clamped, hand-dyed fabric.   Marylee has been saving this special fabric for several years, wanting to do justice to the beautiful colors and design elements.  At last, she found a design that inspired her to use some of her Nobel fabric stash.  While circles and rings are ordinary and simple, they are nevertheless beautiful in their own right and represent sacred symbols to many faiths: infinity, togetherness, wholeness, everlasting life and repetition.  So much symbolism for such a simple circle!


"Lost in Time"
30" x 40"
by Claudia Martinez Rourke
Claudia was inspired by an old barn in her neighborhood that must have been a beautiful structure at one time, and even though it has been neglected, its beauty still shines through.  The body of the barn is made of different shades of red batiks and 'Grunge' fabrics.  Claudia used white batting for the snow and white Grunge fabric for the border.  The greenery and trees were thread painted in several tones of green quilting threads stitched using a machine quilting hoop with layers of Solvy and tulle.  She used clear and black monofilament thread to secure the body of the barn and the greenery.  Finally, she used acrylic paints for the barn itself to dirty it up and age it, and for the splashes of white for the snow.  

"Stupendous Stitches #2"
15" x 21.5"
by Maria Brower
This is the second in a series of three inspired by the book Stupendous Stitching by Carol Ann Waugh and the videos on her website.  Maria used cotton batik fabric with 16 rows of satin rattail binding, 4 rows of rickrack, 4 rows of hand stitches, 1 row of beige trim and one wooden embellishment painted to match the colors in the background.  Maria wanted to use simple techniques so that the beauty of the fabric would shine through.

"Wilson Bentley's Best"
30.5" x 40.5"
by Kathryn Madison
Over a period of 40 years, Wilson Bentley took over 5000 photographs of snowflakes, declaring at the end of his work that no two were alike.  Kenneth Libbrecht at Cal Tech bears this out -- snowflakes created in a laboratory under identical conditions still remain unique.  Inspired by the unique beauty of snowflakes, Kathryn created this quilt.  She used hexagons to create a background that reflects the six-sided crystalline structure of snowflakes and laid them out in the color pattern of a prism.  She quilted one of Bentley's snowflakes in each hexagon, shading them with white Tsukineko ink.  The two tumbling snowflakes and the white border are glitter tulle fused to cotton.  The background snowdrift at the bottom is white embroidery thread couched onto cotton.  The foreground snowdrift is a stand alone piece of couched yarn, faced and appliquéd to the background.  The large snowflake was made in three pieces, painted with Tsukineko frost ink blended with prism colors.  After the three pieces were painted and the center was beaded, they were assembled and bead-appliqued to the background and the foreground snowdrift for increased 3D perspective.  She used Inktense pencils and fabric medium to create 'halos' around the snowflakes.  

"Hope and Strength: Six Generations"
49" x 47"
by Jackie Manley
Jackie found inspiration in old family photographs and the saying, "Strong women: know them, be them, raise them."  To Jackie, strength is derived from hope, hence the title, "Hope and Strength."  She wanted a striking color palette for the portraits.  To create the colored photographs, she printed black and white photos onto cotton, colored them with oil pastels (for their intense color) and sprayed them with fixative.  Jackie reminds us that none of these women were rich, famous, or powerful, but they -- and others just like them -- have made, and continue to make, us who we are.  Their hope and strength, born in adversity, is instilled in us as we carry on.

The Great Outdoors


"Fire Season"
27" x 19"
by Lynda Lasich
In July of 2017, Lynda submitted a quilt entitled "Pine Tree Silhouette" for the Rhythm of Life challenge.  One of the critiques she received suggested that the silhouttes extend from edge to edge, so she decided to create a 'do-over.'  This quilt was constructed of commercial fabric with wool batting and cotton threads.  Always going for the bling, Lynda wanted this piece to be stark with a dark forboding.


"Fear of Fire"
44" x 57"
by Joan Dyer
The roar of a hurricane of fire rushing down a California canyon was the inspiration for this piece.  Hundreds of homes were targeted and burned while residents attempted to outrun the flames in the dark of night in the community of Santa Clara, California.  A batik with target-like circles became the the centers of the pseudo-log cabin blocks that formed the structure of this piece.  A large variety of African batiks provided just the right feel for the dark night background, with one of Joan's orange hand-dyed cottons peeking through the landscape, warning of the oncoming flames.  Joan found that machine piecing the 'blocks' with spacer scraps was an enjoyable challenge, adding just enough orange fabric to suggest the tongues of fire encroaching on the formerly peaceful neighborhood.  After simple machine quilting to secure the quilt, Joan finished the piece with extensive hand-quilting using perle cotton.


"The Stars Are Aligned"
22.5" x 27.5"
by Sue Serrano
The challenge, "The Great Outdoors," inspired Sue's top panel -- for her, there is nothing greater in the great outdoors than the sun, moon, and stars.  She researched the patterns of the constellations so they would be somewhat accurate, and the backdrop was created so that she could add more stars -- five constellations representing herself, her husband, her three children, and her three favorite constellations representing her three cats. Sue used commercial cotton fabrics, cotton batting, glow-in-the-dark thread, beads, and special buttons.  


"Packing in to Point Reyes"
32" x 28"
by Jane Haworth
Jane's inspiration was her back-packing trip to Point Reyes, the photos and memories she brought home.  She really wanted to include her back-packing permit which she re-created in fabric, and her biggest challenge was finding the right layout to fit everything in.  Jane incorporated photographs and postcards printed on fabric, lettering cut with her Silhouette Cutter, a hand-painted map, batiks and hand-dyed fabrics.  


"The Great Outdoors -- Under the Starry Sky"
34.5" x 33.5"
by Robin Hart
This quilt was inspired by Robin's experiences camping and viewing nature under the starry sky.  She spent time this summer planning out the composition and subjects, photographing the night sky and a tent illuminated from within, and the scenery at Loon Lake.  Using her photos as references, she drew all the objects in Adobe Illustrator, changing colors as needed to create a night scene.  When the image was finished, Robin had Real Graphics output it on cotton cloth, embellished it with heavy thread painting for texture and design, and added crystals to enhance some of the stars.  Robin, a space enthusiast, shares that the sky is an accurate depiction of the stars, planets, and Milky Way as seen in August of 2018.


"The Star Barn"
40" x 40"
by Jeanie Ferguson
Jeanie is in love with this monument, in love with history, and in love with architecture!  She has passed by this barn almost every day and has photographed it many times starting in 2012, but she is not alone -- many artists have drawn, painted and photographed it.  Jeanie created this quilt using needle turn appliqué using appropriately colored Invisifil thread and a size 11 bendable straw needle.  She also used chalk pastels to 'weather' the old barn.  Her hand-quilting meandered where her fancy took her, employing circular motifs where appropriate and a variety of quilting threads.  Jeanie always uses Thermore batting for her hand-worked quilts, and she is available to teach her hand-sewing methods one-on-one in her home.
 


"Lazy Days on Turtle Creek"
49" x 19"
by Karle deProsse
Near the beginning of the year, Karle was given a pattern for fabric origami frogs.  She didn't care for how they turned out, but it got her searching for others on the internet.  Loving turtles, she discovered and modified this cute origami shape.  Karle used several new techniques in this quilt, including 'bubbling' the fabric, making samples to get the texture and scale she wanted.  Fabric origami and thread lace were new to her as well, and she had fun playing with them.  According to Karle, the density of quilting and thread painting of the tree branch in contrast to the areas not quilted beneath the log created problems with getting the surface to lie flat.  She tried to remedy this by adding more quilting but still was not satisfied with the results.  An even bigger challenge was taking the concept she had sketched and transforming that into fabric within the time allotted.  Karle used commercial batiks and hand-dyed fabric, fabric origami, thread lace on Solvy, Terial Magic, starch, textured thread and yarn, and beads.


"Northern Skies"
24" x 20"
by Julie Berry
Julie was inspired by the beauty of our earth and how something like the aurora exists for merely seconds or minutes.  In this quilt, she was trying to capture the ethereal phosphorescence of a phenomenon found only in the northern skies.  This quilt was based on many images of the northern lights -- taken from the internet, books, and the Aurora Museum in Anchorage, Alaska.  Julie used cotton fabric, organza, tulle, cotton and rayon variegated threads, Copic markers, and wax pastels in creating this image.

Driven to Abstraction

"Pacific Sunset"
20.5" x 16.5"
by Jan Reed
Jan was inspired by an abstract painting to create something abstract herself.  Known for her realistic quilts, she challenged herself to create something outside of her comfort zone.  Jan decided to use fabrics that implied transparency in the areas where the shapes overlapped.  Originally, she had the turquoise background surround all of the shapes but ended up cutting the quilt top down to better engage the edges.  The quilt was made using batiks, beads, and monofilament thread.

"Untitled"
34" x 34"
by Norma Keeley
Norma was inspired by Piet Mondrian, 1872-1944, a Dutch painter who was one of the pioneers of 20th century abstract art, to create this original design of her own.  While all of Mondrian's paintings of which she is aware are composed of vertical and horizontal black lines forming blocks of mostly primary colors, Norma decided to draw her design on a angle using a draftsman's 45 degree plastic triangle.  She cut each section out of freezer paper and ironed it to her fabric, leaving a 1/4 inch seam allowance.  She then sewed the sections together with 1/4" lines of separation.  Because her edges were on a bias and could easily stretch, Norma used spray glue to hold the top and backing to the batting to stabilize the edges.  She machine quilted the piece using different patterns in each of the sections.  Norma used commercial cottons, Thermore 100% polyester batting, cotton and polyester threads.

"Prayer Provides Peace"
18" x 25"
by Karla J. Rogers
A favorite verse inspired this design by Karla, "When my anxious inner thoughts become overwhelming, your comfort encourages me." Psalm 94:19.  Karla's goal was to create a visual abstract representation of the difference between the chaos of anxious thoughts and the ensuing peace that occurs after taking those thoughts and concerns to God in prayer.  She used Sharpie pen, isopropyl alcohol, rickrack, cotton fabrics, monofilament, Magnifico and King Tut threads, and Hobbs Heirloom 80/20 batting.  Karla says that one of the joys in creating this piece was using a new finishing technique.  She used a satin stitch to attach the large rickrack in lieu of a binding or facing.  Unfortunately, the rickrack stretched as it was being applied and she ended up blocking the piece to square it up and make it lie flat.

"Oil Leak"
22.75" x 46.5"
by Sigrid Simonds
The SAQA challenge "Shifting Tides" and its focus on the current state of the Pacific ocean was the inspiration for this quilt by Sigrid.  She chose to focus on the continuing oil leaks, knowing the tremendous destruction they have done.  Sigrid found it difficult to think of the ocean in an abstract way as the ocean and everything about it is such a strong visual.  She ended up narrowing it down to very simple shapes that represent the water as it begins to recede on the beach leaving lines of bubbles, which she represented as circles.  Sigrid used tissue paper laminated with acrylic mat medium on poly organza, dyes, paints and fusibles, cotton poly and silk organza, netting and interfacing.

"If the Earth Were Flat"
21" x 25"
by Sandi Lauher
Sandi was driving down highway 1 in Pacific Grove watching the sun go down when she started thinking about what might happen if the earth really was flat and the sun simply fell into the ocean.  She decided to play with that idea in quilt form, experimenting with felting to produce the swirling effect on water.  She ran into difficulty felting through the cotton fabric/felt layers and ended up cutting the piece apart and hand-stitching it back together.  Sandi used cotton and synthetic fabrics, needle felted wool roving on synthetic felt, cotton embroidery and metallic threads, beads, machine embroidery with variegated threads, and foam board backing for support.  

"Precarious Path Through a Dangerous World"
29.5" x 41"
by Joan Dyer
Joan's second piece in this reveal represents the need to flee from tyranny, hunger, and natural disasters.  In Joan's words, the terror and uncertainty of running from imminent danger is palpable.  Whole communities outrunning a hurricane or forest fire are terrifying, but having to leave your homeland because of hunger or tyranny is far worse.  This quilt, with its foreboding background, expresses the feeling of unsafe steps leading to an unknown destination.  The desperation and desolation of fear prevails.  The attain this mood, a dark hand-dyed fabric was pieced with rigid rectangles.  Then two wayward cuts determined the path across the piece.  The was cut unequally and inset with strips of green Shibori, dyed by the maker.  More texture was desired so a search for new materials produced two colors of folded paper ribbon which were glued onto the Shibori.  The finished center section was sew onto batting and backing.  The two side sections were hand-appliqued onto the center.  A severe pattern of machine quilting adds to the tension of the piece which was finished with faced edges.

"Untitled"
22" x 21"
by Mary Serpa
Mary chose to do butterflies and dragonflies on an abstract background.  She loves working with brights on black fabrics.  In addition to the cotton fabrics, Mary used cotton batting, beads, cotton, poly and nylon threads.

"Abstract Poppy"
47" x 37"
by Michelle Peerson
According to Michelle, this challenge forced her to take a long, hard look at abstract art.  She knew how the finished piece would look but did not know how to get there until a Katie Pasquini Masopust lecture gave her a place to start.  Michelle took a photo of a poppy quilt she has hanging in her home then used a piece of tracing paper with a grid of 20 squares.  She pieced together 20 log cabin blocks roughly depicting each section.  Once she added the dark strips, it all came together.  Michelle made a series of abstract weavings decades ago and found the key to them was simplicity.  She also took Brenda Gael Smith's circle class at PIQF and her book Copa Abstractions gave her the final key to abstracting quilts.   

"Liberty Doodle"
by Robi Holmen
Robi based this quilt on her daughter's doodle and says it would also fit well in a category of Driven to Distraction.  It took a while for the idea to come to Robi, who ended up taking liberty with the doodle, hence the quilt title.  It also looks a bit like the crown of the Statue of Liberty.  Robi used black Kona fabric, Warm and Natural batting, metallic pigment powder and textile medium.

"Kandinsky Abstraction"
34" x 20"
by Kari Hannickel
Kari's inspiration was Wassily Kandinsky's "On White I" from 1920 and her stash of silk and cotton solids with three sizes of black and white checks.  As Kandinsky grew beyond his Blue Rider period, he believed form was no longer a thing but emotions to be listened to.  Colors and shapes became seeing sound and hearing colors (synesthesia).  He saw yellow as the sound of a trumpet, light blue as a flute, medium blue as a cello, and dark blue as an organ.  He liked to say, "Lend your eyes to music," and "everything starts from a dot."


New Member Showcase

"Unaffordable Housing"
by Carol Rossi
This quilt was inspired by an article Carol read on how urban plans often go astray.

"Untitled"
by Carol Rossi
This abstract quilt, as yet unnamed, was inspired by the colors at Yellowstone -- the oranges, teals, and limes in the pools.  Carol experimented in this quilt with a trapunto effect.

"Take Back the Color Orange"
by Carol Rossi
Also by our new member, Carol, this quilt started off as a totally different quilt.  Unhappy with her original quilt, Carol slashed it apart and sewed it back together.  The quilt is still unfinished.  Carol has plans to create things underneath, surprises that represent issues that concern her.
Brags

"Going Through the Change"
by Jan Reed
Jan's quilt, which was critiqued by Larry Ortiz back in May, was enhanced to create a stronger light source and entered in the International Quilt Association judged show in Houston, taking an honorable mention.  Way to go, Jan!

"Keeping Up Appearances"
by Jan Reed
If the win in Houston were not enough, Jan also scored a third place in the wall quilt category at PIQF.  Double kudos, Miss Jan!