Tuesday, November 10, 2015

A Way With Line: Quilting

Turtle Spirit is quilted with standard quilting thread
as well as perle cotton and embroidery floss.
By Gayle Pritchard, 2015.
Fiber artists are a rare breed in the fine art world. They are often asked why they work in fiber vs. painting on canvas. I have one answer to that question: the quilting line.

As an element of art, line and implied line play a crucial role as a building block of any composition. In an art quilt composition, unlike a painting (unless you are Robert Rauschen-berg), you have an additional layer of line to consider. The quilting line as stitch is functional; it literally holds the layers of the quilt sandwich together. As the layers are quilted, a shallow relief forms, creating slight contrast on the surface with line and shadow. As a compositional element, this shadowed relief adds a layer to the composition that is missing in painting and other flat media. Quilts are not quite sculptural, but they are not flat, either, and this is why I love to make them.

This second layer of line should be a planned part of a finished fiber composition. The quilt top can be finished and still be completely transformed by the manner in which line is applied in the form of quilting to finish the piece.
In Turtle Spirit, for example, you can see how the grid formed by the quilted line, executed here by hand with perle cotton and a darning needle, constrasts with the circular pattern of the underlying African fabric used for the side panels.

Grids of lines run across grids and circles;
tufts of embroidery floss change the color and
texture of the underlying fabric

As in any artwork, the line created by quilting leads the viewer's eye around the composition, creating emphasis and contrast. Additionally, it can be used to flatten areas, causing them to recede visually while simultaneously drawing attention to the adjacent area. I have spent my career playing with these contrasts, and I love it still.

Sunday, November 8, 2015

Basting an Art Quilt

Turtle Spirit layered with backing &
batting: it's ready to baste!
I'll admit it here and now: I'm old school when it comes to handwork. Although I use my sewing machine strategically in constructing my compositions, I confess I much prefer the rhythm of handwork. That is why I baste my compositions by hand in preparation for quilting by hand. It's how I do things, and I like it that way!

First, as you saw in my previous post, the backing fabric was prepared, (I had to piece it to make it wide enough for the widest parts of the quilt top) stretched tautly and taped in place right on my floor. Next comes the batting layer, and finally, the quilt top smoothed onto the batting, creating what is fondly known as a quilt sandwich. I trim off the excess batting at this point and save large pieces for smaller pieces.

Wear a thimble to protect your fingers!
I "spoon-baste", which is to say I use cheap thread, a large-eyed needle and a thimble on my right hand, and with my left hand, I use a large old spoon to catch the tip of the needle as I baste. I always start in the middle of the piece and baste outward from there, top to bottom, side to side and corner to corner in long stitches. This keeps all the layers smooth, and prevents any bunching on the back.
A well-basted quilt will never give you problems down the road. Skimp on this strategic step, and you will have hell to pay later on. That is a lesson you only need to learn once!

I use my hand as a guide for how far apart to make the basted-thread rows. I work my way across the surface of the quilt top until everything is firmly held in place with my basting stitches. I finish by running a line of stitching around all the raw edges of the quilt top.
Use your hand as a guide for how wide to make
the basting rows.
Ready to quilt. The layers of this basted top will not
shift around while I quilt it.