Newsletter Archive
This page contains interviews and essays from prior newsletters.
Pamela Allen
Judy Martin
Marlene O'Bryant-Seabrook
Marie Elkins
Linda Schmidt
Pamela Allen - June 12, 2009
This month, we introduce you to Pamela Allen, a Canadian who has been a full-time artist for 28 years and began
working in fabric eight years ago. I got to know Pamela through our mutual membership in the QuiltArt list and then had
the pleasure of taking a live class with her two summers ago. She describes her style as "folky/funky and
contemporary.”
“Although I DO work in recognizable imagery, it is abstracted and quirky in execution," she says.
A list of her credits includes more exhibits, awards, articles and books than all the fingers and toes in my family. When asked about them, she said, "I have been lucky to have been awarded quite a few prizes. I was very excited to
win honourable mention in IQA Chicago in 2006 and in Houston in 2008. I am included in Larkbooks publication, The
Masters: Art Quilts, and Tweetyjill's Creating with Fabric. I also made an instructional DVD (Nine Patch Media) in
2008 called 'Think Like an Artist.' I was nominated by Professional Quilters Magazine for Teacher of the Year in
2008."
Including small and large pieces, she estimates she has made about 175 quilts since 2002. That does not include the
many postcards she made for Virginia Spiegel's Fiberart for a Cause. She has a special fondness for all three quilts
that were included in the three I Remember Mama exhibitions at International Quilt Festival in Houston, Texas.
Q: I know that you started out in fine arts. Tell us about the media you used then.
A:
I was mostly a painter for 20-odd years but ventured at times into print making, collage and assemblage art. The
latter I would more accurately call junk art, as I collected drawers full of cast off objects and made 3D wall pieces
with them. I think that's why my quilts sometimes tend to be over the top with oddball embellishments.
Q: What made you decide to start working in fabric? What are the challenges for you in working with fabric instead of
other media?
A: Some quilty friends remarked that my patterned paper collages would make nice quilts. My biggest problem in the
beginning was that I didn't know how to sew! I knew nothing about the technical side of quilting, such as blocking,
squaring, binding or sleeves. I had a $30 church bazaar machine and I would put duct tape over the feed dogs to free
motion. To make matters worse, I am the type who never reads the manual, so learned entirely by doing everything
wrong, then figuring out how to fix it.
Q: What is it about quilt making that has you coming back for more?
A: Once I started getting the hang of painting with fabric, I felt I had arrived at the perfect medium for me. Fabric
can do things no other medium can; you can pleat it, fold it, scrunch it, dye it, tear it, fray it, cut it to any
shape, layer one pattern against another. The palette it offers is infinitely varied in colour, pattern and texture.
Alterations, additions and subtractions can be made at any stage of design and execution, which is good for someone
like me who creates by the seat of my pants.
Q: Looking at the samples of your other artwork on your Web site, it seems to me that you have changed the focus of
your work since you came to fabric. You now do many more people and particularly, many more faces. Is this because
you are now in fiber or would you say this change is a natural evolution in your style that you would have reached
even if you were still working in other media?
A: I had not noticed this before but I think you are right. Maybe my interest in women- their lives, faces and
relationships - was nurtured by the domestic character of sewing fabrics. I was an anxious, hyper painter, always
worried about my subject matter and how it might be construed in the bigger fine art world. Once I settled into the
more contemplative and slower pace of fabric art, I seemed to relax into subject matter that was truly interesting to
me personally. In the quilt world, this seemed to resonate with others, so I just keep doing it. I am still inclined
to make references to other artists and other media in my work. Picasso is very evident in my faces, and recently, I
am exploring various historical styles, such as Gothic and East Indian, trying to make it contemporary and relevant.
Q: I had the pleasure of taking your day long workshop on art exercises. The last exercise was for us to make a self
portrait. Can you explain why you felt that was an important exercise to place alongside working with contrast, line
and shape?
A: I think that falls into the category of teaching strategy. I am very keen on stressing the importance of the elements
and principles of art making in general. Thus, I often give formal exercises in individual elements, like
concentrating on line, form or composition, but the other side of creating is self expression. The portrait is a
challenging and fun way to utilize some of the formal stuff I teach. Portraits, especially self portraits, are
problematic to most students. Not only do we have preconceived notions about what a human figure looks like but they
are so personally revealing, it is quite a challenge. To create a portrait, and have fun doing it, requires
suspending one's insecurities and just going for it. I'm always hoping the assignment will make the student excited
at the end of the day.
Q: You enter your work in quilt shows. Did you still enter art shows? How would you describe the difference in those
two venues?
A: I enter any show that seems to fit the work I do. I have noticed about 60% go to quit shows and the rest to museum
and gallery shows. I rarely enter so-called mixed media or fine art juried shows as I have lost faith in the value of
showing to advantage in those venues. My friends call me a show slut for all the shows I enter. My philosophy is, if
I am working full time at it, and producing quite a lot of work, what else am I going to do with it? Admittedly, it
is quite expensive with entry fees and shipping but I just consider these business expenses.
Q: Art shows do not offer judges' comments and quilt shows do. Have you found those comments to be useful?
A: At first, I was not aware that I would get an evaluation from quilt show judges. I still marvel that in an ART quilt
category, someone would be concerned about the BACK of my work. I often say that nobody ever looked on the back of my
paintings and said the staples were unevenly applied! However, I was being a brat about some other issues, mainly
ones that affected the hanging and display of my work. I made rotten fudged finishing edges for instance, simply
bringing the back to the front and somehow sewing it down semi-neatly. Zero out of 5 was my first score! I quickly
learned how to block and square my work, thanks to judge's remarks. I notice there are rarely comments about the
actual ART part of the work, such as composition, colour or scale.
Q: How do you choose what quilt to enter into which show?
A: There are requirements one has no control over, like size and age of a quilt. Within those parameters, I do choose
the BEST work I have on hand that will suit the theme, if there is one. Sometimes, as in special exhibitions at
Houston, I will make a piece specifically for it. Mostly, I just make any size and subject that interests me. If a
show comes along that suits it, I will enter. I keep up to date on all the major shows being advertised for jurying
and occasionally I send out a prospectus to a museum or gallery for a solo show. Certain categories, I have learned,
are not suitable for my style of work. It was a while before I realized that pictorial categories generally meant
realistic renditions and mine did not fit. Also certain venues seem to favour abstract work, and even work that
specifically seems to be related to traditional quilting. I'm no good in those either!
Q: How do you deal with rejection - what percentage of your work is rejected from juried shows?
A: I'm pretty philosophical about being rejected. I generally sigh and immediately send the reject off to another show. I am still waiting for the biggies to accept me, like Visions and Quilt National. I'm pretty new on the scene and
have faith that someday I'll be successful. Meanwhile, I have been blessed. I have about an 85% acceptance level,
which gets a lot of my work out in the public view and has been very helpful to my career, including teaching.
Q: Have you found that networking with other quilters, on lists such as QuiltArt, is a valuable tool in entering
shows?
A: Whenever I can, I encourage quilters to get involved on line with other quilt artists. Art making is such an isolated
profession, and the internet has made a tremendous difference to me in meeting and keeping in contact with kindred
spirits, cross fertilizing with critiquing friends, and keeping up to date on shows and new ideas. The QuiltArt list
is invaluable for that. Several members voluntarily keep us all informed of upcoming shows with links to the various
venues. There's also comfort in knowing there are others out there with the same passion and ups and downs.
_____
You can see many photos of Pamela's work at www.pamelart.com.
Judy Martin - July 10, 2009
This month we introduce you to Judy Martin. Judy was already working with Quilter’s Newsletter Magazine when I made
my first quilt 30 years ago and she is still going strong. Whether you recognize her name or not, you have certainly
seen quilts made from the hundreds of patterns she has published.
Q. How long have you been quilting?
A. I have been piecing for 40 years, but I started my first hand quilting project, a wall quilt, in 1982. I am still
not finished quilting that wall quilt or my 20-year-old daughter's baby quilt. Just so you know, I have finished a
handful of hand quilted pieces, and my daughter was born three weeks early or her quilt would have been finished. I
don't do any machine quilting myself. I started having longarm quilters finish my quilts in 1995. I have scores of
quilt tops that predate that. I used to think I would quilt them when I retired, but some are beginning to look a
little outdated, so I'm not sure I still believe that. I started writing my first quilting book 35 years ago; had my
first book (a different one) published 30 years ago; and started my own publishing company with my husband 21 years
ago.
Q. Briefly, how would you describe your style?
A. Most of my designs are traditional-looking original pieced patterns. Many think some of my more distinctive
designs from the mid-1980s are traditional, but I don't feel THAT old. (I am also not old enough to have toys popular
during my childhood show up in antiques stores, though they do with increasing frequency!) When I worked at Quilter's
Newsletter Magazine in the 1980s, I designed some appliqué quilts and several pieced picture quilts. I have sewn
one-fourth of an appliqué block in my life. My true love is piecing.
Q. Approximately, how many quilts have you made over your career? Are there any that you’re particularly proud of or
that stand out in your mind?
A. I have made approximately 240 quilts. My favorite at any given moment is always one of the most recent. I am most
proud of the ones that explore new design territory. One that comes to mind is my Colorado Log Cabin, from 1985,
which incorporated stars into the corners of Log Cabin blocks. Another is I Have a Dream, from 1998, which had a
smaller star superimposed off-center over a larger star. More recently, Ring of Fire incorporated circles of squares
within and surrounding star blocks, and Finger Lakes Log Cabin used log construction to simulate a Wedding Ring.
Q. What got you started in quilt making?
A. The short answer: My mother dressed me funny. My mother made all of my clothes, and by the time I was in seventh
or eighth grade, I determined that the only way to gain any control over my wardrobe was to make my clothes. Consequently, I was completely comfortable with a sewing machine as a teen. When I was in my second year of college,
I came home for Thanksgiving and unearthed a box of cutting scraps from my dressmaking.
I decided to make my first quilt. Mind you, I had never before seen a quilt, let alone seen one being made. My mother
told me quilters used 1/4" seam allowances. I made up the rest, based on dressmaking techniques. I pinned a graph
paper pattern to two layers of fabric and cut out shapes with scissors. I stitched patches together by machine. I
intended to make just one quilt for my apartment, but I found that whenever I went to the fabric store, the fabric
inspired another quilt. Eventually, it got so bad that I had to become a professional quilt maker in order to support
my fabric habit.
Q. What is it about quilt making that has you coming back for more?
A. At first, I think it was that quilts were so much more impressive than clothes. It seemed more worthwhile to spend
a weekend making a quilt top than to spend most of a day making a blouse. By that time, everyone in college was
wearing jeans and T-shirts, which I had no desire to sew. I still find quilts rewarding, but what keeps me coming
back is the fabric and the designing.
Q. What is the challenge for you in quilt making?
A. After so many years of quilt making, the challenge comes in the middle of a project. Once I get a few blocks sewn
together, I can envision the completed quilt, so I can't wait to move on to the next project. I usually work on a
dozen quilts at a time just to keep things interesting. I have no difficulty finishing a quilt when it comes back
from the quilter. My two favorite parts are designing and binding quilts.
Q. Do you have any special certifications, awards or publications we should know about?
A. I have not sought certification or awards in my quilt making career. I am currently at work on my 20th quilt
pattern book. I have published more than 950 of my original block and quilt patterns to date.
Q. Do you have a Web presence where our students can learn more about you?
A. My web site is
www.judymartin.com, which contains class outlines, lessons, a free pattern for a Block of the
Moment and Quilt of the Moment, information about my books and tools, and photographs of readers' quilts made from my
patterns. You can also read a brief bio, sign up for my free e-newsletter and see pictures of my sewing room.
Q. How long were you quilting before you started designing your own quilts?
A. I designed my first quilt. I didn't know there were quilt patterns; I thought all quilts were just uniform
squares. My first quilt had random sized squares and rectangles. By my third quilt, I was mapping out a design on
equilateral triangle graph paper.
Q. Which came first: teaching quilting or publishing your patterns?
A. Unfortunately for my students, I was asked to teach before I knew very much about traditional quilting. I was most
interested in designing, so my classes were design oriented. I first taught in 1973 when I had been making quilts for
four years. The following year I wrote the first draft of my book, Patchworkbook, but I set it aside for eight years
because I didn't think I could find a publisher. That was two years before the big bi-centennial quilt revival. I went
to work for Quilter's Newsletter Magazine in 1979 and started publishing my books and patterns there.
Q. I know you spent many years as an editor of quilt magazines. Did you have a background in journalism?
A. The quilting came first. My degree is in Combined Social Science. What I studied in college was mostly animal
social behavior. I don't like sleeping in a hotel room, let alone in a sleeping bag, so I couldn't really see myself
observing chimps in the wild like Jane Goodall. Obviously, I hadn't thought about career opportunities until I had
finished college. I took a job at a bank. I quit after three months, but I got a job at a printing shop because of
that teller job. Later, I got my job at Quilter's Newsletter because I had worked at the copy shop. It was fate.
Q. What made you and your husband decide to start a publishing company of your own? I read that you run the business
out of a separate building on your property. Are you able to leave the business in the building or does it come back
into the house with you?
A. My husband worked in his family's business, and when it was sold 20 years ago, we had the means and opportunity to
start our own publishing business. I had already written and published several books for Quilter's Newsletter, and my
husband had a sales and business background, so it was a no-brainer. Working together has been wonderful. Steve's
skills and mine complement each other, and we both appreciate the other's talents. We moved to Iowa when our children
were very young. We bought a century-old house that had a dilapidated garage and no suitable space for storing books. We decided to build a detached garage with storage, an office, and a sewing room. Part of the reason for making it
detached was aesthetic and part was to keep our toddlers away from rotary cutters, pins and other dangers.
If I had thought a few years ahead, I would have put my sewing room in the house, right in the middle of the action. Sometimes, I bring a machine into the house to get some work done while spending time with the kids. Occasionally,
one of the children will come out to my sewing room to watch a video on the small TV I keep by my sewing table. I may
write or jot down design ideas in the house. Also, we answer the business phone whenever we are at home. I suppose
there is no keeping home and work separate when you love your work. When the kids were small, the separate building
was good for giving us a routine of "going to work," albeit in shifts.
Q. Do you still travel a lot to teach in person?
A. I occasionally travel around the Midwest to lecture, but I no longer teach workshops. Our children are still at home,
so being at home for family remains a priority for me.
Q. One of the best books I ever bought was the one you wrote with Marsha McCloskey – Pieced Borders: The Complete
Resource. Can you tell us a little about how that book came about? How did the two of you work on the book together?
A. Marsha and I met at a weekly crafts fair in Eugene, Oregon in 1973. She was willing to share her booth, which had
a roof, if I would help her set it up. As that beat standing in the rain next to my quilts covered with plastic
tarps, I quickly agreed. We remained friends after she moved to Washington and I moved to Iowa. Pieced borders was a
topic that interested both of us. I think Marsha may have brought up the idea of doing the book together.
I had two toddlers and welcomed the idea of Marsha providing half of the contents of a book. We talked on the phone a
great deal, and worked independently on our own quilt patterns and border ideas. Marsha made a trip or two to Iowa to
work with me on the book design and techniques chapters. Where we had different ways of planning and making borders,
we decided to include more than one way, which we wrote independently. I think the collaboration was good for us, as
well as for our readers.
Q. You have written dozens of books. How do you decide on a topic? Do you pick a type of quilt and then work to fill
the book?
A. I always have pattern ideas waiting in the wings. When I complete one book, I just start sewing something that
interests me. As I sew, I start to ponder possible book topics. Then I design and sew additional projects to fill the
book. A few times, I did block books because I had too many ideas and I was without a quilter to put the finishing
touches on my quilt tops. My book, Scraps, came about when I had sewn several quilts with no apparent theme. As
scraps were about all the quilts had in common, it was easiest to shape the quilts into a book on that subject. Judy
Martin's Log Cabin Quilt Book came about after I had designed a quilt that was made from logs. One idea led to
another, and pretty soon I had half a book full of log quilts. I supplemented these with more traditional Log Cabins
to fill out the book.
Through our interview, I got to know Judy a little better. I hope you enjoyed reading about her. I invite you to make
any comments about the interview in our Student Commons.
Marlene O'Bryant-Seabrook - August 14, 2009
This month, it is my pleasure to introduce you to Marlene O'Bryant-Seabrook. Marlene, who lives in
Charleston, S.C., is renowned for her story quilts featuring different aspects of life in African-American culture.
Q: What got you started in quilt making?
A:
Unlike most of the quilters I have met, I had no quilt memories or experiences. Neither my mother nor grandmother
ever made a quilt. While walking through the breezeway of a high school in 1983, I saw a spectacular quilt with
cross-stitched scenes of Charleston. Several mothers of football players had cross-stitched blocks and the other
mothers had donated the money to pay for the quilt to be made. I had never seen anything like it and I purchased a
raffle ticket. Months later, I found the ticket. The raffle date had passed and no one had called me. I immediately
decided that as soon as I could cross-stitch a sufficient number of blocks, I’d call the school and get the name of
the person who had made the quilt.
If I had won the raffle, this interview would not be taking place. Quilting had never crossed my mind before, but,
because I did not win the quilt, I decided to make my own. I went looking for the graphs of the scenes that I
remembered such as the Battery, churches and colleges. I kept seeing graphs of African-Americans doing all of the
things that have made Charleston unique, such as sweetgrass basket weavers, flower ladies and street vendors. So, my
quilt has no buildings, just people, and is named, “A Record of a Rich Heritage”.
In 1984, while I was in the process of cross-stitching the individual blocks, there was an article in the local
newspaper about a woman having moved to Charleston with her Navy Officer husband who’d been assigned to the
Charleston Naval Base. She had opened a quilting business in the back of an antique shop. In the photo, several
cross-stitched quilts were hanging in the background. I went to the shop the next day after work and discovered that
not only did she quilt for others, she taught quilting. A beginner’s class was starting that evening. I was there! I
truly believe that if I had not recently learned to cross-stitch, that quilt in the breezeway would not have
attracted my attention any more than other quilts that I cannot remember having seen during my lifetime.
Q:
How long have you been quilting?
A:
When I finished that eight week beginners class, I completed the required sampler quilt.
It is funny that I've never considered the Sampler "my" quilt. I just
made it because it was the class requirement to learn the different
techniques. I have never used it on a bed, never exhibited it. When I
completed the cross-stitch quilt, I considered that my first
and only quilt. About six years later, in 1991, master quilter Marie Wilson of Brooklyn, NY was visiting friends in
Charleston and saw my cross-stitched quilt. Within weeks, it was a part of an exhibition at a Manhattan (NY) Art
Gallery and shortly thereafter, it was included in Contemporary Pictorial Quilts. It was then that I did a
reassessment and began to think of myself as a quilter. So, I’m going to claim 18 years.
Q: Had you been interested in other arts or crafts before that?
A:
All my life. All of them. I was a very creative child who was constantly cutting/pasting construction paper and began
creating bulletin boards for my mother’s classrooms while still in elementary school. I consider the umbrellas,
raindrops, flowers and grass that I cut out for the “April Showers Bring May Flowers” bulletin boards to be my
introduction to appliqué. Through the years, I learned to crochet, sew, knit, paint, macramé, smock, block straw &
felt for hats, create ceramics and make jewelry. With each, I attained a desirable level of competency and moved on.
Q:
Briefly, how would you describe your style?
A:
Except for traditional, my work encompasses contemporary, pieced, appliqué, abstract and pictorial, individually or
in combination. I absolutely love hand appliquéing and, when traveling by air, I generally prepare one or two
projects that will be a part of a future quilt, to work on in the hotel.
Q:
Approximately, how many quilts have you made over your career? Are there any that stand out in your mind?
A:
Forty something. Not a large number because I am what I call an inspired quilter. I don’t physically hold fabric in
my hands on a consistent basis. Much of my quilting involves sketching, exhibiting, lecturing, trunk shows, and
occasionally, workshops. I am totally satisfied with that decision. While quilting is a very important part of my
life, I have other involvements in community organizations that I also think are important and deserve the time they
take from my hands-on quilting. I really believe that “service is the rent that I pay for the space that I occupy on
earth.” When the inspiration comes, quilting can consume my days as if I have tunnel vision.
I am actually proud of all of my quilts for different reasons, but, I am especially proud of my first quilt. Besides
the fact that it opened public exposure doors for me, I am proud of the workmanship. I still can’t believe the tiny,
even stitches that I did with my novice hands.
Q:
What is it about quilt making that has you coming back for more?
A:
The ideas for most of my quilts come to me in my dreams. I consider them to be MY gifts. No one else can interpret
them exactly as I do, so, I feel an obligation to make them. I have more sketches filed away than I’ll ever be able
to complete and other ideas keep coming, so, there’s no stopping in sight.
Q:
What is the challenge for you in quilt making?
A:
My greatest challenge is finding the fabrics and/or figuring what techniques are necessary to bring to fruition my
abstract idea of how the quilt should look. I’ll search for fabrics in a 150 mile radius and on-line, as well as
paint or dye to get what I want.
Q:
Do you have any special certifications, awards or publications we should know about?
A:
I haven’t sought any special certifications, nor have I been interested in submitting work to exhibitions that give
monetary awards or ribbons. My quilts have been exhibited in numerous museums and galleries across the US from the
Buffalo (NY) Museum of Science to The San Diego (CA) Historical Society, including twice at The Smithsonian;
internationally in Cape Town & Pretoria, Republic of South Africa; Republic of Namibia; and in Lyons, France. The
quilt I was invited to make for the 2009 Inaugural Exhibition at the Historical Society of Washington, DC, will be
part of an exhibition in Yokohama, Japan in November, 2009.
I have lectured in many venues, including the American Folk Art Museum (NY) and the Cleveland Museum of Art (OH). My
quilts have been pictured in news articles and magazines, including the April 2009 issue of “Patchwork Tsushin,” the
largest quilting magazine in Japan, and in 11 books. One of my quilts has been selected as the cover image of a book,
written by two Kenyon College (OH) history professors, scheduled for a March 2010 release.
Q: When did you begin designing your own quilts?
A:
As soon as I finished that sampler in my beginner’s class. Well, maybe that sampler was the beginning of designing a
block. On the first night, we were shown several antique quilts. The identity of the quilters was unknown and we were
admonished to be certain to put our names on our quilts. We had to make twelve 14” squares that were a combination of
appliqué, piecing, and, at least one of a neutral color, was to have only a quilted motif.
On the last night, we showed our quilts. When I opened my completed quilt, everyone gasped. I had designed my quilted
only square with a centered rectangular space in which I had cross-stitched my name and the year – in black. When the
teacher asked why, I explained that she had told me to do it. She said she meant for the names to be on the back and
I gave her the only answer that I knew. “I’ve never seen an artist put their name on the back of their work.” Only
three of my quilts have my name on the back, two that were in special exhibitions for the International Quilt
Festival and one exhibited as part of a Quilting Arts challenge.
That sampler is the only quilt that I ever made using traditional patterns. I literally packed it away and
immediately returned to working on my queen-sized cross-stitched quilt. I designed it so that the sashing between the
first and second rows of cross-stitch blocks is long enough to be tucked under, leaving the first row totally visible
on top of the pillows. The sides and bottom are scalloped. I haven’t done that again!
I had cross-stitched a portrait of my grandson after drawing the graph and taking his photo to a needlework shop to
match the shades of floss. I took the portrait to have it framed and an artist was there having several pieces of his
work framed for an upcoming exhibition at the Charleston Museum. He was fascinated because he had never seen
cross-stitching and when he asked if I would allow the portrait to be included, I went out to my car and got photos
of the quilt. Both were exhibited. The evening when I saw my first quilt hanging in the oldest Museum in America was
the last time that I thought of bed and quilt at the same time. All of my quilts are my original designs.
Q: All of the works I have seen tell a story. They are very evocative of both the place you live and African-American
culture. Can you tell us a bit about how you decide what stories to tell?
A:
I call them lessons. My quilts are all based on subjects which interest me and are inspired by different situations
and events. I have mentioned that much of my work comes in my dreams. Some come totally unexpected. In other cases,
the idea is triggered by something that I’ve seen or heard and the design comes during sleep.
A friend mentioned that she had heard on the History Channel about a female Buffalo Soldier. As soon as I got home, I
started doing the research to verify it. I was absolutely fascinated with the story of a Union Army cook who, upon
learning that the men were paid more, changed her name from Cathay Williams to William Cathay and served two years
without detection. The quilt includes copies of her enlistment and discharge papers with permission from the National
Archives.
I started the Gullah Series after the connection between the Sea Islands (Jacksonville, FL to Jacksonville, NC) and
the Rice Coast of West Africa was discovered by anthropologist, Joseph Opala. Gullahs (NC & SC) and Geechees (GA &
FL) are the direct descendents of Africans brought from the Rice Coast and enslaved on the Sea Islands because of
their knowledge of the planting and cultivation of rice, something that had been done for centuries in West Africa. A
major headline in the Charleston newspaper in the 1990s stated, “Rice Made City’s Riches Possible” and showed many of
the mansions and historical buildings that attract tourists to Charleston. I laminated the page. It accompanies me
on lectures about the Gullah Series.
Quilts have replaced the bulletin boards I made as a child and as an elementary teacher early in my career. As a
third generation educator, they have become an extension of my familial love of teaching and learning. It is
important to me that my work be considered as more than an assemblage of colors, shapes and fabrics. Many of my
quilts involve hours of historical research before beginning the artistic design. While color and form are aesthetic
necessities, the educator in me, either subtly or overtly, slips a lesson into each quilt, such as love of God,
family, children; pride of heritage; importance of history or respect for accomplishments.
I hope you have enjoyed reading about Marlene's journey into the quilt world. You can see pictures of many of her works on her website at www.MarleneOBryantSeabrook.com. She uses music on every page. Just mute your speakers if you prefer quiet.
Marie Elkins - September 11, 2009
This month, we introduce you to Marie Elkins. If you have been online for any length of time, you may remember seeing
some of her quilts. They are the kind of story quilts that stick in your mind long afterwards. In addition to
being a talented quilter, she hosts a Web site called Lost Quilts.
Q: How long have you been quilting?
A:
I made my first quilt (a small baby quilt in the shape of a lion) in 1985 while I was expecting our first child. I
didn’t make my second quilt (a small, traditional, feathered star wall hanging) until 1991. Then I had another quiet
period until 1995 when I made my first original quilt and I began quilting on a more regular basis.
Q: Briefly, how would you describe your style?
A: I most frequently use a pictorial style. I am always drawn to traditional quilts, and often include them in my
imagery. People and portraits are my favorite subjects to depict. I’ve used a wide variety of techniques, but I
mostly use fused appliqué to create my portraits.
Q: Approximately, how many quilts have you made over your career?
A: I’ve made about 20 original art quilts, ranging from 15"-68" square. In addition, I have made four traditional
bed-sized quilts, and at least 20 simple baby quilts for gifts as well as 40-50 journal-size (8-1/2" x 11") quilts.
Q: Are there any that you’re particularly proud of or that stand out in your mind?
A: I was quite thrilled when "Redeeming Fragments" won a first place ribbon in the Mixed Techniques category at the IQA show in Houston in 2006. "Wedding Dreams," made in 2001, also received quite a bit of attention, traveled a lot,
and won several ribbons. People often remember my feather journal quilts and my "Bethany" journal quilts
(affectionately known as Slice-N-Dice Daughter). I also really like the imagery of my newest quilt, "Broken Dishes." It was an idea that I had in my mind for five years.
Q: What got you started in quilt making?
A: I learned to embroider when I was 5, and learned to read a clothing pattern and use a sewing machine when I was 9. Through those experiences, I developed an interest in all types of needlework. During my teen years, there was a
general resurgence in quilt making and I often saw pictures of traditional quilts in magazines like Good Housekeeping
and Family Circle. When I was 17 or 18, I stumbled across a few quilt books in the library and I was fascinated by
the geometric designs and the whimsical names for various quilt blocks. I probably read about quilts and how to make
them for five years before I ever made my first quilt.
Q: What is it about quilt making that has you coming back for more?
A: I’ve done a wide variety of art, but nothing captures my attention like quilts. I was bored with oil painting
after two semesters. I want to feel something under my fingers. I love the textures, the prints, the pliability. I
enjoy the problem-solving process required when you’re making an original quilt. There is something about the amount
of time that is required to complete a quilt that is both satisfying and challenging. I have so many other
responsibilities that must take precedence, and quilting can only be done in the leftover pieces of time.
Q: Do you have any special certifications, awards or publications we should know about?
A: Earlier this year I filmed a DVD workshop called Making Faces, which is available through Interweave Press. In
2006, I finally earned my BFA degree. After working on it for 27 years, that is a milestone that I’m proud of!
Q: Many people do fabric portraits but yours are really in a class by themselves. You pay no attention to actual skin
color and put all the emphasis on value and contouring. It is extremely effective. Can you tell us how you came to
design in this way?
A: It started in 2003 during the Journal Quilt project. I needed to make nine 8 1/2" x 11" quilts, and I wanted to
experiment with a variety of media such as paints, inks and various pencils. I find that when I’m trying out a new
medium, it is easier to concentrate on one thing at a time. For instance, it is easier to just try applying and
gradating colors without worrying about mixing an exact shade for specific skin tones. It was during that period of
my life that I was also trying to break my perfectionist tendencies. Ignoring the true colors and using a variety of
bright, cheerful colors allowed me to relax and just enjoy the process.
Q: A number of your quilts are like a snapshot of life - the little boy flying with his quilt cape, the two figures
wrapped in a quilt and looking up at the sky. What inspires these scenes?
A: Many of my quilts, including the two you mentioned, are the result of a quilt challenge or a theme for an upcoming
show. I enjoy building on themes I have been given because it usually stretches me and I create images that I never
would have thought of on my own. Other times I will have an image in my mind that just will not go away, and these
often end up as quilts. Personally, I get tired of the current trend in the art world which depicts death, decay,
destruction, grunge and political statements. Instead, I hope my quilts tell a quiet little story that is personally
uplifting and encouraging.
Q: You explain on your Web site that you have made a DVD of your process. Can you give us a feeling for what that
process was like?
A: Filming my "Making Faces" DVD workshop was a stretching experience for me. I’m pretty introverted. I don’t do much
public speaking or teaching. Mostly, I was a nervous wreck. Despite all that, I truly did enjoy the process. I spent
several weeks preparing the teaching materials, fine tuning my method, creating samples, thinking through each step
in my mind, and practicing what I would say. The first day at the studio I filmed a short 10 minute segment with
Pokey Bolton for the Quilting Arts TV show. When it was finally my turn, I rushed into the studio, set up my stuff,
and Pokey came in. I must have said something because suddenly it was over!
The next day, I came back to film the workshop, and found out I was scheduled to film last. I sat around all day
pretending to be calm and rehearsing what I would say. I was dazzled by all the quilt celebrities that breezed in and
out all day: Frieda Anderson, Yvonne Porcella, Laura Wasilowski. Why was I there again? About 4 PM, the film crew was
ready for me. The producer reviewed each segment with me, reassuring me and reminding me to speak slowly. As I began,
I finally started to relax a bit and enjoy it; after all, I was speaking about something I truly loved. How much
better can it get?
Q: Do you have a Web presence where our students can learn more about you and your work?
A: I have a website for my personal quilts, http://www.mariaelkins.com. I also maintain a website for lost and stolen
quilts, http://www.lostquilt.com.
Q: Tell us about Lost Quits.
A: In 1999, one of my quilts was lost by a shipping company, even though it had a tracking number. During the time it
was missing, I tried everything in my power to find it. I called and emailed everyone I could think of: the shipping
company, the people who shipped it, the media, other quilters. After the first month, I decided to create a webpage
that would display lost and stolen quilts. My quilt finally made it home about two months later. Sadly, most quilts
are not recovered. When I started the webpage, I never imagined there would be so many quilts posted on it. I
maintain the webpage by myself and there are certainly times I feel like quitting, but I still remember how I felt
when my own quilt was missing.
Q: How many quilts have been featured? Do you have any idea how many quilts have been located because of the site?
A: There are about 1200 quilts posted on the webpage. More than 70 quilts that were once listed as missing are now
listed as recovered. Most of these have not been found directly because of the webpage, but some have been. I really
see this webpage more as an opportunity to alert quilters to the possibilities so they can protect their quilts
before something happens.
Q: Can you tell us about the other information or resources that are available on Lost Quilts?
A: Basically, I tried to include as much information as I could think of that related to protecting quilts in any
way. There is information on how to label a quilt, document it, and photograph it. There are pointers on how to
safely display quilts in your home, or store them long-term. There’s an article about why you should get your quilt
appraised, and then insure it. Two pages give information about how copyright law affects quilters. Finally, there is
discussion on how to safely ship quilts plus statistics on which shipping companies are the most reliable and
statistics on ways quilts become lost or stolen. I typically allow quilt guilds to reprint these articles in their
newsletters free-of-charge. I just ask them to contact me to request permission first.
Linda Schmidt - January 15, 2010
Have you ever noticed how closely the quilting movement resembles the French Resistance movement? Think about
it. Most quilt guild meetings are at a church, at a time when people won’t notice a large number of women
coming singly or in small groups, walking nonchalantly up to an unmarked door, and slipping inside. They are
laden down with bags, usually marked with strange runes and signs made of squares and triangles. There is
rarely a sign saying “Quilt Guild meets here.”
We are like a small revolutionary band, a secret society where other quilters automatically feel linked. We mix
fabric, color and stolen time to make beauty, whether it is out of scraps, worn-out clothing or new fabric.
This is not something a whole lot of people understand, so a quilt guild functions in many ways as a support group of
the highest order. The members help in time of need, understand when things go awry, and sometimes hide out
from the Quilt Police.
I think quilting is a Resistance in other ways: resistance against mass production, shoddy workmanship and an
uncaring world. We take time, fabric and memories and wrap them all up to keep someone warm, whether they are
family or strangers. We do it to remember them, to connect them to all the people who go before us and after
us, including the people who will be touched by our work, even if they never know our names. Most of these
quilts are given to shelters of all kinds, all with the hope of making the world a better place, all part of the
quilters’ Resistance Movement.
Like many people, I have never marched in a peace rally or taken a stand that meant commitment to a cause. I
grew up a fairly easygoing, laid back person who figured things are just better left alone to work themselves out.
But then I got to thinking - what if every person who could do something, did? I’m not good at a lot of things,
but I can make quilts.
Lots of other quilters, members of the Resistance, are out there, too, doing what they can do. Guilds all over
the world are making quilts for people who need to have something made by caring hands, something they can call their
own, when all else has been taken from them, even their dignity. We are making quilts that go directly to those
who have the need or raffling quilts to make money for research. We’re doing our best to put the message out
that there are still caring people in the world; people who know the importance of people helping other people.
So, be an active member of the Resistance and do what you can do, whatever that may be. Make a quilt by
yourself or join a group that makes quilts. Get to know your fellow Resistance members, whether they meet in
person or online. Be part of the Quilters’ Resistance against an uncaring world, and know that you are not
alone.