The smiling figures in this lighthearted moment on our trip to South Africa belie the tragedy embedded in this place. They are seated in front of the High Court Annex in Cape Town, where South Africans had to report annually to be classified as members of one of seven “races.” Our guide, seated on the right, relayed how his own family had been split up by this cruel, subjective process. He is joined on the left by one of our tour group members, a young doctor from Atlanta.

In the past, as persons of color, they would have been violating the South African laws of Apartheid, a system of rigid segregation and oppression of the non-white population. African National Congress (ANC) leader Nelson Mandela was released from prison in 1990, and the Apartheid laws were abolished in mid-1991, pending the historical first multiracial election in 1994, when Mandela was elected President of South Africa. Today the “whites only” bench remains as a historical reminder that Apartheid has been tossed into the ashcan of history.

I was involved in the international fight to free Nelson Mandela and end apartheid in the late 1980’s, and sewed my collection of political buttons from that time into the quilt.

Today, though Apartheid has been destroyed, South Africa is one of the most economically unequal country in the world. The fight for equality continues as it does elsewhere, including the United States.

The rest of the piece tells the story of our visit to South Africa. The Bushveld, at the top, is where we enjoyed a safari. Nelson Mandela’s prison cell and the quarry where he and other political prisoners toiled, fabrics I bought there, South African money and Jackass Penguins and other animals we saw are among the other items in the design.

This piece was created for an invitational show of art quilts called “Things That Matter,” which will preview next year.  It is 60″ wide by 37.5″ tall.

The photo of the figures was provided by Jay Ressler.

 

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The Studio Art Quilt Associates annual silent auction is an opportunity for collectors to find new artists, and add to their collection of established art quilters.  All the work is in, and we are counting down until the Sept 15 bidding begins.

http://www.saqa.com/auction-quiltviewALL.php

To find my quilt, for example, enter “Ressler” in the search bar. This year, 370 SAQA members donated 12 x 12″ art quilts to the auction. Last year the auction raised nearly 80K to aid SAQA’s exhibition and outreach programs.

The dates are September 15 through October 8, 2017.

Here is my piece: Perilous.

Perilous smaller

 

I have many painter friends, and I am active in the local art world as well as the community of Art Quilters.  So when Plein Air West Reading loosened its rules this year, I decided to take up the challenge.

This is the second year of the event. For 2017 only 80% of your piece has to be completed outdoors.  The rest can be in the studio.

Here’s what I did: limited my palate to blacks, whites and grays, and pre-fused some workable size pieces to take with me. I packed a scissors, tracing paper, parchment paper, drawing paper, muslin and pencil and set up a small table near an outlet so I could plug in my iron.

I started as any Plein Air artist would: made a sketch.  For me, the sketch had to be the same size as the finished piece would be.  And I worked as I always do: traced the shapes in the drawing from the sketch (the buildings, the sky etc) and cut them out in fabric.

Honestly the experience did me more good than I thought it would.  As in all plein air work, the values are higher keyed (brighter — more white) than when translated through a photograph.  Since values are my most difficult artistic component, it was a useful adjustment to work outside. Also, of course, you can walk around and better see what you are trying to depict than when working from a photo.

The most difficult part was trying to keep the pieces from moving in the slightest breeze.  A pin or two helped here. And I don’t know how I could do this without an extension cord and iron fairly handy. I used it by heating it up, unplugging and bringing over to my work — still hot enough to activate the fusing and hold the fabric pieces down. But I couldn’t be too very far from it.

Of course I finished the pieces in my studio: using my sewing machine for the quilting and binding. I also took photos, printed them on cloth, and places them in key spots.  Those I printed in color, so the works were desaturated with bits of color.

These will be shown June 17 at Art of the Avenue in West Reading.  Just look for the Art Quilts in the Plein Air display.  I doubt there will be any others.  But maybe next year!

I would like to take a moment to celebrate the conclusion of my most recent class: Raw Edge Applique at The Arts Barn in Schuylkill Haven, PA. First of all, owner Deb Cooper and Education Director Joanne Cosentino were so gracious and accommodating from beginning to end, even providing snacks for the students during class. I am very grateful to them.

There were 4 students.  Even that small number kept me busy every moment. They were good humored, smart, and cooperative. I loved to see when they “got it!” Some examples of comments, this from an experienced traditional quilter, “This is so much more freeing than making all the little squares!”  “Wow, what a difference it makes when you’ve quilted the piece”

I provided little thumbnail sketches they could use for composition ideas.  Two used them, one made her own composition, and one took hers from my Quilt National 2015 Catalog. She said she kept coming back to “Infinity” by Elena Stokes, and ended up nearly copying that. (on a much smaller scale, with different fabrics.) I hope Elena takes that as a compliment!

The one composition “rule” I impart to beginning students is to avoid the center of a piece. You are trying to keep the eye moving. Use the “rule of thirds,” or at least don’t put an eye catcher in the center!

I brought in two sewing machines, one set up with a walking foot for straight line quilting, and one for free motion.  I didn’t want them to get hung up on fancy quilting techniques for an introductory class.  We only had two 3-hour sessions. Near the end I changed the free motion machine to straight stitch so they could finish the bindings.

They worked in small sizes.  I cut muslin for the substrates approximately 12 x 16″ with batting to match. I had two ironing stations set up, which also worked well. I teach using Mistyfuse, and each student got about 2 yards of it to work with.

I began the class by showing pictures of Art Quilts, and also explaining the relationship between traditional quilts and art quilts, and where raw edge applique fits into the later category. I brought in some of my own pieces, and gave brief demonstrations at various points: how to start, squaring and trimming, quilting, and binding.  I had instructions available for both “facing to the back” and quarter inch binding.  Everyone chose to use the “facing to the back” method.

I also gave color suggestions, using a color wheel.  You can’t go wrong with complimentary colors!

My own take-away is that two 3-hour classes is the very least time needed to start to learn this method. More time would have been better.  But everyone almost finished their work, or is prepared to finish it at home.

 

 

 

At this time of year I am so grateful to live in a Northern clime.  The “change of seasons” we all claim we love can work against us in February.  But in April and May watching the leaves burst forth in their yellow-green bounty is pure joy.  My studio looks out onto our garden, filled with flowers and birds, and from there to the wildflower meadow and treeline beyond. Yes, it calls to me to come out and weed and plant.  But it also demands its story be told in art quilts.

All of these are from talking walks near my house.  In the case of “North Mountain,” I only have to walk out of my front door.

I’ve been working on smaller scale pieces, getting ready for the many art fairs coming up this year.

My husband Jay has been making the frames to float these pieces.  Inside each is a 5 x 7 fully finished little art quilt. They are poplar, routed, sanded, cut and oil stained, then hand rubbed wax finish.

Here are some of them.

How does every other artist cope with this time of year — Tax day is looming.  For my husband and myself, who together form “ResslerArt,” it is nerve-wracking.

Our income has pretty straightforward categories: Consignment sales (galleries who themselves take care of sales tax, and we only report the income) Studio and art fair sales (we report and pay sales tax and income tax), teaching, awards, and reimbursements (which are not taxable.)

Somehow it seemed like a good idea to me, at a certain point during 2016, to stop keeping the detailed ledger of expenses I had been keeping.

Bad idea.

We ended up having to re-create it, painstakingly, receipt by receipt for the year.

The expense ledger columns heads are from IRS categories: “Materials,” “Supplies” (yes they are different.  You use “supplies” on “materials.” Supplies get used up faster. For us the number one item is ink for our printers.)  “Office Expenses” and “Office Supplies” (again — they are different.  Office Expenses are like computers and printers.  Supplies are like paper clips.)

There are many categories that we never fill up — wage labor for example. But I have columns for them anyway.  You never know!

I set up a temporary table near Jay’s computer, with my laptop, big notebooks of paper records, and my laptop with ledgers.  Luckily we have always worked well together, so as frustrating as the process is, we never once struck or harmed the other person.

Swearing at the language of the tax forms is another matter. (Thank goodness for Google.  I was constantly looking up the difference between one thing and another). But I fear our verbal abuses fell on deaf ears.

Anyway, we came out about even on our business income and expenses, and overall get a refund this year.

Now I’m happy!

taxes

I’m looking forward to April 22-23 for the first ever Art Plus Gallery home studio tour.  Jay and I will open up our studio on those days to visitors.  We are planning demonstrations, refreshments, door prizes, and are hoping the garden is in bloom.

Studio Tour in Wyomissing Neighbors

Tickets can be purchased at the Gallery, 604 Penn Ave, West Reading, PA 19611, on line, or at any of the studios on the tour. The address of ours is 15 Rocktown Road, Hamburg, PA, 19526. The tour is from 10 AM to 4 PM both days.

The attached article is from Wyomissing Neighbors.

If you are anywhere close, come on by!

We’d love to see you.