Wow! Big, Bold, Loud, Quiet, Busy, Calm, Precise, not so precise - or should I say, Mysterious. Those adjectives were all represented. Here's a sampling:
|Edge #7 by Marina Kamenskaya|
|Structures #111 by Lisa Call|
|Construction #50 Birds by Leslie Joan Riley|
|close up of Construction #50 Birds|
|Forest Floor by Terry Jarrard-Dimond|
|Fault Lines 3 - Kathleen Loomis|
|quilting detail, Fault Lines 3 - Kathleen Loomis|
|Self Portraits by Nancy Crow|
|close up of Self Portraits by Nancy Crow|
|Constructions #101 by Nancy Crow|
|Color Compositions #4 - Beata Keller-Kerchner|
From Contemporary to Ancient Traditions
As we walked in to the main exhibition hall, we were greeted by a rather puzzling exhibit. The quilts were clearly Indian, but there was no signage on any of the quilts, no introduction, nothing. I took a cursory look and went upstairs to the primary exhibits. Later I took a second look . A Hungarian quilter, Anna Dolanyi, had collected all these quilts through her travels in remote places in India. These quilts do not have a written history of who made them , they were simply part of the art and tradition of the people.
The elephant quilt was my favorite. Small pieces of fabrics make the mosaic of this quilt. It isn't pieced in a method we are familiar with. Each piece of fabric is laid very close to the next one and then many strands of yarn or string or threads (for lack of better terms) are laid over the joints and couched to hold the pieces together.