When it was time for me to propose a palette for the month of October, I immediately thought of the pumpkin color and to the works I have done with orange fabric. I chose my quilt made for the first Quilt Improv Studio game, and I listed the colors used at that time to share its juicy palette: my favorite oranges, white and a well contrasting dark blue.
You can find the resulting fabric selection made in collaboration with Patchworkvictim, at the following page of their blog.
In this video you can see how nice prints using orange blue and white we could find, to match with the solids chosen at the start.
If you wish to see with your eyes the orange quilt which was created following this palette, you can soon come to visit the quilt+painting gallery The tales of the needle and the brush, opening on October 23rd in Trieste (Italy) and displaying not only orange quilts, but also blue quilts and black and white quilts, all stemming out from the fantasy of improv quilters who followed Quilt Improv Studio game prompts. And much more!
Two of my quilts are part of the juried show Quilts Unlimited, on display since Saturday, October 02, 2021 to Saturday, December 04, 2021 in Old Forge, New York.
The organizers made a great job in creating previews and event related material, collected in the online reception page. I can feel like being there, in good company of beautiful works from Australia to US, even if I’m not travelling there. My quilts travel more than me!
In this video you can find a selection of hanging quilts. It’s nice to see that my yellow “Grasshopper path” stands near to a blue quilt, getting contrasting colors effect in the sequence of the display, while my “Landing” mates with a quilt having similar repetitions and symmetry scheme. Thanks to View Center for Arts and Culture for this awesome exhibit!
It was for several days, that a blue sky quilt idea was floating in my mind. I resisted for all those days to the temptation to start it, because I was in the middle of other projects. A completely different color occupied my sewing table, the supersaturated red of my monochrome quilt, still to be finished. I managed to work according to my real preference: one quilt at a time.
Then, my quilting table became free. I started. And I submerged for a full weekend on my new blue project, without breathing fresh air for hours. It fullly captured me. So strong was the effect of full immersion into a stage of new creation, that every other activity in the queue disappeared from my radar. I even forgot for one full day to send the announcement of the new quilt+painting gallery that was in preparation here in my hometown! (Well, the gallery announcement has just been launched – read here if you are in north east Italy, and you consider visiting this super special event soon!).
Blue and white fragments continued to get attached to one another on the design wall, when, suddenly, my composition was not working anymore. Too big. The clouds, inspired to the late summer sky visions stored in my mind, needed to become too large… maybe kilometers large… like in the real life. Not working, not working image at all.
The splash on the design wall soon turned out too busy, giant and pixellated. I remixed, I ripped sections, I abandoned the initial purpose… but there was no way out. Until, like a casual gesture, I placed my jelly roll blue strips on the design wall. Strips in series, like a color check, like a grid. And, surprise-surprise… I started to see my work clearly again. Thanks to the presence of the grid, I suddenly understood what was happening to my work.
— Alert: engineer nerd content below —
I involuntarily created an “interference grid”. Like the one I used during my optoelectronic engineering studies… when a laser beam passed through a filter, and became transformed into physically meaningful patterns… This grid acted, indeed, as a filter. It helped me to extract mosaic cell scale. To separate portions of the mosaic having different appearances. It distilled the randomness of my work into some sub-series having a meaning of their own.
Now, I have decided a possible way on: to use only some portions of my work, to simplify it. The image should become more readable. Or at least, the idea returned readable for my mind. I see again a number of possible paths for the progression of my work.
I don’t know if the above story is understandable or even interesting as a quiltmaking phase. But for me it was important. The rest, still needs to be written…
I’m pleased to announce that a group gallery event is coming soon in Trieste (Italy), dedicated to the two techniques of patchwork and painting, at Atelier dell’arte in Raffineria street 4/c, opening on October 23rd until November 13th.
It is an occasion where multiple streams will be collected: stories of connections from a distance, in a period when people could not meet in person but still wanted to be creative together; the sense of a widening perspective that can be achieved on a canvas when a painter wants to feel in open air while being in stay-at-home mode; the solidarity that can be materialized thanks to the effort of tens of quilters, such as the sewing marathon resulting in a donation to GOAP rescue centre preventing violence against women.
In this venue we had the opportunity to host some examples of the works realized during the challenges launched by Quilt Improv Studio. It is the first opportunity to put together Quilt Improv Studio games participants from the surrounding of the venue site in Trieste, wishing that this be repeated also in the future with a wider participation and related logistics arrangements!
All these happenings will be presented in the gallery “The tales of the needle and the brush”: flyer here below!
When I started discussing with my quilting friends Carla and Giovanna, about the new game to be proposed as a Quilt Improv Studio challenge, I was reading the book Abstract Art. Carla’s proposal to try quilting a monochromatic work was perfectly fitting with the chapter I was reading then: the history of American Monochrome paintings.
At the time to start my monochrome quilt, I decided to experimented a bit with extremes. I kept the shapes to a minimum (a good occasion to discover the difficulties of minimalism). As in the monochromatic painting experiments, I focused on surface texture, quilting red on red, going narrow up to matchstick style.
At a certain point, the differences introduced in my quilt started to be barely visible even for me… and this reminded me of a photo galley I made twenty years ago, participating to a science congress on nanotechnologies, dealing with objects having size sometimes too small for being resolved by visible light.
Well… red is the color at the gate of visible light wavelength. Thus, I decided that my red quilt had gained grades to be dedicated to all the above.
My monochrome quilt is titled “Threshold of the visible”. It makes me think of my experience with microscopy and surface characterization, of the American monochrome texture paintings, and of the wavelength where we start to see red: 740 nanometers!
I prepared the colors for the August “Palette of the Month” several weeks ago. I didn’t expect that an exceptional heat wave would come, but now that it’s here, the color selection fits perfectly to the day: a group of yellows and greens, refreshing like a lime and mint based cocktail!
My monthly reflections on color match has become, for me, an occasion to learn something new. For example, I familiarized with the flower prints by Anna Maria Horner, and this resulted in a new collaboration with Patchworkvictim: Sara, from their team, has sewn a skirt for me, based on my design and on the fabric selection from last month: you can check in the next video if the new skirt it suits me well!
All the details of the “Palette of the Month” of August are reported at this link of Patchworkvictim blog. Happy refreshing sewing!
In the last year, many virtual doors leading to a connection with the quilting community have been opened. Participation to quilting contests, taking place fully on line, was a new opportunity: thanks to this, I have submitted my work images and I have participated to Quiltcon Together and to Beyond the Festival of Quilts, whose exhibits were made in format of photo gallery on their web sites.
The lesson learnt there is still alive and kicking, applied in similar fashion for our quilting games, in the fully virtual project Quilt Improv Studio, that I share with Carla @falcolupo and Giovanna @jonikquilts and many other quilters from around the world.
This year, part of the fair venues ventured again into the in-person format, and all the features demonstrating physicality and geographical distance hit back again, reminding me how much remotely I’m seated respect to the epicenters of quilting initiatives.
I rolled my quilt among acid free packing paper. I visited a logistic company, where I paid a deposit for extra costs, to be received after passage through extra European Union custom duties. I followed (with maniac page-refresh need) the tracking of my shipment. I read a later-than-planned, but still in time respect to ultimate deadline, update that clarified: quilt has been delivered (after covering a distance of 1.154 miles). And then, silence. My quilt traveled, but I stayed at home. Was it all going to become real?
Unexpectedly, the virtual connections built in the last year, helped me to visualize what was happening there.
A sense of proximity was brought back by one of the Quilting Angels, who documented her unpacking and hanging operations for many quilts, including mine. I screened the details of photos taken behind-the-scenes, and I learnt how smart was the hanging system with multi-level fixture options. How brilliant was the effect of showing quilts with dark background and a good illumination setup? I even received detail and full scenery view from a MQG contact (pictures below are courtesy of Samantha @threads_of_my_life, who was in Birmingham and recognized my work “East”).
If you’ve not been in the UK in the last days, I invite you to appreciate the +400 quilts participating to the Festival of Quilts 2021, now visible on-line at the following link. Organizers opened the venue in Birmingham to in-person visitors last weekend, but maintained from last year also the use of a nice web platform displaying all photos of received quilts.
An inclusive experience, nowadays, is the one which couples real and virtual opportunities altogether.
During my photographic creative journey, I’ve often played with real and imaginary colors of fruits. I’ve even titled to fruits one of my early photo galleries: Flowers, fruit and embroidery.
Now that my playing tool is fabric, I’ve dedicated to fruits the proposal for the palette of this month, selected in collaboration with Patchworkvictim: a “Fruit salad” July palette.
Fabric selection is described at this link of Patchworkvictim blog. Combination of sunny solids (Kona cottons named Sangria, Flame, Carrot and others) to juicy prints is a tasty pleasure: I talk about this in the following video. We speak in Italian, but catchy colors can be recognized well.
This one of my early quilts, which was source of inspiration for the palette definition:
I have a preference for solid fabric. Probably it stems out from the pleasure of getting full access to a large amount of color in a glance.
Indeed, graphic designer Falcinelli writes something about this in his essay Cromorama: he observes that the natural world offers to us the experience of a flat hue almost only in the vision of the sky.
I’m so happy to have the opportunity of talking of my favorite colors in a dedicated video appointment called “The palette of the month”, thanks to a new collaboration with the local quilt shop Patchworkvictim. You can see my choice of solid fabrics for this month on their blog article at this link.
All the palettes I will propose have been tested in some quilt of mine. I chose iris colors as a starter, because I’ve always loved to shoot photos of irises in all their development statuses, with wrinkly petals or unusual shapes. Irises are in full bloom now: they are a good inspiration source for this month!