Quilting marathon colored as a blue sky

activism, collaborations, improv process

I’m happy to announce the start of a social sewing initiative, launched by local quilt shop Patchworkvictim, dedicated to the women and aimed to create a king size charity quilt.

We’ve been talking in the background of this project for several months, and now it’s ready to start. Quite on purpose, the initiative connects two dates, as the start and the finish of a quilting marathon, that are: November 25th 2020, International Day for the Elimination of Violence against Women, and March 8th 2021, International Women’s Day. Since my experience of some years ago, when I worked in my city council as a member of gender diversity and equal opportunities committee, I care that not just a single day is used as a celebration for such important themes, but a continuous practice is adopted, together, collaboratively. The charity recipient of this initiative will be a very effective working group: the local centre for protection of women from violence, G.O.A.P., a team well equipped to act both on the cultural change and on the practical needs.

So, here we are! The initiative calls for quilters that contribute by sewing one (or more) squares having 10 inch size each, up to a total of 132 squares. All those pieces shall be made using the technique I love most: improv piecing! I’m so happy to contribute to this project with local discussions on improv, and in the final sewing phase of more than one hundred pieces into a unique quilt top!

Improv can be defined in several ways, but in this occasion its main feature will be: composition! Indeed, participants are invited to experiment with minimalist composition improvisationally done, within own 10” square block. Isn’t it a nice challenge? To try graphic effects with the smallest possible number of elements? Minimalist composition can be both difficult and very simple: how to find elegance with tiny piecing and a wide negative space? There is a lot of room of expression with abstract mark making!

The rules to keep a uniform approach within the overall quilt are simple: use solid background, and choose light blue and white colours. Our quilting marathon looks forward to an arrival into the fresh air of new year Spring, and our community quilt can talk the language of clear white clouds running in a light blue sky!

If you wish to participate, all that is needed is to book your participation writing to info@patchworkvictim.it ; on Patchworkvictim blog all the details of the initiative are presented, including address for block shipment, key dates and initiative contributors.
I’ve already started to make a few improv blocks… come and sew with me!

Grass and wheat

improv process

I’ve completed my second quilt realized with the technique named “Wall Dance”, which I learnt studying with Irene Roderick.

I’ve tried to mix the lessons learnt about composition (to be tested by free remix on the design wall), with my habit of growing textures in a continuum, without interruptions.  

I’ve started this work in Summer, before the “Tagliamento king of rivers” exhibit arrangement, and at that time I was thinking: “Why not to include this work in the gallery?”. Too optimistic: I completed this quilt two months after the end of exhibition.

In September I restarted my collaboration with the local quilt shop. During the lecture I gave with them, on finding beauty in abstraction while doing improv (and managing chaos!), I was sewing yellow and green pieces “live”: the fabric which took part of this discussion, later entered into the quilt.

I chose the title: “Grasshopper path”. I imagine being small and jumping across wheat fields, leaving trace of route taken, as indicated by the arrows.

Yesterday I placed the finished quilt on the wall of my living room. My child observed the result, and proposed the following way to compose a quilt: “Take your small pieces of fabric, let them fall on the ground, and sew them in the position they have taken on the floor!”

Names for a texture

improv process, joining events

I like to explore the terms to be adopted when describing textures, the ones obtained by patchwork piecing. I’m tempted to borrow words that I use when I describe materials observed at the microscope.
A random texture could be an “isotropic” pattern. This means that you can see similar shapes, whatever direction you look them from. To make some examples: a bubble foam may be isotropic; a wood plate resulting from a longitudinal cut is not isotropic, being oriented in the branch growth direction.

I will talk about this in my next zoom video lecture, on Thursday September 24th at 17.30 CEST (Italian language), thanks to local quilt shop hosting the event. A good occasion to discuss on the fact that, even if improv piecing seems chaotic, there is still some reasoning behind!
For attendance, you can subscribe to Patchworkvictim mailing list, and you will receive free invitation link!

Overall video series can be found at this link.

Degrees of freedom getting large

improv process

It was two months that I’ve been waiting for the “Quick Steps” live course by Irene Roderick to come. I was so impatient that I started to count the days remaining to the starting date!

I’ve now completed the attendance. The experience has been up to expectations.

Trying her methodology, named “dancing with the wall”, meant for me to go out of comfort zone. I left behind, for a while, my usual boundaries (to repeat the same shape all around the quilt; to fix the position of figures by sewing blocks step by step). This resulted in an opening of possibilities, if not an exploding of variables!

This method clearly results in a continuous design exercise. Each change brings a surprise (which may be addictive…), each view suggests new ideas…

While doing my first try, I visualized: a sea, a gondola in Venice, a summer festival poster, a gun (no no no… I had to change this!), a horse looking a dog, a family crest, a paper collage, a Liberty style decor…

I experienced getting stuck, tearing it all down, restarting work from scratch. The brain was steaming for the effort of approaching multiple graphic problems: every time, a new balance was required…

After this “dance”, I’ll look to my way of working from a different perspective.

Joining pieces, joining people

collaborations, improv process

Last Autumn I discovered the extraordinary work of Leslie J.  Riley. Her quilts, full of textures, secondary motifs, and swinging colours, suggested me the idea to make systematic exercises in textured piecing. I started preparing blocks with different texture types, such as: striped columns and rows, log cabins, high contrast colours, low contrast colours, and so on.

Last Winter I joined the local quilt guild “Biechi Mati”, mainly focused on traditional patchwork, but open to trying any type of technique. According to their request, I carried my sample texture blocks, they put on the desk all their sewing machines, and we spent one afternoon playing with improv piecing together.

Last Spring it was planned to repeat the textured improv exercise at local quilt shop Patchworkvictim. Francesca made the Zoom platform available in order to keep the discussions on improv virtual and interactive. During the first session I have been sewing some pieces of the column and rows texture, and this sample is shown in the first video resumed at this page (visible also on Patchworkvictim you tube channel).

This Summer I took my textured samples out from the demo bag, and I decided to grow one of them wider. Now that I’ve finished the columns and rows quilt, I’m aware of how many people has influenced this year long work!

Let the shapes talk

improv process

I started this quilt while attending a modern patchwork course by Daria Blandina and Roberta Sperandio, whose activities can be followed at the page D+R Patch Fun.

Even if its look is mainly modern, I didn’t plan any pattern: the position of each piece was improvised, one after the other, line after line, and some scrappy stripes found their way within a few smaller shapes.

The combinations offered by equilateral triangles surprised me: unexpected hexagons and bigger, nested triangles appeared during the work in progress. When looking at the top, I started playing with myself a mathematical search of how many triangles I could see in the overall picture, being them complete or incomplete… A good excuse to look again and again to my color map, as if it were a treasure hunt!

The initial idea in my mind was a mountain landscape full of trees. When a friend of mine, visiting our home, proposed the image of a lake and its reflections as appearing from the quilt, I was proud of feeling a connection with my early intent. Later, a quilting mate commented that such colors reminded her of crystalline waters… Yes, I like this: multiple interpretations are welcome.

Finally, when my husband said that he saw the view of a regatta, as the one populated by thousand sails which we admire every year in our gulf, I could not stop seeing it myself too!
The most important annual event in my hometown is a sailing race. Its images are impressed in the minds of all the locals, thanks to decades of celebratory photo galleries, posters and graphics attached on all the street lamps, triangle-based logos printed on the gadgets, and stunning aerial views offered by media coverage, usually depicting the winning sail running distant from the competitors, inside a blue sea full of boats surrounding our lighthouse…
Each place has some symbolic images of their own, embedded in its local culture. So, if I title my work “Barcolana”, in Trieste this will be well understood.

Before this quilt, I didn’t feel oriented to piecing triangles, maybe because I didn’t know well how to use them.
In this occasion, I heard triangles speaking in both languages: the one of abstraction, the other of figurative subjects, overlapping within the layers of fabric.
Next time I will feel more easy in letting any shape to propose an expression for itself!

Composing with figures or abstract shapes

collaborations, improv process

I’ve just finished the top started during the on-line workshop by Sherri Lynn Wood on improv wedge curves. This has all been improvisationally made: no drawing prepared, no measures taken.

It’s been a great exercise on the distinction between graphic line (followed by the eye) and sewn line (may be the same or a different one).

Tomorrow I will talk about graphic compositions, small and large, in a zoom live session hosted by local quilt shop. Italian language. For link to join, please contact Patchworkvictim.

To cut is to draw

collaborations, improv process

I’m reading an essay from influential Italian designer Riccardo Falcinelli, Critica portatile al visual design. I love all his books.
In the chapter about “screens”, he talks about the use of the body during design making: “to sketch, to paint, to attach, to photograph, all of those are actions that should be kept alive, in order not to limit ourselves to few repeated moves done in front of a screen, to shift pixels, otherwise we risk to repeat a type of graphic design that looks all the same”.

I have to say that, when I sew, it’s a pleasure to stand up from the sewing table, to go to ironing board, and then check the result at the design wall, in order to return to the cutting mat with a decision in mind about how to go on.
It’s true: the physical gestures required by patchwork have a great influence on the result.

How to cut fabric?
When do I piece fabric?
Before or after having sewn them?
(After? Really? Well… what’s wrong with sewing first, and reduce pieces by cutting them, only later?).

Tomorrow I will talk about this: in a zoom livestream session.
The good part of this platform is interaction. How and when do you cut your fabric pieces?
I wish to see you then, and to talk about that!

If you want to join, you can ask for Patchworkvictim newsletter (italian language), and you will receive the meeting link.

Un frammento, un nuovo inizio

improv process

In questo periodo sto raccogliendo i frammenti di stoffa più piccoli, fino a quelli da solo un centimetro, per usarli come punto di partenza delle creazioni di pannelli patchwork improvvisati.

La forma stessa dei frammenti e dei ritagli riesce ad animarsi, e a guidare le scelte, suggerendo l’inizio del mosaico che emergerà.