Tuesday, 21 February 2017

Hindertwasser teaser

Just thought I give you all a little taste of the wonderful fabrics I have been able to pull from my stash - hooray, wasn't that why I bought them (some many years ago!)?  I don't admit to doing any of my own dyeing; I have dabbled but not all that successfully so now I leave it to the pros and support their talents.

The red Phil might remember was bought in Dar es Salaam - that's the back.

Then there are some glorious two-colour gradation dyes from Frieda Anderson, some of Heide Stoll-Weber's wonderful hand dyes and then a couple of the shibori dyed pieces I did in a class with Jan Myers Newbury.

I am having fun!


Friday, 17 February 2017


...... the next person to choose an artist is ................


(all above board as my husband who is recovering from an op around his eyes and is as good as 'blind' at the moment picked the name.)

Thursday, 2 February 2017


   I am afraid that Iwill not be able to start, let alone finish my Hundertwasser piece for the end of the month. Unfortunately I have had an accident: I fell in the street in Paris and have broken my shoulder. I will be in a sling for a minimum of 6 weeks (I see the orthopaedic surgeon next week and will know more then). The good news is that I can't do any housework and the big pile of books and magazines can at last be read!

Tuesday, 13 December 2016

Good News and Very Good News

First the Good News:  I have just finished updating our website with the latest challenge pieces.  This has been the best job ever as I have had to see the images really close-up while editing them ready for the website.  All I can say is WOW!  The detail, quilting, the design work and techniques, the media used and the choices everyone has made are stunning.  Please check the website for any glitches and let me know if anything isn't working as it should.

The Very Good News is that we have a new 12th member.  I would like to introduce Mai Britt Axelsen to you.  Some of you will already know Mai Britt as she is an award winning quilter and member of Contemporary Quilt.  She is Danish and lives with her husband on Guernsey in the Channel Islands.  I have rounded up a few images of her work.  Mai Britt will be joining in the Hundertwasser challenge.

Welcome to the group, Mai Britt.


PS  That's another country to add to our list!




Monday, 12 December 2016

Shipley Canal

I am so sorry that I have been late with this challenge.  When I first saw the work of the artist I was excited and thought it right up my street.  Oh dear, I really over extended myself.  I was way too ambitious.  It has been a long haul on top of too much going on in my life but I am happy with the result - thank you for indulging me.
My piece is based on a photo I took walking along the canal on my way to a textile exhibition at Salts Mill, Saltaire, Yorkshire.  When I saw Sheeler's painting I immediately remembered the lovely walk I had.  I have always loved architecture and industrial in particular.  Must be all those lines and shapes.  The area (west of Bradford) used to be the centre of the woollen industry and the canal is lined with mills and chimneys. 
I ummed and aahed about whether to use colour, then thought of black and white like a photograph but my fabric selection had big gaps. I settled on a sepia look as it reflects the aging, decaying buildings - although there are signs of regeneration and life returning. It is fused, stitched and with a little paint.

Charles Sheeler - Amoskeag Mills
Shipley Canal - Yorkshire, UK

Shipley Canal as Sheeler may have painted it

Sunday, 11 December 2016

Heather in the spotlight

Heather has asked me to pass on a message and I do it with pleasure and a certain amount of pride that one of our past members is doing so well.

"Former 12 by the dozen member Heather Dubreuil is pleased to have an 8-page spread in the Winter 2017 edition of Art Quilting Studio, an American magazine. In the article, she credits the 12 by the dozen group for inspiring her Cityscapes series."

If you would like to read about the article on Heather's blog here is the link:


Thank you, Heather, for giving the group credit for helping in your journey.  We will always enjoy hearing of your successes and adventures in the world of art.


Thursday, 1 December 2016

Charles at Waikari Station, NZ

I decided to continue using my photos from NZ, and from the moment I saw Charles Sheeler's work I had a specific pair of photos in mind.  These were taken on the Weka Pass Railway and were of the Waikari Station, just north of Christchurch.


My chosen picture from Sheeler was an obvious choice, it was probably the whole reason I choose him as our next artist.

I loved the way he had played with perspective and overlaid the features.  So here's my version:
It was a lot harder than I expected to combine the images to produce something that worked, but I'm very pleased with the final result, even though it's not completely finished yet (binding still to be sewn down).  I chose to do minimal quilting, just round the lines using an invisible thread.  I still think that was the right decision, but I'd be interested in other suggestions.

...... & the next artist is


Friedrensreich Hundertwasser (1928 - 2000) 

He was fascinated by spirals & had a dislike for straight lines which he described as 'the devil's tools' & 'godless & immoral. His work has been described as Transautomatism, a kind of Surrealism, focusing on fantasy. 
His work was not limited to architecture but he also made graphic work, lithographs, silk screen printings, etchings & woodcuts.
Much of his work is based on architecture & dominated by linear structures, with bright, intense colour, often using complementary colours with the addition of gold & silver, pasted on in thin foil. The work has simple organic form, with the same kinds of shape repeated again & again. Lines meander around shape, eyes loom out of landscapes & trees adorn rooftops.

Extracts from the book by Janet Edmond's called 'From Art to Stitch'

Wednesday, 30 November 2016

Sailing Ships

This is the picture by Giacomo Balla that I thought resembled the Sheeler.  If you google him, look at his running dacshund.

Interpreting different artists work is such a fascinating process especially when one is not overly enthusiastic about the artist concerned. (i.e. me with Sheeler's photography and paintings). Initially I found Sheelers work uninteresting and thought that I would find it very difficult to do something with. However I ended up doing 2 pieces and wondered which one I should post. I have decided to post both only because they are very similar but different and for the first time I think that doing a 'series 'would be intriguing.
The piece I chose to interpret is called 'Ballardvale' and was painted in 1946.The lines were interesting and I loved the colours.
The first interpretation I did was pieced . Usually I appliqué but one does need a challenge and the piecing worked well with Sheelers
'Precisionist' style . I kept thinking that some texture would liven the  piece but when the time for quilting came straight lines seemed to be the right option.

With the second piece I thought 'What if'' I turn the chimney stack into a tree and convert the scene from an industrial site into suburbia ?
As you can see I had fun and in the end I think that I like 'Suburbia' better . As you can all see I had great fun but promise that I won't inflict extras on you every time !


    There isn't one specific painting that inspired me.However,  Sheeler's industrial landscape paintings and his use of transparency caught my attention,  and as I am originally from a northern industrial mill town I thought I would try to  show a landscape that is familiar to me. The brick viaduct that crosses the Mersey valley in the centre of Stockport is an imposing structure and when it was built in 1840 it was the largest viaduct in the world, and is still the largest brick structure in the UK.

   I tried various designs with the viaduct and the mills, but couldn't  make one that worked with the transparent layers. In the end I abandoned the mills and just concentrated on the viaduct and the bridge. The final textile looks far more bucolic than the original scene! I originally experimented with the inktense pencils and bars that I bought in the summer when I was in England, but that attempt ended up in the bin (it was totally unsalvageable!) and I finally used fused appliqué and simple quilting.

Postponed. possibly forgotten

I enjoyed being introduced to Scheeler, I love his flat surfaces and his use of overlays to add to the sense of perspective so thank you Linda.
I also worked out fairly quickly how I could use these elements to work on a scene typical of the canal area of Manchester:

Playing with the arch shadow was going to give me the soaring effect that he uses so well. (There is probably a technical vocabulary to describe that but I don't have it!)

I made good progress, blocking in the larger shapes with paint, adding details using a stencil - until I added the arch form using a solid black fabric .... Whilst that was a mistake, it can be rectified with an alternative, less solid, fabric or a layer of paint, what can't be rectified is my assessment of what I'd done up til that point. The black fabric threw my lack of subtlety into glaring view and that has presented me with a barrier that I'm not sure I can overcome, or even want to give my time to.

I've been thinking about this for over a week and perhaps should have talked to someone about it, but during that time I've had a minor hospital procedure which has also occupied my thoughts. If this were my piece I would happily accept what I've learned and put it to one side, but I'm committed to this group and need to show that commitment. Whether I start all over again or just give myself some breathing space I don't know. There will eventually be a Scheeler inspired piece from me, but probably not this one.