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Quilted Compositions started with the urge to piece together handwoven pieces to create a quilt. With every weaving, some remnants are senseless to store or dispose of. Each piece took hours to source, dye, plan, and weave. The challenge in this series was to piece together a visual and tactile delight for hanging and daily use.


This project began as an active contemplation. I had an abundance of hand-woven indigo pieces.  I laid them out on a surface and started piecing them together.  As these pieces formed a composition, I pinned and sewed them together



This act of piecing and sewing was reminiscent of quilting. In addition, I enjoyed how these swatches felt in my hands.  Quilting is attached to tradition, and it was daunting to put this work within these parameters. However, the process stayed adjacent to what is considered a quilt.

The top of the piece was backed with indigo-dyed muslin.  The muslin was once used as matrimonial tablecloths and paired well with this quilt top. Wool batting was sandwiched between the back and top to give volume and continue with this quilted composition. Once the quilt was hand tacked, I sewed binding to the edges to finish and frame the quilt.   


After completing what is now called Quilted Composition No.1, I spent time with this piece, touching, hanging, and gazing at it. I appreciated all the iterations this quilt provided and grew eager to continue to work this way.

 I preferred the first piece's monochromatic blues and decided to continue working with this theme. Quilted Composition (QC) No.2 were browns and off-whites. QC 3 were yellow hues, and QC 4 were indigo, off-white, and brown. 

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This series of four has been exhibited at the Hoffman Art Center in Manzanita, Oregon. The infographic above was displayed alongside each Quilted Composition to give the viewer a look into each swatch's history. This is what makes these quilts unique to me and my process.