S: New Image Artists somewhere else
BC: New Image Artists B.J. Adams Mary Beth Bellah Jeanne Benson Sara Brown Candace Edgerley Lesly-Claire Greenberg Catherine Kleeman Verena Levine Dominie Nash Sue Pierce Ginny Smith Sandra Woock
FC: somewhere else | STUDIO QUILTS BY NEW IMAGE ARTISTS
1: somewhere else | STUDIO QUILTS BY NEW IMAGE ARTISTS
2: somewhere else STUDIO QUILTS BY NEW IMAGE ARTISTS Managing editor: Catherine Kleeman Layout design: Jeanne Benson © 2013 New Image Artists www.newimageartists.com Trudi C. Van Dyke, Curator email@example.com All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the written permission of the editor and individual artist. Cover Beyond Gray by B.J. Adams
3: "How often I found where I should be going only by setting out for somewhere else." Buckminster Fuller
4: Introduction and Curatorial Statement Artists reach into all facets of their lives and experiences for inspiration. Looking forward and looking back coalesces into new directions, development and experimentation. The artist whose work constantly grows, changes and emerges has tapped into her personal environment and infused it into new work. In the exhibition "Somewhere Else" ten of the New Image Artists have added a new factor to a creative challenge. New Image has a rich heritage, still boasts some original members and encompasses more than a 30-year exhibition history. The tastes and techniques of these artists strive to be their own. They have far-reaching and individual goals for their work. Within the group there is great respect for the talent and creativity of each other. Each of the artists designed a piece of original fabric that was developed from the structure of their own work. The artists could elect to work in their somewhat traditional paths or use this as an opportunity to branch out and experiment. The artists selected whatever design and techniques motivated them to create. The range of design approaches settled on by the individual artists included manipulated original photography, drawing, calligraphy, printmaking, painting and a variety of other techniques. The spectrum of the exhibit integrates traditional and original creative processes. The design was then commercially printed in one-yard pieces. Each artist consigned two pieces or more to be printed with creative options of various repeats and placements on the yardage as well as color saturation. The artists online manipulations allowed them the freedom to produce designs that are works of art in themselves and that were to become the foundation for the contemporary quilts of the exhibition. Decisions were also individually made to reflect the preferred choice of fiber content to be printed.
5: Each artist was tasked to create two pieces of work for the exhibition. She would create a new work using one yard of her printed fabric in whatever way she desired. As usual for New Image artists the work became totally individualized utilizing a myriad of techniques to take the fabric from flat and printed to dimensional and contemporary. The second quilt began with one yard of printed fabric from a second participating member of New Image. As curator I was tasked to decide the pairings of the fabrics before any manipulations began. It was an exciting and somewhat daunting curatorial challenge. I moved the fabric images around without regard to the artist while trying to find connections and challenges between possible pairings. I attempted to make thoughtful decisions that I hoped the artists would embrace as inspiration for their submissions to the exhibition. My ultimate goal was to stretch the artist's comfort zone in two ways. First they would be "required” to include the partner's fabric into a new work. The fabric could be used in any way including changing, cutting or manipulating it to enhance the new work. I ventured to pair artists whose works seemed less compatible with their usual way of working. My second goal was that by incorporating the "requirement" they would stretch themselves to look at their own techniques and planning processes in new and insightful ways. The audiences of this exhibition are rewarded with a collage of works that can both stand alone as individual pieces and have become part of a cohesive contemporary fiber art show. The work shown in the catalog and on exhibit showcases the way the challenge succeeded. The viewer is treated to a look at how each artist proceeded through her creative process. Some trial and error and creative blocks along the way led to exciting new works. Reading the progress reports throughout the catalog divulges the ways the work evolved in to completed pieces. Images of the ten original printed fabrics are included as well as the completed pieces - two by each artist.
6: The first part of the catalog shows each artist’s fabric design. The next section shows details of the finished quilts in progression from artist to artist, mirroring the gallery hanging. The final section includes full views of all the quilts alphabetically by artist along with each artist's process pages. The resulting exhibition moves fluidly throughout the gallery and catalog providing a showcase of wall hung fiber art. The artists have stretched themselves in original ways to incorporate not just the inspiration of seeing another colleagues work but to actually infuse some of that design in their own new work. The incorporated fabric is meant to be located by the viewer (a requirement imposed by the group on each other). Sometimes it is a subtle disclosure and sometimes it is obvious. Throughout the exhibition the viewer is drawn into the expansive depth and beauty of the work. Striking differences in techniques, materials and presentation strengthen the exhibition. These nationally and internationally respected fiber artists have again risen to new heights to present an exceptional contemporary fiber exhibition. Trudi C. Van Dyke Curator The exhibition and catalog debuted at the Waddell Art Gallery in Loudoun County, VA and is available for additional venue bookings. Contact: Somewhereelse@gmail.com
7: B.J. Adams FABRIC DETAIL While on a bird watching tour along the eastern Sierra Mountains in Nevada and California I became aware of the many wild flowers that were blooming. Photographing these, often very small, flowers became my primary interest for this trip. Eight of these photos had been uploaded to an on line printing service creating the design for my fabric. I chose to have them printed on a very heavy wide material. | Mary Beth Bellah FABRIC DETAIL An assortment of poultry and livestock wander the meadows and hillsides of my home in Charlottesville, Virginia. I find it impossible to resist gathering up the molted feathers from my many fowl and increasingly these little bits are being incorporated into my art work. For our fabric-design challenge I decided to feature some guinea and pied peacock feathers. A simple, closely cropped photo translated into a complex design on cotton when arranged in a kaleidescope repeat.
8: Jeanne Benson FABRIC DETAIL I drew three "maple keys" from a favorite box elder tree. My medium is colored pencil on fabriano watercolor paper. I scanned this image and sent the jpeg of it to the fabric printing service. It was printed with a half-brick repeat onto the yardage. | Candace Edgerley FABRIC DETAIL Intrigued by the possibility of digitally printing a pattern created by hand, I printed cotton fabric with dye using a process referred to as deconstructed screen printing. Using my digital camera, I photographed the fabric, manipulated the image to change the scale, and ordered two yards.
9: Lesly-Claire Greenberg FABRIC DETAIL The Alamo, San Antonio, TX provided the inspiration for my fabric. The walls were being painstakingly restored during my visit. The image was uploaded to the online printing service, the color was adjusted replacing some colors, then special effects were applied. The fabric was ordered with a classic mirror image making a seamless design. | Catherine Kleeman FABRIC DETAIL This is an image of a small quilt that I made several years ago. It is comprised of small pieces of fabrics that I created using many different surface design techniques, stitched together, threw paint at, and then quilted. After uploading to the online service, it was printed with a half-brick repeat.
10: Verena Levine FABRIC DETAIL For my fabric design I used a machine embroidered spider web that I designed for a previous quilt. The yardage turned out quite dark and reads almost like a solid. | Dominie Nash FABRIC DETAIL I created a full size collage to fill the yard of fabric, so there is no repeat, just a single image of various leaf prints I have made.
11: Sue Pierce FABRIC DETAIL My photos of the decaying walls of an old factory were colorized and repeated with mirror images to create the pattern of this fabric. | Ginny Smith FABRIC DETAIL I created the fabric to use as parts of birds in my bird quilts. Wings, legs, patterned bodies and tails can all be made from my own fabric, even eyes!
12: B.J. Adams | Mary Beth Bellah | Mary Beth Bellah with fabric by B.J. Adams | Jeanne Benson with fabric by Mary Beth Bellah | somewhere else
13: Jeanne Benson | Lesly-Claire Greenberg | Candace Edgerley | Lesly-Claire Greenberg with fabric by Jeanne Benson | Candace Edgerley with fabric by Lesly-Claire Greenberg | Ginny Smith with fabric by Candace Edgerley
14: Ginny Smith | Sue Pierce | Sue Pierce with fabric by Ginny Smith | Catherine Kleeman with fabric by Sue Pierce | somewhere else
15: Catherine Kleeman | Verena Levine | Dominie Nash | Verena Levine with fabric by Catherine Kleeman | Dominie Nash with fabric by Verena Levine | B.J. Adams with fabric by Dominie Nash
16: B.J. Adams | Desert Wild Flowers, © 2012, 18 x 38 inches (8, 8x8 inch panels)
17: Beyond Gray, © 2012, 18 x 38" (8, 8x8 inch panels)
18: Many of these wild flowers were very small (1/4 to 1/2 inch in diameter). To give them some importance each blossom was enlarged as I was embroidering it. The finished flower was then appliqued to its original photographed background. The names of each of these tiny wild flowers are, Stream Violet, Sierra Forget Me Not, Yellow Throats (Sans Yellow), Prickly Poppy, Stanbury's Phlox, Tansyleaf Suncup, Torrey's Monkey Flower, and Pussy Paws. | Desert Wild Flowers detail | Desert Wild Flowers detail
19: B.J. Adams
21: B.J. Adams | Beyond Gray detail | Using a Dominie Nash black, white, and gray fabric as my theme or background fabric, I wanted to keep the clear soft design uncluttered. Black and white fabrics, ribbons and threads have been added in geometric compositions to contrast with the background. The eight squares needed more and the bit of red stitching was my final addition.
22: Mary Beth Bellah | Feather Tree, © 2012, 56.5 x 35 x 3.5 inches
23: A Murder of Crows, © 2011 56 x 27 x 1 inches with partner fabric by B.J. Adams
24: Most of my work is created directly from the image I have of it in my mind's eye. I will use a sketch book to jot down th feeling I want to capture or some construction method I've resolved, but for the most part, I like to dive directly into my materials and get working. For Feather Tree, I knew I wanted to use free-hanging guinea feathers (the same feathers I had photographed for the fabric design) as the foreground of the quilted tree. Working out a flexible hanging rod that would accommodate these "leaves" without making it a nightmare to ship for exhibition and display was the biggest challenge for this piece.
25: Mary Beth Bellah | Freezer paper tree drawing used for the appliqué.
26: When we first started this project, I was working with garden row cover to create highly textured imagery of clouds in my work, Kiss the Wind, shown here in detail. Knowing I had B.J.'s fabric that "reads" as earth and fields, it was a fairly easy jump in my mind's eye to see A Murder of Crows take shape over a field of sunflowers. I use commercially printed cottons in almost all my work, so taking on the fabric made by BJ was a comfortable approach for me. I did spend a good bit of time working out a method of unifying the multiple images across her yardage.
27: Mary Beth Bellah
28: Jeanne Benson | Box Elder, Copters, © 2012, 40 x 39 inches
29: Box Elder, Leaves, © 2012, 40 x 39 inches with partner fabric by Mary Beth Bellah
30: Boxelder Maple, Centennial Park, Ellicott City, MD
31: Jeanne Benson | I walk most mornings in a park near my home. A large box elder tree at the park first caught my eye in winter, when it appears to be decorated with ornaments made of hanging seeds. On sunny mornings the ornaments are spotlighted. Cloudy mornings highlight the trunk and branching. The umbrella-like canopy is twice the height of the tree. Throughout the year, I collected specimens of leaves and seeds to take apart, to press, to draw, and to photograph. I work back and forth between paper and pencil and fabric chewing on ideas. I arrange and rearrange the chosen fabric on my design wall and take pictures of the various fabric combinations. I flip through the stored photos to find the combination I want to work with. Having chosen a black and white polka dot fabric to use in the background of my second piece, I was able to incorporate my partner fabric by cutting the yardage into circles and making a replica piece of yardage of the black and white polka dots.
32: Three Copters © 2012 8.5 x11inches colored pencil | Various Parts © 2012 8.5 x11 inches colored pencil
33: Jeanne Benson
34: Candace Edgerley | Deconstruction, © 2012, 36 x 31 inches
35: Construction, © 2012, 33 x 34.5 inches with partner fabric by Lesly-Claire Greenberg
36: Starting with a piece of white fabric, applying color and pattern with dye, then having the ability to readjust even after the dye set into the fibers presented interesting possibilities. The additional potential of then having this pattern produced in yardage by just clicking a few keys on my keyboard was exciting. The process of deconstructed screen printing involves placing textured materials (in this case, plastic bubble wrap) on the print table, screening on thickened dye, allowing the dye to dry, and then pulling additional dye across the screen onto the fabric. As this is not an exact science, the opportunity to further manipulate the color, scale, and repeat digitally after the dye had set in the fabric expanded the possibilities. Deciding what to do with my yardage, presented another challenge. Though I was happy with how my pattern looked on my computer screen, I had not planned how I would ultimately use it in creating my piece. As I prefer to work with sheer silk organza which I dye using Japanese shibori techniques, I decided to use a piece of dyed organza as an overlay.
37: Creating a sandwich of backing fabric, cotton batting, and featured fabric, I layered the left hand side of the piece with shibori dyed silk organza and outlined the marks made by the dye with machine quilting. | Candace Edgerley
38: Unfortunately I missed attending the New Image meeting where I was assigned Lesly-Claire’s fabric, but couldn't have been more delighted when I received her package later in the month. Though it was clear she had used a photo to create her imagery, I wasn't sure what she had photographed. I was correct in recognizing it as a construction site and immediately saw a connection to the lines created by the scaffolding to the patterning created by folding, clamping, and dyeing fabric using Japanese shibori techniques.
39: Candace EdgerIey | I first worked with a large sheet of paper, folding creases to mirror the lines created by the scaffolding. Once I had the folds under control, I clamped the silk organza and dipped the edges in hot acid dye. | As I did with my first piece, I layered backing cloth, cotton batting, the featured fabric, and the shibori dyed silk organza. After pinning the layers together, I machine stitched along the scaffolding and shibori lines and applied gold foil for the spark it needed.
40: Lesly-Claire Greenberg | Grounded, © 2012, 38 x 42.5 inches
41: Flight, © 2012, 38 x 35.75 inches with partner fabric by Jeanne Benson
42: I began by laying out the collected fabric in what I thought was a pleasing order. The size of several pieces was dictated by the size of the piece of cloth. I experimented with various ribbons to better picture the quilting. Next, I drafted a pattern based on the grid created by the folded fabric, making minor adjustments to have seams conveniently placed for ease of construction. Before beginning construction, I auditioned threads for quilting. Heavy cotton thread in a variety of shades were used in the quilting of both quilts.
43: Lesly-Claire Greenberg | After cutting and sewing part of the design it became clear that the sizes weren't working. Several pieces were so small they got lost. Some rethinking and rearranging later, I spread out the fabrics horizontally. This made more room for my hand painted cloth, giving my special fabric greater impact. Undecided how to position the fabrics in the upper right corner of the quilt, I pinned everything onto a large piece of my "theme" fabric. When some of the possible fabrics were unpinned and more of the background fabric was exposed, the solution became clear to me.
44: I was thrilled when told that I would be working with Jeanne's fabric. Her drawings are so elegant and fine. When I saw the print I was surprised by the large scale of the seedlings. When I got to my studio I opened up the yard of fabric and draped it over one of my "piles". There it sat while I lived with it, throwing other fabrics on the pile to see what "stuck". I dug in the many boxes of treasures that hadn't seen light in years. My collection of traditional 14" wide, Japanese textiles was amassed over many years. The gray Japanese Yukata fabric with large dragonflies and swirls was perfect . This fabric as well as several pieces in "Grounded" came from this group. I'm thrilled to use them in these quilts.
45: Lesly-Claire Greenberg | To complement Jeanne's beautifully drawn box elder seedlings, I chose a piece of Japanese Yukata and several sueded cotton scraps from my collection. I considered using overlays; sketching with crayon on paper, I did a series of auditions, including my drawing printed on silk organza. However, I determined that it would not enhance the overall design. Flight was machine quilted in a variety of thread colors chosen to blend rather than contrast.
46: Catherine Kleeman | Indigo Sun, © 2011, 33 x 33 inches
47: Alleyways, ©2012, 35 x 35 inches with partner fabric by Sue Pierce
48: The interesting thing about Sue's fabric is that she thought it was very bright and I thought it was quite muted. Obviously, we are coming at this from different end points. Working with someone else's fabric design was much more difficult than I had expected. Why would it be different from working with commercial fabric? Perhaps because commercial fabric is quite generic and Sue's fabric is a reflection of her artistry. My original idea was to work from a fabric sketch on a 4x6 card and scale it up to 36x54. Sue's fabric would be the white areas, my fabric would be the green areas, and the red areas would either be fabric or be painted. I threw paint at the piece to get the markings that are so interesting to me. I quilted grid lines, and then painted the top and bottom sections with red to reflect those areas from the sketch card. Could not decide how to handle the three vertical bars in the middle. My feelings at this point were that this was not turning out very well at all. As a matter of fact, it was awful. First off, I over painted the red areas with dark blue. Then I hung it on the design wall so I could think about it for a while. Working on my half of the project might inspire me. I hoped.
49: Catherine Kleeman | My piece practically made itself. I decided to work with the spiral shape that appears in a lot of my work. My sketchbook was filled with spiral doodles and all I had to do was decide how to fit my designed fabric into this shape. My fabric was decidedly vertical and horizontal and cutting a spiral out of that would be very uninspired. The fabric needed to be cut so that the spiral shape would actually spiral. Freezer paper is one of my indispensable tools. I drew the spiral full size and then drew wedges that originated from the center. Each wedge became a template to lay onto the fabric, lined up so that the axis of the wedge was parallel to a vertical line on the fabric. Each wedge was cut out, repositioned, stitched to its neighbor. Now the lines on the fabric radiate from the center. I am much happier. Cut out the spiral, stitch to the background, quilt, done. At the next meeting, the group had a suggestion. The spiral was dead center in the piece. Why not cut off some of the background so that the spiral would be off-center? This was a good idea, in spite of the fact that I cut off many inches of quilting. All in the name of art.
50: Some hand embroidery with dark blue pearl cotton added the perfect finishing touch. Now it is done. Meanwhile, the unfinished first piece is still hanging on the design wall. I take pictures of the piece and play with design options on the computer. Nothing works. I have lots of ideas – more layers of paint, graffiti lines, trimmed edges – and all of them tested and rejected.
51: Catherine Kleeman | Crunch time – I want to be done with this piece. I chop off the top and bottom sections, making the piece square. Next, I rotate it 90 degrees, and now it’s looking totally different and way more pleasing. The dark blue painted top and bottom are now narrow edges on the sides. A muted blue jagged line and a pale yellow scribble over the surface complete the design. This piece was much more of a struggle than I had anticipated, but in the end, I am pleased with how it has turned out.
52: Verena Levine | Last Days of Summer, © 2012, 30 x 30 inches
53: Along the River, © 2012, 30 x 30 inches with partner fabric by Catherine Kleeman
54: Looking at Cathy’s fabric I decided I would create an abstract piece. I usually work in a realistic style. I cut many triangles all with a spot of white on top. Envisioning an abstract snow-covered mountain range. I interspersed triangles in blue silk in several shades of blue and grey hoping to achieve a shimmering effect. I arranged and rearranged the triangles. I selected more silk pieces as well as some subtly printed cotton in different shades of white. And I experimented with overlapping the triangles. Realizing that I was not able to improve on the design I added a background fabric and showed it to NI group at the next meeting. It became clear to me that nobody in the group saw any merit in my effort and there was no comment. Except one kind soul mentioned about the nice effects of the silk in the quilt. I started over again. I realized that I should just work in my usual realistic way. I use the texture, designs and colors of the fabric to its best advantage. And generally try just to convey the essence of flora, fauna or humans. That means I use the simplest shapes possible. I start with a small rudimentary sketch and then select and cut the fabric.
55: Looking at Cathy’s print I decided to use the blue fabric to depict water. Water made me think of the Rhine River that flows through my hometown in Switzerland. This in turn gave me the idea of depicting a small town surrounded by water. Rummaging through my fabric stash and pulling out some textiles in plaids and multicolored prints. That seemed suggestive of old buildings; I cut the house shapes in various heights and sizes. Cutting many more houses allowed me to arrange the design in several different ways. When I found a pleasing composition I pinned everything to a background fabric and put the work on my design wall. On the wall from a distance the piece looked colorless, very subdued. It did not look at all like what I had envisioned. After exchanging many of the houses for darker colored buildings the design had more contrast and looked more interesting. However it needed more color and some other details. Seeing it again first thing in the morning I had the idea of adding the poplars that still stand today along the Rhine River. Including the poplars provided more interesting details and the composition was complete. | Verena Levine
56: Again I started with a small basic sketch. It would be a figurative quilt. I got my inspiration from my small garden that was in its fall glory. However after I looked at the purple fabric with the small spider web that was my contribution to this challenge, my heart sank. When I first saw this fabric I thought it was uninspired, well, really ugly. After looking at it for some time I decided to just use it as background. From a distance it reads as a solid. I began selecting fabrics in bright shades of yellow, orange, green and other colors inspired by my garden. I cut many oblong shapes. Like the leaves of the milkweed plant. These leaves turn a bright yellow in the fall. Cutting many more leaves than needed gave me the opportunity to try out different designs by arranging and rearranging the leaf shapes. Looking at the finished composition I felt it needed some further small details. I inserted different flower shapes in more subdued colors. But it made the overall design look disjointed and unfocused. I left the quilt on my design wall and did not look at it for a few days. Wandering around my garden one morning I discovered some small beautiful snails. I knew immediately that I had found the missing piece for my quilt. After adding the snails and some other small insects, the work looked finished.
57: Verena Levine
58: Dominie Nash | Big Leaf 30, © 2012, 46 x 38 inches
59: Stills From a Life 43, © 2012, 49 x 40 inches with partner fabric by Verena Levine
63: Dominie Nash
64: Sue Pierce | Vivid Memories, ©2012, 28 x 45 inches
65: Fantasy Field, ©2012, 42 x 28 inches with partner fabric by Ginny Smith
66: When faced with the challenge of designing a printed fabric, I turned to photos that I had recently taken in an older industrial section of Seattle. The facade of an aging factory building had been left standing although the rest of the structure had been demolished. Having always been drawn to surfaces with the marks and patina of age, and I loved the eroded layers of brick, plaster and other building materials on the “inside” of the wall. I manipulated the colors of the photo to produce a print with aqua blue and lime green, a color palette that interested me and provided a clear contrast between the layered areas. The resulting fabric did not clearly show the original photo but did reflect the patterned areas that had drawn me to take the picture. The concept of layered materials carried over to the design and construction concept of Vivid Memories. While I did not use as much of the original fabric as I had originally anticipated, it was indeed the inspiration of the whole piece.
67: Ginny Smith’s fabric included four lighthearted small-scale prints that suggested a whimsical approach to me. My intuitive response was to sketch a fanciful animal and place him into a dreamlike setting. While I have played with some similar ideas before, I never realized how much I gravitated to very bright, saturated color for this type of work. With the exception of the one yellow, her mini-collection of prints was more pastel in tone, and I found that to be a surprising challenge. You can see from the photo, (Ginny’s fabric on the right in the photo) most of the fabrics that I selected from my stash for this piece are a little darker, more intense, and included large scale prints. My work often evolves as I make it. A prime example here is the use of a black on white toile print in the fabric stack, which seemed to have good potential as a background. After assembling much of the quilt, I realized that I was not happy with the white contrast, but had already appliquéd over this area. My solution was to color in the white background area with an olive green fabric marker. The unevenness of color makes reference to grass. Sometimes, work just calls out for a change as it grows. I am pleased with the result. I think it contains a touch of the freedom of Ginny’s aesthetic along with my own whimsy. I would categorize it as folk art from the edge. Perhaps not a new future direction for my work, but certainly work that I am happy to claim as mine. | Sue Pierce
68: After years of making art, I finally have started using a planning journal. My moments of inspiration are random, but I realized that even pencil drawings on scraps of paper could easily be incorporated with the use of a glue stick. I like to combine those ideas with pictures of things that inspire me. In his case, I began with a pencil sketch, and expanded on that with a color drawing. Applying a rough grid, I then estimated the approximate size of the individual flaps. Once I had constructed those, the final piece called out for some more additions and adjustments. In the end, the sketches were only a tentative route that led toward the final destination.
69: Sue Pierce | The idea of layering became important to this work. Layers can be a metaphor for the passage of time. The top, or more recent layer, often reveals some of the past with small peeks at the lingering images. I started with some smaller pieces and have continued with a series of work to explore this notion. My planning was very structured for this quilt, doing more sketches than usual and projecting the rough sizes of the flaps I intended to use. However, once those were produced, I then proceeded to shift those around and add additional pieces until it seemed right. I consider this piece to be a progressive step in the learning process of a series, and look forward to altering the shapes of both the flaps and the background in future work in the series.
70: Ginny Smith | One Bird, © 2012, 35 x30 inches
71: Two Birds, ©2012, 42 x42 inches with partner fabric by Candace Edgerley
73: Ginny Smith
75: Ginny Smith
76: New Image Artists SELECTED EXHIBITIONS 2012 Wildlife, Muse Gallery, Longmont, Colorado 2012 Connectivity: Threads of Community, Torpedo Factory Art Center, Alexandria, VA 2010 Yard Art at the Yard, Workhouse Arts Center, Lorton, VA 2010 HARDWARE, La Conner Quilt and Textile Museum, La Conner, WA 2009 New Image: Mirror Image, Rawls Museum Arts, Courtland, VA 2009 New Image: New Visions, Suffolk Museum, Suffolk, VA 2009 New Image: Fiber As We Know It, Gallery 222, Leesburg, VA 2008 Together and Apart: New Image Quilts, Rehoboth Art League, Rehoboth, VA 2008 HARDWARE, Barry Gallery, Marymount University, Arlington, VA 2005 HARDWARE, Target Gallery, Torpedo Factory Art Center, Alexandria, VA 2005 The HIVE Project, Southwestern Illinois College, Belleville, IL 2003 The HIVE Project, Southwest School of Arts and Crafts, San Antonio, TX 2002 Arrowmont School of Arts and Crafts, Gatlinburg, TN 2002 The HIVE Project, McClean Center for the Arts, McClean, VA 2002 The HIVE Project, Maryland Art Place, Baltimore, MD 2002 Together and Apart, Virginia Quilt Museum, Harrisonburg, VA 2000 Art Quilts, Rockville Civic Center Mansion, Rockville, MD 1995 Quilt National, The Dairy Barn, Athens, OH PUBLICATIONS: Opposite Coasts Parallel Goals, Fiber Art Now, Spring 2012, by Trudi Van Dyke Variations on a Theme; élan magazine, Dec 2008, by Trudi Van Dyke Fiberarts, Sept/Oct 2002, The HIVE Project by Patricia Autenrieth COLLECTIONS: Birds Eye Foods, formerly Agrilink Foods, Inc., In The Market The Tilton Family Collection, Never Done Diane DeVaul, Astrological Landscape
77: Photo Credits In-progress and in-studio photos by individual artists. Photos of finished work: B.J. Adams and Jeanne Benson by Paul-Ricardo Elbow, Mary Beth Bellah by the artist, Candace Edgerley by Perry Melat, Lesly-Claire Greenberg by Greg Staley, Catherine Kleeman by the artist, Verena Levine by Neil Ostrander, Dominie Nash by Mark Gulezian, Sue Pierce by Chad Davis, Ginny Smith by Steve Tutle. | New Image Contacts Adams www.BJAdamsArt.com Bellah www.marybethbellah.com Benson www.jeannebenson.com Edgerley www.candaceedgerley.com Greenberg www.lesly-claire.com Kleeman www.cathyquilts.com Levine www.verenalevine.com Nash www.dominienash.com Pierce www.suepierce.com Smith www.ginnysmithart.com All artists can be contacted through our website www.newimageartists.com Contact Trudi C. Van Dyke at firstname.lastname@example.org