“Reap the Whirlwind” by Bev Hart – Juror’s Choice & Postcard Choice”
“Can You See the Forest for the Trees” by Kathy Schattleitner - Juror’s Choice & Member’s Choice
“In Memory” by Eldrid Schafer – Juror’s Choice
“Petunia x hybrida humongo” by Rita Faussone – Juror’s Choice
“Petals and Pods” by Nancy Dobson – Juror’s Choice
“Disaster in the Gulf” by Pat Sprague – Juror’s Choice
“Orange You Glad it’s Plaid?” by Carole O’Brien – Juror’s Choice
Melody Randol served as our “Sensational” juror for this exhibit. Her Juror’s Statement reads as follows:
“I had the honor of jurying Singular Sensations, the body of work that will represent AQuA at the Pacific International Quilt Festival. What a delight.
“The challenge of using a whole cloth and covering no more than 20% of it with fabric and thread is a most difficult one! I was truly impressed by the quality and creativity of pieces created to meet the challenge.
“The relationship of the whole cloth to the finished art quilt is fascinating. Most artists clearly let the cloth suggest the subject or composition, and the results are splendid. The machine quilting of some pieces is superb, and the composition of each piece juried into the exhibit is sound.
“The work ranges from engagingly complex to elegantly simple. Subjects vary from serious through playful. But it is the clever and ingenious use of the whole cloth that makes the show captivating.
“In the written feedback I gave each submitting artist, I found several themes emerged. Below are some guidelines I offer.
WORK WITH ESTABLISHED COLOR RELATIONSHIPS
There’s a reason complementary colors make one another sing, or an analogous palette feels harmonious. Unless you have a strong reason to do otherwise, make use of color theory and work with traditional color relationships.
USE FEW COLORS, MANY VALUES
It’s hard to resist the urge to add more color, however, less is best. Using two or three colors effectively by utilizing a full value range of each color is almost always more compelling than work with a rainbow of colors.
CROP, CROP, CROP
You almost always tighten and improve a composition by cropping it. Don’t surround the arrangement with empty space; let elements go “off the page.” Use strips of freezer paper to crop a piece in progress on the design wall, or take a picture and crop on the computer. Make it smaller, make tighter, make it better.
CONTRAST & RELATIONSHIP
These two simple words sum up almost everything important about design and composition. Contrast makes it interesting, adds variety, draws and directs the eye. A cool color palette comes to life when seasoned with
a little heat, and setting the lightest value next to the darkest value creates a focal area. Contrast can be created with all design elements: curved lines among straight; strong visual texture among a sea of calm; large, medium, and small shapes. If contrast generates interest, relationship builds unity. How do the colors relate to one another? How does the stitching line relate to the design? What is repeated (shape, motif, line, pattern…) to unify the piece? How do the design elements relate to and connect with one another?
The 15 pieces selected for the exhibit at PIQF incorporate many of these designs guidelines. It is an impressive and innovative body of work done by AQuA members. Congratulations on an excellent exhibit.” Melody Randol
Thank you Melody (who has now joined AQuA) for your hard work and informative comments. I know we have all grown and learned from your words of wisdom.
Posted by Rita Faussone 9/14/10