Exhibit Installation Photo, 2020
Jun 12, 2021 - Dec 31, 2021
Quilting is a tradition that radiates the warmth of being together.
Together is found in the laughter of friends, gathered to quilt alongside one another.
Together is found in the stitching, every back and forth joining layer to layer.
Together is found in the narratives, memories, and emotions committed to fabric.
Quilts are works of art made possible by the bringing together of material, meaning, and motivation.
Every aspect of quilting threads into one another, from the use of mathematical concepts like scaling through to the choice of color and fabric print for a part of a star.
As a traditional art practiced in the 21st century, quilting has seen a rapidly growing development of new technologies, new tools, and new methods of sharing and building community.
Found throughout the world in communities near and far, quilting continues to play an intimate role in the lives of quilters and their friends, families, loved ones, and neighbors.
Featuring traditional and contemporary quilts by local quilters from the Kenan Quilters’ Guild, and developed in collaboration with the Kenan Quilters’ Guild and the Kenan Center, Gather Together: Quilting Niagara explores the core concepts that underpin the quilt tradition.
Click here for a digital copy of the exhibit catalog.
Gather Together: Quilting Niagara is made possible through the Folk Arts Program of the New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York Legislature.
Communities of every type and size – from friends and family to neighbors and fellow quilters – have an influence on the making and using of every quilt.
Whether sparking the inspiration for a design or the motivation to make a quilt itself, quilts bear the influence of community and people in every stitch.
Gatherings like quilting bees, quilt parties, and sewing groups provide opportunities for quilters to quilt alongside friends, nurturing those lifelong bonds.
Community organizations like the Kenan Quilters’ Guild provide opportunities for quilters to participate in major group activities including annual quilt shows and creating quilts for local initiatives and projects.
With the rise of digital media platforms such as Facebook, Pinterest, and Instagram, the communities quilters belong to and that marketplace of ideas to draw from, continues to expand.
“I’ve always had a needle in my hand...and now with all the embellishing; the embroidery, the beading, the quilting. It’s all come full circle. And maybe that’s where I was headed but at the time I didn’t know it.” – Stephanie Drehs
“When I give a baby quilt...that thing is for that baby to love. Four years from now, I hope that thing is in shreds. It is like me being there to give them a hug.Whenever they’ve got it, that’s what I want them to get out of that quilt.” – Donna Kathke
“I watched my great aunt quilt, who had a quilt frame, and she’d have the quilting bees.You could sit underneath but you’d get poked with the pins as they come through. But I’ve always been the kind to watch what they do...and eventually all that information just sinks in.” – Susie Spicer
Summer Penny Garden is one of Stephanie’s first quilts to make use of wool, which although not as popular a fabric as cotton, is also used occasionally in quilting. On loan from the artist.
Quilting has provided Donna with an opportunity and incentive to travel, represented here in this quilt that features a variant of a Dresden plate quilt block, and batik from a trip to Bali. On loan from the artist.
Orphan blocks are quilt blocks made by quilters that end up not being used in for the quilt they were intended for, and are saved for another project. On loan from the artist.
The crisp lines of a pieced quilt block do not happen by chance but through mathematics.
Mathematical tools like graph paper and rulers are used by quilters to take the exact measurements that guide the creation of every quilt.
Equations like addition and subtraction may be used to figure out the length of fabric needed for each part of a design or to estimate the size and number of blocks in the planned quilt.
Geometrical shapes like squares, triangles, and parallelograms are found in traditional and contemporary quilts. These shapes can be arranged and placed in different combinations to create a wide range of designs.
Tessellation is a term for the tiling of repeated geometrical shapes without any visible overlaps or gaps between them and is used to both create and connect quilt blocks.
The connection between math and quilting continues to grow as new quilt design software and longarm quilting machines with integrated computers enable quilters to draw, measure, scale, and quilt: all underwritten by lines of coding.
“I never liked art classes, because I never liked my finished product. I’m science based and math based: that’s where I excelled. I think quilting fit that, because you have a pattern to follow that’s all mathematically figured, and you can come up with a product that is beautiful through following those instructions.” – Jan Jordan
“Oh Lord no, I am not a mathematician by any stretch of the imagination. I really tend to be someone who gets a pattern and follows that pattern. I think actually that I don’t do well making things up on my own because of the math that would be involved.” – Kim Jeffree
“I really think designing my own quilt is the most fun…like this rail fence. It’s a traditional pattern so you don’t really need a pattern, but I like to draw it out and design it. Rail fence doesn’t have to be a zigzag, but it is because of how I laid it out, with the black and white fabrics. This block goes this way; this one goes that way…” – Georgia Spanoudakis McDonald
The rows of houses in this quilt were created through fabric arrangement both of fabrics within a log cabin block, and the blocks that make up the quilt as a whole. On loan from the artist.
This quilt features a large lone star pattern in the center, surrounded by four smaller lone stars. On loan from the artist.
Rail fence is a traditional pattern where three or four equal strips of fabric are sewn together into each block, and then laid out in a variety of configurations to create a larger design, such as a zig-zag or pinwheel. On loan from the artist.
Every quilter started quilting in some way: whether it began with watching a family member quilt, the encouragement of a friend to take a class, or simply the challenge of trying something new.
Quilting is a tradition of constant learning, through direct instruction or experimentation.
Within classes, quilting bees, and sewing groups, quilters are immersed in environments to learn and exchange new ideas, new techniques, and new designs.
Through practice and the passage of time, quilters develop new methods and approaches to quilting that work and are tailored especially for them.
These can include anything from creating a spreadsheet to manage and organize their quilt stash, to books and notepads filled with mathematical charts for scaling designs, through to the use of non-standard tools like chopsticks to help measure out seam allowances.
“I made my first quilt and it was a nightmare…I didn’t even use any of the right tools. I had a lot of learning to do, but I was hooked. It was so calming, and it was such a fun process. It was the beginning of my journey. But I’m really thankful for that because I realized how much more there was to learn, and now…it just gave me something to reflect on to see how much I’ve grown.” – Dotti Timkey
“I like to create my own vision of what I want to see out of something…to manipulate the different pieces of fabric and the creativity that it might give me. I like the resourcefulness of looking and my eye is always open.” – Mary Ann DeMaison
“I love the variety of quilting; you can never get bored. There's an infinite variety of things to do.” – Martha Krupa
Dotti’s quilt features kokeshi dolls, a traditional type of wood carved dolls from Japan, typically created without visible arms or legs. On loan from the artist.
One of Mary Ann's favorite aspects of quilting is the resourcefulness of the art: experimenting with and using the fabrics she has on hand in new ways, adjusting and manipulating them to fit them into her vision of the quilt’s design. On loan from the artist.
Snow dyeing was used by Martha to create the unique pink hues of the fabric in this quilt. Snow dyeing involves placing snow on top of the fabric, and adding color: as the snow melts, the color seeps into the fabric.
Quilters choose fabrics for their quilt with great scrutiny, paying attention to not only the print design and color of a length of fabric, but also its feel.
Selecting the right quality and look is extremely important, as making a quilt takes significant time and effort.
The placement of fabric pieces drives the design and appearance of a quilt, with quilters paying attention to balance between bright and dark colors, and large and small prints.
Cotton is the most common – and traditional – type of fabric material used in creating every layer of the quilt: the quilt top, the backing, and the batting. Other types of fabric used include wool and batik dyed cotton.
Batik is a style originating in Southeast Asia which has become popular for quilters to use due to their vibrant colors, tight weaving, and dual-sided prints.
Aside from purchasing new fabrics, every quilter also has their quilt stash: a large collection of fabrics that might be arranged according to color, print design, or fabric type. Quilt stashes are an important resource for every quilter, providing the space to store, reuse, and source material for new quilts.
“I often see a type of fabric and think: ‘Oh I’d like to make a quilt like that.’ Then I think do I want to cut the pieces big, do I cut them small. Is it a big print and do I want to ruin that nice big design? The fabric tells me what to do.” – Barb Sanford
“For me it goes both ways. Sometimes, it is whatever strikes my fancy when I’m there. But other times, I might be looking specifically for a fabric, maybe I have a big piece at home and need something to go with it for a particular pattern...log cabins have been one of my favorite quilts to make. I love the order and the freedom of color choices.” – Linda Davis
“I’ve tried many different things, but I think that my favorite fabrics to work with are batiks. I like the feel of them, the way they sew together...” – Judy Schryver
Although Barb first preferred to use the more muted tones of civil-war era fabrics in her quilting, more recently she has shifted to prefer a wide range of bright colors and prints, including designs by Kaffe Fasset, whose fabrics were used in this quilt.
Log cabins are one of Linda’s favorite patterns, due to their versatility with fabric placement. This includes the ability to create the appearance of curves despite only using straight strips of fabric. On loan from the artist.
A French Braid quilt receives its name from the way that the strips of fabric appear to intertwine with one another, similar to its namesake style of hair braiding. On loan from the artist.
Every quilt design is made possible by the bringing together of different fabrics and the quilting together of layers, through a range of techniques.
Quilts may be quilted together by machine, by hand, or a combination of the two: a quilter might machine quilt the three layers together with a domestic machine, but hand stitch on the binding to finish it.
Other techniques used to create a design out of the selected fabrics include fussy cutting, paper piecing, and applique.
Fussy cutting is the process of cutting out a specific section of a fabric’s print design to capture and make use of in the quilt.
Paper piecing is a technique for piecing together the separate fabrics of a quilt block through the use of paper as a temporary pattern template.
Applique is a form of embellishment found in quilting and in other textile arts, where a design is stitched onto the quilt top, creating a three dimensional, raised image.
“The fabrics in my stash: they’re my paint palette. I need that palette in order to create, since I make a lot of detailed applique. Recently, I was looking for fabric for a particular flower. So I found in my stash one that I really liked, but the flower has five or six petals in it, and it’s going to be boring if I use the same fabric for all of them. So I looked for a few more.” – Kathleen McIntosh
“Paper piecing is basically like sewing backwards. You’re not looking at the fabric but the paper. It is very precise though. That’s what I like most about them. I like the precision of them and the way they look. It’s just perfect.” – Debbie Colaizzi
“The fabric that I found: the purple and black…the deep blue. It was intriguing. There was such movement in the print, but if you cut it up you could change the whole character of it. When you take a fabric…you look for the gems in it. The parts that sparkle, step up and shine. You work with those.” – Barbara Krombein
Kathy enjoys doing extensive applique work on quilting and used her lampworking skills to create the numerous glass buttons found on this quilt. On loan from the artist.
Boxful of Crayons was created by Debbie after being inspired by the different colors of fabrics she had in her stash, and pieced together through paper piecing. On loan from the artist.
Barbara used fussy cutting in selecting and placing the various fabrics used in the quilt, preserving the designs on the fabric prints that stood out to her the most. On loan from the artist.
Designing a quilt is like a journey.
Quilters navigate what fabrics will fit into the design, the sizes to cut each piece, how to arrange them within their block, and how those blocks line up with one another. All this while keeping in mind the end vision of what the completed quilt should look like.
Traditional quilt patterns feature geometric shapes arranged into different patterns and configurations, with the wide range of designs made possible through the placement and contrast of fabric pieces.
Contemporary designs are more flexible and open ended. They might be inspired by a traditional pattern, the life experience of a family member, or even depict a favorite flower found in a botanical garden.
In addition to self-designed quilts, many quilters also create quilts designed by another: whether learned through a direct class, found in a book, or seen online.
Making a quilt designed by someone else continues the tradition of quilting as an art of shared creation.
“For me, I think my favorite part is the design. There’s something about stacking cut fabric and counting it and making sure it’s ready…and then standing there, staring at the wall, having them up there and deciding what goes where. It’s that getting lost in it, I don’t know how I could describe it.” – Nancy Smith
“One of the things that I do when I’m trying something new whether it be a new block or a new design, I get out fabric I don’t want to use, and try it out of that, to make sure the design is going to work…” – Sue McKenna
“I like to experiment, try new things, and push my limits, so I started quilting a couple of years ago. Figured I’d give it a shot. With the jacket, I set one main parameter: to not have two same-patterned pieces visible on the same side. The quilt pieces are raw-edge, simpler than piecing for a contoured quilt and for a beginner. The contours in the arms, the lapels, the shoulder, and the neck involved some trial and error. My wife is an experienced quilter and coached me while I was making it.” – Mike Miller
This quilt was designed by Nancy as a gift for her father, blending his love of crossword puzzles, experience as a musician, and love for his grandchildren. On loan from the artist.
A One-Block-Wonder is created through using one stretch of fabric (in this case, one purchased in Hawaii where Sue first learned to quilt) and one quilt block throughout the entire quilt, with a focus on using different arrangements and configurations to create new designs. On loan from the artist.
Mike began quilting a few years ago, with instruction and guidance from his wife who is an experienced quilter, as a way to challenge himself and his creative outputs. This jacket was made using the technique of patchwork quilting.
Throughout Western New York, quilters continue to make and create works that reflect the cultural life and history of the region.
As a traditional art, quilts are not only something to look at and use, but also an educational tool for learning about a cultural community.
These communities may include a regional culture like Western New York, a group of people such as their family, or the community of local quilters bound together through the practice of a shared cultural tradition.
Through the material chosen, the design of the pattern, and the content of a quilt, viewers learn not only about the quilter but also about the cultural context in which it was made.
For example, a quilt might feature a local historical landmark, reinforcing and sharing its importance to the quilter and their community.
Narrative quilts provide the most direct example of quilts as a storytelling and educational medium by combining words and images to tell a specific story.
“One of my daughter’s assignment for interior design at Villa was to go to a Frank Lloyd Wright house. So one weekend we decided to go and we went to the Buffalo one and the one down by the lake. In the gift shop I went through the books and I was so amazed to find one of his books because I never had seen it before. For a little while I did nothing with it, but I finally decided I’m going to make a quilt of it. I had my daughter picked out all of her fabrics for hers, and made it for her…then my other daughter wanted one too. Then I made a third one...” – Carolynn Sherman
“My cousin lived at the Martin House years ago when I was a child, back when UB had possession of it and I remember visiting them there. I’m a big Frank Lloyd Wright fan and also a stained glass artist: I started making stained glass about 15 years ago. I’ve always loved all the different colors and the light going through them, and maybe seeing the windows at the Martin House sparked that.” – Lynn Urban
Wright Buffalo features quilted landscapes of two local Frank Lloyd Wright designed buildings: the Darwin Martin House and Graycliff.
This quilt memorializes the contribution and legacy of Aaron Mossell, an African-American brickmaker and brickyard owner in Lockport, who led a succesful push to integrate the school district in the 1870s. On loan from North Park Junior High School.
This quilt was created for the bicentennial of Niagara County, featuring the regional heritage of the county, including its landmarks, activities, and artistic traditions. On loan from the Kenan Center
Frank Lloyd Wright Heath House is based off an image of a stained glass window Carolynn found in a book she purchased while visiting Graycliff with her daughter, then studying Interior Design at Villa Maria College. This is one of three quilts Carolynn made in this design. On loan from the artist.
