Homer Carter and Homer Youngblood were both professional photographers in the early part of the twentieth century. In our house, we have a lot of photos taken by these two men who, to our knowledge, never met.
Homer Carter was the father of Sadie, my mother-in-law. Homer Youngblood was the father of Cleo, my mother. Interesting, don’t you think?
This serendipitous happening means that we have some images on hand that were made with the best photographic equipment available at the time, and printed on quality paper. Perfect for scanning and printing on fabric, I think.
This photo of an unidentified gentleman of the early 1900’s was compelling to me. He was a client of Jim’s grandfather. I printed his image on a remnant of a vintage linen tablecloth, painted the bicycle red, and quilted the layers with silk thread. Free motion quilting gives dimension to the man and the bicycle with wool 
batting underneath.
The image is layered on a denim remnant, hand stitched with a Kantha stitch using red embroidery floss. All is then layered and attached to a scrap of an old tattered quilt.
The label is written on a piece of an old man’s handkerchief.
This time of year we see hearts in abundant numbers. This symbol of love is everywhere, and often seen in shades of red.
I love the heart motif and have it all around my house and in quilts I’ve made. This year I’ve been adding to my bowl of blue hearts in the breakfast room. I made a few last year and in the past couple of weeks, I’ve been adding more.
I’ve used ribbons, buttons, and lace to embellish some of them. In other cases, I just stitched and stuffed some of my favorite fabrics. I added French knots to one. On another I stitched pearls from a rescued strand I bought. The fabrics include barkcloth, vintage ticking, African indigo batik, hand-dyed linen, bits of an old quilt, and fabrics from well-worn clothing.
Oh, I can use red fabric, too.
A few days ago, I crashed a party. We were on a backroads jaunt and I remembered that some of my friends were attending a quilting retreat at a nearby wildlife refuge. I asked Jim to make a stop and let me say Hello. He asked, “Can you just pop in? Were you invited? “ I assured him, “It will be fine. They won’t mind. They will all be happy to show me their projects.”
Angie was piecing some animals. Mary was working with baskets. Jean had stars on her design wall. She had discovered that her alternate blocks were cut from directional fabric, unnoticed until they were put on the wall. She had lots of advisors to help her decide how to deal with this dilemma.
Joyce had two big appliqué projects: a Baltimore Album that just needs a few details and a border attached, and a fabulous Kim McLean pattern all with big pieces of Kaffe fabrics. Joyce is one of our guild’s charter members and she still produces more quilts than several of the rest of us combined! She was sitting beside Hilda, her BFF for more than FIFTY years. They have worked on many projects and been to many retreats and heard many stories in that time, don’t you know?
Dewey was there with his longarm machine and an eight-foot table. He had already quilted two quilts at the retreat for other participants and was doodling on his machine while he waited for others to get backs prepared for him to quilt their tops.
Here is Donna working on a One-Block Wonder. And Dewey had just finished the quilting on her Friendship Garden before the retreat. Now she can add the binding and label and it’s done!
Mary had run to the store, but her work-in-progress is here. Mary is the organizer of this event. Someone has to take charge and she does it well! She reserves the space, organizes the guest list, plans the food, and assures that everyone has fun. And she is successful, because these people plan their calendars around Mary’s retreat dates. Because of her, the sisterhood thrives.
Lynn was putting the finishing touches on a garden scene, while Eleanor was working on a batik project complete with labels to insure that every block ended up in exactly the right place.
At the urging of my friend Priscilla, Jim and I took a road trip today to Newnan, Ga. Selections from Caryl Bryer Fallert-Gentry’s body of work are on display there. This amazing quiltmaker’s work has always intrigued me, so we hit the road.
Some of the work was familiar to me as signature Caryl Bryer Fallert – like the feather studies, the Fibonacci series, and her dancers. Others, specifically the pictorial ones, were surprising to me that they were hers. Each piece was interesting in its own way. I learned a lot from the experience, but being able to take close up photos of the quilting designs meant that I will learn from her work over and over again.
There’s something about seeing a quilt in person that makes it worth the trip. Technology allows us to learn a lot online, to study excellent professional photos that inform us of details, and even to take classes from experts. I’m familiar with Caryl Bryer Fallert-Gentry’s work though those technologies. But the tactile nature of fabric means that any distance from a piece of fiber art diminishes the intimacy of the art form. So being close enough to touch (even though I didn’t dare) brings that back into the experience.
We are Bed & Breakfast travelers sometimes. When we leave home, we like adventure. B&Bs provide a unique experience every time. And, in thirty years of enjoying this, I can’t think of one that didn’t prove to be positive. Of course, there was the one where we stopped and looked around, but choose not to stay the night because it seemed spooky to Jim.
We’ve stayed in B&Bs in the mountains, at the beach, in warm weather and cold (oh, my goodness was it cold once in Charleston – and our room was at the back of a long addition to an antebellum cottage. We thought the heat must have been distributed from the front to the back). We’ve enjoyed them in small, medium, and large cities, and in out-of-the-way places that made us wonder how guests ever found them often enough to keep them in business.
I suspect some of those people remember me as the lady who takes a sewing basket wherever she goes.
The tiny desk tucked in a corner made us think of all the creativity that had come from such quaint attic spaces. Jim commented on the quaintness at the same time that he said he would go insane ducking his head all the time. My reply was that many creative people did just that – went insane.
The make-do decor in B&B’s is always interesting. Many time inn owners have clearly been decorating on a budget, saving the big bucks for luxurious towels, fine soaps, and good food. This kitchen faucet intrigued us. Perhaps repurposed, it extended past the perimeter of the sink in most positions. Fun and funny to us!
I’ve written before about how stitching soothes my soul. That happens when I’m in front of the tv and multitasking, when I’m visiting with family and friends and my hands are busy, or sometimes when riding in the car. Those are often the times when my hand stitching gets done.
As I watched her video where Jude is adding white hearts to a heavily stitched white nine-patch and emphasizing the touch points of the hearts with red thread, she notices that they remind her of a scar. Her perception always gives me pause, and this struck me deeply.
I can’t explain why, but I had a flashback to my life working with teachers. One of my colleagues heard a teacher say, “we like this book because we can go in the classroom and teach without having to think about it.” Harriet said to me, “I don’t want teachers who don’t think about what they are teaching.” Indeed.
Sometimes I sew without thinking about sewing. And, that is relaxing to me, to be sure. The rhythmic pulling of thread through cloth allows my mind to be somewhere else, planning something. But Jude’s symbology in her work, her soul searching thoughts remind me to pursue even more depth in my stitching stories. She reminds me that only when we share the stories behind our work, the symbology we’ve included, the strategies we’ve used, do others really appreciate our art. I admit if I had seen the white hearts on white stitching, I might not have noticed the red thread, and if I had, I might not have made the “scar” connection.
Photos: The photos of the “beast” piece is one I was fortunate enough to buy from Jude. When her pieces go on sale, you have to be sitting at the computer watching (or lucky) because they sell quickly. I love having this piece to examine. Seeing her stitches and handling her work informed me of her techniques so much that I began to consider selling some of my own work. If my work could help another quilt maker with a particular technique, or if the final result gave a viewer satisfaction, than I would be willing to share it that way. You see images of the whole piece, approximately 6” x 9”, and closeups of the front and back.
The photos of the blue hearts are my work. I made that piece after watching Jude’s 
As is our habit, we were eating after the crowded hour, in fact, we had the place to ourselves. It was open, inviting, very clean, and offered just the menu we were looking for; soups, sandwiches, salads.
Our waitress Vicki told us that the soup was almost gone, being in high demand on a such a cold day. There was less than a serving (by their standards) left of today’s special so they gave us a complimentary bowl. It was fabulous, as were our sandwiches. But before the food was served, I was captivated by the decor. There were quilts! An old log cabin quilt first caught my eye. It was hung above a beautiful dresser and its subtle colors and handwork stole my heart! A more modern medallion quilt was displayed in another corner, and yet another eyecatcher, a blue and white quilt, was used on a table.
Jo is not a quilter, but has treasured the quilts these family members made and decorates her home and restaurant with them. Vicki has done needlework in the past, but quilting is not part of her experience (yet) though she has friends who sew and quilt.
The sisterhood of experiences connecting us with needle and thread is never to be denied. Vicki told of her friend who makes bags, pillows, quilts, when she hears of a need. I recalled the women in the Peachtree City guild who were making tote bags and duffle bags for children in foster care to use. I never cease to be amazed at the generosity of women who sew.
Grits are a staple in any southern girl’s diet. We have them for breakfast sometimes, but all my life I’ve had grits at sunset more often than at sunrise.
Every time I make grits, I think of my friend Ferrelle. Ferrelle owned a wonderful cooking, kitchen, and gift shop, and served up fabulous ideas for enjoying life. We once had a conversation about grits which “upped my game”. Ferrelle’s advice included using stone ground grits (we favor the yellow ones from Nora’s Mill in Helen, GA), cooking them with chicken broth rather than water, and adding a bit of cream right before removing them from the heat. Oh, my. They are so rich and creamy. I vary the flavor by adding different cheeses at times, and cooked, crumbled bacon on top adds flavor and garnish.
Photo notes: Since I seem to think everything should be a story in cloth, I’ve begun stitching on a Nora’s Mill bag. You see images of the front and backside. More work to be done, but I know you’re hungry, so go cook some grits.
In recent months, I’ve had several opportunities to share my quilting stories. The emphasis is on sharing – listening to quilting stories from other people as much telling them about mine. There is the frequent conversation beginning with, “I remember seeing my grandmother make quilts,” but there are many different experiences along those lines. I also hear, “I’ve always wanted to learn to quilt”, “I have my mother’s sewing machine”, and “I find it so relaxing to sit and stitch.” I never hear, “what is a quilt?” Everyone seems to have memories of quilts in their lives.
A few weeks ago, I spent three days sharing Fifty-two Tuesdays, the quilt and the book at Mistletoe Market ( a festival-like weekend shopping experience in Perry, Ga.). As I repeatedly summarized my experience with that journal quilt, I came to realize how that adventure changed my focus from traditional quilts to story quilts. In the fifty-two weeks of 2015, I depicted a scene that represented an experience in my life each week. I also explored every quilting technique I could, in essence making it a sampler quilt, too. In so doing, I tried things that I would not have wanted to pursue on a large scale.
I learned that printing on silk fabric gave a luster to photographs that seemed dull when printed on paper or canvas. Now I’ve explored that more fully with several art quilts. (Examples written about here are 
Make no mistake, I still love traditional quilts and will continue to make those. But the freedom to tell a story in a small piece of cloth, using traditional quiltmaking techniques is very compelling right now.
I am assembling the blocks from Fifty-Two Wednesdays, my journal quilt for 2016. I’m still imagining what the journal quilt for 2017 might be – if I do the weekly quilt block again. I have a few days to decide; I will continue the weekly format I’ve done before, using Thursday as my deadline.