top of page
Solitude by Sherrie Moomey
2023 WINTER GALLERY
Handstitching Showcase
Handstitching is certainly having a resurgence and has moved solidly into an art form. Some artists have embraced it as a meditative practice. Others as a rewarding small activity with lots of scraps and found things. We invite you to take a peek.
Sherrie Moomey
Solitude
53.5 x 35.5
Paul Muir said "Come to the woods, for here is rest. There is no repose like that of the green deep woods". Solitude is a place where light penetrating in the forest is a gift. Solitude represents a memory from my childhood; my place to just be. Cotton Whole cloth, dye painted. Hand stitched quilting is a blend of threads and yarns as well as a variety of embroidery stitches.
53.5 x 35.5
Paul Muir said "Come to the woods, for here is rest. There is no repose like that of the green deep woods". Solitude is a place where light penetrating in the forest is a gift. Solitude represents a memory from my childhood; my place to just be. Cotton Whole cloth, dye painted. Hand stitched quilting is a blend of threads and yarns as well as a variety of embroidery stitches.
Sherrie Moomey
Solitude • DETAIL •
53.5 x 35.5
Paul Muir said "Come to the woods, for here is rest. There is no repose like that of the green deep woods". Solitude is a place where light penetrating in the forest is a gift. Solitude represents a memory from my childhood; my place to just be. Cotton Whole cloth, dye painted. Hand stitched quilting is a blend of threads and yarns as well as a variety of embroidery stitches.
53.5 x 35.5
Paul Muir said "Come to the woods, for here is rest. There is no repose like that of the green deep woods". Solitude is a place where light penetrating in the forest is a gift. Solitude represents a memory from my childhood; my place to just be. Cotton Whole cloth, dye painted. Hand stitched quilting is a blend of threads and yarns as well as a variety of embroidery stitches.
Sarah Williams
Circulate IV
8 x 8
My love of circles inspired this piece. It started with a hand-dyed piece of cloth that was stamped and printed and then hand stitched. Hand-dyed cotton.
8 x 8
My love of circles inspired this piece. It started with a hand-dyed piece of cloth that was stamped and printed and then hand stitched. Hand-dyed cotton.
Sarah Williams
Circulate IV • DETAIL •
8 x 8
My love of circles inspired this piece. It started with a hand-dyed piece of cloth that was stamped and printed and then hand stitched. Hand-dyed cotton.
8 x 8
My love of circles inspired this piece. It started with a hand-dyed piece of cloth that was stamped and printed and then hand stitched. Hand-dyed cotton.
Karen McCarty
Boro
14 x 14
This was made in answer to a Boro challenge. This was not made in traditional Boro method. Scraps were laid on batting and backing and stitched through all layers. I don't recommend that, as it was hard to stitch through with large needle and thread. Three different colors of regular embroidery thread were used.
14 x 14
This was made in answer to a Boro challenge. This was not made in traditional Boro method. Scraps were laid on batting and backing and stitched through all layers. I don't recommend that, as it was hard to stitch through with large needle and thread. Three different colors of regular embroidery thread were used.
Karen McCarty
Boro • DETAIL •
14 x 14
This was made in answer to a Boro challenge. This was not made in traditional Boro method. Scraps were laid on batting and backing and stitched through all layers. I don't recommend that, as it was hard to stitch through with large needle and thread. Three different colors of regular embroidery thread were used.
14 x 14
This was made in answer to a Boro challenge. This was not made in traditional Boro method. Scraps were laid on batting and backing and stitched through all layers. I don't recommend that, as it was hard to stitch through with large needle and thread. Three different colors of regular embroidery thread were used.
Beverly Woodard
Surprised by Joy
38 x 22
Joy in learning hand stitches especially bullion stitches used to quilt most panels. Recycled denim from various sources. Hand stitched from diagrams in stitching books. I allowed the fabric to speak to the design.
38 x 22
Joy in learning hand stitches especially bullion stitches used to quilt most panels. Recycled denim from various sources. Hand stitched from diagrams in stitching books. I allowed the fabric to speak to the design.
Beverly Woodard
Surprised by Joy • DETAIL •
38 x 22
Joy in learning hand stitches especially bullion stitches used to quilt most panels. Recycled denim from various sources. Hand stitched from diagrams in stitching books. I allowed the fabric to speak to the design.
38 x 22
Joy in learning hand stitches especially bullion stitches used to quilt most panels. Recycled denim from various sources. Hand stitched from diagrams in stitching books. I allowed the fabric to speak to the design.
Elaine Millar
A Symbolic Life
21 x 16
Trees, circles, stripes, and the colors blue and orange define a life which extends to my artwork. Hand stitching adds a layer of complexity which is life itself. Machine pieced and appliquéd; commercial and hand dyed fabric; screen printed fabric; hand and machine stitched.
21 x 16
Trees, circles, stripes, and the colors blue and orange define a life which extends to my artwork. Hand stitching adds a layer of complexity which is life itself. Machine pieced and appliquéd; commercial and hand dyed fabric; screen printed fabric; hand and machine stitched.
Elaine Millar
A Symbolic Life • DETAIL •
21 x 16
Trees, circles, stripes, and the colors blue and orange define a life which extends to my artwork. Hand stitching adds a layer of complexity which is life itself. Machine pieced and appliquéd; commercial and hand dyed fabric; screen printed fabric; hand and machine stitched.
21 x 16
Trees, circles, stripes, and the colors blue and orange define a life which extends to my artwork. Hand stitching adds a layer of complexity which is life itself. Machine pieced and appliquéd; commercial and hand dyed fabric; screen printed fabric; hand and machine stitched.
Jeri Oswalt
Top Secret Garden Box
5.75 x 7.6 x 7.5
I was asked to create work for an exhibit at The Oregon Garden. The structure lends itself to thinking of seasons. Given that these are flowers never experienced in nature it seems like a top secret botanical science experiment. The poor insect was caught moving between seasons when the box closed. I collaborated with Box maker Moe Snyder. I painted Linen twill for the outside. All hand embroidered with DMC cotton. Then panels were made into book cloth prior to mailing to Moe for box construction.
5.75 x 7.6 x 7.5
I was asked to create work for an exhibit at The Oregon Garden. The structure lends itself to thinking of seasons. Given that these are flowers never experienced in nature it seems like a top secret botanical science experiment. The poor insect was caught moving between seasons when the box closed. I collaborated with Box maker Moe Snyder. I painted Linen twill for the outside. All hand embroidered with DMC cotton. Then panels were made into book cloth prior to mailing to Moe for box construction.
Jeri Oswalt
Top Secret Garden Box • DETAIL •
5.75 x 7.6 x 7.5
I was asked to create work for an exhibit at The Oregon Garden. The structure lends itself to thinking of seasons. Given that these are flowers never experienced in nature it seems like a top secret botanical science experiment. The poor insect was caught moving between seasons when the box closed. I collaborated with Box maker Moe Snyder. I painted Linen twill for the outside. All hand embroidered with DMC cotton. Then panels were made into book cloth prior to mailing to Moe for box construction.
5.75 x 7.6 x 7.5
I was asked to create work for an exhibit at The Oregon Garden. The structure lends itself to thinking of seasons. Given that these are flowers never experienced in nature it seems like a top secret botanical science experiment. The poor insect was caught moving between seasons when the box closed. I collaborated with Box maker Moe Snyder. I painted Linen twill for the outside. All hand embroidered with DMC cotton. Then panels were made into book cloth prior to mailing to Moe for box construction.
Bonnie Bucknam
Ornament 1 – Origins
31 x 54
This piece was the beginning of a series on bloodlines and family histories. Hand-dyed cottons by the artist, machine pieced, raw-edge applique, hand stitched.
31 x 54
This piece was the beginning of a series on bloodlines and family histories. Hand-dyed cottons by the artist, machine pieced, raw-edge applique, hand stitched.
Bonnie Bucknam
Ornament 1 – Origins • DETAIL •
31 x 54
This piece was the beginning of a series on bloodlines and family histories. Hand-dyed cottons by the artist, machine pieced, raw-edge applique, hand stitched.
31 x 54
This piece was the beginning of a series on bloodlines and family histories. Hand-dyed cottons by the artist, machine pieced, raw-edge applique, hand stitched.
Elizabeth Garber
Serenity
13 x 16
Enhancing this Japanese panel is my first step in introducing more hand stitching in my work. The serenity of hand stitch is soothing. Regular embroidery thread on cotton fabric.
13 x 16
Enhancing this Japanese panel is my first step in introducing more hand stitching in my work. The serenity of hand stitch is soothing. Regular embroidery thread on cotton fabric.
Elizabeth Garber
Serenity • DETAIL •
13 x 16
Enhancing this Japanese panel is my first step in introducing more hand stitching in my work. The serenity of hand stitch is soothing. Regular embroidery thread on cotton fabric.
13 x 16
Enhancing this Japanese panel is my first step in introducing more hand stitching in my work. The serenity of hand stitch is soothing. Regular embroidery thread on cotton fabric.
Karen Miller
Benthos
37 x 26
Six silk katazome squares from a color exercise reminded me of snapshots of the deep sea floor covered with masses of brittle stars. I embroidered the arms that the "camera" could not see. Katazome on silk, set with cotton. Hand embroidery, limited machine quilting.
37 x 26
Six silk katazome squares from a color exercise reminded me of snapshots of the deep sea floor covered with masses of brittle stars. I embroidered the arms that the "camera" could not see. Katazome on silk, set with cotton. Hand embroidery, limited machine quilting.
Karen Miller
Benthos • DETAIL •
37 x 26
Six silk katazome squares from a color exercise reminded me of snapshots of the deep sea floor covered with masses of brittle stars. I embroidered the arms that the "camera" could not see. Katazome on silk, set with cotton. Hand embroidery, limited machine quilting.
37 x 26
Six silk katazome squares from a color exercise reminded me of snapshots of the deep sea floor covered with masses of brittle stars. I embroidered the arms that the "camera" could not see. Katazome on silk, set with cotton. Hand embroidery, limited machine quilting.
Jeri Oswalt
Moss Box II
2.25 x 8 x 6
This piece was made for a collaboration with the Poet Janis Lull:
When the earth sends these green days
I forget they were not made for me.
Like moss, I ride
unattached on the planets' rough face.
Like me, moss must abide
the dry time to come.
Steam A Seam 2 light was painted with Lumiere, bonded to felt and then distressed with a heat gun. The panel was hand embroidered using primarily DMC thread. The box structure was made with davy board and purchased book cloth. The box is lined with green ultra suede.
2.25 x 8 x 6
This piece was made for a collaboration with the Poet Janis Lull:
When the earth sends these green days
I forget they were not made for me.
Like moss, I ride
unattached on the planets' rough face.
Like me, moss must abide
the dry time to come.
Steam A Seam 2 light was painted with Lumiere, bonded to felt and then distressed with a heat gun. The panel was hand embroidered using primarily DMC thread. The box structure was made with davy board and purchased book cloth. The box is lined with green ultra suede.
Jeri Oswalt
Moss Box II • DETAIL •
2.25 x 8 x 6
This piece was made for a collaboration with the Poet Janis Lull:
When the earth sends these green days
I forget they were not made for me.
Like moss, I ride
unattached on the planets' rough face.
Like me, moss must abide
the dry time to come.
Steam A Seam 2 light was painted with Lumiere, bonded to felt and then distressed with a heat gun. The panel was hand embroidered using primarily DMC thread. The box structure was made with davy board and purchased book cloth. The box is lined with green ultra suede.
2.25 x 8 x 6
This piece was made for a collaboration with the Poet Janis Lull:
When the earth sends these green days
I forget they were not made for me.
Like moss, I ride
unattached on the planets' rough face.
Like me, moss must abide
the dry time to come.
Steam A Seam 2 light was painted with Lumiere, bonded to felt and then distressed with a heat gun. The panel was hand embroidered using primarily DMC thread. The box structure was made with davy board and purchased book cloth. The box is lined with green ultra suede.
Trisha Hassler
“Kate”
16 x 14
This is my friend Kate. We have known each other for many years, and she has often been very generous with her time, expertise and good humor. It was time to say thank you. Hand stitching, embellishment linen, embroidery floss, beads.
16 x 14
This is my friend Kate. We have known each other for many years, and she has often been very generous with her time, expertise and good humor. It was time to say thank you. Hand stitching, embellishment linen, embroidery floss, beads.
Trisha Hassler
“Kate” • DETAIL •
16 x 14
This is my friend Kate. We have known each other for many years, and she has often been very generous with her time, expertise and good humor. It was time to say thank you. Hand stitching, embellishment linen, embroidery floss, beads.
16 x 14
This is my friend Kate. We have known each other for many years, and she has often been very generous with her time, expertise and good humor. It was time to say thank you. Hand stitching, embellishment linen, embroidery floss, beads.
Leotie Richards
Love Your neighbor
38 x 22
My art is an expression of love for Mexican culture. I think deep understanding should rule the day on the line between one nation and another. All wool, all hand sewn.
38 x 22
My art is an expression of love for Mexican culture. I think deep understanding should rule the day on the line between one nation and another. All wool, all hand sewn.
Leotie Richards
Love Your neighbor • DETAIL •
38 x 22
My art is an expression of love for Mexican culture. I think deep understanding should rule the day on the line between one nation and another. All wool, all hand sewn.
38 x 22
My art is an expression of love for Mexican culture. I think deep understanding should rule the day on the line between one nation and another. All wool, all hand sewn.
Pam Pilcher
Reverse Applique Coat
47 x 30
As a garment sewer I am inspired by unique clothing I have seen over the years. I love the challenge of using new techniques with my own designs. Machine sewn coat of gifted 100% wool, Vogue pattern 2232 Geoffrey Beene, embellished with Alabama Chanin style reverse applique using my own design, with hand stitched edging.
47 x 30
As a garment sewer I am inspired by unique clothing I have seen over the years. I love the challenge of using new techniques with my own designs. Machine sewn coat of gifted 100% wool, Vogue pattern 2232 Geoffrey Beene, embellished with Alabama Chanin style reverse applique using my own design, with hand stitched edging.
bottom of page