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Panama City by Karen McCarty
2022 SUMMER GALLERY
Machine Stitch Showcase
Using thread as line and also using a technique called free-motion stitching is uniquely a tool of fiber artists. This gallery presentation shows the overall textural affect of free-motion stitching along with a close-up photo of each artwork to better appreciate the technique.
Bonnie Bucknam
Canopy • DETAIL •
70 x 70
After living in Southern California and then Alaska where the vegetation is sparse, I moved to the Pacific Northwest. Trees and green were my first impressions. Where were the rocks? Canopy is standing in the forest looking at the sky. I use my hand-dyed fabric and close machine stitching to evoke the mood of the landscapes surrounding me. Handdyed cottons by the artist, machine pieced, machine quilted.
70 x 70
After living in Southern California and then Alaska where the vegetation is sparse, I moved to the Pacific Northwest. Trees and green were my first impressions. Where were the rocks? Canopy is standing in the forest looking at the sky. I use my hand-dyed fabric and close machine stitching to evoke the mood of the landscapes surrounding me. Handdyed cottons by the artist, machine pieced, machine quilted.
Bonnie Bucknam
Canopy
70 x 70
After living in Southern California and then Alaska where the vegetation is sparse, I moved to the Pacific Northwest. Trees and green were my first impressions. Where were the rocks? Canopy is standing in the forest looking at the sky. I use my hand-dyed fabric and close machine stitching to evoke the mood of the landscapes surrounding me. Hand-dyed cottons by the artist, machine pieced, machine quilted.
70 x 70
After living in Southern California and then Alaska where the vegetation is sparse, I moved to the Pacific Northwest. Trees and green were my first impressions. Where were the rocks? Canopy is standing in the forest looking at the sky. I use my hand-dyed fabric and close machine stitching to evoke the mood of the landscapes surrounding me. Hand-dyed cottons by the artist, machine pieced, machine quilted.
Jill P Hoddick
Chalice of Hope • DETAIL •
11 x 11 x 11
This artwork was created to remind viewers that the world needs hope and that strength can be built up when we all work together. When Free Motion Quilting is layered with cloth, it becomes a new fabric. Fabrics layered and stitched to create new cloth are cut apart and rearranged and strengthened with additional layers of stitch. Cotton fabrics, thread, felt.
11 x 11 x 11
This artwork was created to remind viewers that the world needs hope and that strength can be built up when we all work together. When Free Motion Quilting is layered with cloth, it becomes a new fabric. Fabrics layered and stitched to create new cloth are cut apart and rearranged and strengthened with additional layers of stitch. Cotton fabrics, thread, felt.
Jill P Hoddick
Chalice of Hope
11 x 11 x 11
This artwork was created to remind viewers that the world needs hope and that strength can be built up when we all work together. When Free Motion Quilting is layered with cloth, it becomes a new fabric. Fabrics layered and stitched to create new cloth are cut apart and rearranged and strengthened with additional layers of stitch. Cotton fabrics, thread, felt.
11 x 11 x 11
This artwork was created to remind viewers that the world needs hope and that strength can be built up when we all work together. When Free Motion Quilting is layered with cloth, it becomes a new fabric. Fabrics layered and stitched to create new cloth are cut apart and rearranged and strengthened with additional layers of stitch. Cotton fabrics, thread, felt.
Mary Arnold
Boats of Morocco • DETAIL •
32 x 42
In Morocco, I was struck by the blue boats that are so iconic there. They are a symbol of the different culture that I had traveled there to enjoy and experience. Hand dyed fabric, glue stick applique, free motion quilting.
32 x 42
In Morocco, I was struck by the blue boats that are so iconic there. They are a symbol of the different culture that I had traveled there to enjoy and experience. Hand dyed fabric, glue stick applique, free motion quilting.
Mary Arnold
Boats of Morocco
32 x 42
In Morocco, I was struck by the blue boats that are so iconic there. They are a symbol of the different culture that I had traveled there to enjoy and experience. Hand dyed fabric, glue stick applique, free motion quilting.
32 x 42
In Morocco, I was struck by the blue boats that are so iconic there. They are a symbol of the different culture that I had traveled there to enjoy and experience. Hand dyed fabric, glue stick applique, free motion quilting.
Gloria Richardson
Investigate • DETAIL •
8 x 8
The key to this piece meeting the definition of "Investigate" is the fingerprint and that proved to be a particularly interesting challenge. After much experimentation I finally ended up using a magnifying glass for a close up look at my left thumb. 8" stretched canvas. Handdyed fabric, small clear plastic, Inktense paints, applique, and quilting.
8 x 8
The key to this piece meeting the definition of "Investigate" is the fingerprint and that proved to be a particularly interesting challenge. After much experimentation I finally ended up using a magnifying glass for a close up look at my left thumb. 8" stretched canvas. Handdyed fabric, small clear plastic, Inktense paints, applique, and quilting.
Gloria Richardson
Investigate
8 x 8
The key to this piece meeting the definition of "Investigate" is the fingerprint and that proved to be a particularly interesting challenge. After much experimentation I finally ended up using a magnifying glass for a close up look at my left thumb. 8" stretched canvas. Hand dyed fabric, small clear plastic, Inktense paints, applique, and quilting.
8 x 8
The key to this piece meeting the definition of "Investigate" is the fingerprint and that proved to be a particularly interesting challenge. After much experimentation I finally ended up using a magnifying glass for a close up look at my left thumb. 8" stretched canvas. Hand dyed fabric, small clear plastic, Inktense paints, applique, and quilting.
Peggy Ellis
Put on the Kettle • DETAIL •
36 x 55
Dealing with isolation during the pandemic so many people were alone. I wanted to make a piece with the question about the tea drinker getting solace from another or not. Applique, free motion and walking stitch quilting, Angelina Fibers, tulle, metallic thread to create the illusion of steam and fire.
36 x 55
Dealing with isolation during the pandemic so many people were alone. I wanted to make a piece with the question about the tea drinker getting solace from another or not. Applique, free motion and walking stitch quilting, Angelina Fibers, tulle, metallic thread to create the illusion of steam and fire.
Peggy Ellis
Put on the Kettle
36 x 55
Dealing with isolation during the pandemic so many people were alone. I wanted to make a piece with the question about the tea drinker getting solace from another or not. Applique, free motion and walking stitch quilting, Angelina Fibers, tulle, metallic thread to create the illusion of steam and fire.
36 x 55
Dealing with isolation during the pandemic so many people were alone. I wanted to make a piece with the question about the tea drinker getting solace from another or not. Applique, free motion and walking stitch quilting, Angelina Fibers, tulle, metallic thread to create the illusion of steam and fire.
Pat Fifer
Cellular Communication • DETAIL •
12 x 12
I used remnants from fabric created in a workshop, then collaged and enhanced the elements at home with surface design followed by stitching to bring out the idea of cellular communication. sun printed fabric, discharged fabric, painted & stitched; free-motion quilted.
12 x 12
I used remnants from fabric created in a workshop, then collaged and enhanced the elements at home with surface design followed by stitching to bring out the idea of cellular communication. sun printed fabric, discharged fabric, painted & stitched; free-motion quilted.
Pat Fifer
Cellular Communication
12 x 12
I used remnants from fabric created in a workshop, then collaged and enhanced the elements at home with surface design followed by stitching to bring out the idea of cellular communication. sun printed fabric, discharged fabric, painted & stitched; free-motion quilted.
12 x 12
I used remnants from fabric created in a workshop, then collaged and enhanced the elements at home with surface design followed by stitching to bring out the idea of cellular communication. sun printed fabric, discharged fabric, painted & stitched; free-motion quilted.
Pat Fifer
Leafing Out • DETAIL •
12 x 12
I used a remnant from fabric created in a workshop, then collaged and enhanced the elements at home with surface design followed by stitching. The image of the tree feels like spring in the woods. Sun printed fabric, painted & stitched; free-motion quilted.
12 x 12
I used a remnant from fabric created in a workshop, then collaged and enhanced the elements at home with surface design followed by stitching. The image of the tree feels like spring in the woods. Sun printed fabric, painted & stitched; free-motion quilted.
Pat Fifer
Leafing Out
12 x 12
I used a remnant from fabric created in a workshop, then collaged and enhanced the elements at home with surface design followed by stitching. The image of the tree feels like spring in the woods. Sun printed fabric, painted & stitched; free-motion quilted.
12 x 12
I used a remnant from fabric created in a workshop, then collaged and enhanced the elements at home with surface design followed by stitching. The image of the tree feels like spring in the woods. Sun printed fabric, painted & stitched; free-motion quilted.
Terry Grant
Luna Moth • DETAIL •
40 x 40
I like to add pattern and texture to backgrounds with a fanciful, spontaneous pattern of free motion stitching. Fused applique, machine stitching commercial and hand-painted fabrics.
40 x 40
I like to add pattern and texture to backgrounds with a fanciful, spontaneous pattern of free motion stitching. Fused applique, machine stitching commercial and hand-painted fabrics.
Terry Grant
Luna Moth
40 x 40
I like to add pattern and texture to backgrounds with a fanciful, spontaneous pattern of free motion stitching. Fused applique, machine stitching commercial and hand-painted fabrics.
40 x 40
I like to add pattern and texture to backgrounds with a fanciful, spontaneous pattern of free motion stitching. Fused applique, machine stitching commercial and hand-painted fabrics.
Terry Grant
Rituals • DETAIL •
60 x 24
I like to add pattern and texture to backgrounds using spontaneous free-motion stitching. Fused applique and machine stitching, commercial fabrics.
60 x 24
I like to add pattern and texture to backgrounds using spontaneous free-motion stitching. Fused applique and machine stitching, commercial fabrics.
Terry Grant
Rituals
60 x 24
I like to add pattern and texture to backgrounds using spontaneous free-motion stitching. Fused applique and machine stitching, commercial fabrics.
60 x 24
I like to add pattern and texture to backgrounds using spontaneous free-motion stitching. Fused applique and machine stitching, commercial fabrics.
Jill P Hoddick
Four Square in Pink • DETAIL •
25 x 25
This piece uses my favorite colors and highlights machine stitching by integrating numerous creative stitches over laid on pink patterned fabrics. Changes in the stitches are divided by a double line of stitching. Strip piecing, cut into 16 squares, rearranged, and sewn back together, FMQ. Cotton fabrics, thread, batt.
25 x 25
This piece uses my favorite colors and highlights machine stitching by integrating numerous creative stitches over laid on pink patterned fabrics. Changes in the stitches are divided by a double line of stitching. Strip piecing, cut into 16 squares, rearranged, and sewn back together, FMQ. Cotton fabrics, thread, batt.
Jill P Hoddick
Four Square in Pink
25 x 25
This piece uses my favorite colors and highlights machine stitching by integrating numerous creative stitches over laid on pink patterned fabrics. Changes in the stitches are divided by a double line of stitching. Strip piecing, cut into 16 squares, rearranged, and sewn back together, FMQ. Cotton fabrics, thread, batt.
25 x 25
This piece uses my favorite colors and highlights machine stitching by integrating numerous creative stitches over laid on pink patterned fabrics. Changes in the stitches are divided by a double line of stitching. Strip piecing, cut into 16 squares, rearranged, and sewn back together, FMQ. Cotton fabrics, thread, batt.
Karen McCarty
Panama City • DETAIL •
18 x 30
Panama City, Panama has some architecturally diverse buildings, including a curved one. That was all I needed to design a city of curved buildings. Quilting each building in a different pattern continues the theme of that diversity. All Cotton materials; some ombre, some painted. Constructed in the applipiecing method for the buildings and sky, and freeform piecing for the ocean.
18 x 30
Panama City, Panama has some architecturally diverse buildings, including a curved one. That was all I needed to design a city of curved buildings. Quilting each building in a different pattern continues the theme of that diversity. All Cotton materials; some ombre, some painted. Constructed in the applipiecing method for the buildings and sky, and freeform piecing for the ocean.
Karen McCarty
Panama City
18 x 30
Panama City, Panama has some architecturally diverse buildings, including a curved one. That was all I needed to design a city of curved buildings. Quilting each building in a different pattern continues the theme of that diversity. All Cotton materials; some ombre, some painted. Constructed in the applipiecing method for the buildings and sky, and freeform piecing for the ocean.
18 x 30
Panama City, Panama has some architecturally diverse buildings, including a curved one. That was all I needed to design a city of curved buildings. Quilting each building in a different pattern continues the theme of that diversity. All Cotton materials; some ombre, some painted. Constructed in the applipiecing method for the buildings and sky, and freeform piecing for the ocean.
Karen McCarty
Maori Surprise • DETAIL •
24 x 40
This piece was inspired by a trip to New Zealand. The Māori's use of crescents in their artwork was my starting point. The close quilting enhances the flow of the lines and shapes. Applipiecing was the method of construction. The use of ombre fabrics gives the piece greater movement.
24 x 40
This piece was inspired by a trip to New Zealand. The Māori's use of crescents in their artwork was my starting point. The close quilting enhances the flow of the lines and shapes. Applipiecing was the method of construction. The use of ombre fabrics gives the piece greater movement.
Karen McCarty
Maori Surprise
24 x 40
This piece was inspired by a trip to New Zealand. The Māori's use of crescents in their artwork was my starting point. The close quilting enhances the flow of the lines and shapes. Applipiecing was the method of construction. The use of ombre fabrics gives the piece greater movement.
24 x 40
This piece was inspired by a trip to New Zealand. The Māori's use of crescents in their artwork was my starting point. The close quilting enhances the flow of the lines and shapes. Applipiecing was the method of construction. The use of ombre fabrics gives the piece greater movement.
Noelle Evans
Clarity • DETAIL •
28 x 36
Raw-edge fused applique, machine quilting. Commercial cotton fabric and tulle.
28 x 36
Raw-edge fused applique, machine quilting. Commercial cotton fabric and tulle.
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