Anna Torma was born in 1952, Tarnaors, Hungary. Her interest in working with textiles goes back to early childhood when she learned to sew, knit, crochet and embroider from her mother and grandmothers. Not an unusual start for the future textile artist. But, Anna is treating the textile as the tool for creating a complex surface designs deeply meaningful and inspirative.
Lynn Setterington is an internationally recognised artist working in the textiles arena, most notably quilts and hand stitched cloths. Over the last decade she has worked on a number of large public engagement projects and collaborations with diverse groups.
A very few museums started out with the avowed purpose of collecting quilts. They have either focused on folk art or textiles – and quilts are an obvious part of those fields – or the museums have started a quilt collection quite unintentionally with the donation of a private or family bequest. As the artistic and monetary value of quilts becomes more recognized, museums now actively seek quilts as an important part of their collections.
Mandy Pattullo aim is to create pieces which would make the viewer look again at old textiles which might be past their use by date. She is particularly passionate about very worn old patchwork quilts which were often made of old dressmaking off-cuts, old clothing and tailor’s samples. Mandy has carefully re-examined the quilts, often unpicking them completely into their original scraps, and to discover hidden layers and sometimes even other worn quilts inside.
Imagine…the smell of pine trees, the chill in the air, you walk inside your cabin and see a living room of rich earth tones with southwest accents. A leather lounge chair with a southwestern throw, a beautiful wood coffee table, and a rustic area rug pulling it all together.
17th European Patchwork Meeting will be organized 15th – 18th Septembre in Ste Marie-aux-Mines (Alsace, France). On the show the visitors will see a selection of more than 1000 antique, traditional and contemporary works of textile art, from all over the world.
This edition is dedicated in remembrance of the Austrian artist Greti Raffeiner, member of the quinTEXsenz group, invited this year for the presentation of their exhibition in which she had participated. Unfortunatelly she died unexpected during last February, and everyone who knew her and her work will miss her kondness, sense of humor and an extraordinary talent.
One important part of appraising a quilt or any textile is accurate dating. Sometimes there is no doubt of the date, because the maker embriodered it onto the quilt or wrote it somewhereon the back in indelible ink. Sometimes a quilt was so obviously designed for a special occasions – such as the 1933 Century of Progress Exposition in Chicago – that its date can be easily ascertained.
Most of the quilts that are available for collecting were made in the 19th and 20th centuries, although it is possible to find an earlier treasure for sale or maybe even in your own attic. However, unless there is a direct connection to the maker, the dating of quilts is not precise science. It is more like a mixture of detective work and educated guessing.