Judy's Journal

 
I spoke about how I made the marks with water that had a few sprinkles of iron powder in it (available through natural dye suppliers) and that they were instant and permanent.  Painting these marks was dreamy.  I didn't have to think.  

under drifting stars: the back

I spoke about the texture of the piece, satin stitch bumpy dots below the horizon line and smaller puffy dots above it.  I didn't talk about the back side (shown above), but the texture and dots are there as well.  The back side is the side that touches our bodies when we pull a quilt over us.  

They are.  

It's worth it to think and feel and remember.

Not worth a lot of money, but worth a lot of SELF.

A notebook / scrap book / is a way to keep a conversation going with the inner inner.

It's a way to keep the self open and trusting and aware.

I spend time every day on my journal.

It's not a waste of time. 

I am worth it.  

I continue learning.  

I study and take notes

 

The above sketch is of one of Louise Bourgeois' sewn head sculptures.
When I come across old family photos I save them.   

I also save things I find in old journals like this poem by Louise Rogers.

At the front of every journal, I list the books I am reading and give a wee review.

I tape the year on the spine 

Every morning I start a new chapter with the day's date.  
You can't think "my life is more important than the work"   

The first image in this post is the reverse side of the piece, and it high lights the lovely wool thread drawing that happened spontaneously.   

The second image shows the front, pieced from rescued damask table linens.  You can see where I cut holes into the piecework in the lower half, and then repaired them with velvet.  

Good bye 2020.  

We've had many challenges this year.  

We've learned a lot about our selves.  We've learned that we can rely on our own selves.                 We've learned that we are strong and we are beautiful.  We've learned that we will figure it out.

I spoke about these ideas of inner strength and softness in the lecture I gave in Toronto last October.  The lecture shares about where I live and about the creation of my work.  It details the spring and summer of 2020 and shows how my work helps me to carry on through emotional turmoil. I learn to trust myself through the step by step making of each piece.   

Quilt of Fantastical Things by Judith Quinn Garnett
40" x 40"  acrylic paint, cotton canvas, threads, felt, linen and bottle caps
detail of Quilt of Fantastical Things
 Fatigue Threshold by Amy Meissner
70" x 54"   abandoned quilt top, vintage domestic textiles, cotton embroidery floss
Detail of Fatigue Threshold
Shift 1 by Liz Axford
75" x 69"  hand dyed cotton
Award of Excellence
Detail of Shift 1
Defining Moments 12:  NO means NO  by Carol Larson
49" x 39"   cotton sateen, perle cotton, textile paint
Detail of NO means NO
 Whitewater by Benedicte Caneill
36" x 36"  cotton fabric, textile paint, mono printed and quilted
Detail of Whitewater
L'oiseau de Mme Wazoh  by Ginny Smith
38" x 36"  feedbag dishtowel and cotton
Detail of Mme Wazoh
Soft Summer Gone by Judy Martin
100" x 100"  plant dyed silk, silk and wool threads, hand stitched
Lynne Goodman Borgman Award for Surface Design
also  Surface Design Association award for Surface Design


Click on our names for the individual 2 minute videos produced by Quilt National of those of us who attended the opening.
detail of Soft Summer Gone
full view is here

"Many of the individual artists clearly have given heart and soul to create some of the best work of their careers and I emphatically congratulate them"  Nancy Crow - founder of Quilt National and juror of QN 17