Saturday, July 2, 2022

Held Harmless

Held Harmless is a series of smallish pieces (18"-28") I developed during the Pandemic. Each started as a paper collage I photographed, tweaked in Photoshop, and had printed onto cotton.  Once I received them, I spent weeks hand stitching each one. The stitches are used to draw the eye towards certain areas, emphasize portions, connect, play with color and create continuity between elements.

These have been terrifying, infuriating and deeply saddening times.  The tiny movement of my fingers with the floss was a meditation which grounded me and fed me.   The pieces capture all of these emotions and more.

Here are #2, 6 and 7  (See more at


Monday, June 27, 2022

"Abstract 2022"


1)      Sebastopol Center for the Arts, Sebastopol, CA, Abstract 2022, June 18-July 24, 2022

“Abstract 2022” is an international call from the Sebastopol Center for the Arts in Sebastopol, CA.  The juror chose 66 pieces from a 310 entries. 


My piece, “Rebirth”, was inspired by a 2019 trip to a Roman ruin outside of Seville, Spain called Italica.  I was fascinated to see reconstruction work alongside the centuries-old broken tile shards.  In 2022, this piece makes me think of images we are seeing of war destruction in Ukraine.  The footprint of buildings is laid bare, with their shattered floors and walls beside them, shattered lives.  Concurrent reconstruction is happening in the face of war.  This is the first of many stages of ending and rebirth.

Saturday, June 18, 2022

I Take A Fractal Journey

A fascination with color and pattern has always been at the center of my work as a fiber artist.Through the stages of growth from weaver, to hot wax batik methods, constructing Artist’s books, making kaleidoscope patterned quilts to my current focus on altered fractal images, the continuous theme has been color and pattern.

Fractals are found everywhere in nature, fern fronds, lightning strikes, the coastline of England. Fractals are geometric formulae that are used to define and measure repeating but irregular shapes. In other words, fractured geometry. I select fractal images from a computer program, render them into a useable form, then alter them using an imaging program. Then the finished image is sent to a digital printing company that returns it to me as printed cloth. I topstitch it and finish the piece. Even though each image starts off as a mathematical formula, it ends up as a personal statement about the world. Color and pattern are still the center of my work.

Fractal 1:

Bird 1:

Fractal 2:


Fractal 3:


Mary Tyler
June, 2022

Sunday, June 12, 2022

"Fiber Arts, Expressive and Innovative"

The O'Hanlon Art Center is a little-known but special art center nestled in the hills of Mill Valley, California.  Monthly exhibits are juried by Bay Area art professionals.  "Fiber Arts, Expressive and Innovative," was juried by Carole Beadle, textile artist and professor, known for encouraging three-dimensional works by her students.  I studied with her for two semesters at the California College of Arts and Crafts (now California College of Art) in 1985.  She currently teaches at the College of Marin.  

I was honored to be juried into this exhibit, showing March 24-April 21, 2022.  I include a photo of my piece, "Chancay II", plus two details, based on my Peruvian heritage and the textiles of the Pre-Incan Chancay Culture, 1000-1470 AD.  This culture specialized in knowing the "essence" of a thing through sophisticated threadwork patterns called "gauzes."  When pulled taut, their patterns can be seen; when released, the patterns are hidden to the ordinary person. On the wall perpendicular to Chancay II are two felted pieces by Martha Wold Cornwall, "Elsa's Journey" and 'Fire Season".  

Ileana Soto 

Click here for a link to Ileana's website


Saturday, June 11, 2022

Away from Clay - When One Door Closes by Mary Ann Nailos

     In addition to ACN, I am part of another art group called Stretching Art. The group puts out a call for entry once a year. Last year’s theme was “When One Door Closes”. I was a potter for about 20 years and most of my pots were hand built, mostly constructed from slabs. I rented studio space in my friend Richard Hess’ studio. In 2013 he informed me that he was moving to Illinois, so I either had to find another place to do clay, or find a new artistic practice.

     Doing clay at my house was not an option. I decided to go back to my first love – textiles. I started taking classes in traditional quilt making, then surface design, that then lead me to Jane Dunnewold’s Art Cloth Mastery class. 

    There are similarities between slab built pots and quilt making. These pots were made with a template on a flat piece of clay. Quilters cut shapes out of fabric and make quilt blocks. Different firing techniques and glazes differentiate the pots. Quilters use different fabrics and Art Quilters use different surface designs to create their quilts.

I printed textures onto black and colored fabric using Thermofax screens that I designed. Then I cut the pieces from the colored fabrics using the Notan method, fusing them to black fabric. After that I added stamping from various stamps that I made.

This is the finished piece below that I named Away from Clay. As the door to pottery making closed, the door to Art Quilting opened.


Wednesday, June 8, 2022

Excellence in Quilts

 MURANO was just juried into Fiber Art Now's biannual exhibit: Excellence in Quilts.  I'm so pleased!!  I was inspired by a photo I took while in Murano, Venice, Italy, of a gorgeously rusted metal fence.  Irresistible!  The piece has a 3D surface to indicate the rusty, peeling paint.

The image will appear in the Fall edition of the journal and, I hope, tour a bit into 2023.

Saturday, June 4, 2022

Working with 3-dimensional elements


by Regina Marzlin (

I belong to an online international art quilt group called "Cloth in Common" ( We are 12 artists from around the world, from New Zealand, Australia, Japan, South Korea, Germany, Netherlands, USA and Canada. Every second month, one of us gives out a prompt or theme, and everyone creates an artwork that responds to the theme. Our overarching theme this year is "Structures", so we had prompts like "Building", "Anatomy", and "Light". The latest prompt was "Cells", which led to some amazing artworks - you can see them on our blog.

I decided to go with red blood cells, as I find the biconcave disk shape appealing and the vibrant red colour is so lively. The finished artwork is titled "In the Blood", it is 25.5" wide and 39.5" high.

 I decided to actually make the individual disks as 3-D shapes to be applied to the surface of the quilt. Approximately 2.4 million red blood cells are produced per second in a human adult! That is a staggering number. I settled for the more manageable number of 44, and even that was a lot of work as it took me about 15 minutes to make one – cutting out, sewing the rounds, stuffing, sewing shut, and sewing the middle indent.

The black-on-white print of the blood vessels was done on a gel plate with acrylic paint. I printed two lengths of cloth to go on each side of the middle blood vessel. 

To bring in a bit more colour I decided to use a red Inktense pencil to outline the blood vessels.

It was fun attaching the blood cells to the quilted surface, I was able to overlap and stagger and really play with the three-dimensional idea of this design.

Title In the Blood
Regina Marzlin
Dimensions: h 39.5″ x w 25.5″
Material: cotton fabrics, acrylic paint, Inktense pencil
Technique: mono-printing, painting, applique, machine quilting

Sunday, May 29, 2022

Sean Scully the Shape of Ideas at the Philadelphia Museum of Art

While I have never seen Sean Scully work in a textile medium his paintings, prints and pastels are totally inspiring for me and have strong quilt references. He is constantly exploring compositional arrangements of the stripe. His color is fabulous, rich and deep, and whether the pieces are physically large as these are .

or small the impact remains monumental

This is a great show and full of inspiration. I was also very intrigued to Scully use Procreate on the ipad 

as a drawing tool, something I played with a bit this past fall. 

The show is up through July. Don't miss it.

Dianne Koppisch Hricko

Saturday, May 28, 2022

The Migrant Quilt Project Comes Home by Mary Vaneecke

The Migrant Quilt Project memorializes migrants who have died seeking refuge in the US.  Every year, the Project recruits a volunteer artist or organization to create a quilt made from clothing abandoned by migrants along the border near my hometown, Tucson.  Each quilt carries the names of those whose bodies have been identified, or the word 'desconocido' ('stranger' in Spanish) for those whose remains are unidentified.   

My contribution to the project covers the fiscal year 2015-16 and honors the 144 people whose bodies were found at the border that year.  It features an image of Virgin de Guadelupe, and a silhouette of Fr. Eusebio Francisco Kino.   Fr. Kino was the first European in the area that is now Tucson, and is in my view the first border crosser here.  Creating this work was a humbling and sobering experience.  

Desconocidos, by Mary Vaneecke

The Migrant Quilt Project is back in Tucson, Arizona after a tour around the country that included venues in Massachusetts, Michigan, Illinois and Washington D.C.  The exhibitions drew national attention and were featured in articles in the Associated Press, New York Times, LA Times and the Washington Post.  

The Arizona Historical Society recently acquired the entire MQP collection, which is on display now through February 2023.  The exhibition is the first chance for the public to view the 2019-20 quilt, 

For information on the current exhibit, click here

To see more of my work, click here: 

Saturday, May 21, 2022

A Preview Of My Work In The Harmony Exhibit by Mary-Ellen Latino

HARMONY is a juried quilt exhibit that will take place at the Broadway Gallery in Alexandria, Virginia 6/1/22-8/31/22.

Curators for the exhibit are Lisa Ellis and Barbara Hollinger.

When I read the call for entry, I was excited by both the theme and size limitations.

The theme was chosen in a time when the world was chaotic and we all needed to look for harmony in our lives.

All pieces entered had to conform to 12x12, 24x24, 36x36 or 48x48 finished sizing. The square format of various sizes would make such a unique patchwork installation on the walls of the gallery. 

I was totally motivated to enter my work!

As a mixed media fiber artist, I work digitally with photographs, scanned dyed cloth and surface design to express my visual voice.

For this exhibit I was inspired to work with a photo of a rustic old farm truck I had taken in Harmony, CA. – a central coast destination for artists and those seeking peace.

The abandoned relic was proudly basking among the thick grass and trees behind the glass-blowing building. It conjured up sweet memories of the past, bringing me joy and harmony.

I digitally developed the photo intuitively until the elements flowed together, commercially printed on cotton broadcloth, free-motion quilted on eco-felt, painted with Inktense pencils, applied foil and attached it to a 24” square canvas. 

I had left 3 inches all around the quilted piece for attachment to the canvas with a heavy-duty stapler.  Since it was a bit tricky to do for the first time, I reached out to a member of our group for advise and she recommended videos to watch to guide me.  It worked!  

LET THE GOOD TIMES ROLL! was juried in.

‘She loved the smell of old truck, thick cotton and vinyl seat covers, old gasoline and oil, the smell of country, decades of farmers, workers and families taking trips back and forth to town, up back roads to swimming holes, over fields, through all the weather.  She imagined what this truck would have seen if it had eyes and a memory.’ Quote by Glenda Love

The other artwork that will be shown in the exhibit was made a year earlier. 

I was inspired to create RHYTHM AND JOY! while admiring the beauty and magical lure of aloe. Music and nature fill my soul inspiring me to create art to depict the changing visual language of our natural world, the seasons of our life. Aloe is resilient, grows slowly and like music survives for generations and can fill you up with happiness.

While listening to Handel’s ‘Water Music’ I digitally developed a photo and scanned dyed shibori cloth until the elements harmoniously flowed together, commercially printed on cotton broadcloth, painted with Inktense pencils, and quilted. Can you feel the Rhythm?

Mary-Ellen Latino