Home About What's new? Artist Profiles Gallery Newsletter Join Ozquilt Teachers Contact Links Exhibitions Search
Perhaps the most important consideration when you first embark on art quiltmaking is to follow your own inclinations. What sort of quilts are you interested in? What skills do you already have? Are there others you could learn more about? What do you find exciting and inspiring? Where do you want your quiltmaking to take you? It is important to think about what sort of quilts you can realistically make well, irrespective of what other people are doing.
There is plenty of scope whatever your bent because there is a place for all kinds of contemporary art quilts. Once you start to enter exhibitions, you may find that your quilts are more suitable for some than others. This is because the various organisations who accept art quilts for exhibition, ie crafts organisations, public and private galleries, museums, quilt guilds to name just a few, exist for different purposes. Their exhibition audiences are different too, hence the kinds of exhibitions they hold and the types of quilts they promote are not exactly the same. It's not that any particular kind of quilt is superior to another, just that there are differences. In practice, individuals often appreciate all sorts of quilts, without wanting to actually make them all.
People have different reasons for making art quilts. Not everyone wants to enter exhibitions with a selection process. But if you do decide to take this course and don't succeed the first time, don't give up too easily. No-one is immune from rejection. All of our top art quilters, known nationally and internationally for their excellent work, had to persevere for some time before their quilts were accepted for the most prestigious exhibitions. And rejections never stop coming! You may be surprised to learn that along with the successes and honours, all of these people routinely expect a proportion of their quilts to be rejected from exhibitions. Rejection is inextricably bound up with success, just 'part of the job', something that everyone has to come to terms with in any competitive field.
Rejection is not always related to the quality of the work. When you enter an exhibition your position is similar to that of an actor who auditions for a part. He may fail, not because his acting is bad, but because he is tall and thin when the role calls for a short, fat actor or someone with a different voice. Luckily it's not our physique that matters, but other factors have a strong influence. Exhibitions vary, because it is the prerogative of organisers to set any parameters they choose. So excellent quilts are sometimes rejected because they are not what organisers/curators are looking for at that particular time.
Curators, whether freelance or employed by an institution, may be looking for works that epitomise a specific concept. Each selector and judge is an individual with unique knowledge and experience so it is not surprising that no two panels would ever select exactly the same exhibition. All this means that the outcome is never certain for exhibition entrants no matter how excellent their work.
Simple carelessness can result in rejection. You can avoid this by paying close attention to the 'small print' on the entry form and taking care to comply with all conditions. Unfortunately many quilts are disqualified because they fail to comply with simple and clear entry form specifications, such as size limits. If there are conditions that make your current quilts unsuitable for a particular exhibition, you must make a new quilt that conforms to the rules if you want to enter. What you must not do is ask the organiser to change the conditions to suit you. Sometimes changing from your usual format to suit a particular exhibition works well because it can extend your repertoire; but it can also end in frustration and dissatisfaction. It is not to be universally recommended.
It takes a lot of time, effort and experience to become an established art quilter. It's a serious commitment. Though at present there are very limited opportunities in Australia for formal tertiary education specifically for quiltmakers, all is not lost. You can take responsibility for your own education by building knowledge and expertise in other ways eg short courses, books and visiting appropriate exhibitions.
Design courses for textile artists are sometimes available at your local TAFE. There are also plenty of casual short workshops offering instruction in technique, and sometimes design. Those limited to offering a set project can be handy for learning the intricacies of new techniques. Workshops that encourage students to become independent designer/makers by teaching principles, with or without set projects, can be an inspiration. Look out for tutors who already have a good reputation as art quilters.
Master classes, usually residential and lasting up to a week can be an enriching and inspiring experience that will leave you with insights not available elsewhere. Tutors are usually well known local or overseas quilters and textile artists. It's a rare chance to learn about the tutor's unique views and a great opportunity to make friends with other like-minded participants.
Reading about quilts is a delight, especially when the text is accompanied by photos, and it is especially important if you cannot attend many exhibitions. Books are an indispensable resource for discovering and studying old and new quilts. Try your library, large or specialist bookshops and quilt shops. Galleries often have interesting books or catalogues for sale. Your local or guild library may have some suitable books and periodicals; if not, perhaps you can suggest one or two to add to their stock. Websites are also a great source of interesting information.
Nothing replaces seeing actual quilts and other forms of art and craft. The more exhibitions of any kind that you can visit the better. Visiting an exhibition more than once can be rewarding as you often see something wonderful that you didn't notice the first time!
Learning about design and technique is important, but that is not enough. It is valuable to be familiar with both antique and contemporary quilts (1970s to the present) in this and other countries, as well as other art and craft forms, in effect to become a connoisseur. It can add greatly to your appreciation of art and craft outside your own area of expertise and help to give you a sense of how quiltmaking relates to other arts.
Some state and regional galleries and museums have small quilt collections. As it is advisable to 'rest' textiles for conservation purposes, they are not always on display. However, it may be possible to see them if you make arrangements well before your planned visit. Some Australian institutions that have quilt collections are The National Wool Museum, Geelong, and Ararat Gallery, Vic; the Powerhouse Museum, Sydney NSW, National Gallery ACT, Queen Victoria Gallery and Museum, Launceston Tas, Art Galleries of WA and QLD.
A number of practical issues arise for the art quilter. Exhibiting with private and public galleries, writing, teaching, all require the artist to have the knowledge and skills to deal with agreements, photography, transport, copyright and much more. If you plan to organise your own exhibition you will need to find a suitable gallery, photographer, printer, insurer, and lighting and installation experts. You will need to publicise the event. It can be tricky! State and regional crafts organisations can be very helpful with most of these practical issues. Small business courses especially geared to the needs of artists are sometimes available, and are well worth considering.
Do you know your rights? It is particularly important to know your rights as an artist, as well as the rights of others. There have recently been important changes that enhance your rights. The Australian Copyright Council and Arts Law provide free information for artists and craftspeople on rights and other important matters and also offer publications for sale.
You can meet other people interested in art quiltmaking in many ways as your common interests will often bring you together. Your work and theirs may be very different, but just meeting with other textile artists is enough to spark interesting and stimulating discussions and form nurturing friendships. Conversations with fellow enthusiasts can be very fruitful for all parties, often leading to new insights.
You could also arrange to visit the studios of people whose work you respect, perhaps with a friend or small group, but do organise this well ahead of time.
You might even consider some sort of mentoring arrangement, but discuss the details thoroughly first. It's important to find out if your mentor's public liability insurance covers you in these circumstances.
It is a good idea when starting out to explore a number of styles and techniques that interest you. It is necessary to work hard, to be prepared to try out many ideas, both on paper and with fabric. It takes commitment. However, after a time spent exploring a wide variety of styles, most people discover their own special niche. They become more focussed, develop their own style and explore it in depth. This doesn't mean that all your work will look the same. Far from it. You will find that it will constantly evolve and develop, sometimes in more than one direction at once and often when you least expect it. Over the years you'll find that you develop your own constantly expanding 'language' of quiltmaking.
For the greatest chance of success, as well as for your own satisfaction, you must concentrate on developing your own style rather than following a trend. Do only what fires your imagination, regardless of what others are doing.
A few points to consider
Let your quilts showcase your strongest areas of design and technique. Avoid weak areas, but be prepared to work at them until they become strengths before incorporating them in your work. Realise too, that some areas are just not for you.
If it suits your working method, learn how to draft or sketch working designs to scale on paper using your computer or pencil, overlays, the photocopier etc. Never throw any of these designs away; they can be a valuable reservoir to draw from later. Rehearsing ideas on paper or by computer will save a lot of time, effort and fabric as it enables you to review many ideas without having to make lots of quilts to test them.
If you work directly with fabric, make sketches or use a digital camera to record your experiments so that you can easily compare and assess them later.
Treat the quilt design as a whole rather than a collection of small assembled units, even if that's what it is. No matter how beautiful the fine detail, a quilt design will not work if the overall image lacks impact and cohesion.
Be discriminating - you don't have to put your entire repertoire into one quilt! It is often better to use just one or two techniques and design elements.
Generate further related ideas by hanging quilts and sketches where you can see them often. This is a good way to get lots of ideas without really trying!
Consider making a series if an idea has the potential for several similar designs.
Make sure the quilting is taken into account from the start, and that it compliments other design elements rather than fighting them. For technical reasons no very large areas should be left unquilted.
Become more adventurous (or more restrained) with colour, and try colours you don't normally like. You may be pleasantly surprised at the result!
Your technique needs to be competent, but you're not expected to be an absolute virtuoso.
Quilts look best if they hang evenly without drooping at the sides or buckling. Consult an expert for advice if your quilts refuse to behave.
Sometimes more experienced quilters may offer useful tips and constructive criticism. If it seems valid in the context of your work you may choose to act on it. If it doesn't seem valid, it is best not to be swayed. The main point is to be prepared to listen to others but have the confidence to believe in your own ideas.
By now most people realise that copying an artwork is an offence that could land them in trouble. Even imitating another person's style too closely is not acceptable. Instead, use what you learn from workshops and books to stimulate your own ideas. Fresh insights from these sources need to merge with your own style, evolving into a new form that is unmistakably yours. The process could take a year or two. The reward is that the more individual the niche you develop for yourself, the more successful you are likely to be, because the essence of the art quilt is to be individual, innovative and adventurous.
Remember, there are no failures, just learning experiences. Confidence in your work will allow you to be detached enough to step back and view it critically. It may seem to be a tall order in the beginning, but it's something that can be cultivated. After all, only you are responsible for your own vision. Your journey will at times be frustrating and perplexing but mostly exciting, and fulfilling. An experience you wouldn't have missed for anything. Bon voyage!
Goods and Services Tax (GST) For art quilts purchased in Australia, a Goods and Services Tax (GST) is applicable to those items labelled "includes 10% GST".
For international purchases, the GST is only applicable to those items labelled "includes 10% GST" and where a quilt is purchased and not delivered within 60 days of the date of purchase.
Copyright Notice: The text and images on this website are subject to copyright.
No text or image may be reproduced in any medium without the permission of the copyright owner and Ozquilt Network Inc.