Category Archives: Exhibitions

Season After Season

Season After Season is a SAQA traveling exhibit currently enjoying its premiere exhibition at the Texas Quilt Museum in La Grange, Texas.
Last September I was notified by Dr. Sandra Sider that I was one of the twelve artists she selected to be featured in her PowerPoint lecture on Season After Season. It was presented last month at the Texas Quilt Museum but I was not able to be there in person. Fortunately, it was recorded and I’m able to share with it with you. Dr. Sider narrates a fascinating lecture video giving great insights to my fellow artists’ inspiration, creative process, including many of their trials and tribulations and how they successfully resolved design issues with beautiful results. I really learned a lot and I’m very grateful to have been one of the selected artists. Please watch the Season After Season video lecture and share your thoughts with me!
Dr. Sider is a curator at the Texas Quilt Museum, editor of SAQA’s Art Quilt Quarterly magazine and a former SAQA Board President. Lecture courtesy of Texas Quilt Museum.
Also posted in SAQA

The Urchins

Dear SAQA, Quilt Art and Fiber Art friends and colleagues, please help!
Have you heard about the amazing fiber art effort happening at the Hunterdon Art Museum, a small but very fiber friendly art museum in Clinton, NJ? In the past, they have mounted major fiber art shows such a contemporary tapestry exhibit, a fiber print exhibit and last year they had a stunning contemporary embroidery exhibit.
This September, HAM will present a contemporary lace exhibit, Lace not Lace, that will feature the work of many international artists including two large installations, Lieve Jerger’s Carriage of Lost Loves and Choi + Shine’s The Urchins. BUT, The Urchins is not a definite go. The museum wasn’t able to raise enough money to bring them to New Jersey and are seeking help from the community by launching a fund-raising campaign on Kickstarter. Click HERE or on the image above to go to their Kickstarter page and be sure and watch the video. They go into quite a bit of detail of the upcoming exhibit and their efforts and excitement over the Urchins, which are a quite impressive and huge, and would be a phenomenal outdoor installation –  The Urchins would only be there for a limited time but it would be a spectacular sight to behold!
Naturally, I always try to support this museum as it is in my own backyard but I am hoping my fellow quilt artists and fiber artists will join me in supporting the museum’s goal of bringing The Urchins to the Hunterdon Art Museum. While they have never mounted a quilt art exhibit at HAM, it is my hope that someday they will, whether it’s a SAQA Global exhibit, a SAQA regional exhibit or a straight out contemporary Quilt Art exhibit. If we in the quilt art/fiber art community show our support for them, maybe they will show their support for us.
Please help spread the word and donate what you can to this fund-raiser. Be sure to email them and let them know the Quilt Art community supports them!
Also posted in SAQA

THAT 2018

The Hunterdon Art Tour is celebrating its 2nd year!

This year’s event will be May 4th, 5th and 6th starting with a kick off Gala Party and Exhibition at the Hunterdon Art Museum in Clinton, NJ on May 4, 7 – 9m. It’s free and fabulous. Last year’s Gala night was a huge success with 200 attendees and 10 pieces of artwork sold. They would like an idea of how many are attending so registration is appreciated. To register for the Gala Party, go to Eventbrite. Refreshments served, cash wine bar.
Each of the forty participating artists has one piece in the exhibition, which will run all weekend at HAM, 11 am – 5 pm. Maps for the studio will be available at the museum as well as many localities across the county. For details about the tour and where to find a map or print out you own, visit
My Clinton studio will be open May 5th and 6th, 10 am – 6 pm as well as a Sneak Peek right before the Gala on Friday for an hour or two. For details, check out my Exhibitions  page or my THAT profile page. I will have some of my small works for sale as well as my hand-dyed scarves and felted vessels. And, my studio room, with works in progress, will NOT be tidied up so you can see where the magic (and mess) happens!

Things That Matter

Update – The catalog for Things that Matter is now available on Amazon! The artwork is beautiful and arresting, the artist statements are thoughtful and provocative. A great read full of eye candy.



More than a year ago, Sandra Poteet and Lin Schiffner reached out to several highly accomplished, diverse and passionate fiber artists in a grassroots, artist-initiated effort to form a Coalition of Artists with Purpose. I was one of those artists. They invited each of us to create artwork on the theme Things That Matter.
We were charged to create artwork at least 6o inches wide, either one large single piece or multiple smaller pieces, focused on one single concept, just one ‘Thing’.  It could be anything the artist felt strongly about – family, justice, clean air, fairness, democracy, honesty, re-cycling, faith, climate change, equality, respect, literacy, peace, humor, education, etc. We were to create a visceral reminder, at this moment in our shared history when the world feels uncertain and divided, of things that truly matter.
Thirty one artists came together, committed to the project and retreated to their studios to ponder and reflect, to craft and hone their concepts into their creations. While finishing up other projects, I contemplated what I would make, letting ideas come and go. I struggled to find that one Thing that resonated with me the most and still fit within my body of work. As the months (yes, months!) passed, I found myself becoming overwhelmed and depressed by the constant barrage of the media. All media. Social. Mass. Fake. Whatever. I just wanted it to stop. I couldn’t breathe. And, then I knew what I would make. I knew what my Thing was. Peace and Quiet.
Above is a detail of Horizon XII – Peace and Quiet and you can see the full image in my silk gallery. We were also asked to write a statement about our Thing. Here’s mine:
“In this age of mass media and social media we live in a culture of information overload, with a growing dependency on our personal devices – non-stop texting, tweeting and selfies, liking, sharing and emojis. The media’s constant barrage of and obsession over the latest tragedy, scandal, ‘fake news’ bombshell and the increasingly hostile political climate are so overwhelming and depressing. More and more, for my own well-being and peace of mind, I just need to completely UNPLUG…
To turn off the television, put down the phone, walk away from the computer.
To silence the media madness.
To escape to the wilderness, to the water, to the vast horizon.
To listen to the gaping silence.
To breathe in the fleeting precious splendor of the dying day.
To feel lost yet found in the solitude of peace and quiet.
To just be.”
Sandra and Lin, as well creating artwork of their own, tackled the daunting job of approaching art museums and securing venues for the exhibition. They have secured two definite venues so far and more are in the works. Next month, on April 21st will be the opening of a preview exhibit at the Vision Art Museum in San Diego, CA. It is a partial exhibit as the museum was not able to accommodate the entire show. Mine is one of the fortunate pieces to be included in this exhibit. I’m so pleased, I am. And, then later this year in November, the Chandler Center for the Arts in Chandler, AZ will present the show in its entirety.
Sandra and Lin have also been working on producing a catalog and that will hopefully be ready for the Visions exhibit. I won’t be able to travel to San Diego to see the show so I am most eager to see the catalog.
I want to thank Lin and Sandy for all your hard work in mounting this very ambitious and important exhibition. I’m sure I speak for all the artists when I say how grateful we are for entrusting us with your vision and for empowering our voices.
Finally, I share with you the Exhibition Statement used to promote the show:


“Exhibition Statement:
Fabric and other familiar fibers, found items and cast-offs have great power when melded by the artistic hand precisely because of their everyday-ness. We are startled by how something so common can be transformed into something so new and unexpected. We are compelled to touch the artist’s textiles to reassure ourselves that they are indeed something we know. It is wondrous, but at the same time reassuring. The medium itself is relatable. When paired with purpose it is inherently understood.
Grown out of ordinary artist-citizens demonstrating mastery of their medium, this exhibition is a timely and powerful response to this moment in history. Fiber artists are using their collective talents to say THIS thing, this idea, this place, this part of humanity is important and should not be forgotten or undefended when at risk to intolerance, ignorance, indifference, or greed.”


Also posted in New Work

Art Quilt Elements 2018 Opens! Part II

Continuing down the long hallway past the array of tempting edibles and potables, we found the second gallery space of the Wayne Art Center filled with a dazzling display of visual delight.
The Ethel Sargeant Clark Smith Gallery 






Left to right, Simple Joys by Kay Campbell, Recollections by Viviana Lombrozo and Lost and Found: Green Panel by Kay Healy.


Patty Kennedy-Zafred’s Steel Town: First Shift and Teresa Barkley’s The Life Cycle of the Little Black Dress.


Rosemary Hoffenberg’s Cafe hangs beside Pat Kroth’s Fiber Optics.


Marti Plager’s Conversation and Bonnie J. Smith’s Alviso.


Jill Kerttula’s Urban Voyeur – Tracks with two detail shots below, and Gerri Spilka’s Moving Through received the Wayne Art Center Award.



I love the combination of techniques Jill uses to build her imagery.




Liz Axford’s Counterpoint 6, a wonderful example of resist dyeing.


Kathleen Probst’s signature minimalist style in Corner.


More minimalism here with Sherri Lipman McCauley’s Branches Orange, one of my favorites in the show.

Hand stitching takes center focus in Marianne Burr’s Desert Pools, winner of the The Greater Than the Sum Of Its Parts Award. Detail below.



Best of Show Award goes to Niraja Lorenz for her amazing Strange Attractor #20. She only works with solids, every stripe, triangle and square is a separate piece of fabric, as you can see in the details below. Masterful!




And, to finish up the tour, winner of the Innovation in Medium Award, another of my very favorites by an artist I’ve admire for many years, The Crossing Times 13 by Chiaki Dosho, made with old Japanese kimono fabrics. I am always struck by juxtaposition of the power and the delicacy of her work, both simple and complex. I can get lost in these details…


I hope you enjoy my posts about exhibitions and contemporary quilt art and hope that they inspire you to go see them, to own them and/or to create more of them!
To see a more complete view of all the artwork (with better photos, too!), please visit

Art Quilt Elements 2018 Opens! Part I…

This was my first time being juried into Art Quilt Elements at the Wayne Art Center and I am truly honored to be among this group of artists, some of whom are on my must watch list. My photos do not do justice to the artwork due to my very old Iphone. I apologize in advance for any poorly framed and blurry photos or photos with inaccurate color.
I’ll start with some overview pictures to whet your appetite and give you a sense of the spaces. There are two main galleries at the Wayne Art Center, for those who’ve yet to visit, the Davenport Gallery and, down the hallway, the Ethel Sargeant Clark Smith Gallery. The first time I attended an AQE opening reception in 2012, I didn’t know about the second gallery until the end and almost missed half the show. So beware!
The Davenport Gallery






On the left, Sandra Palmer Ciolino’s Precaria #8, Crucible won the Leslie Patterson Award for Best Use of Color. Scroll up to see the full piece. Center is Elizabeth Brandt’s Slipstream beside Astrid Bennet’s Fields and Fences 2.

Catherine W. Smith’s Transfusion #3, Dan Olfe’s National Gallery of Art in the center and, Lenore Crawford’s Pinecones, winner of the Heartstring Quilters Award.

Susan Lenz’s Large Stained Glass LXXXI, Heather Pregger’s Banded Iron Formation #1 and Aryanna Londir’s Red Flags.

 Diana Savona’s innovative work Structurally Unsound hanging next to Karen Schulz’s Juxtaposition 1: Crossing Lines, winner of the Juror’s Award of Merit.

 Erika Carter’s Backyard II and Andrew Steinbrecher’s Crossroads #5: This Could Be the Way.

Hope Wilmarth’s Constructions III beside my own River Daze. 
Margaret Black’s Curb Appeal V took the Carolyn Lee Thrasher Vehslage Award. Karen Brown’s Seeking a Common Ground graces the cover of the AQE 2018 catalog.


Above is Ruth Marchese’s Death and Destruction Amid a River of Blood, a lovely example of Korean bojagi.

I love the work of Marianne Williamson. This is one of my favorites, Perpetual Motion. 


And finally, just for sheer delight, I finish Part I with Betty Busby’s stunning Wing, my favorite piece in the show. I love the way it moved and fluttered as people walked by.
 Up next in Part II, I’ll bring you the work hanging in the Ethel Sargeant Clark Smith Gallery where Best in Show hangs. Stay tuned!


Art Quilt Elements 2018

March 17th, 5 – 7 pm, is the opening of Art Quilt Elements 2018, one of the best exhibits in contemporary quilt art.


This year presents a stellar group of artists that I am truly honored and thrilled to be among. It’s at the Wayne Art Center in Wayne, PA, just on the north side of Philly.


I look forward to seeing many friends and a lot of great art. I’ll be sure to take lots of pictures and post them here so stay tuned!

Quilts=Art=Quilts ’17, Part 3

And now for the award winners. I cannot even image how one would choose among this incredible collection of artwork but award jurist Marcia Young was charged with this impossible task. Here are the results…
The Shirley Hastedt Award: Red Jive and Blue Jive by Gerri Spilka…

The Catherine Hastedt Award for Hand Workmanship: Compaction & Drift by Shea Wilkinson… Sorry, I goofed and accidentally posted this one yesterday.

The Schweinfurth Award for Excellence: Tumbling by Naomi Velasquez, side angle detail below…

Juror’s Choice: Frameworks IV by Julia Graziano…

Juror’s Choice: Flying Geese- One Voice by Vicki Conley…

Juror’s Choice: Breakthrough by Elizabeth Busch…

Award for Surface Design: Griffith and Broadway by Marian Zielinski…

Third Prize: Container by Kathy Ford…

Second Prize: Infinity IV by Elena Stokes…oh, that’s me! I’m so honored!!!

So, I’ve been asked to talk about why I split the design into a diptych and its significance. What meaning was I trying to convey? Well, you all know the expression ‘What came first, the chicken or the egg’? Well, if the egg is the idea and the chicken is what grew up out of it, I’m afraid the chicken came first.
When I prepare for my next project, I cut and prep my batting, sort of like prepping a canvas for paint. I cut it to size, iron on a fusible to both sides, fuse fabric to the back, then pin it to my design wall. I had prepped a 72 inch wide piece of batting in contemplation of my next project when a challenge came up in my guild. I only participate in challenges like that if they can work into my body of work and this one did. It was a proposed exhibition in partnership with the Nurture Nature Center in Easton, Pa whose focus that year was Weather. That theme worked well with my body of work and I decided to build upon my Infinity series incorporating a feeling of Wind. The only catch was it could be no wider than 60 inches. So, I decided to cut 12 inches off my prepped batting. I figured it could be cut up into 12 inch squares for small work.
As I worked on the design, the tapering waves were very effective and beautiful but I realized the main swath of color seemed off because it came to a blunt end at the edge of the quilt. I felt like it needed to continue to a point. Then I looked at the discarded 12 inch section and thought ‘Why not? Try it. It’ll either look really stupid or really cool.’ Well, as you can see, it looks pretty cool. It’s an odd place for split but somehow it works visually and, as someone said at the QAQ reception, it looks mysterious.
Lots of layered meaning emerged as well – the sweeping horizon line signifying the unending process of transformation; the winds of change that shape our lives; seeds blowing to far-off fertile lands. I have a subtitle for it, Like Seeds to the Wind, but mostly it’s about my Infinity series.
And, that’s the story of how the chicken came first and the egg of ideas and meaning came afterwards.
First Prize: People of the Wind by Shin-hee Chin, detail of intense stitchwork below…

Best of Show: Ruins 1 by Leah Higgins…

Funny story here, above is Ruins 1 as it was displayed at the Schweinfurth opening reception. But, I saw that artist Leah Higgins’ post on Facebook announcing her Best of Show award and the picture she posted displayed it inverted, as I clumsily did below. The funny thing is, during the weekend I was in conversation with a fellow artist who said her work had been hung upside down. It seems the bottom sleeve intended for a secondary slat to weight the bottom was mistook for the top hanging sleeve. They didn’t notice the label at the bottom right to guide them as to what was top and bottom. Well, it seems that’s what must have happened here, I’m guessing. It’s a lesson for us all – be careful of those bottom sleeves, they might get your work hung upside down! Always supply instructions as to the top of quilt if you use a bottom sleeve.

By the way, I did let Leah know about the inversion of her work and she contacted the Schweinfurth Art Center.
I hope you enjoyed seeing my pictures of the show but they really don’t do justice to the work. If you can get there, go see them in person!


Also posted in Infinity series

Quilts=Art=Quilts ’17, Part 2

In my second installment on the opening weekend of Quilts=Art=Quilts I will share some pieces in the show. I apologize in advance for the quality of the images, some are a little blurry. In fact, while I tried to get pictures of most the quilts, some turned out so blurry they’re unusable.
I’ll start with a few pieces inspired by water…


Below the Surface by Marianne Williamson is a beautiful example of her fascination with light and water.

Clapotis, another lovely watery piece, by Elisabeth Nacenta de la Croix.

Refresh III by Erika Carter captures the feel of water with hand painted silk. Detail below.

Out Beyond by Wen Redmond, her work is inspired by nature as she is drawn to water and trees. And, more trees…



Winter Woods by Kathy Ford.

Black Crows Blues by Helena Scheffer.


A little more water… Water, Earth 5 by Pat Pauly.

Mirage by Diane Melms.

Mourning After by Karen Hinkle is a photograph she took the morning after a fire burned down thirteen businesses in Garrettsville, OH. Another angle is below.

The Triangle Fire: Flightless Birds 1 and 2 by Helen Geglio based on the 1911 fire at the Triangle Shirtwaist Factory in New York.

This Land Was Our Land by Patty Zafred- Kennedy.

Looking for the Pattern That Connects by Paula Kovarik. Check out the detail of the front and from the back.

The Language of Color 9: The Color of Dissonance by The Pixeladies, Deb Cashatt and Kris Sazaki.

Compaction and Drift by Shea Wilkinson.

Strange Attractor 18 by Niraja Lorenz.

Terra Mundi by Ellen Wong. Apologies to Ellen for this blurry photo, the camera in my phone isn’t very good.
As you can see, it’s a very strong show and I haven’t even gotten to the award winners yet. I’m saving that for next time…


Quilts=Art=Quilts ’17 – Part 1

This past weekend I went to the Schweinfurth Art Center in Auburn, NY for the first time for the opening reception of Quilts=Art=Quilts. It was the first time my work was accepted into this prestigious exhibit and I was eager to see it. Out of 300 entries, 75 works by 65 artists were accepted and these are some exceptionally talented artists. So, I was deeply honored.
In this post, I will share some pictures of the overall exhibit so you can get a feel of the scope and scale of the venue. It’s a lovely venue, too, large and spacious. Donna Lamb and her staff did a beautiful job hanging the show.

I hope these give you a feeling of being there, especially if you aren’t able to go to the exhibit. But, I highly recommend going if you can. The exhibit runs through January 7, 2018.
I apologize for not giving attribution to the artists, there’s just too many in this post (though if you ask me in the comments about a particular piece, I would be happy to provide info). Later this week, I will post more pictures, individual shots and some detail shots with attribution. And, for the finale, I will post the award winners! So, stay tuned…



Also posted in Infinity series

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