I am really pleased that the quilt I have been working on for quite some time now is finally finished. Yesterday I stitched on the hanging sleeves and put on the label. It is now ready to submit to the exhibition I have made it for (more on that later).

There was a slight false finish though, which delayed me just a little longer! As I was pinning the quilt to the design wall ready to photohraph,  despite my very best efforts to get the whole quilt square, it quickly became obvious that the right hand side of the quilt was 1/2 inch shorter than the left hand side. How this happened I just don't know. I must have measured it over 20 times, then blocked it before the final trim and facing. I guess it just goes to show that fabric continually moves and stretches.
So, I unpicked the facing, gave it another trim, reattached the facing, had a gin and tonic, and then resumed with the photography.

Here are a few close-up shots to show you some of the detail....

Whilst making the quilt I also worked on a number of different samples as I tried out different ideas. Two of these samples were good enough to have been made into small quilts in their own right to accompany this one.  I have decided to mount these onto stretcher bars and place in white floater frames, as you can see below. I will be interested to hear what people think about this finishing treatment as it is not something I normally do with my work.

As I mentioned, I made this work to hang in the upcoming exhibition 'Unfolding Stories 3' which will showcase work by members of the Group Contemporary Quilters West. The exhibition promises to be fabulous and I hope my work will be selected to hang.

The exhibition will premiere at Harbour House Centre for Arts and Yoga in Kingsbridge, Devon. TQ7 1JD from April 27th to May 3rd. I aim be at the exhibition every day and it would be wonderful to see you there if you are down that way. Click on the image below to go to the CQ West website.

​Thanks for reading.

One week on and this is the progress I have made. It took a lot of thinking about how I want the finished quilts to look. The last group of faces I made were mostly colourless, or very lightly coloured. For these quilts I decided I want to add a new dimension, and colour is going to be my focus.
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Over this past week  I have spent a lot of time trying different colour palettes; from realistic to complete fantasy. The image above is what I have decided to go for. It is interesting that in this photo they left eye does not work well, yet when I look at the quilt top it seems fine. I need to find out what is going on, and if necessary make some changes.  

I have never really painted a large face with colour before, and I knew I would need to mix a lot of different tints and values so I could give contour and definition to the face . As you can see, the style I have chosen is not exactly 'realistic'.
​This is what I did.

Like your art teacher probably used to tell you - start with primary colours. 

The paints I used are Daler Rowney Graduate acrylic paints mixed with a little Berol fabric medium. Nothing fancy, but not the budget type of acrylic either. I started with Primary red, blue and yellow. I also used mixing white a bit later. (I didn't use the brown that is in the photo at all.) 

I used these 3 colours to create a base colour from which I made all the other tints. 
I began by mixing equal quantities of each colour, but ended up with a sludgy grey yuk. After some trial and error I ended up using 2 parts yellow, 1 part red and 2/3 part blue to yield a dark brownish yuk. I made a small jar of this to use as my base. 

This is the yuk that turned out to be perfect when mixed with various amounts of white. 

​​I made a (not terribly accurate) record of my mixing in my sketchbook, as you can see below.

Using just the dark yuk to start, by adding small amounts of white, red, yellow or blue as I worked I was able to paint each part of the face with different values and tints. I also took a photograph of my own face to use as a value reference which proved to be very helpful.

This is how my paint palette looked at the end of the day.

I had intended taking lots of photos as I worked, but unfortunately I got so engrossed with it all that this is the only photo I took before it was finished. You can see form this image I started by adding the lightest values around the eyes first.

​And this is how both faces look now.  

And now the project continues - next stage - how shall I quilt them?????

Thanks for reading. 
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I recently spent another fabulous day with the members of Walton Textiles, this time making beautiful rose gardens. We had a lot of laughs and everyone was tremendously productive, in fact by the end of the day everyone had pretty much finished their curved-pieced quilt top and covered it with sprays of flowers.  

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The nice thing about this workshop is that the pieced quilt top builds quickly. Once you get the hang of the technique of cutting and piecing the gentle curves (not difficult, just different!)  you are off. In just an hour or so everyone had their quilt top done. 

By lunch time everyone had a fabulous quilt top to work on.
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After lunch we began adding the flowers. There are so many different options..... We discussed size, shape, colour and layout before everyone got back to work.
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Amanda began quilting her fabulous quilt top towards the end of the afternoon.

I hope you agree, they are all fantastic. I know that at least one is destined to become a cushion, one a wall hanging, one a table runner and another is going to have a twisted log cabin border added. Ladies, I am looking forward to seeing them once they are finished!

To find out more about the 'Garden of Roses' workshop and download the accompanying brochure, please clickhere. 

Thanks for reading.

A few weeks ago a blog post from the members of 'Through Our Hands' dropped into my mailbox. In it they invited anyone and everyone worldwide to join them in creating a small piece of art (A5 in size) to be exhibited at the Festival of Quilts (UK) this summer. Not only is it a great opportunity to have your art hanging in this really exciting exhibition, but if you join in you will be helping them to raise money for the charity 'Save The Children' too.  After the exhibition all the portraits will be 'shuffled' and you will receive someone else's portraits to keep.   It really is win - win!
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There is still plenty of time to enter, (your entry needs to be completed and with them by 31st July) so why not find out more about the Portrait Shuffle and see if you would like to join the fun too?  Click here or on the leaflet below to go to the Through Our Hands website for full details.

After paying my entry fee, which covers a minimum donation of £5 to Save the Children, I received my entry pack through the post. In it was a small A5 canvas to work on and a discount voucher for Festival of Quilts tickets. That was a nice surprise!

All I had to do was think of whose portrait I wanted to put onto the canvas and which medium to use. The portrait can be worked in any media you like - photography, drawing, paint, collage, print, textiles........ whatever floats your boat. I chose to make a small quilted piece of fabric to mount onto the canvas. Over the past year or so I have used a lot of portrait style images in my work, so I thought about taking one of these images and creating something similar. 

But then I thought why not make something new? I have a nice photograph of my nephew that I took a few weeks ago and decided to use that to get me started. Here he is! (Well, half of him.) 

Using GIMP software I twiddled about with the filters,  levels and threshold settings and arrived at the image on the right which I was able to draw onto a piece of fabric with Derwent Inktense Pensils. 

I added the rainbow as the last time I saw him we were looking at rainbows together. All that was left to do then was to quilt it. I thought I'd leave the long tail threads on instead of cutting them off, and stretched them over the edge of the little canvas along with the fabric before stapling it all down.

I'm popping it in the post tomorrow and looking forward to seeing it alongside all the others at Festival of Quilts. 
Why not have a go yourself - it was lots of fun to make - and for a very good cause too; savethechildren.org.uk

Find out more info from the organisers, the Through Our Hands team by clicking here.

​Thanks for reading.

I have a favourite pair of shorts. They are old and not particularly special, and certainly not very pretty.... but I like them. They are 'comfortable'. They have been to lots of places and I've had lots of fun whilst wearing them. My most memorable occasion was when I was visiting my friends in Puerto Rico about 8 or so years ago (and they weren't new then). I was walking their lovely Basset hound on a lead and, very unlike me, I decided to jog for a bit. I was a few kilos lighter then, and as I ran the shorts began to slip. Downwards. Then some ducklings crossed our path and Ludovic decided to run a bit faster than me. He wasn't a dog that was typically inclined to move any faster than absolutely necessary, but the next thing I knew Ludo was trying to get away and my shorts were around my ankles. My friends nearly died laughing. It wasn't pretty. 

There is no way that would happen these days (they fit well now!) but those shorts have begun to show serious signs of wear. When I hung them out to dry on the washing line this week a major problem became apparent....
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Not wanting to part with them just yet I decided to do a proper repair job and chose a traditional mending technique; shasiko.  I have only ever played with sashiko stitching on a decorative level before, but this was my chance to have a proper 'go' at it.
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This is how they look now and I love them even more! 

Next time you have something that needs mending why not see if a traditional technique could help you? 

Thanks for reading!

I am still working on my sulfur quilt and as I have been working in creating the fabrics I have been thinking about the life the carusi must have endured. Sold to the mine owners or workers for an agreed number of years, what must they have thought of their lives as they hauled heavy loads of sulfurous rock from deep underground up to the surface? They often lived, ate and slept somewhere in the mine, having no proper home to return to.  For many boys their only escape from this dreadful life was to be rescued  by being called up for military service. 

​The artist Onofrio Tomaselli created this painting in 1905 after staying for some time with Baron La Lumia, a wealthy sulfur mine owner, and witnessing at first hand the fate of the carusi.  The painting was exhibited in 1906 in Milan at the World's Fair and was a tribute to 19 carusi who lost their lives in one of many terrible accidents at La Lumia's sulfur mine in Gessolungo, which occurred in 1881. I guess it shows that there were, at least, some people with a conscience at the time.
(Source: Davide Mauro (Own work) [CC BY-SA 4.0 (http://creativecommons.org/licenses/by-sa/4.0)], via Wikimedia Commons)

For the fabrics, I dyed lots of yellows as you would probably expect. Starting with lemon and golden yellow fiber reactive dye I added very small amounts of orange, rust, bronze and chartreuse to create interesting mottled backgrounds. Onto that I monoprinted shapes, words and other marks that help tell the story of the carusi.

The fabrics have turned out to be very interesting - I added very dense print marks, which may mean the quilt will end up with very 'busy' look, so I will have to be very careful when positioning the different pieces.
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Planning ahead, I decided to check out how the straight quilting lines would look over the young boy's face, so I made a small trial piece. Although it may seem like an extra step, I prefer to try out important design features to ensure I am happy with the effect before moving on with a design. I have used this simple but effective straight line quilting pattern on the other quilts in this series, so I was keen to continue using it, but not if it comporomised the overall look of the quilt. Happily, I think it works well.
As I have no plan for this small sample I have entered it into that SAQA 2017 trunk show. I hope it arrives in time!

I am now in the process of positioning the fabrics on the design wall to create the quilt top. I usually take a quick photo of several different variations and then look at them to see what works and what needs to be changed. Somtimes a layout just falls into place, but when it doesn't I find this really helpful.

I'll let you know how it develops in my next post. Until then, thanks for reading.
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If you went to Festival of Quilts, I hope you had a lovely time. As usual there was lots of excellent work to see, old and new friends to meet, and a hint of controversy too. 
My mum and I spent a great weekend together and came away with lots of ideas and a little bit of shopping too. One of our favourite galleries was that belonging to Russian artist Lyubov Lezhanina. (Click on her name for a link to her Facebook page). It was tucked away right in the back corner, so if you didn't get down there, here are some photographs of her wonderful work.

And now back to work....
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On October 2nd I have a new 'Further Techniques' workshop coming up at Midsomer Quilting where we will be taking a more considered approach to some of the ideas used in the original 'Techniques 1' workshop. The aim of the new workshop is to add surface design to large pieces of fabric in order to  create a co-ordinated collection that can be used to create a unique art quilt.  
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Not only is is an interesting little creature to look at, it is also a very simple shape with some interesting marks which will transfer nicely as a lino block. 

To start the block I made a very simple drawing of the shapes I wanted to carve. You can see that there is no detail here - just the outlines of some vaguely moth shaped creatures and some lines giving the idea of movement. (Please ignore the faint beetle and ant shapes in pencil - this is a recylced piece of paper and they have nothing to do with the moths)

This is what I intend to carve into the piece of 'lino' (I like to use a soft plastic type material as a substitute for lino as it is much easier to cut into and doesn't crumble like lino can if it gets cold or dries out). The moth shapes will remain whole on the block and the lino material all around them will be carved away.

Using a very soft pencil I traced the outlines then transferred them onto the lino block, ready to carve.
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You can see the smudgy pencil outlines of the moth shapes and also see where I have started to carve into the block, taking out the green plastic material with the cutting blade. However, it is already starting to get a little confusing as to what should be carved away and what should remain, so I took a black marker pen and coloured in all the areas I want to stay. That way I hope I wont make any mistakes and carve out a section that should stay. Once it is gone, it is gone and there isn't a lot that can be done!
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I hope this photo makes it all clearer. The black sections will be left alone for the time being, and all the green areas need to be carved away with the cutting tool. All those little grooves that remain in the carved away section produce beautiful graphic marks on your prints, so don't try and make it all super smooth.

SAFETY FIRST: If you try this then you MUST only ever carve away from yourself. That blade is super sharp and not only does it really hurt when you slip and stick it into yourself, it goes in deeply too and there will be a lot of blood and maybe tears. You need quite a lot of pressure to carve into the lino so accidents, which do happen, are not nice. 

Make sure the hand which is holding the lino block is never in front of the hand holding the carving tool. Although this sounds obvious, it is easy to forget and let that free hand hold the block in such a way as to almost guarantee you will get cut. Turn the lino block often to make sure you are always cutting away from yourself and your free hand. 
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It took about half an hour to carefully carve away all the green material around the black shapes, and the block was ready to have its first trial to see what else was needed to add interest. Using a roller and some printing ink I inked up the block and made a trial print onto a piece of scrap paper. Unfortunately I forgot to take a photo of this very first print, but once I could see how it looked I wiped the block clean with a tissue and carved a little more removing areas where I wanted more definition and where I wanted more detail. This is the print I made next.

You can see it is not a good print, but the purpose of this one was simply to see how the extra detail I added looked. The moth on the right was looking more like a wasp with the marks I carved into the wing sections - so I knew I needed to cut some more into that area to sort out that problem. But I do like the small straight lines I made in the body of the moth on the left.

After that I made a further trial print. The photo below shows this and the ink and roller I used to ink up the lino block. Again, it is a terrible print, but it showed me enough detail of the marks I had cut into the lino. I still don't like the waspy looking one though. Those lines on the wings are all wrong. I'll have to work on that some more.
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Here is the finished block - still a bit wet after washing off the ink under the tap.

And here are two of the early prints in my sketchbook. I have added a little colour to the one on the left with Markal oilstick. I had intended working onto it with watercolour paint and pencils - but I have discovered that the new ink I have purchased is not permanent once dry and so is pretty useless for my purposes! Aagh!! The moment any water touches the print the black ink smears all over the place and not only ruins the print, but turns everything black. So choose your ink carefully, or use acrylic paint which also works well, and is permanent once dry.

I will work on this block some more, make some better prints and then print up some nice fabric to share in a few weeks time. If you decide to have a try at lino cutting, and it is great fun, please do take care. Put your work onto a non-slip mat or a whole newspaper (to protect your table in case of slips) and remember to keep your free hand behind the cutting tool!

Thanks for reading. 
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I met a lovely group of very accomplished traditional quilters this week. We spent a great morning together eating cake, swapping stories and sharing our work. It was a pleasure to see such beautifully made quilts. It always makes me smile, but the world over, quilters always seem to ask the same questions...

'How long did it take to make?'; 'Where do you get you ideas?' and 'How do you turn the ideas into quilts' being the top three that seem to get asked most often.  

​A quick Google search  brings up lots of videos, online courses, tutorials, books, and tips for those who would like to make the transition to designing and making their own work. If you want to get technical you can get into the detail of good design and like many other quilters I have written a book about it. One of the main things to do is to stop wondering about it and take the plunge. Try something small and don't worry if it doesn't work out. But that still doesn't answer the question, does it? 

So, here is one quick and easy technique to at least get started, and once you have started it will all seem a lot easier!

Find something that you like. It might be a picture, a cushion,  your auntie's old tea towel,  or maybe a quilt that has particularly caught your eye. It can be anything. You aren't going to make a copy of it - so no need to fret about copyright. (However it might be polite to ask the permission of the original maker if you think it appropriate.) This is going to be your inspiration and you are going to look at it carefully and ask......... 'what if ?'

​To demonstrate what I mean, here are several quilts made using the quilt 'City of Roses' (a quilt I made several years ago) as the starting point and the 'What if ?' questions that I asked.
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What if................ I changed the colours?
This is a pretty straightforward and not terribly original, but it is a good place to start this explanation.
(note: if you are only changing the colours of a quilt then you really do need to ask the permission of the original maker, as it is a copy). So, instead of green and pink I chose blue & purple and peach & pink. Already it is starting to look different. (I will be teaching this quilt and many options for altering it at Midsomer Quilting on 3rd July)

What if.............................. I modified the shape of the flower motifs?
In my sketchbook I tried several different ideas for the rose shapes. There are lots of different variations that could be made. ​I stuck with roses, but I could have easily changed the type of flower to something like a daisy for a really different look.

​I decided to change the way I cut the spiral. Instead of a simple straight edged spiral I made the edge bumpy.

What if ....... I changed the way I put the flowers onto the quilt top?
Instead of using raw edge applique I thought about how else could I put flowers onto the fabric. I made a lino cut stamp and also experimented with Derwent Inktense pencils and mono printing

​What if............. I add some leaves?
Just a few little green leaves add enough contrast to help define the rose shapes on the busy background. They act as visual cues to say 'we are flowers' and stop the rose spirals from appearing as a big scramble.
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What if....................... I changed the background?
As you can see from the quilt below I made quite a few changes to the background. You can read more detail about how I made this quilt in an earlier blog post by clicking here, but basically I cut the quilt into 3 and inserted panels of white fabric in between. On the white fabric I wrote a message with dye to tell the story I wanted to convey.
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At a glance this quilt looks quite different from the original, but if you look more closely you will see it shares many similarities with 'City of Roses'. There are changes to the size, colour, overall shape of the quilt, as well as a slight change to the flower motifs and the method of adding the flowers. All this has contributed to making this a new and unique design.
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What if...................... I simplify the quilt?
Instead of having 3 central panels - how about making it smaller and just having just one? Alternatively how about making it larger and having 5?

What if ................. I change the colour of the text?
Rather than have black and grey, what would it look like if I had black and rose coloured text?

The answer turned out to be YUK!! Oh well, sometimes these things happen and when they do you get to try another 'what if ?' to solve the problem.....

What if ................. I change the colour of the white outer fabric?
To quieten down that bright pink writing that was now shouting out I tried painting some weak blue and green dyes onto the fabric. It calmed it down a lot and I like the new look.


What if .................. I change the position of the band of appliqued roses?
To be honest, this happened by accident, but is nevertheless another good example of a 'what if !' When I fused  on the flowers I did not notice I had the quilt upside down, but rather than pull them all off I stood back and looked at the quilt to see whether I liked it or not. I liked the new position - so they stayed and were stitched down.
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Do you notice that the central panel isn't completely square in this one? That would be another good avenue to explore -perhaps trying a parallellogram or trapezium shape instead of the square.


What if............... I added a big extra border?
The blue outer border made me wonder whether another border might look good - giving a much more traditional look to the quilt. 
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Looking at it now I am thinking what if I extend the flowers across the blue border? I might lay a few on to see how it looks.

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What if.............. I took the text away and replaced it with some quilting lines instead?
For this one I free motion quilted thorny rose stems and leaves and then added a little colour with Derwent Inktense pencils. It has given a light and delicate  look which I like very much.


What if................ I change the quilting pattern?
Instead of the straight line quilting I used a micro stipple to fill the gaps between the leaves. I think this one might be my favourite!

That pretty much explains how I approach the whole 'What if' idea, and it has yielded some interesting results. 

Thanks for reading.

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I started this quilt back in October 2015, and it is my piece for the French biennial exhibition 'Quilt Expo en Beaujolais 2016'. The theme of the challenge was 'La Liberté'. From the moment I read those words I knew immediately what I wanted to create. Several years ago I made a quilt with the same title - albeit in a different language. That quilt is called 'Freedom' and was my way of telling the story of the end of Apartheid when Nelson Mandela made his now famous 'Long Walk to Freedom'. It is a quilt that tells the end of a dreadful story, but is a celebration of the triumph against the odds. That made it an emotionally easy quilt to create.

 
​This new interpretation of the same theme, 'La Liberté' comes from a very different point of view and has forced me to consider many things as I made it. 

At the time, October 2015, the UK TV news was becoming more and more filled with stories of refugees and the repercussions of the disturbing events which had been unfolding in Syria since April 2011. The problem for Europe was that now these issues were spilling over borders and into 'our' lives. If you remember, daily we saw the very disturbing pictures of tens of thousands of people arriving into Europe by all means possible: by boat, truck, rail and even literally walking across fields. It was such a terrible thing to watch and I could not even begin to imagine what it must be like to have to leave everything you own, everything have worked for, and just walk to who knows where - just to be safe. 

A lot of things happened as I made the quilt - some of which made me doubt whether I would, or even should finish it. I wondered if I was trivialising the whole terrible situation with the piece. I felt guilt that I was sat in my comfortable studio whilst someone's dead child was washed up on a beach. I felt angry that in our times ordinary people, just like you and I, are being forced to abandon their everyday lives because of the terrible actions of governments - either appointed by the proletariat or by themselves. It seems that as the human race we are determined to ensure we self destruct. 

   And then the events in Paris happened and I stopped work on it completely. 

After several days I looked at the quilt again. I thought long and hard about why I had chosen this subject for this quilt and decided that, despite those terrible events, the lives of the people whose story I was trying to tell  had not changed. For so many reasons, those people were still searching for freedom.  Their reasons for abandoning all that they had were still the same. They were leaving wherever it was they had come from because they could take no more. Whatever your personal views, and I know this is a very emotive subject, I think nobody can deny that this is a human tragedy of monumental  proportion. 

After much thought and consideration I decided to continue with the piece. When it was finished I contacted Monique Bonnet,  the French organiser and explained my position and my reticence over submitting the piece. I explained that I did not wish to make the events in Paris seem any less important than the story of those the quilt portrays. Monique was very understanding and told me to submit it. 

Much has happened in this story since then. Very little of it good. 

One of the things that this quilt forced me to consider is why I make the work I do and how other people react to it. I have made several quilts now that have been very well received, but each is about something seriously negative. I do not consider myself a negative or depressive person (quite the contrary) - but you might think so from the quilts I am currently creating.  I have come to discover that currently I make my best work about things that upset me personally. I wonder if that is healthy? I have decided it is. Probably like most people, I detest injustice and suffering, and I feel pretty powerless to do much about it. ​We see much on the TV news, although there is a lot of bias in what we get shown. Photographers capture hundreds of images which 'tell a thousand words'.  Journalists write daily,  and in literature authors write books. In all these media there is time for the authors to develop the narrative. The story they are telling can unravel slowly and challenge the reader to contemplate different issues. As a quilt artist, with a single still image,  the story has to be told in one shot. That is my challenge. By making work about those things which concern me gives me the opportunity to vent my distress.  I try not to add my personal views to the work , (I do not believe in imposing my beliefs on others) but rather I try to portray things the way they are, confronting the silence and allowing others to reflect on the piece. My aim is for the piece to give rise to discussion and debate. When things are not openly debated and discussed it allows those things to carry on, usually for the worse. There is a famous quote, which it turns out is very difficult to attribute (see here) which sums up this whole problem.
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"For evil men to accomplish their purpose it is only necessary that good men should do nothing."

It has taken me a long time to figure out my position - maybe I am a bit slow on the uptake.

I would like to express my thanks go to Margaret and John Pratt for sending my the good news that my quilt won a ribbon, and to Uta Lenk for sending my the photograph of the quilt hanging in the gallery. It was a lovely surprise.

Thanks for reading.

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You may recall that back in January I spent some time messing about with some walnuts I found in the park, which I turned into some lovely walnut ink. If you want to read that post you can find that post by clicking here.

As I was testing out the ink I drew a face in my sketchbook - it was just a quick drawing - more of a 'let's see what this ink looks like' sort of thing. This is it. 
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A few weeks later I began work on a quilt for an exhibition that is scheduled to debut at the International Quilt Festival in Houston later this  year, entitled 'Turmoil'.
The concept of the exhibition captured my imagination, as Turmoil will be hung in the exterior space created by paneled walls, with Tranquility, (a parallel exhibit) in the interior space. This environment will mirror the chaos depicted in the artworks.

The moment I read the exhibition brief I knew that I wanted to tell the story of those who suffer great turmoil in their lives as a result of witnessing very traumatic things; those who suffer from Post Traumatic Stress. The disorder is suffered by millions, if not billions of people worldwide. It consumes the brain of those who have been profoundly affected by witnessing or experiencing great trauma. For them, what follows are turmoil, pain and torment. Whether asleep or awake, demons from the past are ever present, echoing on and on, tumbling around in the mind’s eye and hindering the sufferer from freely going about their daily life. 

I decided to use the solemn looking walnut ink drawing as the starting point. I scanned the image and began playing about with it on my computer. I don't use Photoshop - but instead the free version known as GIMP. As I played about with layers, rotation and colour I was able to create the image below.
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This is the image I used as I planned my quilt. To recreate the layers I made a stencil from freezer paper and repeatedly screen printed it onto a piece of white cotton poplin. 
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Gradually I covered the whole cloth and this was the result.
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From here I continued the idea of adding layers of dye and paint, creating something that  to me looks very unsettling. 

By adding further layers of voile and stitch the quilt became more visually disturbing. My neighbours do not like it one bit!

I decided to name the quilt 'Echoes of Demons' - those images that keep returning to those who experience and suffer with PTSD.  The overlapping tormented faces emphasize that suffering is unceasing; often dark and raging, at other times quieter, but ever present. They are the demons that need to be dealt with before recovery is made.

Today I discovered that 'Echoes of Demons' has been selected to hang in the exhibition. I am so very pleased. Not just because my quilt was selected, but more importantly because it continues to build awareness of those who experience the debilitating and terrible effects of Post Traumatic Stress Disorder.

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​Thank you for reading.
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