Oregon is a state filled with bridges ranging from the mythological Bridge of the Gods to the contemporary Tilikum Crossing. The concept of “Bridge”, though, is much broader. A bridge can be the symbolic image of chrysalis to butterfly. Bridges are a connection and a link. They are bonds and pathways—both physical and emotional—between people and things. A bridge joins and unites. It spans time and traverses space. It reconciles differences creating harmony. It represents progress, stability, hope and transition. We invite artists to submit work that reflects the theme of “Bridge” either in a representational or abstract interpretation.

Artist: Sharon Carvalho

33.5” x 32”

Techniques: Piece includes piecing, appliqué, digital designs printed on fabric, and some hand dyes.

Materials: Cotton, twill, and silk.

Artist Statement:

"Golden Bridges" is an interpretive piece inspired by a photo I once saw of the towers of the Golden Gate Bridge. Each tower is created by way of a different technique, including appliqué, digital design, and hand drawn. The piece was constructed from approximately 75 percent scraps from other projects.

Artist: Sharon Carvalho

33.5” x 32”

Techniques: Piece includes piecing, appliqué, digital designs printed on fabric, and some hand dyes.

Materials: Cotton, twill, and silk.

Artist Statement:

"Golden Bridges" is an interpretive piece inspired by a photo I once saw of the towers of the Golden Gate Bridge. Each tower is created by way of a different technique, including appliqué, digital design, and hand drawn. The piece was constructed from approximately 75 percent scraps from other projects.

Artist: Anne Daughtry

27” x 32”

Techniques: Raw edge and free motion quilting, hand sewn beads, cotton, thread painting, machine and hand embroidery. Photo progress records.

Materials: Cotton, hand dyed linen, dyed silk, commercially printed cotton, tulle. Thread painted power towers, gauze, beads, hand-made beads.

Artist Statement:

Technically, this quilt depicts a "Multi-Modal Transportation Hub" involving not only several freeway interchanges, but a light rail system, buses, trucking routes, Power Transmission Towers, and the ever present construction site of a Cable Stayed Bridge with paving machine laying in place the asphalt complete with white lines. Notice the traffic backup from a fender bender just below left center. You can almost hear the irate drivers. What would our lives be like without modern road systems. I created this image because of my familiarity with engineering and construction. I grew up in Southern California, so I know how necessary they are. I had a lot of fun making up stories about the different trucking companies, the people running for the trains, the lack of parking at the train station, and the drivers on their way somewhere. I guess it's progress.

Artist: Anne Daughtry

27” x 32”

Techniques: Raw edge and free motion quilting, hand sewn beads, cotton, thread painting, machine and hand embroidery. Photo progress records.

Materials: Cotton, hand dyed linen, dyed silk, commercially printed cotton, tulle. Thread painted power towers, gauze, beads, hand-made beads.

Artist Statement:

Technically, this quilt depicts a "Multi-Modal Transportation Hub" involving not only several freeway interchanges, but a light rail system, buses, trucking routes, Power Transmission Towers, and the ever present construction site of a Cable Stayed Bridge with paving machine laying in place the asphalt complete with white lines. Notice the traffic backup from a fender bender just below left center. You can almost hear the irate drivers. What would our lives be like without modern road systems. I created this image because of my familiarity with engineering and construction. I grew up in Southern California, so I know how necessary they are. I had a lot of fun making up stories about the different trucking companies, the people running for the trains, the lack of parking at the train station, and the drivers on their way somewhere. I guess it's progress.

Artist: Anne Daughtry

42” x 32”

Techniques: Scrunched charmeuse for the sea, silks covered by tulle. Scrunched silk sun and clouds. Scrunched tulle. Painted reflections. Beads, raw edged quilting, free motion stitching.

Materials: Hand dyed silk charmeuse, habotai silk, silk organza, tulle, faux suede, faux leather, cotton twill. Beads, Lumiere paint, Temtex. Nylon cords, cotton buttonhole thread. Angelina fibers, Misty Fuse.

Artist Statement:

Until this bridge opened in October 1973, millions of people, trucks, trains, tourists, pilgrims, and I, waited for ferries to cross this busy international strait running from the Black Sea to the Sea of Marmara and out to the Mediterranean. The Bosphorus separates Europe from Asia, as well as the city of Istanbul, which occupies both shores. I drove drove across this, the first bridge crossing the Bosphorus in 2400 years and the longest suspension bridge anywhere except in the United States. Bridges mean much to me partly because they are beautiful, and partly because my work involved Engineering and Construction Management for the past fifteen years. I worked with the engineers and construction managers who designed and built the bridges and highways. Now, my bridges are carefully dyed silk or cotton, supported by nylon cords, vaulting over textured silk seas, reflecting the sunset as dusk deepens over the ancient city.

Artist: Anne Daughtry

42” x 32”

Techniques: Scrunched charmeuse for the sea, silks covered by tulle. Scrunched silk sun and clouds. Scrunched tulle. Painted reflections. Beads, raw edged quilting, free motion stitching.

Materials: Hand dyed silk charmeuse, habotai silk, silk organza, tulle, faux suede, faux leather, cotton twill. Beads, Lumiere paint, Temtex. Nylon cords, cotton buttonhole thread. Angelina fibers, Misty Fuse.

Artist Statement:

Until this bridge opened in October 1973, millions of people, trucks, trains, tourists, pilgrims, and I, waited for ferries to cross this busy international strait running from the Black Sea to the Sea of Marmara and out to the Mediterranean. The Bosphorus separates Europe from Asia, as well as the city of Istanbul, which occupies both shores. I drove drove across this, the first bridge crossing the Bosphorus in 2400 years and the longest suspension bridge anywhere except in the United States. Bridges mean much to me partly because they are beautiful, and partly because my work involved Engineering and Construction Management for the past fifteen years. I worked with the engineers and construction managers who designed and built the bridges and highways. Now, my bridges are carefully dyed silk or cotton, supported by nylon cords, vaulting over textured silk seas, reflecting the sunset as dusk deepens over the ancient city.

Artist: Shirley MacGregor

19” x 32”

Photographer: Mark Partiani

Additional Information on Artist Page: shirley-macgregor

Artist: Shirley MacGregor

19” x 32”

Photographer: Mark Partiani

Additional Information on Artist Page: shirley-macgregor

Artist: Laura Jaszkowski

47” x 32”

Techniques: Raw edge applique

Materials: All cotton

Artist Statement:

Life is full of uncertainties, both beautiful and terrifying.

Artist: Laura Jaszkowski

47” x 32”

Techniques: Raw edge applique

Materials: All cotton

Artist Statement:

Life is full of uncertainties, both beautiful and terrifying.

Artist: Judith Quinn Garnett

52” x 32”

Photo By: Dan Kvitka

Additional Information on Artist Page: /judith-quinn-garnett

Artist: Judith Quinn Garnett

52” x 32”

Photo By: Dan Kvitka

Additional Information on Artist Page: /judith-quinn-garnett

Artist: Sherrie Moomey

37” x 32”

Techniques: Dyed whole cloth, Dye Painted, discharged, machine quilted, shrunk and embellished with acrylic paint in the shapes formed by the quilting

Materials: 100% cotton, acrylic paint, assorted cotton and rayon threads

Artist Statement:

Inspired by gardens in China, this piece is a collage of images from those gardens; some from photos and some from memory; a small foot bridge, trailing flowers and vines; a small boat used to fish in a stocked pond on a weekend morning. The scene in my mind is tranquil; almost like a watercolor but in an abstract way. This is how I prefer to remember the gardens, not the reality of the many people inside the walled gardens and crowded markets outside the gates.

Artist: Sherrie Moomey

37” x 32”

Techniques: Dyed whole cloth, Dye Painted, discharged, machine quilted, shrunk and embellished with acrylic paint in the shapes formed by the quilting

Materials: 100% cotton, acrylic paint, assorted cotton and rayon threads

Artist Statement:

Inspired by gardens in China, this piece is a collage of images from those gardens; some from photos and some from memory; a small foot bridge, trailing flowers and vines; a small boat used to fish in a stocked pond on a weekend morning. The scene in my mind is tranquil; almost like a watercolor but in an abstract way. This is how I prefer to remember the gardens, not the reality of the many people inside the walled gardens and crowded markets outside the gates.

Artist: Judith A Beaver

53.5” x 32”

Techniques: This quilt is machine pieced, machine appliquéd, machine quilted, and hand stitched to create surface embellishment.

Materials: The materials include a variety of cotton fabrics, piping, embroidery thread, and sewing threads (metallic, invisible, and colored).

Artist Statement:

"All Kapakahi" was inspired by the Golden Gate Bridge. This suspension bridge is an engineering marvel designed to move in both a vertical and horizontal position in order to accommodate high winds. This art quilt draws upon the main features of the bridge (iconic orange vertical towers as well as the cables and vertical suspenders). The gentle swaying lines of the quilt suggest the movement of the bridge and the playful color palette reflects the spirit of San Francisco. "Kapakahi" is an Hawaiian pigeon English word meaning "askew, lop-sided, or crooked".

Artist: Judith A Beaver

53.5” x 32”

Techniques: This quilt is machine pieced, machine appliquéd, machine quilted, and hand stitched to create surface embellishment.

Materials: The materials include a variety of cotton fabrics, piping, embroidery thread, and sewing threads (metallic, invisible, and colored).

Artist Statement:

"All Kapakahi" was inspired by the Golden Gate Bridge. This suspension bridge is an engineering marvel designed to move in both a vertical and horizontal position in order to accommodate high winds. This art quilt draws upon the main features of the bridge (iconic orange vertical towers as well as the cables and vertical suspenders). The gentle swaying lines of the quilt suggest the movement of the bridge and the playful color palette reflects the spirit of San Francisco. "Kapakahi" is an Hawaiian pigeon English word meaning "askew, lop-sided, or crooked".

Artist: Nancy Bryant

43” x 32”

Additional Information on Artist Page: /nancy-bryant

Artist: Nancy Bryant

43” x 32”

Additional Information on Artist Page: /nancy-bryant

Artist: Jan Tetzlaff

21” x 32”

Techniques: machine piecing, hand applique, hand quilting

Materials: commercial and hand dyed cotton and silk fabrics

Artist Statement:

My hand is the bridge linking color, texture, shape, light and dark. Stitch makes the bridge between the "unlike." Slow and contemplative, the process of hand stitching allows time for reflection on what divides and connects. With needle and thread in my hands I make my own connections and reconciliations - my personal bridge.

Artist: Jan Tetzlaff

21” x 32”

Techniques: machine piecing, hand applique, hand quilting

Materials: commercial and hand dyed cotton and silk fabrics

Artist Statement:

My hand is the bridge linking color, texture, shape, light and dark. Stitch makes the bridge between the "unlike." Slow and contemplative, the process of hand stitching allows time for reflection on what divides and connects. With needle and thread in my hands I make my own connections and reconciliations - my personal bridge.

Artist: Judith A Beaver

39” x 32”

Techniques: Machine pieced, fused, machine appliquéd and machine quilted

Materials: A variety of cottons, batting, and quilting threads in various colors.

Artist Statement:

On a recent trip to Newport, Oregon I was captivated by the beautiful Yaguina Bridge. On closer inspection of the steel deck arches, I realized that the understructure of the bridge was composed of struts forming interlocking triangles. This composition is an abstract that utilizes both the triangular and rectangular forms that were dominant in the bridge. The green/blue palette speaks to the color of the arches as well as the beautiful ocean that ebbs and flows beneath.

Artist: Judith A Beaver

39” x 32”

Techniques: Machine pieced, fused, machine appliquéd and machine quilted

Materials: A variety of cottons, batting, and quilting threads in various colors.

Artist Statement:

On a recent trip to Newport, Oregon I was captivated by the beautiful Yaguina Bridge. On closer inspection of the steel deck arches, I realized that the understructure of the bridge was composed of struts forming interlocking triangles. This composition is an abstract that utilizes both the triangular and rectangular forms that were dominant in the bridge. The green/blue palette speaks to the color of the arches as well as the beautiful ocean that ebbs and flows beneath.

Artist: Diane English

55.5” x 32”

Additional Information on Artist Page: /diane-english

Artist: Diane English

55.5” x 32”

Additional Information on Artist Page: /diane-english

Artist: Naomi Weidner

32” x 32”

Additional Information on Artist Page: naomi-weidner

Artist: Naomi Weidner

32” x 32”

Additional Information on Artist Page: naomi-weidner

Artist: Annette S McFarlane

39.5” x 32”

Additional Information on Artist Page: /annette-mcfarlane

Artist: Annette S McFarlane

39.5” x 32”

Additional Information on Artist Page: /annette-mcfarlane

Artist: Deborah Sorem

24” x 32”

Techniques: Turned and fused applique plus piecing,and hand embroidery and crochet.

Materials: Fabrics: commercial and hand dyed cottons, re-purposed velvet, silks and polyester tulle. Threads: polyester, metallic, sashiko and DMC.

Artist Statement: Music provides a transition between time, people and cultures around the world. As a young student, I was intrigued by the lines the piano wires made inside a baby grand piano. In my imagination, they looked like the wires of a bridge. Combine that with a popular cola jingle played on the radio, these memories merge to form my message or desire, to seek harmony in today's world Sharing the joy of freedom which transpired while blending blue and yellow dyes resulted in a mono- print, symbolic of the world. Diversity in the world is represented through the use of a variety of textures, from velvet to silks as well as re-purposed clothing. Hand embroidery is a reminder of the need for personal involvement.

Artist: Deborah Sorem

24” x 32”

Techniques: Turned and fused applique plus piecing,and hand embroidery and crochet.

Materials: Fabrics: commercial and hand dyed cottons, re-purposed velvet, silks and polyester tulle. Threads: polyester, metallic, sashiko and DMC.

Artist Statement: Music provides a transition between time, people and cultures around the world. As a young student, I was intrigued by the lines the piano wires made inside a baby grand piano. In my imagination, they looked like the wires of a bridge. Combine that with a popular cola jingle played on the radio, these memories merge to form my message or desire, to seek harmony in today's world Sharing the joy of freedom which transpired while blending blue and yellow dyes resulted in a mono- print, symbolic of the world. Diversity in the world is represented through the use of a variety of textures, from velvet to silks as well as re-purposed clothing. Hand embroidery is a reminder of the need for personal involvement.

Artist: Karen Sunday Spence

34” x 32”

Techniques: machine pieced and quilted

Materials: hand dyed cottons

Artist Statement:

True harmony can happen when history is acknowledged and understood, but also recognized as being only in the past.

Artist: Karen Sunday Spence

34” x 32”

Techniques: machine pieced and quilted

Materials: hand dyed cottons

Artist Statement:

True harmony can happen when history is acknowledged and understood, but also recognized as being only in the past.

Artist: Suzy Bates

55” x 32”

Additional Information on Artist Page: /suzy-bates

Artist: Suzy Bates

55” x 32”

Photographer: Hoddick Photography

Additional Information on Artist Page: /suzy-bates

Artist: Mary C. Ruzich

57” x 32”

Techniques: Scrappy-pieced with free motion quilting.

Materials: Hand-dyed fabric, thread and buttons.

Artist Statement: When disagreements or differences of opinions impact a relationship, searching for even the tiniest bridge of commonality can be a first and important step towards healing and understanding.

Artist: Mary C. Ruzich

57” x 32”

Techniques: Scrappy-pieced with free motion quilting.

Materials: Hand-dyed fabric, thread and buttons.

Artist Statement: When disagreements or differences of opinions impact a relationship, searching for even the tiniest bridge of commonality can be a first and important step towards healing and understanding.

Artist: Sheryl LeBlanc

42” x 32”

Techniques: Hand dye, masking, stamping, screenprinting, discharge, fabric transfer, applique, and hand embellishment

Materials: silk, hand dyed and commercial cotton, commercial panels, beads, sequins

Artist Statement:

The very air we breathe is a bridge to every other air breathing flora and fauna on this planet. What is released into our atmosphere effects every part of the life cycle in some way. India now surpasses China in its toxic contribution to the air. We are all connected through this dependency and must help each other with stewardship.

Artist: Sheryl LeBlanc

42” x 32”

Techniques: Hand dye, masking, stamping, screenprinting, discharge, fabric transfer, applique, and hand embellishment

Materials: silk, hand dyed and commercial cotton, commercial panels, beads, sequins

Artist Statement:

The very air we breathe is a bridge to every other air breathing flora and fauna on this planet. What is released into our atmosphere effects every part of the life cycle in some way. India now surpasses China in its toxic contribution to the air. We are all connected through this dependency and must help each other with stewardship.

Artist: Janet Hiller

56” x 32”

Additional Information on Artist Page: /janet-hiller

Artist: Janet Hiller

56” x 32”

Additional Information on Artist Page: /janet-hiller

Artist: Sherri Culver

41” x 32”

Additional Information on Artist Page: /sherri-culver

Artist: Sherri Culver

41” x 32”

Additional Information on Artist Page: /sherri-culver

Artist: Ginny McVickar

25” x 32”

Techniques: Turned edge and raw edge applique, free motion stitching with home machine, thread painting,fabric painting,double batting, trapunto.

Materials: Commercial cottons, batiks, printed organza, variegated tulle, netting,polyester, cotton, and rayon threads, cotton batting, fusible web,fabric pigment markers.

Artist Statement:

Gothic Bridge was designed by Calvert Vaux in 1864. He is best known as the co- designer, along with his partner Frederick Law Olmsted, of what would become New York's Central Park. I particularly like the lines of this bridge gracefully arching over the pathway, a unique blend of architectural form and function with the lighter lines of nature. I wanted to replicate the floral pattern in the arches with daffodils along the pathway.

Artist: Ginny McVickar

25” x 32”

Techniques: Turned edge and raw edge applique, free motion stitching with home machine, thread painting,fabric painting,double batting, trapunto.

Materials: Commercial cottons, batiks, printed organza, variegated tulle, netting,polyester, cotton, and rayon threads, cotton batting, fusible web,fabric pigment markers.

Artist Statement:

Gothic Bridge was designed by Calvert Vaux in 1864. He is best known as the co- designer, along with his partner Frederick Law Olmsted, of what would become New York's Central Park. I particularly like the lines of this bridge gracefully arching over the pathway, a unique blend of architectural form and function with the lighter lines of nature. I wanted to replicate the floral pattern in the arches with daffodils along the pathway.

Artist: Sherrie Moomey

32” x 32”

Techniques: Dye Painted, over-dyed, Machine quilted

Materials: 100%cotton broadcloth; assorted threads of cotton and rayon

Artist Statement:

I began this piece thinking of a literal bridge. As I worked through the process, I discovered a figurative bridge as well. The Literal Bridge: My city is full of bridges - foot, auto, rail and bicycle. One of the most iconic is the St. Johns Bridge, a suspension bridge with two gothic towers, soaring over the Willamette River, full of grace and wonder. It inspires me every time I see it; any season, any time of the day. The Figurative Bridge: Mark making describes different lines, patterns, and textures used to create art. As I explored recreating famous paintings, I better understood the value of the personal signature achieved by mark making. In this piece I explored mark making at multiple points of the process. I realized as I worked that the marks, particularly the thread and quilting, bridged traditional art to fiber art, expanding my repertoire of tools to create a my personal signature.

Artist: Sherrie Moomey

32” x 32”

Techniques: Dye Painted, over-dyed, Machine quilted

Materials: 100%cotton broadcloth; assorted threads of cotton and rayon

Artist Statement:

I began this piece thinking of a literal bridge. As I worked through the process, I discovered a figurative bridge as well. The Literal Bridge: My city is full of bridges - foot, auto, rail and bicycle. One of the most iconic is the St. Johns Bridge, a suspension bridge with two gothic towers, soaring over the Willamette River, full of grace and wonder. It inspires me every time I see it; any season, any time of the day. The Figurative Bridge: Mark making describes different lines, patterns, and textures used to create art. As I explored recreating famous paintings, I better understood the value of the personal signature achieved by mark making. In this piece I explored mark making at multiple points of the process. I realized as I worked that the marks, particularly the thread and quilting, bridged traditional art to fiber art, expanding my repertoire of tools to create a my personal signature.

Artist: Carolyn J Walwyn

46" x 32”

Techniques: Machine piecing, trapunto, couching, machine quilting

Materials: Commercial cottons, embellishments including holographic ribbon, custom fabric from Spoonflower.

Artist Statement:

Bridges have held a special fascination for me since I was a third-grader. We learned about the ways bridges accommodated river traffic. As structures they have always seemed a bit mysterious – how do they hold all that weight without falling down? The Tilikum Crossing cable-stayed bridge creates a geographical connection between areas of Portland. "Tilikum" meaning people allows for a greater connection as no vehicles are allowed. Cycling the bridge, the visual textures, sounds and smells are enhanced. The theme Bridge speaks to me in a life stage concept. As I continue to bridge the transition from my career to retirement, my creative expression expands as well as my love of cycling. Much of my cycling involves bridges –from the Oregon covered bridges to the boro bridges of New York. Now I admire how their strong, graceful simplicity links communities, offers safe passage, ties our past and future, and perhaps as importantly, offers us a safe path into whatever lies ahead.

Artist: Carolyn J Walwyn

46" x 32”

Techniques: Machine piecing, trapunto, couching, machine quilting

Materials: Commercial cottons, embellishments including holographic ribbon, custom fabric from Spoonflower.

Artist Statement:

Bridges have held a special fascination for me since I was a third-grader. We learned about the ways bridges accommodated river traffic. As structures they have always seemed a bit mysterious – how do they hold all that weight without falling down? The Tilikum Crossing cable-stayed bridge creates a geographical connection between areas of Portland. "Tilikum" meaning people allows for a greater connection as no vehicles are allowed. Cycling the bridge, the visual textures, sounds and smells are enhanced. The theme Bridge speaks to me in a life stage concept. As I continue to bridge the transition from my career to retirement, my creative expression expands as well as my love of cycling. Much of my cycling involves bridges –from the Oregon covered bridges to the boro bridges of New York. Now I admire how their strong, graceful simplicity links communities, offers safe passage, ties our past and future, and perhaps as importantly, offers us a safe path into whatever lies ahead.

Artist: Judy Peterson

21.5” x 32”

Techniques: Thread sketching, soft edge applique, couching, domestic machine free motion quilting.

Materials: Cotton and silk essence fabrics, dmc pearl cotton, invisible, Isacord, and metallic threads with cotton batting.

Artist Statement:

Music bridges all. No matter what language spoken, disability , nations one if from everyone just gets music. This violin, as all, beats and melody are helping to bring everyone together.

Artist: Judy Peterson

21.5” x 32”

Techniques: Thread sketching, soft edge applique, couching, domestic machine free motion quilting.

Materials: Cotton and silk essence fabrics, dmc pearl cotton, invisible, Isacord, and metallic threads with cotton batting.

Artist Statement:

Music bridges all. No matter what language spoken, disability , nations one if from everyone just gets music. This violin, as all, beats and melody are helping to bring everyone together.

Artist: Judy Peterson

58.5” x 32”

Techniques: Mock trupunto, soft edge applique, thread painting, couching,

Materials: rusted fabric, commercial fabrics, tulle, Isacord thread, Invisible thread, raffia, digital printed fabrics,

Artist Statement:

Life is an adventure with abundant roads connected with many bridges . . some are beautiful, some are filled with hidden hazards, some bring joy, some bring sorrow. It is wise to consider the bridges in life's journey and choose wisely.

Artist: Judy Peterson

58.5” x 32”

Techniques: Mock trupunto, soft edge applique, thread painting, couching,

Materials: rusted fabric, commercial fabrics, tulle, Isacord thread, Invisible thread, raffia, digital printed fabrics,

Artist Statement:

Life is an adventure with abundant roads connected with many bridges . . some are beautiful, some are filled with hidden hazards, some bring joy, some bring sorrow. It is wise to consider the bridges in life's journey and choose wisely.

Artist: Karen L Bates

19” x 32”

Techniques: This quilt was machine pieced, hand appliqued and machine and hand quilted.

Materials: Hand dyed cotton, hand pounded and hand painted Mulberry bark, hand dyed cotton thread, felt

Artist Statement:

"The whole world is a very narrow bridge and the essential thing is not to let the fear overwhelm us." Rabbi Nachman of Bratslav (1772 – 1810) I have incorporated the above quotation because I feel that the fear and anxiety in our country is potent. The fact that Rabbi Nachman expressed these words more than 200 years ago gives me hope that we can overcome some of our fears. By combining my own hand dyed fabric with mulberry bark cloth that has been hand pounded and hand painted in another country, I strive to symbolize the coming together of peoples in the hopes that cultures can share and honor each other.

Artist: Karen L Bates

19” x 32”

Techniques: This quilt was machine pieced, hand appliqued and machine and hand quilted.

Materials: Hand dyed cotton, hand pounded and hand painted Mulberry bark, hand dyed cotton thread, felt

Artist Statement:

"The whole world is a very narrow bridge and the essential thing is not to let the fear overwhelm us." Rabbi Nachman of Bratslav (1772 – 1810) I have incorporated the above quotation because I feel that the fear and anxiety in our country is potent. The fact that Rabbi Nachman expressed these words more than 200 years ago gives me hope that we can overcome some of our fears. By combining my own hand dyed fabric with mulberry bark cloth that has been hand pounded and hand painted in another country, I strive to symbolize the coming together of peoples in the hopes that cultures can share and honor each other.

Artist: Deborah Runnels

40” x 32”

Techniques: Drawn and painted then top stitched using commercial thread.

Materials: Linen whole cloth with a border of commercial cotton. Drawn and painted with acrylic and acrylic inks.

Artist Statement:

While visiting my neighbor Anna, I noticed a photo she'd taken in Peru. A most awe inspiring picture I'd ever seen. I asked about the circumstances of the photo. She said this was taken of Kevin Santillo who was learning to be a shaman. Coincidentally, he was performing the 'Bridge' ceremony with the Quechua natives. Coca is the bridge to the spirit world. When you speak to the leaf it forms the connection to God for blessings. (In the quilt he is holding a coca leaf next to his lips).

Artist: Deborah Runnels

40” x 32”

Techniques: Drawn and painted then top stitched using commercial thread.

Materials: Linen whole cloth with a border of commercial cotton. Drawn and painted with acrylic and acrylic inks.

Artist Statement:

While visiting my neighbor Anna, I noticed a photo she'd taken in Peru. A most awe inspiring picture I'd ever seen. I asked about the circumstances of the photo. She said this was taken of Kevin Santillo who was learning to be a shaman. Coincidentally, he was performing the 'Bridge' ceremony with the Quechua natives. Coca is the bridge to the spirit world. When you speak to the leaf it forms the connection to God for blessings. (In the quilt he is holding a coca leaf next to his lips).

Artist: Mary H Goodson

17” x 32”

Techniques: Silk fabric was dyed, painted, pieced and quilted. Sheer organza was appliqued to the top and quilted.

Materials: Silk dupioni, silk organza, procion dyes, fabric paints, silk, rayon and polyester thread.

Artist Statement:

The Kootenai Swinging Bridge was built to cross over the Kootenai River so firefighters could access forest fires and save the beautiful valley. For me crossing the bridge, that seemed to go on forever, was a way to fight my fear of heights...then I had to cross back over it again!

Artist: Mary H Goodson

17” x 32”

Techniques: Silk fabric was dyed, painted, pieced and quilted. Sheer organza was appliqued to the top and quilted.

Materials: Silk dupioni, silk organza, procion dyes, fabric paints, silk, rayon and polyester thread.

Artist Statement:

The Kootenai Swinging Bridge was built to cross over the Kootenai River so firefighters could access forest fires and save the beautiful valley. For me crossing the bridge, that seemed to go on forever, was a way to fight my fear of heights...then I had to cross back over it again!