Standing at the edge of the precipice, a precarious position, teetering between defeat or victory we feel both anxious and exhilarated. We must move forward, there is no turning back or staying on the edge. In Oregon, we live on the edge of a volcanic zone, an earthquake fault line, a tsunami zone, on the edge of the continent. Whether staring down from the top of a mountain or standing on a beach, we watch as the sun dips below the same horizon. We are all on the edge -- be it physically, geographically emotionally, philosophically, in personality, or in style. SAQA Oregon artists were invited to interpret either in a representational or abstract way a response to On the Edge.

Artist: Susan K. Allen

40” X 36”

Techniques: Piecing, free motion quilting

Materials: Artist ice-dyed cotton and linen fabric, commercial batik fabric, rice paper, cotton batting

Artist Statement:

Consider the vastness of the galaxy we in which we live! What lies beyond boundless space????….

I am awed by the order and chaos found in nature. There is unlimited beauty in the diversity of size, shape, color and energy. The life particles in space, for me, reflect the diversity found in life on this planet, Earth and it's people.

Inspired by the "comets" resulting from my ice-dyeing process, the image of what happens at the edge of the galaxy came into focus. The fabric spoke to me demanding to swirl into creation of new life expressions.

Photo By: Hoddick Photography

Artist: Susan K. Allen

40” X 36”

Techniques: Piecing, free motion quilting

Materials: Artist ice-dyed cotton and linen fabric, commercial batik fabric, rice paper, cotton batting

Artist Statement:

Consider the vastness of the galaxy we in which we live! What lies beyond boundless space????….

I am awed by the order and chaos found in nature. There is unlimited beauty in the diversity of size, shape, color and energy. The life particles in space, for me, reflect the diversity found in life on this planet, Earth and it's people.

Inspired by the "comets" resulting from my ice-dyeing process, the image of what happens at the edge of the galaxy came into focus. The fabric spoke to me demanding to swirl into creation of new life expressions.

Photo By: Hoddick Photography

Artist: Susan K. Allen

40” X 36”

Techniques: Piecing, free motion quilting

Materials: Artist ice-dyed cotton and linen fabric, commercial batik fabric, rice paper, cotton batting

Artist Statement:

Consider the vastness of the galaxy we in which we live! What lies beyond boundless space????….

I am awed by the order and chaos found in nature. There is unlimited beauty in the diversity of size, shape, color and energy. The life particles in space, for me, reflect the diversity found in life on this planet, Earth and it's people.

Inspired by the "comets" resulting from my ice-dyeing process, the image of what happens at the edge of the galaxy came into focus. The fabric spoke to me demanding to swirl into creation of new life expressions.

Photo By: Hoddick Photography

Artist: Judith Beaver

47.5” x 33.5”

Techniques: hand dying, piecing, fusing, machine appliqué, hand stitching, and machine quilting.

Materials: hand-dyed and imported cotton, metallic thread and a variety of embroidery threads

Artist Statement:

Life is full of challenges. Sometimes the path we have been traveling comes to an abrupt end. What happens when you are standing at your own personal "edge"? The "X" warns the viewer to stop and take notice. What lies ahead? Are there other paths? Will s/he meet the challenge?

Artist: Judith Beaver

47.5” x 33.5”

Techniques: hand dying, piecing, fusing, machine appliqué, hand stitching, and machine quilting.

Materials: hand-dyed and imported cotton, metallic thread and a variety of embroidery threads

Artist Statement:

Life is full of challenges. Sometimes the path we have been traveling comes to an abrupt end. What happens when you are standing at your own personal "edge"? The "X" warns the viewer to stop and take notice. What lies ahead? Are there other paths? Will s/he meet the challenge?

Artist: Gerrie Congdon

32” x 30”

Techniques: Fused raw edge applique; machine quilted

Materials: Painted silk charmeuse

Artist Statement:

We live on the 4th floor of a condo on a hill above Portland, Oregon. We have a view to the north and east. If I get up before dawn and look out the window, I can see the start of the sunrise out on the edge of the city, The buildings below are still shrouded in darkness with an occasional light or blinking traffic lights. This is known as the crack of dawn.

Photo By: Hoddick Photography

Artist: Gerrie Congdon

32” x 30”

Techniques: Fused raw edge applique; machine quilted

Materials: Painted silk charmeuse

Artist Statement:

We live on the 4th floor of a condo on a hill above Portland, Oregon. We have a view to the north and east. If I get up before dawn and look out the window, I can see the start of the sunrise out on the edge of the city, The buildings below are still shrouded in darkness with an occasional light or blinking traffic lights. This is known as the crack of dawn.

Photo By: Hoddick Photography

Artist: Suzy Bates

46” x 47”

Photo By: Hoddick Photography

Additional Information on Artist Page: /suzy-bates

Artist: Suzy Bates

46” x 47”

Photo By: Hoddick Photography

Additional Information on Artist Page: /suzy-bates

Artist: Diane Born

19” x 11.5” x 5”

Techniques: Hand-dyeing and silk-screening; free motion quilting and applique; hand-embroidery

Materials: White cotton fabric dyed and deconstructed; Peltex interfacing; glass tiles; cotton and polyester threads; fabric glue

Artist Statement:

An ancient figure stands solitary. Is there life within the dry hull? A cloak with tongues of color dancing across the fabric's surface stands unmoved. Glittering glass weighs the cloak's hem, tying it to the earth. The heart of Spirit's Fire is hidden, for now....

Photo By: RJ Studio

Artist: Diane Born

19” x 11.5” x 5”

Techniques: Hand-dyeing and silk-screening; free motion quilting and applique; hand-embroidery

Materials: White cotton fabric dyed and deconstructed; Peltex interfacing; glass tiles; cotton and polyester threads; fabric glue

Artist Statement:

An ancient figure stands solitary. Is there life within the dry hull? A cloak with tongues of color dancing across the fabric's surface stands unmoved. Glittering glass weighs the cloak's hem, tying it to the earth. The heart of Spirit's Fire is hidden, for now....

Photo By: RJ Studio

Artist: Diane Born

19” x 11.5” x 5”

Techniques: Hand-dyeing and silk-screening; free motion quilting and applique; hand-embroidery

Materials: White cotton fabric dyed and deconstructed; Peltex interfacing; glass tiles; cotton and polyester threads; fabric glue

Artist Statement:

An ancient figure stands solitary. Is there life within the dry hull? A cloak with tongues of color dancing across the fabric's surface stands unmoved. Glittering glass weighs the cloak's hem, tying it to the earth. The heart of Spirit's Fire is hidden, for now....

Photo By: RJ Studio

Artist: Paulette Landers

43” x 39”

Techniques: Mixed Media Textile Collage; Hand dyed and painted fabric; Machine stitched

Materials: Cotton, dyes, paint

Artist Statement:

The edge between reality and dream is precarious. There exists a passage where the two mingle and blur. They become new possibilities.

Artist: Paulette Landers

43” x 39”

Techniques: Mixed Media Textile Collage; Hand dyed and painted fabric; Machine stitched

Materials: Cotton, dyes, paint

Artist Statement:

The edge between reality and dream is precarious. There exists a passage where the two mingle and blur. They become new possibilities.

Artist: Betty Gientke

24” x 42”

Techniques: Deconstructive/breakdown printing on silk organza, shibori dyed cotton, raw edge appliqué over and under the organza, machine quilting.

Materials: Deconstructive printed silk organza, shibori dyed cotton, commercial cotton, cotton batting and thread.

Artist Statement:

City on the Edge evolved from my experimentation with deconstructive printing on silk organza. I loved the way the shapes changed with each pull on the screen reminiscent of the shapes of water. Oregon's lakes, streams and rivers are the inspiration for much of my work. From the appliqué over and under laid on the organza came City on the Edge, Portland, along the Willamette River. I have always been taken with the skyline of the buildings along the river and the many bridges connecting one side to the other. City on the Edge is at dusk ; a favorite time when colors mute to dark blues and grey.

Artist: Betty Gientke

24” x 42”

Techniques: Deconstructive/breakdown printing on silk organza, shibori dyed cotton, raw edge appliqué over and under the organza, machine quilting.

Materials: Deconstructive printed silk organza, shibori dyed cotton, commercial cotton, cotton batting and thread.

Artist Statement:

City on the Edge evolved from my experimentation with deconstructive printing on silk organza. I loved the way the shapes changed with each pull on the screen reminiscent of the shapes of water. Oregon's lakes, streams and rivers are the inspiration for much of my work. From the appliqué over and under laid on the organza came City on the Edge, Portland, along the Willamette River. I have always been taken with the skyline of the buildings along the river and the many bridges connecting one side to the other. City on the Edge is at dusk ; a favorite time when colors mute to dark blues and grey.

Artist: Sharon M W Bass

30” x 42”

Techniques: Raw-edge piecing and applique

Materials: Cotton, silk, up-cycled quilts and denim

Artist Statement:

Daniel Boorstin, former Librarian of Congress, inspired my entry. He suggested that along any edge there are places of encounter, where something meets something else and something happens. He described these encounters as fertile verges. And so, too, is an estuary a place of encounter, where fresh waters meet saltwater.
I make contemporary stitched constructions using fabrics and fibers, especially silks, cottons, linens, wools and recycled items. In the various stages of assembly, I paint, stain or silkscreen these materials.
Most work is representational, although often trending to more abstract and minimalist work. One constant is that almost everything begins with photography. For me, art serves as a means of mapping a life. And making things requires taking a closer, more careful look of the natural and the domestic environments, the edges along which I live.

Artist: Sharon M W Bass

30” x 42”

Techniques: Raw-edge piecing and applique

Materials: Cotton, silk, up-cycled quilts and denim

Artist Statement:

Daniel Boorstin, former Librarian of Congress, inspired my entry. He suggested that along any edge there are places of encounter, where something meets something else and something happens. He described these encounters as fertile verges. And so, too, is an estuary a place of encounter, where fresh waters meet saltwater.
I make contemporary stitched constructions using fabrics and fibers, especially silks, cottons, linens, wools and recycled items. In the various stages of assembly, I paint, stain or silkscreen these materials.
Most work is representational, although often trending to more abstract and minimalist work. One constant is that almost everything begins with photography. For me, art serves as a means of mapping a life. And making things requires taking a closer, more careful look of the natural and the domestic environments, the edges along which I live.

Artist: Sharon Carvalho

56.5” x 25.6”

Techniques: I have a favorite collage technique that includes tearing and cutting strips of fabrics and randomly attaching to muslin before quilting. Before or after quilting, appliqué pieces were secured.

Materials: Commercial fabrics, my own digital prints on cottons, linen, silk, cheesecloth, and rice paper.

Artist Statement:

Oregon itself is On the Edge. Most settlements along the coast are in danger because Oregon sits on the Pacific Rim's Ring of Fire. That means the area is subject to seismic activity – volcanoes and earthquakes – both of which can trigger tsunamis, creating Oregon as a Tsunami Zone.

Photo By: Melinda Knapp

Artist: Sharon Carvalho

56.5” x 25.6”

Techniques: I have a favorite collage technique that includes tearing and cutting strips of fabrics and randomly attaching to muslin before quilting. Before or after quilting, appliqué pieces were secured.

Materials: Commercial fabrics, my own digital prints on cottons, linen, silk, cheesecloth, and rice paper.

Artist Statement:

Oregon itself is On the Edge. Most settlements along the coast are in danger because Oregon sits on the Pacific Rim's Ring of Fire. That means the area is subject to seismic activity – volcanoes and earthquakes – both of which can trigger tsunamis, creating Oregon as a Tsunami Zone.

Photo By: Melinda Knapp

Artist: Sharon Carvalho

56.5” x 25.6”

Techniques: I have a favorite collage technique that includes tearing and cutting strips of fabrics and randomly attaching to muslin before quilting. Before or after quilting, appliqué pieces were secured.

Materials: Commercial fabrics, my own digital prints on cottons, linen, silk, cheesecloth, and rice paper.

Artist Statement:

Oregon itself is On the Edge. Most settlements along the coast are in danger because Oregon sits on the Pacific Rim's Ring of Fire. That means the area is subject to seismic activity – volcanoes and earthquakes – both of which can trigger tsunamis, creating Oregon as a Tsunami Zone.

Photo By: Melinda Knapp

Artist: Jan Tetzlaff

35.5” x 33.25”

Techniques: hand quilting, machine piecing

Materials: silk, velvet, linen, hand dyed, printed fabrics

Artist Statement:

A precipice is an edge, geologically and emotionally. It can be a jumping off point, a beginning, or the edge of no return. I thrive living in Central Oregon close to geological precipices. As an artist I push myself to the edge, the precipice, as I work.
I chose to represent Edge as a boulder, or pebble...a Precipice, depending on your perspective.

Photo By: Gary Alvis

Artist: Jan Tetzlaff

35.5” x 33.25”

Techniques: hand quilting, machine piecing

Materials: silk, velvet, linen, hand dyed, printed fabrics

Artist Statement:

A precipice is an edge, geologically and emotionally. It can be a jumping off point, a beginning, or the edge of no return. I thrive living in Central Oregon close to geological precipices. As an artist I push myself to the edge, the precipice, as I work.
I chose to represent Edge as a boulder, or pebble...a Precipice, depending on your perspective.

Photo By: Gary Alvis

Artist: Jan Tetzlaff

35.5” x 33.25”

Techniques: hand quilting, machine piecing

Materials: silk, velvet, linen, hand dyed, printed fabrics

Artist Statement:

A precipice is an edge, geologically and emotionally. It can be a jumping off point, a beginning, or the edge of no return. I thrive living in Central Oregon close to geological precipices. As an artist I push myself to the edge, the precipice, as I work.
I chose to represent Edge as a boulder, or pebble...a Precipice, depending on your perspective.

Photo By: Gary Alvis

Artist: Toni Smith

56.25” x 36.5”

Techniques: machine pieced and quilted

Materials: commercial cottons

Artist Statement:

There is nothing like standing on the headlands of the Oregon coast and watching and hearing the waves. They are powerful, majestic and turbulent. I am always inspired by seeing them roll in and crash against the rocks. I created this piece so that I can be reminded of the waves' power.

Photo By: Sam Garnett

Artist: Toni Smith

56.25” x 36.5”

Techniques: machine pieced and quilted

Materials: commercial cottons

Artist Statement:

There is nothing like standing on the headlands of the Oregon coast and watching and hearing the waves. They are powerful, majestic and turbulent. I am always inspired by seeing them roll in and crash against the rocks. I created this piece so that I can be reminded of the waves' power.

Photo By: Sam Garnett

Artist: Bonnie Bucknam

70” x 46”

Techniques: Hand dyed fabric, machine pieced, machine quilted.

Materials: Hand dyed cotton fabrics by the artist.

Artist Statement:

After living in Southern California and then Alaska where the vegetation is sparse, I moved to the Pacific Northwest. I find the shapes and colors of trees and branches intriguing in their endless variety. This composition was inspired by a photo I took of a tree by the side of the road to Tillamook.

Photo By: Mark Frey

Artist: Bonnie Bucknam

70” x 46”

Techniques: Hand dyed fabric, machine pieced, machine quilted.

Materials: Hand dyed cotton fabrics by the artist.

Artist Statement:

After living in Southern California and then Alaska where the vegetation is sparse, I moved to the Pacific Northwest. I find the shapes and colors of trees and branches intriguing in their endless variety. This composition was inspired by a photo I took of a tree by the side of the road to Tillamook.

Photo By: Mark Frey

Artist: Amanda Snavely

93” x 33.5”

Photo By: Sam Garnett

For Additional Information: /amanda-snavely

Artist: Amanda Snavely

93” x 33.5”

Photo By: Sam Garnett

For Additional Information: /amanda-snavely

Artist: Amanda Snavely

93” x 33.5”

Photo By: Sam Garnett

For Additional Information: /amanda-snavely

Artist: Judith Quinn Garnett

54” x 44”

Photo By: Pushdot Studio

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

Artist: Judith Quinn Garnett

54” x 44”

Photo By: Pushdot Studio

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

Artist: Wendy Hill

16” x 15” x 16”

Techniques: Machine collage/appliqué; thread texturing/quilting; zigzag stitching. At rest, this "interactive" quilt collapses into a bowl shape. Installed, the space it fills up varies with the pose.

Materials: Commercial shot cottons, woven cottons, and cotton prints; fast2fuse®; cotton thread

Artist Statement:

"Configurations" is a symphony performed by an ensemble of contours, layers and textures. Variations play out as the edges curve and fold back on themselves, creating pattern on pattern and repetitions of forms.

This interactive topography started with an idea, assorted materials, and my own two hands. The seven connected circles flow with convoluted shapes, shifting structural forms and contrasting points of view in any given arrangement.

Something emerges from these interactions. Unseen forces push and pull the viewer, who falls in and out of the depths, finding her own meanings and edginess.

Time stands still. Lean into it.

What beautiful chaos, life is.

Photo By: Gary Alvis

Artist: Wendy Hill

16” x 15” x 16”

Techniques: Machine collage/appliqué; thread texturing/quilting; zigzag stitching. At rest, this "interactive" quilt collapses into a bowl shape. Installed, the space it fills up varies with the pose.

Materials: Commercial shot cottons, woven cottons, and cotton prints; fast2fuse®; cotton thread

Artist Statement:

"Configurations" is a symphony performed by an ensemble of contours, layers and textures. Variations play out as the edges curve and fold back on themselves, creating pattern on pattern and repetitions of forms.

This interactive topography started with an idea, assorted materials, and my own two hands. The seven connected circles flow with convoluted shapes, shifting structural forms and contrasting points of view in any given arrangement.

Something emerges from these interactions. Unseen forces push and pull the viewer, who falls in and out of the depths, finding her own meanings and edginess.

Time stands still. Lean into it.

What beautiful chaos, life is.

Photo By: Gary Alvis

Artist: Wendy Hill

16” x 15” x 16”

Techniques: Machine collage/appliqué; thread texturing/quilting; zigzag stitching. At rest, this "interactive" quilt collapses into a bowl shape. Installed, the space it fills up varies with the pose.

Materials: Commercial shot cottons, woven cottons, and cotton prints; fast2fuse®; cotton thread

Artist Statement:

"Configurations" is a symphony performed by an ensemble of contours, layers and textures. Variations play out as the edges curve and fold back on themselves, creating pattern on pattern and repetitions of forms.

This interactive topography started with an idea, assorted materials, and my own two hands. The seven connected circles flow with convoluted shapes, shifting structural forms and contrasting points of view in any given arrangement.

Something emerges from these interactions. Unseen forces push and pull the viewer, who falls in and out of the depths, finding her own meanings and edginess.

Time stands still. Lean into it.

What beautiful chaos, life is.

Photo By: Gary Alvis

Artist: Jill Hoddick

24” x 35.5”

Photo By: Hoddick Photography

Additional Information on Artist Page: /jill-p-hoddick

Artist: Jill Hoddick

24” x 35.5”

Photo By: Hoddick Photography

Additional Information on Artist Page: /jill-p-hoddick

Artist: Jill Hoddick

11” x 14” x 18”

Photo By: Hoddick Photography

Additional Information on Artist Page: /jill-p-hoddick

Artist: Jill Hoddick

11” x 14” x 18”

Photo By: Hoddick Photography

Additional Information on Artist Page: /jill-p-hoddick

Artist: Jill Hoddick

11” x 14” x 18”

Photo By: Hoddick Photography

Additional Information on Artist Page: /jill-p-hoddick

Artist: Sheila Finzer

62.25” x 25”

Techniques: Fabric collaged to a base layer, inks, and free motion quilting

Materials: My hand-dyed fabrics, Tsukeneko inks, commercial fabric in base layer and backing, trilobal polyester threads, and Matilda's Own Wool Batting

Artist Statement:

Capturing the light of nature, creates an edge in my quilt "Illuminate". I focus on light to bring life and magic in my work that teeters on the edge of realism and abstraction. This quilt continues my fascination of rock formations using intense color and emphasis on tonal values.

Photo By: Gary Alvis

Artist: Sheila Finzer

62.25” x 25”

Techniques: Fabric collaged to a base layer, inks, and free motion quilting

Materials: My hand-dyed fabrics, Tsukeneko inks, commercial fabric in base layer and backing, trilobal polyester threads, and Matilda's Own Wool Batting

Artist Statement:

Capturing the light of nature, creates an edge in my quilt "Illuminate". I focus on light to bring life and magic in my work that teeters on the edge of realism and abstraction. This quilt continues my fascination of rock formations using intense color and emphasis on tonal values.

Photo By: Gary Alvis

Artist: Amanda Miller

45” x 33”

Techniques: Machine pieced and quilted

Materials: Commercial cottons

Artist Statement:

Along the Oregon coast, sand dunes are an edge between the ocean and the land. An essential bulwark, they provide habitat for shore birds and other coastal creatures, prevent erosion and protect inland ecosystems from damaging storm surges. The dune grasses that anchor the dunes help maintain the barrier between land and sea.

Photo By: John Christopher Meyer

Additional Information on Artist Page: /amanda-miller

Artist: Amanda Miller

45” x 33”

Techniques: Machine pieced and quilted

Materials: Commercial cottons

Artist Statement:

Along the Oregon coast, sand dunes are an edge between the ocean and the land. An essential bulwark, they provide habitat for shore birds and other coastal creatures, prevent erosion and protect inland ecosystems from damaging storm surges. The dune grasses that anchor the dunes help maintain the barrier between land and sea.

Photo By: John Christopher Meyer

Additional Information on Artist Page: /amanda-miller

Artist: Nancy Bryant

36” x 24”

Photo By: LuAnn Kessi

Additional Information on Artist Page: /nancy-bryant

Artist: Nancy Bryant

36” x 24”

Photo By: LuAnn Kessi

Additional Information on Artist Page: /nancy-bryant

Artist: Terry Grant

15.25” x 17” x 14”

Techniques: hand and machine stitching, papier mache, fusing, gluing

Materials: 3=D construction using fabric, interfacing materials, fiberfill, foamboard, papier mache; base is layered and stitched fabrics.

Artist Statement:

Oregon, the dream of the pioneers, of my forebears, the final family destination, my home at the edge of the continent.

Artist: Terry Grant

15.25” x 17” x 14”

Techniques: hand and machine stitching, papier mache, fusing, gluing

Materials: 3=D construction using fabric, interfacing materials, fiberfill, foamboard, papier mache; base is layered and stitched fabrics.

Artist Statement:

Oregon, the dream of the pioneers, of my forebears, the final family destination, my home at the edge of the continent.

Artist: Terry Grant

15.25” x 17” x 14”

Techniques: hand and machine stitching, papier mache, fusing, gluing

Materials: 3=D construction using fabric, interfacing materials, fiberfill, foamboard, papier mache; base is layered and stitched fabrics.

Artist Statement:

Oregon, the dream of the pioneers, of my forebears, the final family destination, my home at the edge of the continent.

Artist: Carol Kimble

43” x 33”

Techniques: I created this from targeted dyeing to design the color sections with machine piecing to arrange the color sections in desired strips. I then machine quilted with backing, batting and top.

Materials: cotton fabric, procion fabric dye, cotton batting, silk batting, polyester thread

Artist Statement:

I use fiber, dyes, inks, paints and objects to represent my feelings, questions, emotions, memories and experiences. The tactile process of connecting what I see, feel, hear, and remember to become this visual statement is my art. It is how I share and record my journey. It is how I heal and find my strength to move forward each day. It is how I love, how I laugh, and how I grieve.

Artist: Carol Kimble

43” x 33”

Techniques: I created this from targeted dyeing to design the color sections with machine piecing to arrange the color sections in desired strips. I then machine quilted with backing, batting and top.

Materials: cotton fabric, procion fabric dye, cotton batting, silk batting, polyester thread

Artist Statement:

I use fiber, dyes, inks, paints and objects to represent my feelings, questions, emotions, memories and experiences. The tactile process of connecting what I see, feel, hear, and remember to become this visual statement is my art. It is how I share and record my journey. It is how I heal and find my strength to move forward each day. It is how I love, how I laugh, and how I grieve.

Artist: Sue Siefkin

46.5: x 25.5”

https://saqaoregon.squarespace.com/sue-siefkin

Artist: Sue Siefkin

46.5: x 25.5”

https://saqaoregon.squarespace.com/sue-siefkin

Artist: Sherri Culver

29” x 27”

Photo By: Hoddick Photography

Additional Information on Artist Page: /sherri-culver

Artist: Sherri Culver

29” x 27”

Photo By: Hoddick Photography

Additional Information on Artist Page: /sherri-culver

Artist: Mary McLaughlin and Sherri Culver

44” x 42”

Techniques: Raw edge machine appliqué, machine quilting, hand embroidery, beading

Materials: Commercial fabrics, thread, beads

Artist Statement:

Homelessness is a human tragedy and many in Portland are homeless. Central City Concern is a large, comprehensive program designed to address the multifaceted cause of homelessness: substance abuse, mental illness, job loss, family tragedy, hopelessness. Reaching Out…. honors four resilient CCC employees who have experienced the program from both the client and provider viewpoints. Medina, Lynda, Bobby and Tyrone came to CCC homeless and in need, worked the program, and today are program leaders Reaching Out…. extending a hand up to those who follow to pull them back from the edge.

Photo By: Hoddick Photography

Artist: Mary McLaughlin and Sherri Culver

44” x 42”

Techniques: Raw edge machine appliqué, machine quilting, hand embroidery, beading

Materials: Commercial fabrics, thread, beads

Artist Statement:

Homelessness is a human tragedy and many in Portland are homeless. Central City Concern is a large, comprehensive program designed to address the multifaceted cause of homelessness: substance abuse, mental illness, job loss, family tragedy, hopelessness. Reaching Out…. honors four resilient CCC employees who have experienced the program from both the client and provider viewpoints. Medina, Lynda, Bobby and Tyrone came to CCC homeless and in need, worked the program, and today are program leaders Reaching Out…. extending a hand up to those who follow to pull them back from the edge.

Photo By: Hoddick Photography

Artist: Mary Arnold

47” x 33”

Techniques: Applique, machine quilting

Materials: Hand dyed fabric, commercial fabric, batiks

Artist Statement:

On the edge between babyhood and childhood, do we cling to the familiar or go forth into the unknown. As always, the future is unknown but going forward is really the only path.

Photo By: Hoddick Photography

Artist: Mary Arnold

47” x 33”

Techniques: Applique, machine quilting

Materials: Hand dyed fabric, commercial fabric, batiks

Artist Statement:

On the edge between babyhood and childhood, do we cling to the familiar or go forth into the unknown. As always, the future is unknown but going forward is really the only path.

Photo By: Hoddick Photography

Artist: Helen Brisson

30” x 24.5” x 1”

Techniques: free formed quilting, applique, thickened dye application

Materials: Linen and commercial fabric, mounted on canvas

Artist Statement:

Edging Through is based on what we often see as we drive around Central Oregon, a Juniper that has pushed the limits, looking for a way to survive in the volcanic earth it has been given.

Artist: Helen Brisson

30” x 24.5” x 1”

Techniques: free formed quilting, applique, thickened dye application

Materials: Linen and commercial fabric, mounted on canvas

Artist Statement:

Edging Through is based on what we often see as we drive around Central Oregon, a Juniper that has pushed the limits, looking for a way to survive in the volcanic earth it has been given.

Artist: Patricia Fifer

35” x 25”

Techniques: Pieced, fused, stitched and hand painted

Materials: Commercial and hand-dyed cotton fabrics; non-woven fabric; hand-made papers, silk ribbon, cotton and polyester threads, Inktense paint, Shiva Paint sticks

Artist Statement:

Oregon's coastline is on the edge of the Pacific Ocean, a geological area subject to the movement of plate tectonics. As a result, the lands adjacent to this ocean are collectively known as the Ring of Fire. Geologists warn of imminent earthquake activity in Oregon, which could potentially cause tsunamis and/or eruptions from volcanos in the Cascade Mountains. "Fractured Coastline" represents this threat and the potential aftermath on the Oregon coast. The fear of being cut off due to water inundation, roads collapsing and lives disrupted could be very real despite efforts in disaster preparedness.

Artist: Patricia Fifer

35” x 25”

Techniques: Pieced, fused, stitched and hand painted

Materials: Commercial and hand-dyed cotton fabrics; non-woven fabric; hand-made papers, silk ribbon, cotton and polyester threads, Inktense paint, Shiva Paint sticks

Artist Statement:

Oregon's coastline is on the edge of the Pacific Ocean, a geological area subject to the movement of plate tectonics. As a result, the lands adjacent to this ocean are collectively known as the Ring of Fire. Geologists warn of imminent earthquake activity in Oregon, which could potentially cause tsunamis and/or eruptions from volcanos in the Cascade Mountains. "Fractured Coastline" represents this threat and the potential aftermath on the Oregon coast. The fear of being cut off due to water inundation, roads collapsing and lives disrupted could be very real despite efforts in disaster preparedness.

Artist: Kristan Collins

34” x 47.5”

Techniques: collage of fused fabric with freehand surface design

Materials: cotton fabric, inks, and markers

Artist Statement:

Seek the day or night,
Torn between dark and light.
Which is wrong or right…

I marvel at our unlikely inspirations! This piece languished in the back of my studio for years. Although inspired by an excellent lesson in abstraction, it never found that creative spark.

Then after many days turned into nights and then back to days – the vision changed in the blink of an eye. In 2017 the careless decision of youth in our forest became the edge of life and death, light becoming dark. Their moment of play ignited the 2017 Eagle Creek fire in our Columbia Gorge. My grief from this destruction fueled a new course and my hope for dark to become light again.

Torn between joy and tragedy. Such a sharp edge…

Artist: Kristan Collins

34” x 47.5”

Techniques: collage of fused fabric with freehand surface design

Materials: cotton fabric, inks, and markers

Artist Statement:

Seek the day or night,
Torn between dark and light.
Which is wrong or right…

I marvel at our unlikely inspirations! This piece languished in the back of my studio for years. Although inspired by an excellent lesson in abstraction, it never found that creative spark.

Then after many days turned into nights and then back to days – the vision changed in the blink of an eye. In 2017 the careless decision of youth in our forest became the edge of life and death, light becoming dark. Their moment of play ignited the 2017 Eagle Creek fire in our Columbia Gorge. My grief from this destruction fueled a new course and my hope for dark to become light again.

Torn between joy and tragedy. Such a sharp edge…

Artist: Pamela Pilcher

18” x 38.5”

Techniques: Fabric collage, machine stitched

Materials: Commercial fabric, variety of threads

Artist Statement:

The barn at the edge of the prairie clings to the end of its useful life. One lean too far and the next big wind to blow across the mountains will take it down. Title from Barns Collapsing by John Vernon, with permission. Visual based on photograph by Kathleen Ronnebaum, with permission.

Photo By: Hoddick Photography

Artist: Pamela Pilcher

18” x 38.5”

Techniques: Fabric collage, machine stitched

Materials: Commercial fabric, variety of threads

Artist Statement:

The barn at the edge of the prairie clings to the end of its useful life. One lean too far and the next big wind to blow across the mountains will take it down. Title from Barns Collapsing by John Vernon, with permission. Visual based on photograph by Kathleen Ronnebaum, with permission.

Photo By: Hoddick Photography

Artist: Pamela Pilcher

18” x 38.5”

Techniques: Fabric collage, machine stitched

Materials: Commercial fabric, variety of threads

Artist Statement:

The barn at the edge of the prairie clings to the end of its useful life. One lean too far and the next big wind to blow across the mountains will take it down. Title from Barns Collapsing by John Vernon, with permission. Visual based on photograph by Kathleen Ronnebaum, with permission.

Photo By: Hoddick Photography

Artist: Mary J Stiewig

40” x 33”

Techniques: Techniques used were piecing and raw-edge applique. The piece was both hand and machine quilted.

Materials: Materials include commercial, painted and hand-dyed cottons, and tulle.

Artist Statement:

This piece evokes a feeling of loneliness for the solitary traveler coming to the "Edge". The strength of the bright moon above can give solace and hope for the continued journey.

Artist: Mary J Stiewig

40” x 33”

Techniques: Techniques used were piecing and raw-edge applique. The piece was both hand and machine quilted.

Materials: Materials include commercial, painted and hand-dyed cottons, and tulle.

Artist Statement:

This piece evokes a feeling of loneliness for the solitary traveler coming to the "Edge". The strength of the bright moon above can give solace and hope for the continued journey.