The Source for Contemporary Art Quilts, Exhibitions & Appraisals

Although it appears to be appliquéd , this is actually a wholecloth quilt; the top was hand painted on a single piece of unbleached cotton muslin that was then stuffed, backed, bound, and quilted. The cleverly fragmented and intertwined central medallion design keeps the viewer's eye moving, but is contained by a wide solid-colored border of lightly stuffed leaves.

"Gurrier uses Createx textile pigments, developed by Color Craft, which are liquid, water-based textile pigments known for their soft hand, lightfastness, and color intensity. She never uses color directly from the bottle, and she reduces the intensity without changing the consistency by using extender.

"She avoids using black and white but likes grays and complementary colors. 'I’m having fun playing with the colors, putting in the extender, washing it all out, and then putting in just binder,' she says. 'Paints are unpredictable. Using them is a learning process.'

"Gurrier keeps a notebook of color swatches and formulas so she can build her color knowledge as each piece progresses. However, she mixes new colors for each piece. 'After I have finished a piece, I dump out all the paints so I don’t repeat,' she says.

"As she paints on the pigment, she follows her sketch lines exactly with the same precision for which her stitchery is known. 'Sometimes as I’m painting I think, Gee, that gradation would be nice. And then I think, That’s paint. I want the gradation to come in the quilting.'"

—Meg Currie, Threads Magazine


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Toward Barred Island by Gayle Fraas and Duncan Slade (detail)

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Toward Barred Island by Gayle Fraas and Duncan Slade (detail)

Bottom left and right: Toward Barred Island (detail) by Gayle Fraas and Duncan Slade