What I’ve Learned From Being Rejected by Quilt Shows
Rejection from a quilt show can feel personal. Having judged international shows myself, this is what I’ve actually learned about why it isn’t.
What Watercolor Quilting Actually Is (And Why It’s Harder Than It Looks)
Why does a quilter give up prints entirely? I explain why solid fabrics let me treat color like paint — with Albers, Amish quilts, and my own process.
Solid Fabrics Only: What You Gain When You Give Up Prints
Why does a quilter give up prints entirely? I explain why solid fabrics let me treat color like paint — with Albers, Amish quilts, and my own process.
Pink, Reconsidered: Sweetness, Power and the Most Underestimated Color
Pink has a stranger history than any color on the wheel — Baker-Miller pink, Schiaparelli’s Shocking Pink, and a gender history that isn’t so simple.
The Bauhaus Legacy: What Albers and Itten Still Teach Quilters About Color
A century-old Bauhaus color lineage — Itten, Albers, and my own teacher — still shapes how I quilt today, generation by generation, unbroken.
How to Write an Artist Statement for Your Quilt (Without Sounding Like a Robot)
Learn how to write an artist statement for your quilt that sounds like you, not a robot. Practical steps, real examples, and trusted resources
The Power of Purple: Depth, Ambiguity and the Color Between Warm and Cool
Why is purple the hardest color to use in quilting? I
explore its royal history, Itten’s color theory, and the color I’ve always avoided.
Neutral Is Not Boring: How White, Gray and Black Carry a Composition
White is not empty. Gray is not boring. Black is not decorative. Beige and brown are not conservative. They are the architecture beneath every composition that truly holds together.