WHAT QUILTING HAS MEANT TO ME OVER THE YEARS

Quilts are made of beautiful fabrics and colours as well as interesting designs, all of which Romance the Eye of the viewer.  However, following the Second World War when manufactured blankets became affordable and readily available to the general public, people lost interest in the making of quilts.  All except farm women who kept the tradition alive.  And then in the late nineteen-sixties when the hippie movement espoused `going back to the land and making things by hand` handicrafts and  quilting experienced a strong revival of interest which has grown into massive proportions today.  Quilts which resided on family beds as coverlets now adorn the walls as works of art.   Quilts and quiltmaking have given meaning to many quilters lives in so many different ways.   It is true, quilts are a labour of love in the making of them.

In 1972, when I had been making quilts for twelve years, I suddenly found myself widowed one morning and left with the care and financial responsibility of two very young children.  I did not make a quilt for two years after that.  But then, one day, I noticed an ad in the newspaper, a Community College on the opposite side of Toronto to where I lived, was offering quiltmaking classes.  I spoke with the teacher of the class who allowed me to audit her class for one session.  I knew after that I also could teach others how to make quilts as I had attended Teacher`s College some years previous and was familiar with how to set up a course in teaching quilting.  I approached Humber College, in my end of the city and suggested they carry a quilting course in their extended education department.  After submitting an outline for my proposed course, they agreed to carry it for two semesters and my classes were enthusiastically filled up to overflowing. Following that I was able to bring my classes into my home studio where I taught for the next nine years.  Looking back, had my husband not died, I would never have had the need to financially support my children on my own.  Quilts and quiltmaking made this all possible.  And with the help of my Humber College students I was able to form the second quilt guild in Canada, the Etobicoke Quilters Guild in 1975.  In 1977, with the support of my guild, I conceived of and co-convened the first Canadian Quilt Conference which was held at York University and which included teachers and lecturers from the United States and Canada.  It was hugely successful.  Quilters came from all over North America to attend the conference.

Quilts and quiltmaking have offered me opportunities I would otherwise not have had.  It has sustained me through some very difficult periods in my life such as in loosing my husband to a very serious accident and in recovering from his death.  It was his mother, Maude Small, who first introduced me to quiltmaking in the first place and she also encouraged me to take oil painting lessons, which helped me understand colour in the future making of my quilts.  In my early forties, quilts unexpectedly took me into the Ontario College of Art to study colour and design.  It was a privilege to have been a part-time mature student for six years at the College where I learned so much and which stimulated my creativity in creating original designs for quilts.

Quilts are my life.  My designwork has now led me to creating quilts that tell a story, which I call my `statement`quilts.  In this, because of my own experience with Intimate Partner Violence, I am now using my quilts to try and bring awareness to this very serious and often tragic proglem in society today.  In my advocacy work towards Violence Against Women, I have added pages to my quilt website now which offers information on this painful issue in addition to my quilts that visually tell the story of how Intimate Partner Violence feels to victims of abuse.  It is my hope that through these pages, those who are experiencing Intimate Partner Violence or those who are recovering from it, may be helped by not only the visual illustrations of my quilt designs but in the information offered here.

THERE IS ALWAYS HOPE IN ADVERSITY

My inspiration for this quilt came in the form of a call for entry from Sacred Threads exhibit in the USA exploring the words “joy, inspiration, spirituality, healing, grief, peace”.  It tells the story of my life at the time of my husband, Bob Small’s death, many years ago.  I chose to represent death with the darker colour values on the lower section of the centre panel of the quilt and gradually rising upwards through a riot of colour values and intensities towards the top of the quilt with the bird, the phoenix rising which is a symbol of resurrection and renewal of life.  Our two small children, placed beside his grave are taken from an encaustic painting that I had done in preparation for this quilt; their father’s spirit slowly fading from their lives.  A quilt friend observed at the time of making this quilt, that it should be called “colourful chaos” instead and I began to realize that I had unintentionally depicted, through the intensity of colours, the last chaotic five years of my husband’s life due to a genetic mental disorder and my long-held grief of his loss in our lives.  I chose a warm but quiet colour for the borders which by its mass and visual weight would counteract the intensity of the centre section of the quilt.  The flowers at the bottom of this quilt lie dead and colourless beneath the tombstone, gradually rising either side of the quilt, as though to embrace the bird, the flowers grow in value towards the trinity of three flowers at the top, the three who were left behind but who gradually came to terms with the tragedy and adversity his death brought into our lives. 


Original design (c) 2014 Sandy Small Proudfoot   
Machine quilted by Mary Light
Photo by Pete Paterson

I would like to thank Mary Light, machine quilter and Pete Paterson, photographer, for making my work possible

Please view our page on Violence Against Women and the Trilogy on Intimate Partner Violence created in cloth by quiltmaker and designer Sandy Small Proudfoot AOCA `89