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Migration #2
Printable version

  • Copyright © 1995 Caryl Bryer Fallert
  • Size:  88" high x 88" wide
  • Materials: 100% cotton fabric /  80/20 cotton/poly batting
  • Techniques: Hand dyed & painted, machine pieced, appliqued, and quilted
  • AQS Best of Show $15,000.00 Purchase Award
  • Collection of The National Quilt Museum of the United States

See more information and details below
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Design concept

MIGRATION #2 is about what I imagine it would feel like to fly along with a flock of migrating birds. Since they are birds of the imagination, they don't represent any particular species. Standing in my garden on my farm in Northern Illinois, I can see vast expanses of sky. Almost every day there are flocks of birds passing overhead, migrating, or just traveling together from one pond to the next. To me, the idea of flight represents the ultimate feeling of freedom.

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birdoutline.gif (1059 bytes)Design, process and technical details

In December of 1994 I decided to design a large quilt which would incorporate elements of my whole cloth series along with string piecing and appliqué. The outlines of the birds were drawn on paper and scanned into the computer as bitmaps. They were traced using a program called streamline, which converted them to vector drawings (objects that could be manipulated and colored)  in Corel Draw, my computer drawing program.

Migration2design1.jpg (7752 bytes)Here's the final color study as it looked on my computer screen. The fill in the center square is actually a bitmap made from a slide of one of my painted fabrics. The fill in the outer border is a standard Corel Draw fill that I altered to look like one of my painted fabrics. I intended to have triangles in the sweeping curves, but I didn't feel it was necessary to draw each one in the sketch, so I just flushed in a stock, geometric texture fill to see if the idea would work.

I printed the line drawing onto acetate and projected it onto a large piece of paper to enlarge it to the finished size. The paper became the templates for cutting the fabric. Once I finished piecing the top, I decided to quilt some long feathered plumes intertwined with the sweeping curves.

Migration2design3.gif (2479 bytes)Migration2design4.gif (3149 bytes)I knew that these would become major design elements so I went back to the computer and drew the center lines of the plumes and projected them onto the quilt top, and marked the lines with pencil.

The line drawings of the 21 birds were Xeroxed onto wonder under, which had been fused to black fabric.

 

Each bird one was carefully cut out with embroidery scissors then fused and stitched with a very narrow satin stitch, which becomes almost invisible. Quilting in contrasting thread, outlines each bird.

In the lower right corner, the birds are larger - about ten inches long. As they fly diagonally across the painted sky, they become smaller and smaller, until in the outer border they're only about 3-4 inches long.

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The center fabric was painted with fiber reactive dye in an expressionistic design, incorporating the pure colors of light. The outer border fabric was painted in the greens, browns and lavenders of earth.

In the sweeping graduated curves, I have pieced a variation on the traditional "Flying Geese" pattern. In this variation, the "Geese" fly in a path that is graduated in both size and color, and curves around the outer border.    A  fabric painted in striated rainbow hues was used to make the center triangles in . 

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In each triangle I quilted the outline of a bird.  I designed one symmetrical bird on my computer, then stretched and skewed it in over a hundered different shapes and sizes to get a bird that would fit in each of the triangles. Here are just a few of the variations.

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The machine quilting becomes a major design element in this quilt, providing a foreground dimension that is contrapuntal to the painted background design. Top stitching thread in many different colors was used, so the stitching could be clearly seen against the background. Long multicolored "feathered" plumes intertwine the arcs of "Flying Geese". In each of the triangles of the "Flying Geese" the outline of a flying bird is quilted. The center, painted fabric is quilted in freehand patterns of sky and wind. The outer border is quilted in darker, more organic patterns of earth and garden. migration2dtl5.jpg (14974 bytes)
With the exception of the outline of the birds, all of the machine quilting was done freehand, with no marking of the quilt top. This kind of quilting is like doodling. It's patterns are as distinct to the individual quilter as handwriting or a signature.

On the back of the quilt is another original variation on "Flying Geese" in the form of one large 72" radially symmetrical block. The bobbin threads in the machine quilting echo the colors of the top threads, and mirror the flying bird design on the front of the quilt.

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A single birds flies toward the upper right corner. The "Flying Geese" on the back of the quilt are made from the same striated fabric from which the "Flying Geese" on the front were cut. Another version of this fabric, painted in slightly darker colors was used to bind the quilt.

 

 


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Exhibitions and Awards:

  • Permanent collection of The National Quilt Museum of the United States
  • MID-ATLANTIC QUILT FESTIVAL, 1995 (juried) Williamsburg, PA FIRST PLACE
  • COLUMBUS HERITAGE QUILT SHOW, 1995, Columbus, IN
  • QUILTERS HERITAGE CELEBRATION, 1995, (juried) Lancaster, PA
  • AMERICAN QUILTERS SOCIETY SHOW, 1995, (juried) Paducah, KY BEST OF SHOW
  • SPECTRUM: THE TEXTILE ART OF CARYL BRYER FALLERT 1983-1995, Museum of the American Quilters Society, Paducah, KY 1986
  • Caryl Bryer Fallert: A Retrospective, New England Quilt Museum, Lowell, MA, August 20 - October 31, 2015

Publications

  • THE PADUCAH SUN, April 27, 1995, p. 1 A
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    THE COURIER-JOURNAL, Louisville, KY April 28, p. B 2
  • THE EVANSVILLE PRESS, April 28 1995, p.7
  • REGION MESSENGER-INQUIRER, Owensboro, KY Friday, April 28, 1995
  • QUILTERS NEWSLETTER MAGAZINE, 1995 July-Aug. p.8
  • ART QUILT MAGAZINE, 1995: Issue #3, pp. 23 & 40
  • AMERICAN QUILTER MAGAZINE, Fall, 1995, FRONT AND BACK COVERS & pp. 3, 28,29
  • PATCHWORK QUILT SENKA, #31, Autumn 1995, p.78
  • LADY'S CIRCLE PATCHWORK QUILTS, 1996: January, pp. 3, 24, 25
  • CARYL BRYER FALLERT: A SPECTRUM OF QUILTS, 1983-1995, 1996, AQS Books, pp. 92, 93, 94, 95
  • AMERICAN QUILTERS SOCIETY SHOW POSTER, 1996, AQS
  • AMERICAN QUILTERS SOCIETY WALL CALENDAR, 1996, AQS (COVER)
  • AQS SHOW POSTCARD, 1996, AQS
  • NORTHEAST QUILTS UNLIMITED,  1997 Arts Center of Old Forge, Show Catalog (COVER)
  • THE QUILT: Beauty in Fabric & Thread, 1997: Salazar / Feiedman/Fairfax p. 124
  • OPTICAL ILLUSIONS FOR QUILTERS, Karen Combs, AQS 1997, p. 21
  • TRADITIONAL QUILTER, 1997: Golden 50th Issue, p. 37
  • QUILTERS NEWSLETTER MAGAZINE, 1999 September, p.25
  • SANTE ET MIGRATION: F O R M A T I O N C O N T I N U E 0 9 L A U S A N N E ORGANISATION: Policlinique Médicale Universitaire Promotional- brochure for a medical conference in Switzerland 2009
  • BOUNDARIES IN MOTION: Rethinking Contemporary Migration Events: 2009, Hofirek, Klvanova, Nekorjak, Centre fro the Study of Democracy and Culture COVER
  • 4 Her, Kentucky Publishing Inc. Spring 2010, pp. 16-17
  • COLLECTION OF THE NATIONAL QUILT MUSEUM, AQS 2009, p. 60
  • American Quilters Society 25th Anniversary Show Poster, 2009
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Web Site Design by Caryl Bryer Fallert-Gentry © 1997-2016 All Rights Reserved
Bryerpatch Studio • 10 Baycliff Place • Port Townsend, WA • 98368 • USA
360-385-2568 • caryl@bryerpatch.com
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Updated 1/7/17