Work in Progress

Portfolio 2018

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Journal Quilts & Other Pieces 2018

My Journal Quilt theme for 2018 is ‘White Cloud and other boat hulls’.

Yacht marinas are fascinating places all year round. White Cloud is our self-restored 1912 wooden yawl and is a fine sight in or out of the water. Maintenance of wooden boats is a continual challenge and so not surprising that they are becoming a rarer sight. For the enthusiasts, there is always painting and varnishing to be done to protect the hull. For the artist, the painted surface, often with stripes, sometimes degraded with exposure to the elements is a great source for colour and texture.

Journal Quilts 2018 are 9" x 7” Landscape format

To see more about our Yawl, White Cloud, please click here.

Boat Hull no.1

Silk fabrics manipulated by wool felt lamination, a wet felting process which gathers the cloth as the wool shrinks. Only water and soap are used. Layered and quilted.


Rusty Boat Hull.

White Cloud (1912) before restoration in 2007.
Felted wool and silk fibres, quilted with metallic thread.

Boat Hull no.3

The decking of wooden boats is traditionally canvas, cut in one piece; the most significant contribution I made to restoring White Cloud!
Dry dock boat hulls display paintwork with artful dribbles. For this boat hull, I painted a redundant artist canvas, sliced it up and stitched to backing and wadding, great fun.



Controlled Burning
40cm x 43cm

Felted sketch exploring different line and mark making techniques, in a class with Myra Hutton.

Controlled Burning describes the practice of burning back the bush to manage the woodland, promote healthy trees and reduce the impact of bushfires, widely used in outback Australia.




Boat Hull no.4

Another recycled artist canvas. Painted with Inktense pastels, and neocolour followed by a water wash, allowing the paint to dribble. Invested in spray fixative to seal before layering with wadding and stitching.

Boat Hull no.5

Painted with oil stick on canvas, loosened with white spirit. Spray fixed after air drying. Quilted with wool, using the largest machine stitch.


Boat Hull no.6

Tray dyed cotton fabric suggests another interpretation of a boat hull, blues and rusty marks. Quilting on wool viscose to enhance the marks

Boat Hull no.7

Artist canvas painted with neocolour water soluble media and
sealed with fixative. Quilted on a wool mix cloth.

Boat Hull no.8

Wool painting, layered with wool mix wadding, machine & hand
quilting, surface embroidery. Non fraying edges finished with one row of stitching
cut close gives a good edge to pieces this size.

Boat Hull no.9

Surface design created with wool and silk lamination, wool pencil
rovings used to create linear relief elements. Hand quilted on wool mix cloth.

Boat Hull no.10

Felted wool with black gauze for shading, dyed (corded) quilting
wool for strong turquoise lines. Gold highlights with bondaweb transfer. Machine
quilting and some surface hand stitch.


Boat Hull no.11

Starting with the same sketch as October, I interpreted the design on artists canvas, building layers with brusho, inktense pastels and neocolour crayons. Sealed this water colour medium with fixative and added gold highlight.
Machine stitched on wool mix wadding.

Boat Hull no.12

Dynamic marks on the hulls, in need of a coat of paint. Barkcloth was a useful addition here to interpret this. Soaked for a while, the fibres open up and can be stretched to reveal the layer beneath. Barkcloth, wool, silk, stitch.

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