Lockdown Diary: Textile Insects

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My husband says that he’ll be really worried if one day I won’t have something to worry about. I’m a worrier, there’s no denying. I worry about things small and big. In the last few years more and more big worries have occupied my mind. Climate change. The insect apocalypse. The great current mass extinction. The accumulation of plastics and people’s indifference to the massive amount of garbage we’re creating. Fast fashion and its effect on the ecology and the lives of people in third-world countries. Our steady destruction of the planet we live in. Things like that.

Numerous pessimistic thoughts filled my mind regarding the future of humans and the earth. But a pandemic that will shut the world down and send all of humanity home? That one I didn’t see coming. Not in my wildest dreams.

But here we are.

Art Under Quarantine

The second week of Social Distancing (or is it the third? I lost track…) is coming to an end. Like everyone else, I had to change and adapt. The first few days were disorienting. I kept thinking this was a dream I will soon wake up from. It wasn’t. Since then I’ve been spending way too much time online, reading news obsessively and browsing social media. This isn’t great for my emotional well being, but I can’t seem to stop. Like many other people, I’ve had bouts of anxiety and sadness. It’s really easy, under such circumstances, to stop creating. But from Day One, I forced myself to make some art, a little every day.

Over the years, art has been many things to me. When I was a kid, it was a way to pass time and ward boredom off. In my teenage years, at an arts high school, it was a means of self expression and a way to be different and “cool.” Now, as an adult, I see it as an instrument to convey ideas. My art is an adventure: an exploration of existing materials, colors, and textures, and also a way to explore the world around me as well as my inner world. In the last few years it’s also been a small effort to help the planet by upcycling and reducing waste.

Last year, after my father passed away, art took on a new role. It became healing soul medicine, helping me deal with bottomless grief. Now, amidst the first quarantine of my life, it is becoming something new altogether. Corona Art is a way to insert the illusion of control back into my life. It helps me stick to a routine. It keeps the news away for a short time each day, and helps me keep sane in a seemingly crazy world.

Art to Honor Spring and Highlight the Plight of Insects

Before the Shelter in Place order, I started to do a bit of spring gardening in my backyard. I worked for several days, and was startled by the lack of insects where they should have been buzzing. In the many hours I spent in my garden, I saw a few spiders, a few rolly-pollies, and one scissor bug. That’s it.

When the quarantine started, the weather turned appropriately gloomy and wet. I felt a strong need to bring spring into my studio. I wanted to make happy things to take my mind off everything else. At the same time, I also wanted to increase awareness to the plight of insects. People often see insects as a neaucense, and think nothing of killing them. The recent collapse of the insect population has mostly gone unnoticed, and is easily forgotten amidst a crisis like the one we’re currently facing. But the Insect Apocalypse is as big a threat to humanity as the other bug we all fear. Insects are at the bottom of the food chain. Without them, we won’t have fruits, vegetables or any of the other foods we eat. Our very survival depends on the survival of insects, and therefore we really should care.

Textile Butterflies

I had trouble concentrating during those first few days of Sheltering in Place. My entire family was home. Housework was accumulating. There was more cooking, cleaning, dishes, mess. And there was always the news! I needed to work on small projects that I could start and finish in one morning. This was not the time for big art quilts. Surprisingly, the hand stitching that helped me tremendously after my father’s passing wasn’t appealing now, either. I simply didn’t have the patience it required. So I started my sewing quarantine with making textile butterflies. I haven’t sewn butterflies for a few years, since finishing my Dare! art quilt in 2017. They seemed like the perfect project now. A butterfly (or two) a day to keep the doctor away, or at least the shrink.

Textile Beetles

On the first official week of spring, I decided to highlight insects on my Facebook Page. I shared (mostly upcycled) insect art, as well as my own butterflies. That week I looked at a lot of pictures of insects, and was struck by how beautiful they were. Beetles, especially, captivated me. Beetles are very interesting visually. They have complex, symmetrical shapes with lots of compelling details. Beautiful colors, too. Enlarged, they look like sophisticated pieces of art.

After I finished making ten butterflies, I was ready to move on to something else. By then our family established a kind of quarantine-routine. The kids had Zoom classes in the mornings, and Zoom after-school activities in the afternoons. I was able to get a bit more studio time while they were busy, leaving the majority of the housework for the afternoons. It was time to move on to more involved projects.

This week I embarked on a series of four 8.5″ x 11″ beetle textile pictures. For these, I relied on pictures of actual beetles for the shape, but took full artistic liberty with the colors. These pictures are meant to be framed and hung on a wall.

Although this series is finished, I don’t think I’m quite done with beetles yet. I’m pretty sure they will come up in some of my future work.

This worldwide quarantine will undoubtedly have long-lasting effects on anyone living through it. Once it is over, I hope we humans learn some lessons. Taking care of each other is important and worthy, but we must also take care of the creatures that share this earth with us, and of the planet itself. If we don’t, worse trouble than the coronavirus will await us in the very near future.

Art is helping me plow through this unsettling time. Gardening, cooking and baking help, as well. Now, if I could only be as disciplined about exercising daily as I am about creating…

What are you doing to stay anchored?

Stay safe and healthy, everyone! Remember that spring is still happening outside, so make sure to go out every now and then and smell the flowers!

The Making of a Boro-inspired Jacket

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My boro-inspired top was my first-ever attempt at making a jacket. It was both easier and harder than I expected.

I already wrote about why I wanted to make this jacket, and what it means to me. Many people asked me about the making process, however, so today I want to share the technical details: the steps I followed, the many mistakes I made along the way, and what I learned from them. I hope this post will inspire you to make your own jacket!

The Pattern

I knew I wanted to make a kimono-style jacket, so I started by combing Pinterest for inspiration and patterns.

I quickly realized that classic kimonos are made out of simple rectangles sewn together. Some have narrowing sleeves, and that’s what I decided to go for. For the body, instead of the regular, straight rectangle cut, I chose an A-shaped one (also typical to classic kimonos), hoping it would be slightly less boxy.

The Measurements

For measurements, I took a few of my store-bought jackets out of my closet and measured them with a measuring tape. I was surprised to discover that although they were all the same stated size, their actual measurements varied greatly. Yet, they all fit, somehow. So I settled on a specific width somewhere in the middle (measured from underarm to underarm), and spent some time calculating the rest. My daughter suggested making the sleeves extra long, so they could be folded. I therefore added a few inches to the sleeve length.

The Foundation

I cut and sewed the entire piece out of a pretty flannel-like fabric I had in my stash, to create a foundation layer. That was my canvas.

The Patching

My sewing room wasn’t big enough for this project, and therefore for the next several days I took over our living room floor. I lay the foundation piece down, and started arranging patches over it, much like I did with my artsy pouches. I used mostly pieces from tattered pants belonging to family members, but also added a few vintage Japanese fabrics I bought in Nara, as well as matching bits from my stash. For the back, I chose a central panel I found at FabMo a while back.

When organizing the patches, I tried to balance the colors, tones and patterns as I do with a quilt or bag. Once I was happy with an arrangement, I pinned the pieces down.

I went on doing this for several days, arranging, moving, rearranging. Finally, I finished covering the entire foundation, and was satisfied with how it looked.

I moved the entire mess out from the living room and back into my sewing corner, to my family’s great relief!

The Sewing

The next stage was machine sewing the patches down onto the foundation fabric. That was when I realized my first mistake. I secured most patches on with one or two pins. When I tried to put the large mass of fabric on my sewing table, I had to fold it into a bundle so it would fit. The patches folded and moved, and the pins caught other pieces/layers creating a huge, uncontrollable blob of very heavy fabric…

Untangling the whole thing took quite some time, and was accompanied by words unfit for print…

If I were to ever do this again, I wouldn’t sew a foundation for the entire garment. Rather, I would cut and patch each individual piece separately, before putting them together in the end. Also, I would probably use safety pins, and more than one or two per patch…

I sewed and zigzagged around every single patch, much as I did with the artsy pouches. When all the patches were securely fastened onto the foundation, I embarked on the fun part of the project: hand stitching.

Hand Stitching

I used both pearl cotton thread and embroidery floss, and covered the patches with a web of Sashiko-style stitches. I took my time with this, doing a bit each day. My hands still hurt from stitching through the thick fabrics of my latest art quilt (and from lots of spring pruning), so I didn’t want to over-do it. I stitched for about a week and a half, enjoying the quiet moments, the meditative nature of the slow work…

The hard part was deciding when to stop. Which patches needed more stitching? When is enough enough? Can there be too many stitches?

The Lining

When I started this project, I wasn’t planning to make a lining. I thought that the foundation layer would function as the inside of the garment. That’s why I chose a nice fabric for that. But as I was working, I realized that the inner fabric doesn’t go too well with the outer layer. Also, it didn’t look great with all the stitches visible. So I decided to add a separate lining, and happened to have the perfect fabric for that: a beautiful red cotton with an Indian-like pattern.

Taking a break from stitching, I cut and sewed the lining. I tried it on, and … nearly had a heart attack! When my arms were up, you see, it was absolutely perfect. But when I put my hands down, the sleeves under the armpits scrunched terribly!

I calmed down only after consulting with fellow-sewists in some of my Facebook groups, when I realized that that’s just the way it is with kimonos…

Were I to do this again, I would consider a more fitted, Western-style sleeve, to eliminate some of that bulk. This is less noticeable with thin fabrics such as silk, and more so with thicker fabrics.

Putting It All Together

I could hardly sleep the night before I sewed it together. I was excited and anxious all at once. In the morning, I drank enough coffee to make sure I’m fully awake, then pinned everything together with shaking hands. I didn’t stop to take pictures. Putting the outer layer and lining right sides together, I sewed as if this were a bag. With lots of experience attaching bags to linings, I thought I knew what I was doing… I left a “birthing” space as I would in a bag, and turned the entire thing right side out.

That was when I discovered that jackets can’t be sewn like bags, and that I made a big mess out of it… I almost laughed, it was really quite ridiculous! Except I was too upset and almost cried…

Were I to do this again, I wouldn’t assume a jacket can be sewn like a bag… I would do my homework first, and learn how to attach a lining to a jacket BEFORE actually trying it…

Seam Ripper to the rescue. He was my best buddy that morning. We spent a LONG time together, he and I.

I ended up sewing the sleeve ends together by hand. I just couldn’t figure out how to do it right on the machine, and it was quicker that way. It also felt like I had more control.

Were I to do this again, I would certainly make sure I know how to do this correctly BEFORE I actually start… Spending a little time on research would have saved me the LONG time I spent unpicking…

Still, I finished my new jacket! It feels solid and heavy. The lining feels great on the skin. It’s warm! And it has long sleeves I can fold, to give it the cute look my daughter wanted it to have.

Things I’d Improve

Were I to do it again, I would change the shape of the collar to a straight line or a “v.” The collar as is sits a bit strange. I would also add a pocket or two. I decided against pockets as I was designing it, mostly because I didn’t want to detract from the patches and the Sashiko stitching. However, I regretted that decision the very first time I wore it… Lastly, I would make the jacket a little bit wider (underart to underarm). It fits me perfectly, but is too small for my daughters, who are just slightly bigger than me, eliminating future hand-me-down options…

This jacket took almost two weeks to make, but I really enjoyed the process, not to mention the end result. I hope it inspires you to make one for yourself! If you do, make sure to show me a picture!

 

My Father’s Jeans: The Story Behind My Boro-inspired Jacket

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The last time I visited my father, in January of last year, I noticed a pile of folded jeans in a corner.

It turned out that these were worn-out jeans that my dad kept around just in case. He loved upcycling, and always found good uses for torn jeans. He used them to patch other pieces of clothing, for example, or to bind books. These jeans were one of many types of raw materials he kept around, for as-need-arises future use.

I had some free time that visit, and my hands felt empty. So I asked if I could have a piece of one of those jeans. I wanted to have some fabric to stitch on, to keep my fingers busy. My father gave me the entire pile.

I started working on a boro project, and kept working on it after I returned home, too. I decided to make a boro-style tote bag, and got as far as this:

Then, in March, my father passed away without warning. Just like that, the tattered pants he gave me turned from useful raw materials into sacred relics.

The boro project I began working on while visiting him moved to my Unfinished Project Pile and stayed there. The yet-unused pile of my father’s jeans remained on my cutting table, untouched, for several months.

I couldn’t look at them. Definitely couldn’t touch them. I could barely do anything at all anyway. Eventually, I exiled them to a far corner of my sewing room.

Several months later, my mom asked me to make her a small essentials pouch. I was happy to oblige. Once I started, I decided to add a small piece of my father’s jeans, one I had already cut out for the boro-patch project. I thought my mom would like to carry something of my dad’s with her. Even though I knew perfectly well that he was always with her anyway, as he is with me.

My mom was happy with her bag, and let me borrow it a few times when I visited her. That got me thinking…

As the year anniversary of my father’s passing drew near, I embarked on the most ambitious boro project I have ever attempted.

I cut and took apart some of my father’s jeans.

For color variation, I added darker pieces from my husband’s and son’s torn pants, as well as pieces of vintage Japanese fabric I bought in Nara when I visited Japan a couple of years ago. I also threw in some fabric from my stash.

I started to think of it as a family-love project, and wanted to add pieces from my daughters’ jeans as well. As it turned out, however, all the worn-out girl pants I had contained stretch, and were therefore unsuitable for a jacket. So I stuck with fabric salvaged from clothing belonging to my three favorite boys (I would have added something from my brother, too, except I didn’t have any).

I sewed and stitched for days on end. Since my hands still hurt from stitching Lavender Morning (as well as from a lot of spring pruning I did at the same time), I made sure not to over do it. I stitched a bit each day, measuring my work not in minutes or hours, but rather in stitches and patches. Hand stitching is a quiet, meditative work. It is medicine for aching hearts. In the year that passed since my father passed away, it really helped me grieve and restrain the pain. I savored every moment of it.

The anniversary of my dad’s passing drew near, and with every passing day my boro jacket was a bit closer to completion. Then, just on time, it was finished.

I don’t need a jacket to remind me of my father. He is in my thoughts constantly, every single day. But it will be nice, on the anniversary of his death, a few short days from now, to have something physical to cuddle. To have something of his embrace me.

Heavy and warm, this jacket will wrap me in a big hug. A big hug from the three most important men in my life: my son, my husband and my father.

 

Lavender Morning Art Quilt

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My quilts design themselves. In a way, all of my creations do. That’s because much of my inspiration comes from the fabrics themselves. Well, sort of. 

I make both functional and fine art, and the two often influence each other. This was certainly the case with my latest quilt, Lavender Morning.

A while back I showed you the stitch meditations I made during my jury-duty wait. One of them was a small olive and lavender piece. I really loved the way it looked.

Creative Challenge: Textile sketch in purple and green

When I went on immediately afterwards to make fourteen artsy pouches, I made one in a similar color combination. That was when I realized that I really needed to make a bigger art quilt using the same palette.

Last year, I made three quilts in a series I tentatively called “Color Explosion,” but later renamed “Colors of the Day.” I wanted to add one more piece to that series, and this color combination seemed just right.

I gathered the fabrics I had in those colors, and started playing. I lay them on my recently-excavated design carpet (did I mention cleaning up my sewing room at the end of last year?). Then I moved them around until I found a composition I was happy with:

I tried to listen to the fabrics. The ikat-like stripe on the bottom wanted a design companion, so I added a fissure on the left.

I then added one on the right, too, for balance. The light green fabric with the circles stood out to me, so I decided to make circles a central motif in this work. I played with filled and empty circles, trying to balance both the composition and the colors. Moving circles around took quite some time. 

I settled on this:

For the previous quilts in this series, I mixed machine quilting with hand stitching. Choosing embroidery floss for the hand stitching part is always one of the activities I enjoy most!

When I hand stitch, I like incorporating Sashiko stitching. I often enjoy combining different kinds of stitches in my work. I don’t try to be perfect. I’m not a machine, and believe that it’s the imperfections of the human hand that give a piece character.

Some parts of the quilt, though, require machine quilting. Mostly parts where I want the fabric itself to shine, as machine stitching doesn’t “steal” the show the way hand quilting does.

Sometimes, though, things don’t work out the way I want them to. After thinking long and hard about how to stitch the upper part of this quilt, I decided to go with wavy lines, to continue playing with the circular theme. I used a dark purple thread, but it just didn’t look right…

And so, I spent an entire afternoon undoing the machine quilting (I don’t recommend doing much of that if you can help it! Tedious work…):

I replaced the wavy lines with zigzag stitches, in a lighter-colored lavender thread. Now the quilting was much less dominant:

At that point, the flowery fabric above asked for design companions, too. So the stitching on the left-most panel involved uneven flowers in three different greens:

It just so happened, that I had similar flowers blooming in my garden right then!

I used felt as batting for this quilt, and the top and back fabrics were rather thick. I also did a lot of spring fruit-tree pruning right around then, and ended up with rather sore hands. But I think it was worth it. Finally, the quilt was complete!

 

Artsy Zipper Pouches Galore

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Who would have thought that a week of jury-duty waiting would turn out to be the beginning of a month-long creative adventure?

At the end of last year I was called for jury duty. I checked my status online twice a day, knowing I could be called to court at any moment. I couldn’t make any plans, but had to keep my mind and hands busy. So I started working on small, non-committal stitch meditations. I made three, and on Friday, the very last day, was ready to start the fourth. But then something strange happened.

I looked over the small piles of scraps I had arranged by color on my cutting table. I tried to decide which color pallet to choose for the next textile sketch. My eyes kept going to the fuchsia/purple pile (you might know by now that purple is my favorite color).

When I started selecting pieces, though, I realized that I had a little rebellion on my hands. The magenta scraps simply didn’t want to become a 5-inch-square textile collage. Instead, they insisted on becoming an artsy zippered pouch.

There really wasn’t much I could do.

I just happened to have a long strip of very thin, white cotton fabric that I didn’t know what to do with. Hannah gave it to me when I volunteered at FabMo several weeks before. I took it out and cut a piece, then divided it in two and started playing.

I selected a perfect zipper from my collection.

And found a matching, luxurious-feeling lining in my stacks:

It took a few hours, but by the end of the work day I had a wonderful little clutch:

I loved everything about it! A tactile bonanza, it combined lots of different textures in beautifully-matching colors. It was fun to touch and to hold, and so I adopted it for myself.

Once it was complete, I couldn’t help but see those scraps on my table in an entirely new light! Soon, that little pouch became the beginning of a new series, followed by more textile collages:

I sewed each with three different colors of thread, to blend the color of the different pieces together and add some visual interest:

I matched them with the most beautiful linings I could find, some cotton brocades, some silk:

When I finished them, I made custom zipper pulls out of my selection of wooden beads. These added even more color and zest:

Over the following month, I made twenty eight scrap collages, which turned into fourteen artsy zipper pouches.

They were the ultimate autumn sewing.

They were delightful.

And they made perfect holiday gifts for some of the special women in my life!

Want to make your own artsy pouch? I have a detailed tutorial in my Etsy shop! Don’t feel like matching fabrics yourself? I’ve got you covered with a ready-to-sew Textile Collage Zipper Kit!

When you sew your own, make sure to show me pictures 🙂

Preparing for a Selection Event at FabMo

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A while back I wrote about FabMo, the wonderful non-profit organization where I source almost all of the textiles I use in my work. I wrote about how it came about, about where it collects its exquisite fabrics, and about the teams of volunteers who sort these fabrics and prepare them for selection. Today I’d like to talk about the next stage, which is preparing for a Selection Event.

Hannah collects fabrics every Monday. Once a  week volunteers sort these new fabric batches by size. But FabMo holds Selection Events, that is–allows the public to come to pick fabrics–only once a month. Therefore, for about four weeks the fabrics need to be stored. After volunteers sort the fabrics and place them in big plastic containers, therefore, these containers are piled and stored on shelves in FabMo’s warehouse. There are many shelves and many boxes, a true fabricoholic heaven!

A day or two before a Selection Event, the Setup Supervisor, who is the volunteer in charge of the setup, clears the big tables in FabMo’s main room. The tables need to be cleared since they are often used for other tasks, such as sorting or measuring. Once cleared, the supervisor covers the tables with white table cloths:

There are currently five “stations” throughout the main room, each made of a cluster of tables:

After the stations are ready, the supervisor rolls boxes in from the adjacent storage room. She piles boxes high on top of wheeled dollies. Fabric is heavy, you see, and big tubs of it are hard on people’s backs!

The setup volunteers then arrange the piles of fabric on the tables according to a set formula. They first put plastic tubs full of “sheers” (=thin, transparent and sleek fabrics that are impossible to put in piles) in the middle of each station. Then they place bigger pieces, usually 18″ square and the larger rectangles called “Place-mats” in FabMo jargon (because they look like … you guessed it: place-mats!) in the corners. Piles of bigger pieces are more stable, and won’t slip off easily…

Volunteers then put the biggest upholstery swatches, nicknamed “Longs,” in the middle of each station.

After the bigger pieces anchor the arrangement, the volunteers place piles of the smaller pieces in-between. Some of the standard sizes are 12″ square, 10″ square and 8″ square. There are also different sizes of rectangles, as well as irregular-sized pieces:

The piles have to be high enough so that volunteers won’t need to refill non-stop during the Selection Event, but not too high to collapse. So the volunteers try to make them about as tall as their hand. This is an art, not a science, but after some wiggling things usually work out nicely.

The result is a beautiful mosaic of textile piles, that make textile lovers like myself drool:

Every Setup has a Setup Supervisor and up to six volunteers.  Depending on the number of people, setting up for an event takes between two to five hours or so.

When done, the room is ready to receive the crowds:

Can you guess what my next FabMo post will be about?

If you’d like to learn more about FabMo or get involved, check out their website.

Looking Back at 2019

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2019 just ended. For me personally, it wasn’t only the end of a year or of a decade, but also the end of an era.

My year started well, with a fun trip to Cambodia and Thailand followed by a happy celebration of my mom. Then, in March, my father passed away unexpectedly.

The death of a beloved parent is a life-changing event. For months, it didn’t seem real. It still doesn’t. Everything I did before my dad’s passing came to a screeching halt. For a long while, I could hardly function. Simple tasks were overwhelming, with grief sneaking up in the most unexpected moments. I didn’t find the energy to be creative.

My father passed away exactly half-way through my Calendar Quilt project. I started this self-imposed challenge in October 2018, with the intention of making one mini-quilt for every month of the year. In the few months following my father’s death, those monthly minis were the only creative thing I did. Every month, I forced myself to design one small quilt. Getting started was hard, but once I began sewing I miraculously felt better. It felt good to touch textiles, with their soft, comforting textures. Hand stitching slowly and quietly was meditative. Concentrating on the simple act of pushing needle and thread through fabric made me forget other things, if only temporarily…

By working on these mini quilts, I slowly stitched my soul back together.

Once this series was done, I didn’t want to stop stitching. I started working on a new quilt series, which I tentatively called the Color Explosion Series (a name I later changed). This new series allowed me to play with colors and textures to my heart’s content. No excuses needed. And it allowed me to stitch until my fingers hurt.

The more I stitched, the more my creative juices started flowing. I was finally able to get back to some of the projects I started before my dad passed. I finished a batch of bags, then a bunch of journals. A family of noisy raccoons inspired me to make a small raccoon quilt.

Then, at the end of October, I was called for jury duty. For one week my life was put on hold, as I had to go online every few hours to check my status. In that week I decided to use up two large ziplock bags full of small, oddly-shaped scraps. I started a series of 5-inch-square stitch-meditation sketches.

On the last day of that week, one fuchsia pile of scraps refused to become a sketch, and forced me to create a zipper bag instead. That was the beginning of a magical month of creativity. It resulted in fourteen artsy pouches, which I gave as holiday gifts to women I care about.

My piles of unfinished projects haven’t shrunk at all in 2019. I haven’t finished most of the works I started in 2018 (or before). In fact, I haven’t accomplished a whole lot. I really needed time to mourn, however, and the mental space to rearrange my shattered world. Along the way, my priorities shifted. I had a lot of time to think. Where this will take me remains to be seen…

I ended the year with a major cleanup of my ever-messy sewing room. Although I didn’t go into every shelf and drawer, I managed to bring it back to a functional condition. It’s now ready for a new year of creativity.

Wishing everyone a Happy New Year! I hope 2020 will bear only good news, to each and every one of us, and to the fragile world we live in.

Calendar Quilt Series: My Winter Mini Quilts

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A second before the year ends, I though I should finish writing about my year-long project: the Calendar Quilt series. I wrote about the spring quilts, about the summer quilts and about the fall quilts, but somehow missed writing about the winter mini quilts. So I figured that now, in the midst of winter, it would be a good time to catch up.

My Winter Mini Quilts: Influenced by Cooling Weather and the Pursuit of Warmth

“Hope,” My December Quilt

In December, the temperatures drop. Rain starts falling, pulling down the last of the glorious fall leaves, leaving trees bare and stark. The days get shorter rapidly, culminating in the shortest day of the year. December is dark and cold, sipping joy out of people’s hearts. It is no wonder, therefore, that many cultures celebrate light-bringing holidays at this time, to lift up people’s spirit.

My family celebrates Hannukah, an eight-day holiday which involves lighting an additional candle every night (one on the first night, eight on the last). Traditionally, Hannukah menoras (candlesticks, also called hannukiyas) are meant to be put near a window, to be seen by passersby and help brighten the darkness outside. The bright, colorful candles bring light and warmth, piercing the darkness of long, cold nights.

For me, the week of Hannukah has an additional bonus: after my beloved grandfather Israel passed away, I got to inherit his hannukiya. I light it with my children year after year, just like my grandfather lit it with me and my siblings as we were growing up. As I look at it, I think of him, and remember.

My December quilt is about darkness pierced by light. I called it Hope, because light brings hope amidst darkness, reminding us that days WILL get longer, brighter, and that spring will eventually come.

“Snow,” My January Quilt

I grew up in a warm place, and feel highly uncomfortable in extreme cold. I appreciate the beauty of snow and the aesthetics of snowy landscapes, but don’t like chill on my face, numb extremities, or the confining layers of clothing that snow requires. My kids, on the other hand, don’t seem to notice the cold at all. They love playing in the snow and skiing. And so, many a winter breaks I’ve found myself up on snowy mountains.

“Snow” is my January quilt, and it depicts a snowy, mountainous landscape. I did cheat a bit, though, and instead of using cold whites I used somewhat warmer hues of cream and beige. I do need SOME warmth, after all, even in the snow…

“Warmth,” My February Quilt

By February, most of us had enough cold and dark. Three long months of winter are usually enough to leave people yearning for spring. In February we huddle by the fire, seeking its comforting warmth. I believe Valentine’s Day plays into these natural yearnings, too. Who doesn’t need reds, magentas, chocolate and love to break the dreariness of a long winter?

My February quilt is called “Warmth.” I made it out of the warm reds of fireplaces and Valentine chocolates. I added circular boro stitches to mimic swirling smoke and warm air rising.

Now you know the inspiration behind my entire Calendar Quilt series!

If you like any of these quilts and want to add some warmth to your own adobe, prints are available in my store.