Learn How to Make Felted Clothing with Tricia Stackle

Have you ever wanted to learn how to make beautiful felt clothing? Here’s you opportunity! There will be a nice mix of some surface design techniques sampling, pattern drafting, nuno-felting, pockets, skirts, tunics, and dyeing!! All located on the beautiful Whidbey Island!

To learn more, click HERE

Stackle Feltmaking Workshop

“Textures & Textiles” Opens Friday, June 14th at Avanti Art and Design

“Textures & Textiles”, a multi media show exploring the uses of texture and/or textiles opens June 14th at Avanti Art & Design in the Greenwood neighborhood. SDA Members including Gay Jensen, Barb Zander and Cyndi Wolfe are participating in this show. Please come to the opening reception on June 14th from 6 – 9 pm and support your fellow SDA members. The show will hang from June 14th through July 3rd.

Avanti Art and Design is located at 7601 Greenwood Ave. N, Suite 101, Seattle Washington. Click HERE for a map. In addition to the opening, the gallery is open Tuesday through Friday from noon to 6 pm or Saturday through Sunday from noon to 4 pm.

Avanti invitation

Dancing Surfaces Show and Juror’s Award is Announced!

Trisha Hassler has reviewed the submissions and selected pieces for the SDA Dancing Surfaces Show. Speaking for the committee, I was happy to have her make the selection because there were so many wonderful submissions. The show promises to be one filled with variety and will showcase the talent in Washington State.

"Tree Bones" by Meegan McKiernan

“Tree Bones” by Meegan McKiernan

She has also selected her choice for the Juror’s award. Her choice is “Tree Bones” by Meegan McKiernan! Congratulations Meegan! About the piece Trisha said “This piece has a quiet resonance that really appeals to me. I find the soft voice compelling and the sophisticated sense of design makes it an interesting contrast of subject and materials.” Meegan will receive a $200 award. We are looking forward to seeing the piece in person!

About the submissions in general, Trisha had this to say—

“Spending time with these works of art was a real treat for me. The balance of new techniques with traditional materials as well as the attention to craftsmanship presented a wide variety of work to choose from. The expansive definition of surface design allows for many expressions and interpretations of the mediums and I was excited to see so many different creative ideas.”

Persons with artwork accepted will be receiving instructions in the coming weeks. The following are important dates to remember:

  • August 5, 9 am-­‐9 pm, August 6, 9 am-­‐5 pm. delivery of artwork to Phinney Art Center Mailed art must be received by August 5th.

  • August 9, 7-­‐9 PM reception for Dancing Surfaces

  • August 7-­‐September 27, 2013 exhibition runs

Congratulations to all of the artists who had work selected for the show. If your piece(s) was not selected, know that the competitive field and limited space was the reason.

If you have not heard whether your piece was accepted please email event.surfacedesignwa@gmail.com.

SDA Dancing Surfaces Exhibition Committee

“Baskets: More Than Function” Opens June 19th

Dorothy McGuinness will have a solo show, “Baskets: More Than Function” at the Phinney Center Gallery in Seattle from June 19th – August 2nd, 2013.

Satellite -  watercolor paper, acrylic paint - 12 x 15 x 12”

Satellite / watercolor paper, acrylic paint / 12 x 15 x 12”

Opening reception will be Friday June 21st from 7-9pm.
Phinney Neighborhood Association
6532 Phinney Ave. N,
Monday – Friday, 9 am – 9 pm
Saturday, 9 am – 2 pm
(206) 783-2244,


This is a show of sculptural baskets woven with watercolor paper woven in diagonal twills using 3mm strips cut with a pasta maker. The paper is painted before-hand with a variety of acrylic paints.

Learn More at http://dorothymcguinnessbasket.com/

San Antonio Bound?

If you’ll be in San Antonio next week for the SDA conference, let us know!  Ann Maki has been compiling a list of local SDA members attending so we can connect during the conference.  Email her at ann@annmaki.com by this Thursday, 5/30 with your email and cell phone and she’ll send you the full list.

While you in town, check out Sharon Rowley’s exhibit “On This Path” which will hang at Jane clip_image001Dunnewold’s new Art Cloth Studios during the conference.  Ten prayer flags will be hung Tuesday to Sunday.  She has arranged a tour of the exhibit and Jane’s studios for SDA-WA members and will send more info to everyone on Ann’s list or you can email her at sharon@rowleyart.com for more information.

Art Show & Sale By Whidbey Island Surface Design

Whidbey Island Surface Design (WISD) presents its fiber art Show & Sale at WICA’s Zech Hall at 2012 Producers Circle, Langley on Saturday, May 25, 10:00 to 6:00 and Sunday, May 26, 11:00 to 4:00. Also, you can meet the artists at a reception on Friday, May 24, from 5:00 to 7:00. During the show there will be a silent auction for a very special piece of art with the proceeds going to charity. The winner will be announced on Sunday at 3:00.

Photo Credit: Fine Gelfand

Photo Credit: Fine Gelfand

The Show will feature silk scarves and wearable art in hand-dyed glowing colors, contemporary art quilts and mixed media wall pieces, beaded jewelry, handmade textile home décor, and unique gifts.

Surface design is the creative exploration of fiber and fabric. The one-of-a-kind artwork blends collage, weaving, felting, beading, basketry, hand-dyed fabric and contemporary quilting in cutting-edge combinations.

All members of the local art group are also members of the international Surface Design Association. Since its start in 2008, the group has grown to over 32 members, and will continue its show schedule at the Latimer Quilt and Textile Museum, Tillamook, OR (September 2 thru November 3) and at the La Conner Quilt and Textile Museum, La Conner, WA (January thru March 2014). Visit http://whidbeyislandsda.wordpress.com for updates and artist profiles.

Lucid Gallery Installation by Barbara De Pirro

Exhibit is open May 23 – June 30, 2013

Special Artist’s Presentation – Friday, May 24, 4pm

Followed by the Artist’s Reception 4:30 to 6pm

De Pirro’s atmospheric installation creates interplay between light and shadow: ever changing patterns with the shifting of light, swaying gently with the delicate flow of air. Take a deep breath and allow your imagination to wander within this ethereal space.

“I am fascinated by the brilliance and resilience of nature while, at the same time,DePirro.lucid.headshot.02 its fragility & vulnerability. I surround myself with its many forms, surfaces and textures. Nature is as much a part of my life as it is the impetus for all my recent work.”

Port Angeles Fine Art Center 
1203 E. Lauridsen Blvd. 
Port Angeles, WA 


De Pirro’s website, http://www.depirro.com/

SDA’s Michael Cepress on Art Zone with Nancy Guppy

Many of you will remember Michael Cepress’s inspiring presentation from the Surface Matters Symposium last spring. Last night his work was showcased on the Seattle Channel’s Art Zone with Nancy Guppy.  If you didn’t catch it you can watch it by clicking on HERE.

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Inspired fashion, folk, speaking chairs and a comedy about aging on Art Zone
Clothing designer Michael Cepress struts his stuff while making Seattle a more fashionable place. Photographer Ernie Sapiro and Pacific Northwest Ballet principal dancer Maria Chapman take over Pike Place Market’s Athenian restaurant. Jack Straw Productions presents Story Chairs, a compelling mix of true stories and original songs from 32 writers, musicians and readers. And Assisted Living, a comedy about a band of aging misfits by local playwright Katie Forgette gets a world premiere at ACT Theatre. Plus some boot-stompin’, folksy music from Vaudeville Etiquette, whose new EP Debutantes comes out next month.

Member Spotlight: In the Studio with Margaret Liston

Every month Lorraine Edmond will give us a closer look at an SDA member, their studio and practice.  This monthly post is a great opportunity to get to know our fellow SDA members a little better and to be inspired by our community. 

1. Describe your current medium and how you came to it.

Margaret-portrait seriousWhen I have to explain what I do to someone new, I describe myself first as a fiber artist, then an art quilter, but I explain that I print my own fabric.  I screen print and I also use a printing press.  (I mix some commercial fabrics into my quilts as well.) I got an MS in physiological psychology. While in graduate school, I saw a picture of an optical illusion, what I’d later know as a baby block quilt in traditional quilting.  I tried to construct one, but I could not do it! After that degree, I decided “no more school—ever!” I would just be self-taught. I ended up in art school anyway—for 6 years—in my mid-40s.  I went to the UW and because I had a degree already, I got to take only art classes. I would work all day in the surface design studio on campus.  I studied mostly surface design and painting, and near the end, I took printmaking and got totally hooked.

I’d go in on a sunny Saturday and no one else would be there. I’d print on fabric and fill the studio up with pieces that were drying.  Printing and layering were such a high—I thought each piece was great! (Then the next day, I wondered where all those great ones went.)  I’d try every printmaking technique—they were all exciting to me. Mike Spafford was one of our teachers—he was very challenging and always made us think.

I took a quilt-making class from Marcia McCloskey—just so I could learn how to make the corners of my quilt pieces meet.  Back then, calicoes were just about all that was available for quilt-making. I started using big graphics, Margaret quiltHawaiian prints, whatever I could find. I made only tops at first—they take up less room and you can do so many more in the same amount of time! I made wall quilts, too. My machine was set up in the dining room—I had to clean everything up each night so the family could eat. Then I moved to a corner with one small bookshelf in the master bedroom.  Then I moved across the hall, then to a spot in the basement, then to an upstairs bedroom, a more studio-like space.

Finally I moved my studio out of the house, to Pioneer Square.  The building was cheap and I shared the space with two other artists who were never there. My third of the rent was something like 70 dollars a month, but I felt like I really had to work hard so I’d deserve that. I had been told that most people who graduate art school do not continue to be artists. They have to make money, life happens… I was determined to stay an active artist.  I got involved in the early days of the Contemporary QuiltArt Association.  I brought in the first non-quilters as program speakers— Marita Dingus was one of the early ones.

2. What is your creative process like? (How do you begin? Do you draw to work out your ideas? Do you have a vision before you start or does it develop as you work?)

Margaret-quilt2I always have 15-20 things in my head that I could make next, usually continuations of things I’ve been working on. It can be pretty random as to which one I land on in the moment I’m deciding what to do next. It may be because of a pile of fabric I see on my table.  I make baby quilts for friends, the store I show work in needs more bed quilts, or I need to make work for an upcoming show. I do use a sketchbook, both for doodling around and for problem-solving for specific pieces.  Most of my quilts are done improvisationally, though. I pull out colors, start with two, then think of what type to use—silk or not?  Then I arrange and rearrange the pieces on the floor (I have a design wall, but it got covered up by stacks of boxes and stacks of fabrics!)

3. What is your current workspace like?

I’m in the Rainier Oven Building. It’s a wonderful old brick and not so long ago, they actually manufactured commercial ovens here.   And it has an incredible art collection in the halls and even the bathrooms! I’ve been here for twelve years now. It has several art studios and other businesses.  A drapery shop down the hall lets me go through their trash before it goes out—I snatch up slivers of fabrics that cost hundreds of dollars per yard, lots of silks.  My studio space is a cube, 20 ft x 20 ft x 20 ft.

4. If this isn’t your first studio– tell us about some the other work spaces you’ve had– what worked and what didn’t. How does your physical space influence your work?

I was in the Pioneer Square studio for 6 or seven years, until the earthquake send the front of the building into the street.  I had 700 square feet there, so printing was easier. This space is smaller at 400 square feet plus my fabric collection has grown, so I have to shuffle things around a lot. I used to be able to stop and print a fabric in the middle of making a quilt—now I have to switch back and forth and set up for each process.

5. Do you have a favorite piece of equipment or technique for keeping your  studio organized?

Margaret-stashFirst: the fabric shelf!  I made it after I graduated.  To get an art degree, we had to take wood shop, so I was able to make this myself out of plywood.  I sort each color from dark to light and then there’s a section at the top for Margaret-threadlarger pieces of that color. Second: my secondhand industrial Bernina sewing machine.  It looks like a home machine, but the motor is below the table. It sews about twice as fast as a home machine.

6. Do you have particular habits that you think support your art practice?

When I got the Pioneer Square studio, I would drive my husband to work downtown, then go to the studio. I didn’t pick him up til 5:00, so although I could waste time, I was at least “in the studio” for the whole day. So I just ended up putting a lot of time in. Then he retired and now I might get in by lunchtime and at least have a productive afternoon.  (I also took up the ukulele and got grandchildren so most of my studio time is now weekends and half days.)

7. What is the best art tip you’ve ever received (or discovered)?

From Jacob Lawrence: (1) always put something repetitive in your painting—something to provide a pattern. (2) For each color you have in a painting, it should also be present in a tint (the color plus white) and a shade (the color plus black). In the case of red, the tint will then read as a highlight, not as “pink.”  (3) from Hazel Koenig, who taught fiberarts at UW: always have a piece of a black and white patterned fabric near you when working. It encourages you to use the full value range in each piece—you may or may not use it in the piece but it affects how you work.

8. What inspires you to work and how do you keep motivated when things get tough in the studio?

If I don’t come in, I’m just not whole. Making things is what I like to do and this is where I do it. It’s just a part of me. It’s what I do. It’s who I am.

You can see Margaret’s quilts in person at the Northwest Woodworker’s Gallery in Seattle. See hours and directions here: http://www.nwwoodgallery.com/.

Don’t Wait – Deadline for SDA-WA’s Exhibition in May 1st.

Artist Checklist

Dancing Surfaces Juried Exhibition
Surface Design Association Washington


    • Up to 2 pieces of art can be submitted each no larger than 24” wide, three dimensional work is also qualified for entry.

  • Send entry fee ( check) of $20 made out to ‘Surface Design Association’ to  Barbara Matthews, 23810  111th Pl W, Woodway, WA 98020

  • Email digital photos in Jpeg format of the submitted art to event.surfacedesignwa@gmail.com to be used by the juror in judging the show.

    • Two images of each art piece are allowed—one overall and one detailed

    • Images should not exceed 2100 pixels on longest side and resolution should be 300 dpi.  If you have trouble resizing your image, Judith Noble has offered to help.  She can be reached at wiessjg@earthlink.net.

    • Digital images should be labeled as : ‘LastName_FirstName_Title of piece’ and  if detail shot is included LastName_FirstName_Title of piece_Detail

Here are the important dates–

Deadline for Submission of form and digital photos and postmarked check—May 1, 2013

Notification by email of decision of juror—May 30, 2013

Timeline for delivery of accepted pieces to Phinney Neighborhood Center (6532 Phinney Ave N, Seattle, WA 98103)– August 5, 9 am-­‐9 pm, August 6, 9 am-­‐5 pm

(If piece is being mailed), mail to Barbara Matthews, 23810 111th Pl W, Woodway, WA 98020 so is  received by August 5. Return postage should be included.

Opening Reception– August 9, 7-­‐9 PM

Show—August 7, 2013- September 27, 2013

Pick-up of pieces at Phinney Neighborhood Center when show has closed– September 27th, 5 pm -­‐9 pm or 28th, 9 am-­‐1pm.

Mailed pieces will be mailed by October 4, 2013.

More information can be found at–

Prospectus and form at https://surfacedesignwa.wordpress.com/ under Dancing Surfaces Exhibition
Membership in SDA at http://surfacedesign.org/join