These long pieces are made by, from left to right - Jennie Lewis, Leslie Morgan, Inger Milburn, Julie Senington, Sandra Grusd, and Ingrid Press -
and here's a delectable piece by the other member of the group, C June Barnes - this is called Transitions, and it's two-sided - cool colours on one side
and hot colours on the other -
Somewhat gorgeous!
Yoshiko Jinzenji exhibited her bamboo-dyed fabrics at FOQ several years ago, and that was spectacular (dyeing fabrics white? what an idea!). This year she showed quilts by some of her students, using the range of fabrics she has designed.
The quilts have a traditional structure, but the fabrics (and close, parallel quilting) make them look very modern indeed.
I liked the edgy use of the selvedge -
This one, Hieroglyph, is by Yoshiko herself - it has a sheer layer with gold print (or foiling) over the fabric -
Her latest book, Quilt Creation, which shows these quilts, sold out quickly. It doesn't seem to be available online.
as well as some Korean silk that we could buy small quantities of -
This type of wrapping cloth is used mainly for wedding gifts - one of the ties slips through the "pocket" and the tab hangs decoratively. What a good way to wrap money!
The class in action. In the afternoon we had an hour of "silent stitching" - it was more than pleasant, it was wonderful to be able to focus, or drift, without anything happening that you needed to pay attention to.
Pojagi technique is about the seams - and about tiny stitches! Running stitch for the first row of stitching, then fold over and turn in the top layer, holding it down with whip stitch - a fell seam, in other words.
As well as practising several types of seams, we learned how to make the "bat knots" that are put at intersections of seams, for luck. Why luck? Because in the Chinese language (which influenced Korean to some extent) the word for bat, fu, is the same as the word for luck.
After all those glorious items, my humble result, made of somewhat unsuitable fabrics -
I show the closeup in response to a question asked in class, what side should the seams show on - answer: it doesn't matter. (They are going to be beautifully done on either side...)
Last but certainly not least, here is Chunghie wearing her hemp jacket with calligraphy, a translation of Proverbs 31:30 - "Favour is deceitful, and beauty is vain: but a woman that feareth the Lord, she shall be praised."
In her exhibition, the work centred on the theme of the "nameless woman" who made the beautiful work in the midst of a hard life in traditional society.
Linda and I attended Chunghie Lee's workshop on Thursday (more of which later), and nipped out at lunchtime to see how things were going at the stand. We were thrilled to see the long queue for tickets -
and to see the delighted winners -
Of course not everyone won four LGs at once, and some people kept coming back again and again, determined to get lucky. In case you're wondering how a tombola works, numbered tickets go into a drum - £1 buys a ticket, and those ending in 0 or 5 are winners - so usually £5 will produce a lucky ticket. But not always.... We had three boxes in which the quilts were in random order - winners got to choose which box their prize came from.
"Indian Gems" is a recycled indian-style top, and has motifs rescued and reapplied, as well as paisley motifs made of beads or french knots. Kantha-stitching through the thin silk was a delight -
"28. Tulipa" was finished on Sunday morning, and I happened to be on the Little Gems stand when a young lad won it -
The clusters of three backstitches are used on pojagi borders; the central panel is black print on calico, quilt-stitched here and there around the edges of the motifs.
Walls somewhere tropical - the Caribbean? -
This building was bombed during the war in former Yugoslavia - people carrying on with their lives regardless -
Somewhere tropical again -
The caption says this is the golden shrine of Tutankamun on runners - I find it rather frightening -
Here's a closeup of another piece by Dorothy Caldwell , showing the stitched marks -
Unfortunately I don't have the name of the maker of this piece of "marksmanship" --
It too leapt out to meet me where I seem to be now.
Donetsk, Ukraine: Smoke goes up from a burning warehouse containing fireworks 
The first one was straightforward: cut and bind -
But the part on the left needed "something more" - how about some fantastic flowers? Vivian suggested using the salvaged beads, and adding some red binding to pick up the colour.
And please overlook the carefully placed loose thread - I was in too much of a hurry to photograph this!
He was born in Dublin in 1945, grew up and studied art in Britain but moved to America in 1975 and seems to have studios all over the place. He started painting in the days of Op Art, and cites Mondrian, Rothko and Matisse as prime influences. Scully left school at 15 and started his art career by going to night classes at Central School of Art; studying Van Gogh's "Chair" at the Tate was a turning point. I'm fascinated that his hard-working mother later became a professional singer and, along with his father, a champion tango dancer - they moved to Spain. Here they are in a still from Robert Gardner's 1998 video, Scully in Malaga:
His paintings are inspired by the architectural structures of our built environment; his work has been called a synthesis of Abstract Expressionism and Minimalism. Each area has a "single attribute" of lightness or darkness. The painterliness softens the geometry, and the geometry contains the painterliness.
He also takes photographs, especially of old doors, taking portraits of their history; often they disappear, replaced by an anonymous door. Also, "a door is a place before another place".
Before then, I went to General Gordon elementary school in Vancouver. Coming home, I'd walk up the slight hill on Broadway toward Stephens Street. There used to be a metal shop of some sort on this corner, and often there would be welding and sparks to watch. Nearby was a picket fence, on which I once bounced my green metal lunch box, leaving permanent dimples. At the bottom of the block was the corner store where my father bought his Road & Track car magazines and we spent our pennies on jawbreakers and other candy.
West Broadway was and remains a street of small shops. The trees have grown in the past 50 years - indeed, they may have been planted since then.
Even at age 6 we were free to roam - those were different times. I remember being sent to the grocery store for yeast, and not being able to find it on the shelves. And somewhere along here was the shop at which we bought coloured paper to make party hats for my 7th birthday party. I was disappointed that they weren't shiny and sparkly, but we couldn't afford those. It was a time of struggle for my parents, and their thrifty ways have been a big influence on their children.
One of the highlights was going to the movies at the Hollywood cinema. Oma took us (my brother was 3 years old) to see the movie of my favourite book, Heidi. Another memory is of the neighbourhood kids going to Saturday matinees with our 15 cents pocket money - 10 cents to get in, and 5 cents for popcorn. It didn't happen all that often.
The Hollywood is still there - as impoverished university students in the late 60s we'd go see the double bill there for $4 (very good value) - and bring our own popcorn.
