I got an email middle of last week wondering whether I’d be interested in exhibiting some of my work in the two outside window cases of the Craig Gallery at the Dartmouth Ferry Terminal (Alderney Landing).

How did they know about my work? A couple of weeks ago, I sent out proposals to five major galleries in the Halifax area – The Craig Gallery was one of them.

Of course I said yes? Short notice wasn’t an issue – I have a closet full of quilts and wall art projects – the challenge was how to limit the exhibit. On Friday morning I drove across the bridge to visit the gallery to get an idea of the size of each window. (I took along a suitcase with a range of pieces to show the curators – their reaction – “The photos don’t do the work justice!”) I know that, but the only way I can get any attention is with photos. While I was at the gallery we talked about me submitting a proposal for a solo show inside the gallery at some time in the future. I plan on resubmitting late in the summer for the 2024 season!

I arrived early at the gallery this morning with eight pieces in my large travel suitcase along with monofilament fishing line, straight pins, gorilla tape, a hammer and level, a few hooks… I forgot small brass nails, but in the end that was OK – we used tiny bulldog clips to hang the work from the window case ceiling using the monofiliament (the two lower portrait pieces are pinned to a plinth top).

It’s too bad I couldn’t get photos without the reflection from the windows behind me but you get a hint of how the exhibit looks.

While I was looking at the finished windows one of the artists from the Dartmouth Visual Art Society (who are showing inside the gallery for the same month of June) was looking at the work as well. “I must bring my sister-in-law to see this! She’s a quilter but she just follows patterns. She need to see this free-form work.”

If one person brings a second, quite a few people may actually stop and peruse the work – you can get close enough to the windows to examine the appliqué and stitching detail and wonder how in earth did she get those portraits so photo-like. I explain how in my “artist statement” and “biography” if anybody bothers to read either.

At first glance you think you’re looking at photographs – when you get closer you realize you’re looking at textile compositions! Precisely the effect I’ve been trying to develop with these works.