Salli McQuaid's artist's   statement ... Salli McQuaid, 2009. Art Innovator To work in a genre typically identified as “craft” and elevate it to the level of art is an innovation in itself. I work in the “art quilt” medium, which in the 21st century is achieving some validation. Relentlessly, I manipulate, twist, wrangle, and exploit fabric, threads, computers, and complex sewing machines. I constantly explore traditional techniques and make them my own. A good example is my art quilt Hurricane Ike (52½ “w x 50”h, 2009). I know of no other quilt artist who has depicted a hurricane. "Why would you do that?” I’ve had people ask me. Because I lived through Hurricane Ike, and it was one of the most powerful, beautiful, and frightening experiences of my life. In Ike, I blur original blocks together to mesh, belying the straight lines in which they are joined, to convey a whirling motion. I shoot a landscape photo, morph, and embroider it out to form central images in the three largest squares. In the first embroidery I use only two colors, the second, three, and the third, four. That way, each embroidery becomes more intense, creating movement. I invented this technique for Ike, and it works well. I join hundreds of fabric pieces to blend and whirl, whereas traditional quilters join blocks to contrast distinctly. When Ike’s top is finished, I quilt the layers together frenetically -- in disjointed stitches, areas, and varieties of threads – to match Hurricane Ike’s volatile moods. In the quilt, a “money” fabric symbolizes material assets whirling away. “Rain” and “lightening” fabrics convey Ike’s dynamic aspects. Circular blocks of three sizes convey its architecture. Recently, experts have labeled the method “paralax”, in which ideas and forms are presented from different perspectives within one composition. I have used this methodology since 2006, when I virtually abandoned other fine art genre to make art quilts. River of Love: Salli McQuaid, 72"x 96", mixed media on unprimed   canvas, 1997. Collection St. Augustine's Catholic Church, Pleasanton, CA.

Like making Hurricane Ike, with each art quilt I stretch myself. I invent – devise – manipulate - explore new techniques - so that I can express my vision with originality, integrity, and quality. New work is usually beyond my present technical ability. Such is innovation born. Dive Flag: Flashback, acrylic on cold press board, 16"x20", from the Turkeys See Strange Clouds exhibition, 1974. EDUCATION M.A.: Art, San Jose State University, 1977. Bachelor's Degree: New College (art and creative writing), with distinction. SJSU, 1975. Nikon School of Photography, Portland, OR, 1979. Graduate classes, literary criticism, research, California State University at Hayward, 1980-82. Web Design, Web Authoring, Advanced Web Design, Advanced Authoring, Montgomery College, The Woodlands, TX, 1999-2000. Front Page Design, Montgomery College, The Woodlands, TX, 2002. Quilt workshops (2006-2011): J. Michelle Watts-scrappy rectangles, Carol Doaks-paper piecing, Sharon Pederson-sashiko, Philipa Naylor-machine quilting, Jennie Rayment-Cosmic Images; Karen Eckmeier-Accidental Landscapes, Sara Moe-Winding Curves; Karen Combs-diamond illusions, Maggie Ball-traditional bear paws. Lecture classes(2006-2008): Hollis Chatelain and Carol Bryer Fallert-stitch artists,  Linda V. Taylor-pantograph expert. Miscellaneous about Salli McQuaid*  *AKA Salli Wiley, Salli Randall Wiley, Salli Wiley Robertson, Salli Robertson, in my Six Senses Lilith performance art and artist phase: Flashturki or Flashfeather, and finally, for the past 22 years,  Salli McQuaid. OK -- if you are confused with the names I have used during my art and writing career, so am I. (But changing them was fun. Plus the name changes reinforced the reality in which I was living at the time.)