THE LIFE OF A SEWGIRL

Our quilt guild hosted a quilt challenge based upon the colors in Taylor Swift’s album, THE LIFE OF A SHOWGIRL. The main colors are orange and mint.

I improvised with mostly scraps in orange, green, purple and pops of other colors.

Dancing through the Lightning Strikes

I also used a fat quarter of Carolyn Friedlander’s Polk line; it’s linen and cotton. It feels watery which felt like the album cover.

During the making of this quilt top, I developed tennis elbow in my right arm. I took corticosteroids, did stretches every day and rested for about six weeks. It worked.

The finished top looked like this:

After I basted it, I didn’t like the straight line created at the bottom so I rotated it and cut sections, then resewed them back.

To make it feel like a vinyl album, I quilted a circle around the center (sorta center).

Dancing through the Lightning Strikes

It measures 40” x 43”.

It was part of the Central Virginia Modern Quilt Guild’s exhibit, The Life of a SEWGIRL.

Quilt Award at Fibers of Appalachia

My quilt, Shaft Mines, won Talcon Quinn’s Juror Award at Fibers of Appalachia. This exhibition is at Dairy Barn Arts Center in Athens, Ohio through August 30, 2026.

Shaft Mines

This is what Talcon Quinn had to say about the Juror Award:

This was my artist’s statement:

I made this quilt for the Pantone Color of the Year Quilt Challenge. I knew I had a box of scraps in this color and similarly-colored scraps. I wanted it to feel moody like the artwork from Pantone website. Half way through the process it began to look like a geological dig. I started calling it Shaft Mines. I grew up in the mountains of Southwest Virginia. My father and brother are coal miners. They haven’t worked in shaft mines, but drift mines. In a shaft mines, there is a vertical entry from the surface into the coal seam— think elevator. In a drift mines, you enter the mountain at an incline— think tunnel or mouth. This quilt feels like both. Because I was using black, I worried it wasn’t magenta enough. I worried it was too chaotic. I worried my worries would prevent me from finishing it. I tinkered until I gave up. The quilting in straight lines rescued it for me. I love how the dark pink stitches give order to the chaos. I used 8 weight thread in part of it. My machine didn’t like it so I switched to 50 weight in different pinks.

My submission also included information about my connection to Appalachia:

I grew up in the mountains of Southwest Virginia where I was exposed to delicious country cooking and lived in a coal mining community. My father was a coal miner and my mother was a hairdresser. She was also an amazing seamstress. She taught me to sew. MY JOURNEY into quilting began when my mother became disabled with breast cancer and I was home with her. She had just purchased a new sewing machine, a Bernina 1630. She was starting to make more quilts, and while I was struggling with her pending death, I made a traditional quilt: Bow Ties. Years later I donated the quilt to charity. I took a break from quilting for many years (went to law school, started a legal career). In 2014 I discovered modern and liberated quilting and began designing my own quilts. My quilts draw upon my family’s history and my journeys.

The Gripe Session

This is THE GRIPE SESSION.

A quilt I made with my friends, Maggie Schubert and Kat Van Bourgondien. We made it for the Modern Quilt Guild’s Quiltcon fabric challenge.

55” x 55”

The fabric is Artisan Cotton by Windham Fabrics. It wasn’t selected for the show, and I’m sad about that, but we’re exhibiting it at our guild’s show, Make Mine Modern, at Mid-Atlantic Quilt Festival, in Newport News, Virginia February 26-March 1, 2026.

Our artist statement:


The Gripe Session began as banter among friends on one of those days when everything seemed to go wrong.  “Bang Head Here” became both instruction and release—stitched again and again. It’s a vent and a Valentine to persistence: proof that when all you can do is bang your head, you might as well make it soft.