A facet is one flat side of something that has multiple sides. The term can be scientific, describing molecular structures and precision of gemstone-cutting, but facets can also describe the richness and mess of human life. The flat planes of facets become geometric forms when depth is added.
Quilts as two-dimensional objects are only flat in theory; in reality, they develop depth at the levels of construction and meaning. Layers of materials and seams give minute but significant dimension. Their use as functional objects also render them three-dimensional – on a bed, folded up, thrown on a couch. By wall-mounting them in an exhibition setting, they can be perceived as art objects divorced from their use and seen for their richness as connections to the past and bridges into the future. The black, white, and greyscale schemes of the work allow both the intended geometry and its altered purity in a pliable medium to show through.
Libs Elliott’s ongoing ‘Quilting with Code’ project is an exploration in how modern technology can transform a traditional craft into modern functional art without abandoning the inherent pleasures of handcrafted products. Her goal is to underline the importance of craft as art in our contemporary age by producing bespoke modern heirlooms – just like quilts from a century ago, these are pieces that can be passed down through generations.
Andrea Tsang Jackson’s work takes the traditional craft medium of quilting and applies it to a contemporary context, often using bright hues and bold graphics. She abstracts intentionally accessible imagery, inviting points of connection from the viewer to spark discussion and inquiry. She strives to push the limits of the quilting medium by exploring scale and dimension and by moving traditionally domestic objects into the public realm.