SAQA Journal 2025 #1

IN THIS ISSUE

FEATURE ARTICLES:

Why AI images are untrustworthy

Featured Artist: Libby Williamson 10

Representing History: an Australian Tale Told in Quilts 14

Behind the scenes with the Juried Artist Review Panel 18

Abstraction: Textural Elements premieres in Germany 20

Learn to craft artist statements using AI 28

ChatGPT can be a creative partner in your studio 31

COLUMNS:

Editor’s Notes

Thoughts from the president

MEMBER GALLERY: Joyful Color

QUICK NOTES

4

ON THE COVER: Carol M Fisher Road to Somewhere 58 x 53.5 inches | 147 x 136 cm | 2020

For more information on SAQA, contact us by email at info@saqa.art or by phone at 937-912-5009. Explore our varied resources at www.saqa.com. Annual membership is USD $110.

Studio Art Quilt Associates, Inc. (SAQA) is a nonprofit organization whose mission is to promote the art quilt. Through exhibitions, resources, publications, and membership, we seek to increase appreciation for the art quilt as a fine art medium and to support our members in their artistic and professional growth.

SAQA Journal is published four times a year. To submit articles or story ideas, contact Diane Howell, SAQA Journal editor, at editor@saqa.art . Review submission guidelines at www.saqa.com/journal-submit

For advertising information, visit www.saqa.com/ads

BOARD MEMBERS

PRESIDENT

Lilo Bowman Fort Worth, Texas

VICE PRESIDENT

Kathie Kerler Portland, Oregon

SECRETARY

Clara Nartey West Haven, Connecticut

TREASURER

Shannon Conley Moore, Oklahoma

Brenda Bailey-Hainer Broomfield, Colorado

Holly Brackmann Ukiah, California

Ana Buzzalino Calgary, Alberta, Canada

Shin-hee Chin McPherson, Kansas

Jette Clover Lier, Belgium

Susie Floyd Goodman Bloomington, Indiana

Chawne Kimber Lexington, Virginia

Michael McCormick Tualatin, Oregon

Kestrel Michaud West Melbourne, Florida

Candice Phelan Boynton Beach, Florida

Carole Rossi Sacramento, California

Melissa Wraalstad Grafton, Wisconsin

Zara Zannettino Highbury, Australia

EXECUTIVE DIRECTOR

Martha Sielman Hebron, Connecticut

SAQA JOURNAL

EDITOR

Diane Howell Chandler, Arizona

DESIGNER

YellowDog Design, Print, Marketing Denver, Colorado

Go Green! You can choose to read the SAQA Journal online only. Log in to mySAQA (www.saqa.com/mySAQA) and select Manage Your Account.

AI: Friend or foe? Possibly both

by Diane Howell

Deb Cashatt is an interesting artist. Her work is distinctive—one might say bold. I’ve also always enjoyed her artist statements as well. So when she asked to write a story about using artificial intelligence (AI) to help write artist statements, my response was swift:

“Having been a writer and editor since I was in the fourth grade, AI is personally considered by me to be the enemy. And you do a good job writing! Please let me know why you want to use this Imperial Force.” I was sure the Star Wars reference would stop her in her tracks.

She replied that she had a system. She explained it. It seemed sound. I had to admit to myself that people are afraid to write artist statements and that I knew people would use AI to do so. I’d rather them have a structure to operate within that captures their artistic voice than, you know, not have an approach I could (maybe) live with. So I said, “Yes.”

time. She adjusted her approach to me. I knew Angie had worked with the technology and found a way to use it effectively. So I said, “Yes,” because I couldn’t stop thinking about what she wrote to me.

Somewhere along the planning journey, Kestrel Michaud wanted to write about how AI-generated images are untrustworthy to use in your art. She set out to prove this point! I said, “Yes,” because I know Kestrel understands the technology and she

But I feel an admonition is in order. This technology is swift and it is powerful. It is seductive to let it take over tasks that you were doing for yourself yesterday, tasks you can do. Caution is needed to use your own experience and common sense to not let AI do too much thinking for you. But only time will tell if AI is a force we really want to live with.

This technology is swift and it is powerful. It is seductive to let it take over tasks that you were doing for yourself yesterday. “

”

Then, Angie E Knowles, another artist I respect, wanted to write a similar article, one that she felt could complement what Deb was writing. As you can guess, I tried to put her off by saying we were set with AI. I thought I did a brilliant job this

was looking at a different facet of it. The result is an issue with three thoughtful stories on AI. Each one is helpful and provides insight into how to work with AI to free up your time and ensure that your creative perspective is preserved. I am now going to say this as truthfully as I can: because we’ve looked at many ways to work with AI, we won’t be running more articles this year on the subject. We’ve cleared the wookiees from the helm of our starship.

You can explore AI for yourself through the SAQA Global Exhibition AI: Artistic Interpretations Submit entries from April 1-30, 2025. This exhibition will showcase creativity that emerges when human artistry combines with technology. In your entry, use AI or express your response to it. And now, we move on. I hope you enjoy meeting our Featured Artist, Libby Williamson. Deborah Boschert’s look at Abstraction: Textural Elements brings that SAQA Global Exhibition to life. And Dorothy Raymond takes us behind the scenes to see how SAQA Juried Artists are selected.

May you take the high road to creativity—and enjoy the read. ■

Connections enhance your SAQA experience

by Lilo Bowman

As humans, the need to connect is fundamental to who we are. We seek connections through shared laughter, heartfelt conversations, and even quiet moments of understanding. These bonds remind us that, no matter where we are in life, we are not alone. Each connection, whether big or small, carries something deeper: a sense of belonging, compassion, and comfort.

SAQA offers many ways for you to feel a deeper sense of belonging by connecting with others in our community.

In-person conferences

In-person events provide a unique opportunity for face-to-face connections. Our upcoming Fabricating Excellence conference in St. Petersburg, Florida, is a wonderful chance to make new friends and share ideas. It’s a time to network, learn, and grow as an artist—all while enjoying the vibrant local arts scene and discovering new sources of inspiration. At this event, you’ll have the opportunity to learn how to:

• Embrace vulnerability in your art

• Create engaging exhibitions

• Add emotional depth to your work

• Blur the lines between fine art and craft

• Use nature’s colors to inspire meaningful pieces

• Explore how stealth art can address tough issues with humor

• Capture the perfect quilt photo

• Improve your fabrication techniques to achieve your artistic goals

• Enhance your writing skills and gain insights into working with galleries and institutions

With a weekend filled with inspiring speakers, creative energy, quality time together, a delightful vendor market, and the fun of our Spotlight Auction, you will be inspired and energized for weeks to come.

Quilt shows

Large quilt shows offer a wonderful chance to engage with members face-to-face. Whether it's at the SAQA exhibition booths, member receptions in Houston, or member dinners at the European Patchwork Meeting in Sainte-Marie-aux-Mines, France, there are many opportunities to build meaningful friendships with SAQA artists you usually interact with through Zoom meetings.

Virtual conferences

Virtual conferences make it possible for more SAQA members to participate by saving on conference fees, travel, meals, and accommodations. They also ease health concerns and enhance accessibility, making it easier for

everyone to be part of the experience, regardless of where they live. A virtual event offers a unique opportunity to connect with speakers from around the world—something that is difficult to achieve in an in-person setting.

Regions

If you're seeking deeper, ongoing associations, consider becoming active in a SAQA region. You’ll find a supportive community that offers social and educational opportunities through our global network. With more than forty regions, SAQA provides local ways to connect and grow. Reach out to your regional rep to learn about upcoming events near you, which could be an exhibition, workshop, meeting, retreat, or online community. Each region has its own unique talents and we’d love for you to be a part of it.

No matter how you choose to connect—whether in-person, virtually, or through your local region—these opportunities are about more than sharing knowledge. They are about creating lasting relationships, finding inspiration, and growing together as a community.

We look forward to seeing you at one of our events and welcoming you into the heart of SAQA, where meaningful connections are always waiting to be made. ■

Why artificial intelligence images are untrustworthy

by Kestrel Michaud

Images generated by artificial intelligence (AI) are becoming ever more prevalent and accessible. AI generators give everyone the ability to instantaneously create images of anything. As an artist who relies on reference images to create representational artworks, using AI is incredibly tempting. In theory, I no longer have to rely on my research skills to find the perfect reference photo. I can simply use AI to make one.

The problem is AI generators cannot be trusted. The images they create frequently contain inaccuracies— sometimes comically obvious, but other times very subtle—because AI doesn’t intrinsically understand the world the way we humans do. As a result, AI images are not trustworthy sources of information.

The best thing you can do as an artist is educate yourself on how to recognize AI images. If you can discern how they differ from reality, you can take those inaccuracies into account when making your own artwork. Let’s take a look at several AI images and compare them to equivalent photographs to see how AI gets it wrong.

Slam Dunk

When I first generated this image on the DALL-E AI image generator, I had a brief, “Wow, that’s cool!” reaction before I came to my senses. It just goes to show that AI can make some awesome images, but are they true to life? Not at all. Here are some of the things I noticed about this image:

1. The hoop is facing the wrong direction! It’s pointed away from the court (but toward the camera, which looks cooler), and the young

Generator: DALL-E. Prompt: A high-definition digital illustration of a basketball player making a slam dunk, captured from the perspective below the net. The player is midair, muscles flexed, with the basketball in hand as he reaches to slam it into the hoop. The view emphasizes the net’s intricate details and the player's intense expression. The background is an indoor basketball court with stadium lighting casting dramatic highlights and shadows. The scene is dynamic, with motion blur on the ball and parts of the player’s jersey to convey speed.

man is dunking the ball from the other side of the backboard.

2. The net disappears into the basketball; things like netting are notoriously difficult for AI to generate correctly.

3. The young man’s left arm turns into the backboard; his right arm is disjointed behind the net; and

Family Dinner

Generator: Midjourney. Prompt: A warm and intimate scene of a family sharing a holiday dinner, viewed from a cozy dining room with large windows showing a snowy landscape outside. The snowy background outside the windows contrasts beautifully with the warm interior.

his bicep is broken into disconnected segments. He also has no hands.

4. The USA flag in the lower left corner of the backboard is not accurate.

5. The lines on the court are not correct; thin lines are also difficult for AI.

6. The young man’s posture looks like he’s lunging forward as opposed to jumping upward.

The photograph, in contrast, has the hoop facing the court, the player dunking the ball is one continuous shape behind the net, the court has all of the correct lines, and I can see at least three different ethnicities between the players.

A Family Dinner

I included this image because in addition to a number of smaller inaccuracies, it did something very wrong that is not obvious at first. Let’s start with the “little” stuff, most of which is the result of AI’s utter lack of understanding of objects in a three-dimensional space:

1. Some of the dishes and glasses are warped, blend together, or are missing parts of the container.

2. The youngest child and the father have fingers that look deformed.

3. The father and the girl on the right have hair that comes from inside their heads, not on them. It looks like their faces are masks and their hair is growing from behind those facades.

4. The door on the left is missing the top portion that would make it actually a door.

5. The entire image looks “soft,” making everything seem like it

Husky in the Snow

Generator: WOMBO Dream. Prompt: Christmas husky running through the snow.

has the same smooth texture (the people’s skin, the boy’s shirt, the wall, the hair, even the dishes on the table all “feel” the same). In reality, all of those things have different texture and would look different in the image. This softness is a quirk of many AI images.

The biggest inaccuracy is the lighting. The people and table settings all have very dark, dramatic shadows. Even on light-colored objects like the clothing, the candle, and some of the white dishware, the shadows are black. The boy on the left has half of his head in black shadow. Stark, dramatic shadows like this would occur in a low-light situation, where there’s a single light source close to the subject

(such as the candle on the table).

The problem is that this room has five light sources: the candle, the chandelier, the lamp, the window, and the doorway on the left. With that much light pouring into the room, there would be far too much ambient light to allow dramatic, black shadows to appear.

Take a look at the comparison photograph. I couldn’t find an image of a family dinner that had five light sources, but this one at least has outdoor lighting, overhead lighting, and a few dangling bulbs. While there are some black shadows, they’re minimal and restricted only to those places where absolutely no light can reach (such as the crevices in the wooden table, and a few folds in the woman’s jean jacket). The

light-colored clothes, such as the sweater on the girl on the left, have no black shadows whatsoever.

Huskies in the Snow

This cute, little guy is having a blast running through the snow. At first glance, this image (like most AI images) looks pretty realistic. But on closer inspection, a few inaccuracies can be found, even though they are much more subtle than the other images in this article:

1. We can’t see the dog’s lower cuspids (canine teeth), but his tongue also lacks the distinctive curve that proves it’s on top of those teeth. Instead, the tongue comes straight out of the dog’s mouth.

2. The dog’s front right paw (visible on our left) is at the wrong angle

for the leg. The leg is angled down at the snow, but the paw is pointed toward us viewers, meaning the paw is making a 90-degree turn from the leg. That’s not how a dog’s bones and joints work in real life.

Here are two other things that while not inaccuracies, per se, are hallmarks of AI-generated images:

1. Everything in this image looks “soft,” as though it has the same smooth texture. The hat, the snow, the dog’s fur, and even his tongue all “feel” the same.

2. The background is out of focus.

3. There is a mismatch in styles between the background and

dog, and even within the snow. The dog feels the most natural while the trees in the background are too stylistically perfect. And while the snow seems to be a little too “fuzzy” for reality, there’s a small clump to the left of the dog that has crisp edges and is noticeably different from the rest.

Let’s compare this AI image to the photograph. To begin, both dogs’ mouths are open, and we can either see their lower cuspids or that their tongues have a curve indicating where the teeth are covered. And lastly, the black and white husky has a paw pointed straight at the camera, but look at the position of his leg.

The leg is also extended forward, which makes sense. Last but not least, the snow, huskies, trees, etc., all look like they have their own unique texture.

AI Images as Inspiration

Last year, I made a stained glass fox for my Spotlight Auction donation. (This artwork was made to look like stained glass, but was created out of fabric.) My design was inspired by an AI image I generated, which was admittedly beautiful, but did have some issues. First, AI doesn’t understand how stained glass is constructed. So although this fox is lovely, he doesn’t feel like an actual stained glass window.

Quick aside to talk about stained glass: Every point in a stained glass design is formed from an intersection of three or more strips of lead cane, which forms the black lines separating every piece of glass. This provides structural support to the design, and eliminates the need to cut a notch out of a single section of glass, which is difficult to do. The AI fox has points in his fur along both sides of his body, but because those points don’t connect to the window behind him, it ruins the illusion of true stained glass.

The second problem with my generated fox was the design. It was much too busy for a 6 x 8-inch work made out of fabric, especially with part of the border getting covered by a mat.

To account for all of that, I redrew the stained glass fox. I kept the fox’s posture and shape, and I kept the curved arch in the window at the top. But my drawing changed how the “glass” pieces were separated in an attempt to sell the stained glass illusion. I also removed the leaves and added more rectangular shapes to the outer border of the window.

My design isn’t perfect, but for my first attempt making a piece of art that looked like stained glass, I was very happy. And it looks significantly more realistic than the original AI inspiration image.

The safest thing to do is assume every AI image has some quality that is not true to life, even if you don’t immediately recognize what that inaccuracy is. Find a photograph to compare. Once you’re able to identify what’s wrong in an AI image, you can address that area of concern when making your own art. ■

Kestrel Michaud is a SAQA Board Member who resides in West Melbourne, Florida. You can view her work at www. kestrelmichaud.com.

Libby Williamson

BREAKING THE RULES TO FLY HIGH

by Cindy Grisdela

Libby Williamson of Orange, California, is a self-described rebel who glories in using unconventional materials to create fiber art.

Her journey started with tea bags. One single tea bag became the base for small collages made from fabric, thread, and paint that she stitched and applied to the fragile medium. From there, she combined tiny collages into larger pieces. Clan of Misfits incorporates recycled tea bags, handpainted papers and fabrics, zippers, and measuring tapes; different types of stitching add even more texture.

In Field Notes #4: Excavating Truth, Williamson layered the tea bag collages several layers deep, then added a grid of twine to suggest an archaeological dig, thereby referencing the theme of self-exploration that runs through much of her work. The piece measures 67 x 48 x 3 inches. In addition to fabric and recycled tea bags, it also includes jute, zippers, measuring tape, hand embroidery, and freemotion stitching.

Williamson loves the challenge of applying paint, matte medium, or paper—and sometimes all three— onto fabric. That means she needs pliers to push and pull a needle through all of the materials to make stitches.

"For me, taking acrylic paint and painting on fabric is immediate. Having lost the hand of the fabric is okay with me—I don't need it soft," Williamson says. "I like to make stuff out of hard things."

50 x 30 inches | 127 x 76 cm | 2018

Williamson grew up in Connecticut in a family of artists. Her parents met at the Rhode Island School of Design, where her mom studied fashion design and her dad industrial engineering. She doesn't remember a time when she wasn't creating things out of whatever was at hand—sticks, twigs, Scotch tape, cardboard, or fabric. "Everyone around our house was creating and making stuff out of stuff.”

That background still informs her artistic journey. She received a degree in printmaking from St. Lawrence University in New York. There wasn't a textile option available as a major at the time, but her printmaking studies remain foundational to her work.

Her mother made traditional quilts and taught her how to piece, but Williamson wasn't really interested in that direction. "I was and still am a rule breaker and I buck at all sorts of restrictions. So I never went back to piecing quilts; I just went another way.”

Field Notes #4: Excavating the Truth 67 x 48 x 3 inches | 170 x 122 x 8 cm | 2021

Rope is another non traditional component of her quilts. Creating with rope is very physical because of its weight, and stitching through it is hard on the sewing machine. Cracks in my Veneer is created from rope, canvas, and painted fabric; it includes hand and machine stitching to add texture. The fabric is wrapped around the rope to create heavy ridges that move through the piece, even allowing some open spaces to emerge. The contrast between the visual weight of the fabric-covered rope and the delicate hand stitches is striking when the viewer looks at the piece up close.

Burn Cycles has beautiful colors and shapes, but it refers to the wildfires that plague California on a regular basis. The piece is 100 inches tall and is double-sided, so it can be hung from a ceiling.

Williamson thinks of her sewing machine as a drawing tool, using

36 x 24 inches | 91 x 61 cm | 2019

strong black thread to stitch intuitive lines into her work. She doesn't need or want fancy machines, because she's "terribly destructive" in her stitching. She dings the stitch plate and bends needles all the time, plus detritus from the paint and matte medium get stuck in her sewing machine’s bobbin area on a regular basis. The sewingrepair shop personnel know her well.

Williamson usually has several pieces in process at any one time, so if she gets stuck on one, another one is at the ready. Often putting the first project away for a spell allows her brain to subconsciously work on the problem, allowing a solution to emerge.

She believes she acquired the ability to redirect her work from watching her dad as a child. “I really thrive on the challenge of figuring out how to make something work.” If something isn't working, she’s fine with ripping it out or tearing off portions, with either action perhaps sparking a new approach. "The fun is in the inventing, the creating, and the challenges of not knowing."

Williamson has a large studio in an industrial business park not far from her home, big enough to store all her art supplies and collections, plus a small kitchen for

times when she is immersed in a project and stays late or comes in early. During Covid-19, she was able to quarantine herself there and become engrossed in work.

"I want to collect and save everything. It's not just yarn and fabric and thread anymore. It’s also the printmaking stuff, the fabric-dyeing stuff, plus solder, hammers, nails, clay, and wires.”

In the last two years, Williamson has begun creating large, threedimensional sculptures that tackle difficult subjects out of fabric and nontraditional materials. Road Trip was designed and accepted for the SAQA’s Global Exhibition StitchPunk, which will tour through 2027.

The piece took five months to complete and includes a traveling band of three-dimensional birds in search of a new home. The clan is hauling a tree made from wooden rulers plus a nest with tiny eggs in it. Another bird atop a miniature sewing machine leads the way, and one more brings up the rear riding a miniature iron. Their wheeled conveyances are situated on a map scroll that references their journey into the unknown. She says the piece has a kinetic aspect to it. It's cute, silly, and whimsical, but it delves into the question of

forced migration and displacement that is deeply serious.

Designing Road Trip was a challenge on several levels. Because it is three-dimensional, the bird bodies had to be able to support their wings, the tree structure needed to be able to stand upright, and the largest bird had to balance on one leg.

Taking Flight is also in this series. Made of vintage linens, rope, measuring tape, zippers, luggage, plaster, and wire, it depicts a mother forced to flee with a transgender child to find a new home. "It's very sad and moving but also sweet and special.” The sculpture is 74 inches tall.

Dress Code is a double-sided dress made of fabrics wrapped around rope that is hung from the ceiling over a pair of fancy shoes. The artist statement for this piece reads: "But what was she wearing?" It is a commentary on victim shaming that can happen when a woman makes an accusation of sexual assault.

For her exhibition work, Williamson is often inspired by a call for entry, especially if it has a broad application. Because her work is large and often takes months to complete, sometimes the inspiration comes too late to make the deadline for a particular call. That fact doesn't deter her as there is always another opportunity.

Williamson is also a teacher, so she must balance the work she does to develop and teach her classes with the work she creates for exhibition.

Although she is an introvert, Williamson loves being in the classroom. Her classes are relaxed and joyful, whether they explore specific techniques, like her tea bag collages, or having fun creating Wonky Sisters, improv portraits that are very far from anatomically correct.

She is a frequent workshop leader at Craft Napa in California and is a teacher at the 2025 Empty Spools Seminars, held at the Asilomar Conference Grounds in Pacific Grove, California. She also teaches through guilds and various shops.

For artists starting out or wanting to change their practice, Williamson has this advice:

"Just jump in headfirst, break the rules, embrace imperfection, cut it up, slap something else on it or love it the way it is, then do another one. And let go of any expectations for success right away.”

For more information, visit Williamson's website at www.libbywilliamson.com. ■

Cindy Grisdela is a SAQA Juried Artist who resides in Reston, Virginia. You can view her work and teaching schedule at www.cindygrisdela.com.

Representing History

AN AUSTRALIAN TALE TOLD IN ART QUILTS

52 x 52 inches | 132 x 133 cm | 2022

Vessels and Related Infrastructure, Fremantle Sample 17th–21st Centuries

Each: 31.5 x 31 inches | 80 x 79 cm | 2022

by Pat Forster

Fremantle in Western Australia, Australia, is where the first settlers from Britain disembarked from sailing ships in 1829. Its rich colonial history is still evidenced in objects and buildings—and it made a perfect theme for an exhibition in October 2024 by the Pathfinders of WA, an art quilt group to which I belong. Our works were installed at the Terrace Greenhouse & Galley Space.

We began work on the exhibition in 2022. After naming the exhibition, Memories of Fremantle (Walyalup): Coded with Colonisation, we had to select subjects for our artworks. Sustained research ensued. I focused on shipping as I summarized and sorted what I read. I also photographed relevant objects in Fremantle: large anchors in front of a museum, stained glass windows depicting sailing ships, a time ball, businesses named after ships, and so on.

I like geometric designs, so it was an obvious choice to embroider Drunkard’s Path waves with the names of the twenty-one ships that arrived in 1829. I used stipple quilting in a fishfin pattern to fill the triangularlike spaces, and echo-quilted curves to fill the other areas. The title Rock n Roll to Fremantle 1829 contributes humor.

A second work, in diptych form for visual impact, is a summary of the names of the first ships of different kinds to arrive (sailing, steam, those fueled by liquid petroleum gas, trawlers, etc.), names of first and last ships that transported groups of people (including convicts, brides, royalty, and 10 Pound Poms—groups of British migrants who paid a £10 fee

to go to Australia), as well as names of key infrastructure (lighthouses, jetties, etc.). I machine-pieced the quilt, machine-quilted it with curves that echoed the piecing, then added freemotion machined text. A serious title was needed: Vessels and Related Infrastructure, Fremantle 17th–21st Centuries. I had pretty much exhausted my interest in shipping by that point, but remembered a historic quilt that settler girl Mary Emily Marsden brought with her when she sailed into Fremantle with her parents in 1859. I emailed the museum that holds the quilt and asked permission to copy it. They sent a brilliant photograph from which I drafted a pattern, then made Orange Beauty: Inspired by the Dempster Quilt #1. A trip to the distant town of Esperance followed, to photograph indications of Mary Emily’s life there as a pioneer with her husband, Andrew Dempster. Why all the context photographs? I like to create booklets about my quilts, and I put them on my website. Therefore, I need photographs that I have taken to avoid copyright issues. The booklets that I and others made about our exhibition quilts were displayed at the exhibition. They lent authenticity to the art and, in at least one case, influenced a purchase. The context photographs were also used in a slide show for pre-exhibition presentations to community groups as well as in a second slide show that played continuously at the exhibition.

Next, I turned to place-names for inspiration. When the British arrived, they applied British place-names to most locales that had been named by First Nations. The Aboriginal names of only a few lakes were retained. However, on my photography trips to Fremantle, I noticed new signage bearing Aboriginal names for walking trails, a newly developed park, and a square. I obtained the up-to-date

listing of place-names from the Fremantle governing body and identified some other newly applied Aboriginal names. The quilt Aboriginal Names Ignored, Some Reinstituted followed. It identifies presettlement Aboriginal place-names, the British replacement names, and recently introduced Aboriginal names. I feel this quilt is respectful of our First Nations people whose culture suffered with colonization, and it pays homage to the City of Fremantle for its move to acknowledge First Nations’ place-names. Perhaps these are the reasons that this quilt was the first of mine to be sold. No one can visit Fremantle without noticing the World Heritage listed prison. Fremantle Prison was built by convicts transported from Britain (1850-1868) for their own accommodation. It, together with its occupants, was originally called the Convict Establishment. I tracked down a Ph.D.

64.5 x 65 inches | 164 x 165 cm | 2024

thesis that identifies the public works of those that were part of the Establishment—convicts and British engineering supervisors—which included leveling sand, clearing vegetation, and constructing roads and buildings. The

Aboriginal Names Ignored, Some

31.5 x 31 inches | 80 x 79 cm | 2022

Convict Establishment Contributions to Fremantle

31 x 30 inches | 79 x 77 cm | 2023

Convict Establishment Contributions to Fremantle piece is based on these efforts. On Google Earth, I could see the roof layout of one of the convictbuilt public buildings which still exists, so I used the shape in the center of the background of the quilt. Next I did the quilting. I then appliquéd

lists of convict public works, and a list of the skills convicts brought to their work or learned in the process. I programmed my sewing machine for the small text, and machine-appliquéd the letters of the quilt name.

Meg Cowey

Wood Over River #1

31.5 x 32 inches | 80 x 81 cm | 2023

Another aspect of Fremantle that no one can miss is Fishing Boat Harbour, with vessels at the wharves and fish cafes everywhere. I searched for the history of fishing in the area, which began with First Nations people. They gathered for feasts and ceremonies when fish were running. Early settlers relied on fish when ships were late bringing supplies, and a vibrant fishing industry developed, particularly after European fishers arrived. A Fish Market quilt was called for. I played around with

29 x 29 inches | 73 x 73 cm | 2024

adapting the Drunkard’s Path block until fish shapes emerged. Coral trout and red emperor, my favorite fish for the table, had to be included.

My quilts for the exhibtion covered a serious look at shipping history, recollection of an historic quilt, newly applied Aboriginal place-names as well as convict and fishing history of Fremantle. Other artists in the exhibition have family or work connections with Fremantle or live there. They drew on personal memories for their artworks.

Meg Cowey has lived in Fremantle for more than thirty years, not far from Fremantle Bridge, which she passes over, under, or beside nearly every day. The first bridge at the site was built in 1867, the second in 1898, and a third “temporary replacement” was created in 1939 and is still in use today. Cowey rose early to photograph the existing bridge in order to make Wood Over River #1 and #2. The titles reflect the name that First Nations people gave the 1867 bridge, Boorna eejin wata-wat, meaning putting the wood

Hampshire

16 x 24 inches | 40 x 60 cm | 2023

across the river. Work #1 is shown.

Work #2 has a current look with a container port in view. The works are machine-pieced and -quilted.

Elizabeth Humphreys has family connections associated with settlers who came to Fremantle by ship and with shipbuilding in Fremantle. Humphreys made six quilts, each depicting a ship that is linked to her family history. Among them is Hampshire which anchored offshore in January 1887. After their three-month journey, emigrants were rowed ashore, waded, or were carried through the waves onto a beach; jetties had been built but only suited ships with a shallow draft. Humphreys based her Hampshire artwork on an historic photo of the ship. She hand-dyed and handpainted the fabrics and used some commercial fabric. The work is machine-appliquéd, machine-quilted, and hand-embroidered.

Stella King chose to honour the Bateman family. Patriarch John, who was a silk-ribbon manufacturer in London, arrived in Fremantle in 1830 with his family, including two sons. They took

up whaling and contributed to the cost of excavating a tunnel through a cliff to allow easy passage for products and supplies into Fremantle. Business was conducted from what is now known as the Bateman Building, which King worked in for several years. Hence, her artwork, Whalers Tunnel, which is based on an 1864 photograph. The fabrics are commercial and hand-dyed cotton. Techniques are machine appliqué and machine quilting.

Helen Dalgleish was involved with shipping for much of her career, which influenced her to make Weela, one of five tugboats commissioned for Fremantle Port in the 1960s.

Each has a First Nations’ word for its name: Weela, for black swan; Wilga, for teeth; Walana, for boomerang; Wongara, for morning; and Wato, for take hold. Dalgleish had a conversation with Fremantle Port Authority about basing her design on their photograph of Weela and gained their support. The work is machine-pieced and -appliquéd, hand- and machineembellished, and machine-quilted.

see “Australia” on page 33

Fremantle Prison Anglican Chapel, One British Institution Within Another 29 x 31 inches | 73 x 80 cm | 2023

Behind the scenes with the Juried Artist Review Panel

by Dorothy Raymond

Becoming a Juried Artist of SAQA is recognition by your peers that you are serious about your artistic practice. The application packet you present demonstrates whether you can make a successful application to a gallery or a museum for a solo exhibition if you choose to do so. Preparing a Juried Artist application is also a good way to assess where you are in your development as an artist.

Aside from the formal recognition, Juried Artists network with each other through regular Zoom meetings. Almost every month we have a speaker-led presentation or a free-form discussion that covers a topic the group is interested in that month.

Juried Artist members of SAQA now pay the same dues as Artist Members, removing one reason people have given in the past for not applying. If that factor was holding you back from enhancing your presence in the art world, now is a good time to apply.

The process can also create anxiety. To relieve your apprehension, I want to share what happens behind the scenes when you submit a Juried Artist application.

Applications are reviewed by the Juried Artist Review Panel for compliance with the Juried Artist Guidelines; these are published on the SAQA website. The Review Panel looks for artists who have:

• A consistent body of work

• Professional-quality photographs

• An artist’s statement that connects the viewer to your work

Martha Wolfe | Juried Artist 2024

Waiting for Kelly 40 x 48 inches | 102 x 122 cm | 2015

• A successful art quilt or fine art exhibition record

• A resume or CV of the applicant as an artist

• A professional-looking website

The Review Panel has three voting members, all Juried Artists themselves. Two alternates, who are former Review Panel members, fill in when necessary. The review process starts after you submit your online application. The Review Panel receives an automatic email with your application. SAQA also archives the application on a database platform.

The Review Panel meets quarterly via Zoom in January, April, July, and October. Before each meeting,

the members thoroughly review each application. They use a review checklist (found in the guidelines) that summarizes Juried Artist requirements. Using the same checklist helps ensure consistency in evaluation. At the Review Panel meeting, each application is considered separately. In turn, each Review Panel member summarizes that person’s evaluation of the application and votes “yes,” “no,” or “unsure.” If the votes are unanimous for “yes” or “no,” there is very little further discussion. When a Review Panel member votes “unsure,” the members discuss the application in detail until a consensus is reached.

Some applicants are not accepted the first time they apply, although

Heidi Parkes | Juried Artist 2024 Mimi, Mimi, Mimi

57 x 57 inches | 145 x 145 cm | 2022

the success rate is trending upward. If the Review Panel says that an artist needs to reapply, it will provide a specific list of items to address. Sometimes the issues can be easily resolved, while others may require some time to address.

One area that can take time to develop is an exhibition record. The Review Panel is looking for recent acceptance into art quilt exhibitions that attract international entries and that seek the best work. Quilt Visions, Art Quilt Elements, Fiberart International, and Quilts=Art=Quilts are examples of this type of exhibition.

SAQA Global Exhibitions and fine art shows, whether local, regional or national, are also important. There is no formula; there are many paths to demonstrate that not only do you consider yourself to be an artist, but that jurors and curators also consider you to be exactly that. For example

Tracie L. Maryne | Juried Artist 2024

Entangled

21 x 18 inches | 53 x 46 cm | 2023

the Review Panel is aware of the cost of international shipping for art quilts to exhibitions in the United States, so a non-USA member's exhibition record is evaluated with that consideration in mind.

If you have questions while you are preparing your application, send an email to jams@saqa.art. There are lots of helpful resources in the guidelines regarding photography, artist statements, and resume writing.

You also have the opportunity to ask for an advisor. The advisors are former members of the Review Panel who have volunteered to help applicants submit successful applications. Your advisor will assess your application against the Juried Artist Guidelines and share with you where your application could be strengthened. For example, advisors can spot simple things—like a resumé that does not follow the guidelines—that can be

easily fixed before you apply. Advisors also judge whether your portfolio is cohesive or whether photographs need to be retaken. Having an advisor is also a good idea if English is not your native language.

Working with an advisor is not necessary nor a guarantee for approval as a Juried Artist. It is, however, recommended. Materials shared with an advisor are confidential.

The Review Panel encourages you to apply. Fear of failing is understandable. But if you carefully read and follow the guidelines, the Review Panel is ready to accept your application. Learn more at www.saqa.com/jams. ■

Dorothy Raymond is a SAQA Juried Artist who resides in Loveland, Colorado. She is the coordinator for the Juried Artist application and acceptance process. You can view her work at www.dorothyraymond.com.

by Deborah Boschert

Abstract art in general does not attempt to represent external reality, but seeks to achieve its effect using shapes, forms, colors, and textures. Some of the artists in SAQA’s Global exhibition Abstraction: Textural Elements are excellent examples of this definition. Others delve into a gray area between abstract and representational. Some use the elements of art to symbolize experiences, narratives,

becomes reality in Germany

or suggested realities. As a whole, the exhibition is an excellent representation of artists exploring abstract concepts using a variety of styles, materials, and techniques.

This exhibition premiered at the Max Berk Textile Collection, Palatinate Museum in Heidelberg, Germany, on September 15, 2024. It includes forty-seven works created by artists from nine different

countries. The jury included Dr. Kristine Scherer, curator of the Max Berk Textile Collection; Sue Hotchkis, textile artist; and Claire Passmore, textile artist. The opening reception was attended by several exhibiting artists, local arts professionals, and visitors. They enjoyed viewing the exhibition, installed on three floors of the gallery space, converted from a beautiful old church. After its time in

Germany, the exhibition will travel to other venues through early 2028.

This is SAQA's first exhibition to premiere at the Palatinate Museum, a fact that deepens our partnership with this world-class museum. This relationship goes hand-in-hand with SAQA's mission to promote the art quilt to broad audiences. The museum, established in 1978, has been pivotal in developing an appreciation of textiles as fine art throughout Europe.

The wide variety of techniques and materials in the exhibition includes whole cloth works created with paint,

silk screening, dye, digital printing, and thread painting. Several pieces incorporate traditional piecing techniques—some with thousands of small pieces—and others highlight large-scale blocks of color. There are dimensional pieces that are folded, sculpted, and installed using unusual methods. Some pieces incorporate dense hand stitching to create texture, color, composition, and dynamic line while others incorporate spare linear machine quilting.

Juror Claire Passmore commented about the jury process, “Working together, we created a diverse yet balanced exhibition that encapsulated a wide variety of styles and types of artwork. Bold use of color and shape was an important influence. We were also drawn to work that was richly textured, both real and representational, often created by stitch.”

The artist statements are a rich complement to the artworks. Some focus exclusively on the elements and principles of art, while others note the personal narratives or representational symbolism that are part of the compositions. Viewers will appreciate the overall visual impact of the works and gain additional understanding when the artist shares the inspiration behind the art quilt in the accompanying statement.

In Cheryl Rezendes’s Movement Disorder, the linear composition comes together with bands of orange hashlike marks at the top and bottom and a row of steely blue rounded shapes overlaid with a pattern of sweeping curves. Upon noting the title and reading the artist statement about her husband's struggle with Parkinson's disease, the shapes take on the suggestion of a spinal cord or nerves and missed synapses.

With her title and artist statement, the inspiration for Jan McBrien Tetzlaff’s Rooflines is clearly discernible. The varying widths of fabric strips are overlapped and angled in reference to peaked roofs, beautifully abstracted into line, color, and texture. Several thin wavy inset lines combine with lines of hand quilting to create a sense of depth.

The artist statement for Mattea Jurin’s piece, Newspaper Confession,

offers insight into what the abstract shapes and composition may represent. It reads in part: “A 14-year-old Catholic girl goes to church. . . to confess her sins. . . She ends with the formula, ‘That is all, Father.’ The Priest does not reply. She repeats…‘Father, I’m finished.’ But then she sees he is reading the newspaper and not listening.” The quilt includes two large shapes and various barriers between them. Maybe the shapes represent the

girl and the priest. Maybe the mostly black-and-white color palette represents the black-and-white words and pictures found in newspapers.

Other artist statements are as abstract as the artwork. There is no suggestion of representation or narrative, and the artists celebrate the opportunity to work strictly with color, shape, line, and composition.

In the artist statement about her pieced art quilt, Just Because, Lucy

Mary-Ellen Latino Line Study

31.5 x 38 inches | 80 x 97 cm | 2022

Annie Hudnut

Fulcrum

57 x 46.5 inches | 145 x 118 cm | 2021

Engles writes that she is examining the relationship between colors. She creates a dynamic contrast by pairing a section of triangles in blues and golds with bold stripes ranging from hot pinks to muddy mustards that push off the edge of the design. It’s an excellent example of how focusing on process is an effective way to explore abstraction.

Mary-Ellen Latino wants "viewers to respond only to what is in front of them. Abstract lines and color set the reality without the expectation of complex meaning.” Her digitally developed, dyed, painted, and machinestitched art quilt, Line Study, is a dense scattering of dark lines balanced with a background of color that creates a sense of light and atmospheric quality.

Annie Hudnut’s minimalist work Fulcrum is reminiscent of modern abstract paintings. Dynamic tension and suggested imbalance is created with clear shapes and a limited color palette. She uses the quilted line in the neutral ground to suggest a figure balancing on a fulcrum.

Several quilts in the exhibition emphasize materials and techniques that are unique to working with fabric and stitch. Carla Ingrid Corbin’s Tree Traces is exclusively hand-stitched. She highlights fraying edges, draws lines with thread, and uses the loose weave of the cloth to create transparency. Dye, bleach, and natural elements make marks on the fabric that she builds into this small, richly detailed composition.

Carla Ingrid Corbin

Tree Traces

16 x 16 inches | 41 x 41 cm | 2023

Heidi Koenig

Colorfield Meander

49 x 46 inches | 124 x 117 cm | 2020

Similarly, Fenella Davies uses a variety of fabrics in Sea Fret, a mixed-media collage incorporating netting, scrim, cheesecloth, and other loosely woven materials to represent a foggy seascape.

Heidi Koenig also uses techniques that underline the unique features of fabric with her folded and layered piece, Colorfield Meander. She maximizes the texture created by the stitched line by adding paint to the quilted surface. The unique construction and bold angles created by the edges of the quilt as it hangs away from the wall further define the abstract focus of the work.

Artist Georgia O’Keeffe said, “I found I could say things with color

and shapes that I couldn’t say any other way—things I had no words for.” The SAQA artists in this exhibition create color and shape with fabric, stitch, and other materials to express a variety of ideas. Viewers of the exhibition will be engaged and impressed by these dynamic art quilts focusing on abstraction.

All of the art quilts in Abstraction: Textural Elements and other exhibition info can be viewed on the SAQA website at www.saqa.com/abstraction. ■

Deborah Boschert is a SAQA member who resides in Lewisville, Texas. You can view her artwork at www.DeborahsStudio.com.

Fenella Davies

Sea Fret

60 x 20 inches | 152 x 51 cm | 2019

Joyful Color

Moo-nique

21 x 21 inches | 53 x 53 cm | 2024

Lever de soleil dans ma rue (Sunrise on my Street)

24 x 16 inches | 61 x 41 cm | 2022

Wendy Ward Creatrix: She Who Creates 66 x 36.5 inches | 168 x 93 cm | 2024

Sue Dennis Pawpaw XOX

16 x 16 inches | 41 x 41 cm | 2024

Learn to craft artist statements using AI

by Deb Cashatt

You’ve sewn the last stitch on your latest artwork. It turned out better than you could have imagined! So you decide to enter it into that exhibition you’ve always wanted to be part of. You open the call for entry, enter the title and size, and then you see the box for the artist statement. Ah, the dreaded artist statement.

For two decades, as part of the creative duo Pixeladies, I had the luxury of my own in-house writer, Kris Sazaki, the other half of the duo. She helped articulate the inspiration and process behind our collaborative fabric art. Now that the Pixeladies brand is retired and I create art on my own, I have to face the challenge of crafting my own artist statements.

There are several types of artist statements. One is an overall statement

about you and your body of work. Another is a statement about a specific piece of art. I will focus on the latter form because most SAQA exhibition calls for entry require this format. Note, however, that the same principles apply to writing a general statement about your body of work.

SAQA has numerous resources on writing artist statements (visit www.saqa. com and search for artist statements), but I decided to check out this newfangled thing called ChatGPT. Created by OpenAI, it is an artificial intelligence (AI) program that will write for you. You enter your poorly worded idea and ChatGPT spits out a paragraph—or two, or three, or four. I was amazed. “That’s exactly what I meant to say,” I thought to myself when my results appeared. Okay. It wasn’t that

good, but it gave me a starting point.

After that first attempt, I learned that there were more programs that would do the same thing. In this article, I will explain how I use three AI text generators to craft my artist statements. Here are the basic steps I follow:

Step 1

Write a blurb describing your quilt. For the purposes of this article, I’m going to create an artist statement for my latest artwork, The Cobalt Store, and, my blurb is “a blue and white art quilt depicting tools and other items found in a hardware/big box store.” I write this text in my word processing program so I can quickly copy and paste it into each AI text generator. Also, you can take a photo of your quilt and save it as a jpeg file somewhere that is readily accessible.

Step 2

Open an AI-assisted writing program. For this article, I’m using the free desktop versions of Open AI’s ChatGPT, Google’s Gemini, and Canva’s Magic Write. While free, in some cases you might have to create an account for these products. When prompted, enter this prompt: “Create an artist statement for [paste the blurb from step 1].” Press the up arrow for ChatGPT, the left arrow for Gemini, and the Generate button for Magic Write.

Step 3

Copy the generated text, and paste it into your favorite word processing program. I repeat step 2 in each AI generator. The results can be significantly different.

Step 4

In the word-processing program, read each of the statements and highlight any words or phrases that you especially like. Sometimes these snippets are not what I want to say, but the opposite of what I would say. I highlight these, too, and add a note after it. Save that file. You never know if you’ll want to go back and reread some of the generated text. Then I copy all of the highlighted text to another file I name Clipped Phrases. (See the text box for the list of my clipped phrases.) You’ll note that these text generators also suggest titles. Perhaps one will work for your masterpiece. Sometimes the generated text gives me ideas for future artwork in the series.

Step 5

Most of the time you will not find a statement that is exactly what you want to say, so you will have to do some writing of your own. Having said that, for the first time in all my AI-text-generating life, Gemini, using the photo, spit out a statement I could have used word for word. It wasn’t perfect, but it wasn’t bad, either. Usually I use select words and phrases to craft a statement. I choose the phrases that I especially like and use my own words to explain things the text generator messed up. Whatever you do, be true to yourself. If the generator comes up with some fancy words that you would never say, rephrase it. Also at this point, I’m not worried about the number of words and characters. I just write!

Sample AI Artist Statements

Here are three shortened examples of artist statements generated by AI platforms in response to the prompt to “create an artist statement for a blue and white art quilt depicting tools and other items found in a hardware/big box store.” The highlighted phrases are among concepts selected to consider for the final artist statement.

Chat GPT 1

Artist Statement: Tools of the

Trade

This quilt, Tools of the Trade, explores the beauty and functionality of everyday objects typically found in a hardware or big-box store. By focusing on tools, fasteners, and other utilitarian items, I aim to elevate the often-overlooked materials of the modern world. The color palette of blue and white evokes a sense of calm and clarity, while also referencing the industrial and utilitarian nature of these objects.

The medium of quilting, often associated with tradition and craft, allows me to explore the intersection of art and utility. It’s a medium that, much like the tools depicted, is rooted in practicality but offers a space for creativity and expression. By using this traditional craft to represent industrial objects, I aim to bridge the gap between the functional and the artistic, suggesting that beauty can be found in the most unexpected places.

Gemini 1

Artist Statement: Industrial Tapestry

Industrial Tapestry is a celebration of the often-overlooked beauty within the utilitarian. This art quilt delves into the world of hardware stores, [NOTE: THIS WAS USED IN ALL 3 STATEMENTS] a realm typically associated with function and practicality. By focusing on the tools and objects that shape our built environment, I aim to elevate these everyday items to the status of art.

The contrasting palette of blue and white evokes a sense of both serenity and intensity. The cool tones of blue mirror the industrial setting, while the crisp white highlights the intricate details of each object. The quilt's composition is a deliberate arrangement of forms, creating a visual rhythm [OR CHAOS] that draws the viewer's eye across the surface.

Magic Write 1

Title: Uncommon Tools

In the creation of Uncommon Tools, I sought to explore the intersection between everyday utility and artistic expression. This blue and white art quilt is a reflection of the often-overlooked beauty found within the aisles of a hardware or big box store.

The quilt features a variety of tools and items typically found in such stores, from hammers and screwdrivers to bolts and paintbrushes. Each piece is meticulously designed and crafted using a palette of blue and white fabrics, chosen for their simplicity and elegance. The contrast between these colors highlights the form and function of each object, much like the stark lighting that often illuminates the aisles where these items reside.

In my work, I aim to bridge the gap between art and life, challenging the notion that beauty is only found in the grand and the extraordinary. By elevating these common tools to the realm of art, I encourage viewers to appreciate the craftsmanship and design inherent in everyday objects.

Clipped Phrases

White highlights denote phrases taken from the AI generated text. Capital letters in brackets are notes to myself.

Through a meticulous process [NOTE: TALK ABOUT IMPROVISATIONAL PROCESS],

These spaces, bustling with activity and filled with myriad items highlights the form and function of each object, much like the stark lighting that often illuminates the aisles where these items reside.

transform even the most mundane objects into something extraordinary.

juxtaposition of the representational and the abstract a bold, graphic style inspired by folk art and traditional textile patterns. familiar landscape of a hardware store

playful exploration of form and pattern

I’ve taken everyday objects like hammers, saws, and paintbrushes and transformed them into whimsical shapes and designs

purely visual level

The stark contrast between the white background and the cobalt blue creates a sense of tension and energy, [NOTE: MAY WANT TO TALK ABOUT THE ALTERNATING USE OF FORE/BACKGROUND COLORS]

a visual symphony of tools and objects, transformed into abstract forms and patterns. organized chaos of a well-stocked hardware store.

meticulously stitched this quilt transforms these commonplace items into a vibrant and dynamic artwork. emphasizes the geometric forms and linear patterns inherent in these everyday items. deliberate arrangement of forms, creating a visual rhythm [OR CHAOS]

the often-overlooked beauty within the utilitarian. This art quilt delves into the world of hardware stores, [NOTE: THIS WAS USED IN ALL 3 STATEMENTS]

beauty can be found in the most unexpected places.

It’s a medium that, much like the tools depicted, is rooted in practicality but offers a space for creativity and expression the beauty and functionality of everyday objects

After a few attempts, here is my statement for the artwork:

"Inspired by folk art and traditional textile patterns, The Cobalt Store is a visual symphony of tools and objects, transformed into whimsical forms and designs. I piece my artwork improvisationally, but color and contrast are very important. Blue alternates between the color of the symbographic tools and the background. Relative scale, on the other hand, is not important at all.

Hand drills are larger than tractors and a string of lights won’t fit into a wheelbarrow. Inside the chaos of this big blue home improvement store, some things that appear random hide coded messages, and some shapes that will have you scratching your head are just that, shapes with no meaning at all."

Step 6

READ the prospectus again. Is there a limit to the number of words or

characters in the artist statement? If so, use your word-processing program’s word count to make sure your statement falls within the limit. If your word count is too high, you can use the AI generator to shorten your statement. Essentially, follow the same process described above, only use the prompt: “edit the following to 50 [whatever word count you need] words: [insert your artist statement].”

Step 7

Have a trusted friend or colleague read the statement. Check your grammar, spelling, and, especially in my case, comma placement. Don’t just rely on Grammarly (an AI program to check your grammar), unless you’ve waited until 11:59 pm when the submission deadline is midnight.

Add a photo and more

One of the programs, Gemini, has some additional features. You can add a photo to your initial prompt. Click on the icon with the triangles and a plus sign. Sometimes, as with The Cobalt Store , I actually piece text or the title into the work. This led to some interesting results. Gemini actually suggested The Cobalt Store as the title (without the photo, this title was never suggested). Furthermore, measuring tapes and towering ladders were used in the resulting artist statements, where before they were not mentioned. Did Gemini “see” those objects in the quilt? Eerie, right? Also, Gemini usually spits out three drafts. Click on the “See Drafts” button to see the other two versions. Finally, Gemini can read the draft to you. Click on the speaker icon to the left of the drafts button. I tend to hear more accurately than I read, so I really like this feature. As an aside, I craft my see “AI Artist Statements” on page 34

ChatGPT can be a creative partner in your studio

by Angie E Knowles

Artificial Intelligence (AI) tools are becoming more than just gadgets— they can be a practical instrument in your creative toolbox. In particular, ChatGPT is transforming how I approach my work outside of creating art. It’s becoming a big part of my process to help organize, plan, and share my art. My purpose in using ChatGPT isn't to fabricate something from nothing or to create something I have no knowledge of. I use it to shorten the time between idea and project fruition. It does the heavy lifting for me, freeing my time to focus on other pursuits such as creating art and classes.

In this article, I will share how I’ve been using it to make my practice smoother and more enjoyable. But first let’s examine exactly what ChatGPT and other AI tools are. These developments are advanced technologies that use machine learning to understand and respond to written inputs. They are powered by large language models (LLMs), which are trained on massive amounts of text from books, articles, and websites. Think of LLMs as massive databases, with the ability to learn, to analyze patterns and relationships in the text they were trained on, and to predict what comes next based on the patterns they’ve learned. This makes them flexible and capable of creating text intelligently, whether it’s drafting content, brainstorming ideas, or answering questions. Although they can save time and simplify tasks, they are most effective as a tool that complements human creativity and

problem-solving, not as replacements for them. Here are a few ways I’ve been experimenting with using ChatGPT.

AI applications

Sometimes inspiration is nowhere to be found and the blank page can feel intimidating. That’s when ChatGPT helps me out. I use it to brainstorm new ideas, experiment with new techniques, or get an idea to kickstart a project. It’s like having a brainstorming buddy who never runs out of ideas. For example, when I wanted to explore botanical themes for a quilt series, I described my interests to ChatGPT, and it suggested concepts I might not have

organized. It’s like having a digital checklist that keeps me on track. It also helps me estimate timelines and prioritize tasks based on deadlines, which is invaluable when juggling multiple projects.

Despite it being called Artificial Intelligence, it is not intelligent nor can it read your mind. The more detailed you are when describing your needs, the better the suggestions you’ll receive.

thought of otherwise. Even when I feel I know quite a lot about a subject, ChatGPT comes up with many ideas I would never have considered. Big projects can be overwhelming, but breaking them down into smaller, actionable steps makes them manageable. ChatGPT can help outline everything from start to finish. Whether I’m preparing for an exhibition or planning a workshop, it helps me stay

Sharing my work and connecting with others who love textiles and art as much as I do is one of my passions. But creating content can sometimes take more time than I have to devote to it. ChatGPT makes it easier by helping me draft blog posts, newsletters, and social media captions. Why let great content go to waste? ChatGPT takes something I’ve already created— like a blog post—and turns it into different formats. A single idea can become a social media post, an email, or even a script for a video. This way, I make the most of my time and my audience can see my work in different ways. For example, a tutorial I write for my blog can easily become a series of Instagram posts or a short video guide. Naming art pieces can be more challenging than creating them. ChatGPT can make the process easier and more fun. I describe the piece—its inspiration, colors, and themes—and ChatGPT suggests creative titles. I’ve even uploaded an image of the art. Some results are hits, some are misses, but I always get new ideas I might not have considered. It’s like having a sounding board to help me find the perfect name.

All of these things—idea generation, project planning, creating

content, repurposing content, integrating across platforms, and naming pieces—come together to support what I do in and out of the studio. ChatGPT is becoming my behind-thescenes assistant, helping me manage moving parts so I can spend more time doing what I love: making art and sharing it with others.

Tips for using ChatGPT

1. Be Specific with Your Prompts: Despite it being called Artificial Intelligence, it is not intelligent nor can it read your mind. The more detailed you are when describing your needs, the better the suggestions you’ll receive. Rephrase your prompts to see if you get better results.

2. Experiment with Different Approaches: Try using ChatGPT

for a variety of tasks, from brainstorming to planning, to refining content. Testing different uses will help you discover what works best for you.

3. Combine ChatGPT with Your Own Creativity: Use ChatGPT as a collaborator, not a replacement. Use its ideas as a starting point and add your own perspective to make the final result truly yours.

4. Save and Revisit Responses: Keep a record of particularly helpful responses. You can build a library of ideas, templates, or content to use later, saving time and effort down the road.

What not to do

Don’t use it to replace your voice. AI tools are great for support, but they shouldn’t overshadow your unique

style or perspective. Always personalize the output to reflect your individuality.

1. Avoid Relying on It for All Creativity: While ChatGPT can lead to new ideas, leaning on it too much may stifle your creative instincts. Use it as a supplement, not a crutch.

2. Don’t Use It for Sensitive or Confidential Information:

Avoid sharing personal or sensitive details in your prompts; the tool isn’t designed to handle private data securely.

3. Don’t Expect Perfection: AI-generated suggestions can sometimes be way out there! Be prepared to refine and edit the output to meet your needs.

4. Don’t Forget The Human Element: AI tools work best when combined with feedback and collaboration from real people. Whether from peers, mentors, or your audience, human input is invaluable for refining ideas and making them shine.

Conclusion

AI tools like ChatGPT aren’t just for creating things—they can support a system that simplifies being an artist. It can make the creative process a little lighter and more enjoyable. If you’re curious about how to use it in your art practice, I encourage you to give it a try; get in there and just play with it. You might be surprised at how much room it creates for creativity and joy in your work. ChatGPT can be the partner you didn’t know you needed. ■

Angie E Knowles is a SAQA member who resides in Ft. Campbell, Kentucky. You can view her artwork at www.angieeknowles.com.

Australia from page 17

Natalia Tasovac chose to represent the Anglican Chapel which is in the prison built by convicts from 1852-1859. Hence the title, Fremantle Prison Anglican Chapel, One British Institution Within Another. Tasovac based her work on a current photograph. The work is foundation-paperpieced and free-motion-quilted.

The overall exhibtion of 38 pieces was an eclectic collection that engaged visitors. It was varied in the sense of subjects chosen, the mix of representational and abstract works, and techniques used. You may view the exhibition catalog, booklets, and slide shows www.pathfindersquilts. wordpress.com. ■

Pat Forster is a SAQA Juried Artist who resides in Mount Pleasant, Western Australia, Australia.

CELEBRATING 25 YEARS

AI Artist Statements

from page 30

statements in Microsoft Word. It also has a Read Aloud feature (located under the Review tab—the same tab that contains Word Count). I have Word read my artist statement to me before I add it to my call for entry.

In conclusion

On a whim, I decided to enter my artist statement that had been crafted with the help of AI into the program AI Detector, available through Grammarly. This shows how much of your work appears to be written with AI. Hilariously, AI Detector announced that zero percent of the text appeared to be AI-generated.

On a final note, there are many concerns with artificial intelligence in general, including the energy required to power the server farms, the sources of content used to train the programs, and the ownership of the content generated by AI. These concerns are not within the scope of this article. Please read the terms of use for any AI program you use. They vary widely and change often. Text generating artificial intelligence is changing at a very rapid pace. There were changes between the time I proposed this article and the writing of it. Who knows what will have happened between now and the time this article is published. No matter the changes, AI text generators are another aide in our ever-expanding toolbox. I hope you can put some of this technology to use and that this article takes some of the dread out of creating an artist statement. ■

Deb Cashatt is a SAQA Juried Artist who resides in Cameron Park, California. You can view her work at www.debcashatt.com.

CALLS FOR ENTRY

GLOBAL EXHIBITIONS

NATURE’S CANVAS

CALL FOR ENTRY: MARCH 1-31, 2025

AI: ARTISTIC INTERPRETATIONS

CALL FOR ENTRY: APRIL 1-30, 2025

POLLINATORS

CALL FOR ENTRY: NOVEMBER 1-30, 2025 BELOW THE SURFACE

VIRTUAL GALLERIES

CALL FOR ENTRY: FEBRUARY 1-28, 2025

BREAKING BOUNDARIES

CALL FOR ENTRY: AUGUST 1-31, 2025

DRAWN TO LINES

CALL FOR ENTRY: MAY 1-31, 2025

MADE IT SPLASH

CALL FOR ENTRY: NOVEMBER 1-30, 2025

For complete details on all exhibitions, visit www.saqa.com/calls

2024 DONORS

Studio Art Quilt Associates, Inc. would like to express its gratitude to the following donors who supported our programs in 2024. Your contributions are critical to SAQA and our mission to promote art quilts. Thank you.

FOUNDER’S CIRCLE

$5000+

Helen Blumen

Holly Brackmann

Lisa Ellis

Marvin Fletcher

Robert and Ardis

James Foundation

Frank Klein

Shirley Neary

Claudia Pearce

Kate Stiassni

LEADERS

$2500+

Anne Abendroth

Barbara Daly Blanchard (In memory of Marilyn Glenn Forney)

Sharon A. Burns

Giny Dixon

Rachel Gollub

Margaret Moon and John J. Davies III

Ivy Jensen

Mary Ann Littlejohn

Melanie B. McFarland

Dolores Miller

Jo Noble

Bobbe Shapiro Nolan

Dorothy Raymond

Sara Roche

Marion Shimoda

Sue Siefkin

Dale Stuart

BENEFACTORS

$1000+

Lynne Allen

Kathy K. Azeez

Loren Bach

Bobbi Baugh

Regina Benson

Lilo Bowman

Sonja Campbell

Lisa Murphy Charles

Shannon Conley

Tanya Cossett

Joyce Ferrie

Mary Kay Fosnacht

Lynn Glesne

Ralph James

Ann Johnston

Elodie Keene

Judy Kirpich

Karol Kusmaul

Cat Larrea

Jeanne Marklin

Denise Oyama Miller

Amy Nelson

Susan Nestegard

Lucia Patrick

Candice Phelan

Margaret Phillips

Teri Quinn

Carole R. Rossi

Barbara Schneider

Stephanye Schuyler

Jean Sredl

Sandra Teepen

Connie Tiegel

Maggie Vanderweit

John Walsh

LUMINARIES

$500+

Brenda Bailey-Hainer

Alice Beasley

Elizabeth Bennett

Stephen Berkenfeld (In memory of Karen Berkenfeld)

Diane M. Born

Deborah Boschert

Michelle Bruno

Nancy Bryant

Shin-hee Chin

Gail B. Coad

Maria Doyle

Annette Friedlein

Mary Louise Gerek

Maggy Rozycki Hiltner

Kathie Kerler

Lynn Koolish

Mary K. Martin

Mike Mccormick

Clara Nartey

Jackie Nixon-Fulton

Fabienne Peter-Contesse

Jane Quimby

Nancy Riffle

Tara Ritacco

Arturo Alonzo Sandoval

Maria Shell

Martha Sielman

Jan Tetzlaff

Gwyned Trefethen

Susan West

Melissa Wraalstad

VISIONARIES

$240+

Diana Bailey

Jennifer Solon

Jan Soules

Joan Sowada

Kathy Suprenant

Rebecca Linson Szetela

Del Thomas

Mary Vinovskis

Carla White

Barbara Whited

Diana Bartelings

Nancy Bavor

Charlotte S. Bird

Arlene L. Blackburn

Nancy Bougher

Esther Brabec

Lisa Breit

Michelle Browne

Laurie Bucher

Ana Buzzalino

Trish Cassen

Lori Cook

Janet N. Craig

Sherri Culver

Vivika DeNegre

Lisa Dodson

Pamala Doffek

Mel Dugosh

Susan Else

Sarah Lykins Entsminger

Caryl Bryer Fallert-Gentry

Patricia Fifer

Laura Fogg

Aviva Weiner Fontes

Cynthia Fowler

Georgia French

Bethany Elise Garner

Sandy Gregg

Cindy Grisdela

Maura Grogan Cornell

Barbara Grote

Anne Hammond

Jill Hoddick

Linda S. Hoffmeister

Laura Jaszkowski

Chriss Johns

Kathy Johnson

Jean Wells Keenan

Patricia Kennedy-Zafred

Terrie Linn Kygar

Catherine LaManna

Susan Langslet

Carol Larson

Nancy Lemke

Deon Lewis

Hsin-Chen Lin

Sandi Makowski

Therese May

Kathleen McCabe

Sherri Lipman McCauley

Randa Mulford

Nancy Neal

Diane Nunez

Carrie Payne

Karen Peters

Donata Pfisterer

Maureen Phillips

Sharon Seim

Alice Brody

Susan Browar

Kate Brown

Dianne L. Browning Knapp

Martha Bryans

Pat Budge

Carolyn Maia Burton

Diane M. Wright

Zara Zannettino

OTHER DONORS

Cordell Affeldt

Regula Affolter

Mary Jane Aigner

Joanne Alberda

Frances Holliday Alford

Susan Allen

Diane D. Amos

Deborah Melton Anderson

Linda Anderson

Zohra Arastu

Barbara Arguedas

Cheryl Arkison

Meredith Armstrong

Jan Avent

Linda Baccei

Reva Bailey

Alexandra Bakewell

Elizabeth Bamberger

Bonnie Barbera

Nancy Bardach

Sonia Bardella

Janet Barker

Rebecca Beeson

Robert Bein

Pamela H. Belk

Carolyn S. Bell

Sher Beller

Diana J. Bennet

Astrid Hilger Bennett

Liz Berg

Gail Berkesch

Susan Bianchi

Pamela A. Bice

Alessandra Billingslea

Pat Bishop

Christina Blais

Jean Blalock

Jill L. Blanchette

Vicki Bohnhoff

Marni S. Bowen

Sharon Lilly Bowes

Jenny Bowker

Carol Boyer

Susan B. Boyle

Kris Brandenburger

Melani Brewer

Carol Ann Bridges

Deborah Bright

Margaret Bushaw

Susan Callahan

JoAnn Camp

Kathleen Campau

Sabrina Capune

Ruth Carden

Fanny Carroll

Sandra Carter

Mabelin Castellanos

Amy W. Cavaness

Katie Chester

Carol Churchill

Sue Clarkson

Jette Clover

Marilyn Clulow

Julee Coffman

Maureen Cole

Misty Cole

Pamela Joy Cole

Joyce Compton

Bonnie L. Connolly

Judith Content

Carla Corbin

Ruth Crump

Lisa H. Curtis

Nike Cutsumpas

Virginia M. Dambach

Rosalind S. Daniels

Pat DaRif

E. Anne Daughtry

Claire Davidson

Pat Carol Davies

Janet Ruth Davis

Linda M. Davis

Shelly Deetz

Rebecca S. Dickson

Shannon M. Dion

Karen Dobson

Helen C. Doebler

Rachael Dorr

Katherine M. Dossman

Leti Dueñas

Jane Dunnewold

Michele Eakins

Annabel Ebersole

Lin Elmo

Don A. Emerson

Marion E. Emerson

Joan Engel

Kerry Faraone

Patricia Faulkner

Pat Ferguson

Marla Ferguson-Leak

Cynthia FigueroaMcInteer

Linda Filby-Fisher

Andrea Finch

Linda Mackie Finley

Ellen Fisher

Floris Flam

Linda Fleschner

Christina Flores

Lisa Flowers Ross

Jane Frenke

Pati Fried

Rochelle N. Fried

Ellen Friedman

Kim Frisk

Carol Gaas

Blaire O. Gagnon

Agnes Kathleen Gantz

Diane Gardner Rhoden

Judith Quinn Garnett

Jayne Gaskins

Helen K. Geglio

Lynne Louise Gettelfinger

Mimi Ghauri-Young

Sally Glutting

Robyn Gold

Sandi Goldstein

Susie Goodman

Linda Gort

Cindy Graber

Virginia Greaves

Kathy Green

Melanie Hermina Grishman

Valetta M. Gyurci

Lynn M. Haia

Joan Louise Handrahan

Kathy Hanoian

M. Colleen Harrington

Kayse Harshaw

Barbara Oliver Hartman

Terry Ann Hartzell

Linda Sanders Hatch

Jim Hay

MaryAnn Healy

Dawn Heefner

Cathy Heeter

Susan Heller

Janeene Herchold

Jackie Heupel

Claire A. Hibbard

Carolyn Higgins

Tina Hilton

Sue Holdaway Heys

Sharla Jean Hoskin

Karen L. Hostetler

Ann Houle

Yvette Howard

Linda Hughes

Tracy Hughes

Becky Hurwitz (In memory of Molly Flowers)

Ellen Brereton Icochea

Judy Ireland

Sharon Wallace Iyer

Laurel Izard

Susan Jackan

Jaimianne Jacobin

Pam Jenner

Rosseaux C. Joiner

Anne Jones

Jonquele J. Jones

Stephanie Jurgensen

Margit Kagerer

Kim Kapalka

Erika Keith

Noel Keith

Susan Gibson Kelly

Darlene Khosrowpour

Linda M. Kim

Monica Kindraka

Sherry Kleinman

Kathy Knapp

Diane Knoblauch

Linda Knudtson

Ursula Koenig

Naida Koraly

Donna C. Kuhl

Lynn Kunz

Phillippa Kay Lack

Judy Langille

Mary-Ellen Latino

Sandra Lauterbach

Nanette LaVerdiere

Mickey (Margaret) Lawler

Eleanor F. Lawson

Kathy LeBlanc

Laura J. Leiden (In memory of Molly Flowers)

Kate Lenkowsky

Sally Lloyd

Aurelle Locke

Cindy Loos (In memory of Molly Flowers)

Rebecca Loren

Laura Lugo

Kevan R. Lunney

Kate H. Lynch

Jenny K. Lyon

Lynne MacDonald

Monika Machon

Judith J. MacNaughton

Alice Magorian

Donna Mallen

Terrie Hancock Mangat

Sheila Marko

An Marshall

Helen Marie Marshall

Judith E. Martin

Julia Martin

Cecilia G. Mason

Penny Mateer

Christine Maute

Mary Evalyn Maxwell

Rosemary McBride

Marianne Mccaffery

Jean McCreary

Gretchen McDaniel

Annette McFarlane

Catriona McKay

Penelope McMorris

Kathy A. Menzie

Angela Meyer

Annette Meyer-Grunow

Kestrel Michaud

Roberta Chalfy Miller

Cathy Miranker

Susie Monday

Julia Montoya

Jeannie Moore

Sandy Moore

Pamela Morris

Myania Moses

Bob Mosier

Alison Muir

Barbara Joan Murak

Ruth Murayama

Laura Murray

Marnie Murray

Laurie Mutalipassi

Ree Nancarrow

Suzanne Richter Neusner

Debra Newhall

Judy B. Norris

Katy Nygard

Carol O'Bagy

Susan Ober

Kathleen Oliver

Barbara Olson

Lindsay Olson

Linda K. Olsson

Cathie S. Osmun

Stacy Owen

Tasha Ann Owen

Pat Owoc

Sarah H. Parker

Margot J. Parr

Katie Pasquini

Mary Black Pearson

Janet Lee Perkins

Cindy Peterson

Denneen L. Peterson

Shirley Pittz

Stephanie Plaut

Jeri Pollock

Amanda Preston Araujo

Janis Price

Susan Price

Clarita Marie Rader

Sherri Ramsey

Susanne Rasmussen

Lisa White Reber

Daren Pitts Redman

Wen Redmond

Carolyn Sue Reeves

Erlinda Rejino

Debra Ressler

Martha E. Ressler

Mary Ann Rich

Sheila M. Rideout

Linda Ritchie

Sally J. Rogers

Kristin Rohr

Rita M. Romeu

Roberta Russell

Caren C. Ryan

Gabrielle Pentz Ryan

Cyndy Margaret Rymer

Karen Sabbath

Linda Sabin

Sheryl Sabin

Kuniko Saka

Susan Salser

Claudia Cole Sammis

Dinah Sargeant

Kris Sazaki

Norma Schlager

Carla Schommer

Maya Schonenberger

Joan Schulze

Roxanne Schwartz

Wilma Fletcher Scott

Lynne Seaman

Sheara Seigal

Debra Kay Seltzer

Kara Shafer

Debra E. Shaw

Stephanie Shore

Judith Ann Simek

Martha Simenstad

Patty Simmons

Kathleen Jewell Simpson

Carolyn Skei

Bonnie J. Smith

Brenda Hale Smith

Lottie Smith

Sandra Smith

Sarah Ann Smith

Lois Ann Sovey

Michaala Johanna

Speijers

Shoshana Spiegel

Charlotte T. Sproul

Donna J. Stalaboin

Carol Stanley

Andra F. Stanton

Carole Staples

Suzanne Snowgrass Steel

Carla Stehr

Nancy Steidle

Rebecca Stevens

Kathy Stewart

Mary Jo Stipe

Teresa Stoller

Michelle Stolte

Renee Ferguson

Summers

Tiziana Tateo

Daphne Taylor

Linda S. Thompson

Sheila Thornburg

Elizabeth Torrence

Bonnie Trafelet

Janet E. Tranbarger

Barbara Triscari

Betsy True

Candace D. Tucker

Ann Turley

Lili Turnell

Sherry Turpenoff

Kimberly Jan Van

Berkum-Bates

Dee Dee Van Kirk

Mary Ann Van Soest

Desiree Vaughn

Anita Vigorito

Christine Vinh

Susana Isabel Vizcarra

Cynthia Vogt

Janice M. Walker

Lisa Walton

Debi Wanzer

Laure Warren

Laura Wasilowski

Martin Karl Weber

Enid Gjelten

Weichselbaum

Mollie Weinert

Deborah Weir

Maggie Weiss

Lynn Welsch

Marie Welsch

Dorothy West

Stephen Westbrook (In memory of Barbara Naiditch)

Andrea Willey

Margaret Williams (In memory of Molly Flowers)

Libby Williamson

Hope Wilmarth

Gera Witte

Martha Wolfe

Jeanette Woll

Cyndi Zacheis

Thank you to all the SAQA members who donated back their credit card fees. Together you saved SAQA more than $2,700!

JOY inspiration spirituality healing GRIEF peace

Sacred Threads Main Exhibit

Indianapolis, IN: October 30 - November 9, 2025

Sacred Threads Traveling Exhibit

Debuting in Houston, TX: October 31, 2024 THIS SHOW WILL TRAVEL FOR THREE YEARS.

In Memoriam

We extend our condolences to the families and friends of recently passed members. Please join us as we pause to remember each one. We will miss our creative friends and their involvement with SAQA:

Carol Capel Elrod , of Fort Myers, Florida

Mary Ann Rich , of Simcoe, Ontario, Canada

Anna Wagner-Ott , of Barry’s Bay, Ontario, Canada

Elizabeth G. “Betty” (Lofland) Warner , of Pittsfield, Vermont

Plan now to attend our 2025 SAQA Conference in Florida!

In St. Petersburg, you’ll immerse yourself in a dynamic art scene with world-class galleries, colorful street murals, and captivating museums.

SAQA’s conference is a grand opportunity to network and socialize and be inspired by poignant presentations. Our Special Events Committee has created a schedule of fun activities, informative programs, exhibitions, and more.

See you at the Hilton Bayfront in downtown St. Petersburg!

AQS Quilt Shows

Join AQS for a week of quilts! Take quilt workshops, enjoy lectures, and shop fabrics, notions, and more at the Vendor Mall. Most of all, be inspired as you explore aisles of breathtaking contest and special exhibit quilts.

more at

DAYTONA BEACH, FL Feb. 19–22, 2025

BRANSON, MO Mar. 12–15, 2025

PADUCAH, KY Apr. 23–26, 2025

GRAND RAPIDS, MI Aug. 20–23, 2025

Spotlight Auction 2024

MARCH 26 - APRIL 5

Enjoy bidding on hundreds of small pieces made by SAQA members from around the world. This auction helps support all of SAQA's programs. It coincides with SAQA’s Annual Conference, but everyone can participate.

Each piece is 6 x 8 inches (15 x 20 cm) and will arrive matted and tucked into a protective cellophane bag.

For details on bidding, visit our website: www.saqa.com/spotlight

LANCASTER, PA Sept. 10–13, 2025