Stanford Art Spaces
October 22, 1999 to December 16, 1999, Stanford Art Spaces features an exhibit of Quilts and Fiber Art by fifteen artists and Marbling by one artist:

Mary Anhaltzer
Sonya Barrington
Wati Grossman
Lynn Koolish

Jaye Lapachet
Diana Lynn
Linda MacDonald
Therese May

Nana Montgomery
Ann Rhode
Rebecca Rohrkaste
Joan Schulze

Cathy Shanahan
Kathleen Sharp
Lita Star
Joan McLeod

This exhibit is located on the Stanford University campus in four buildings: the Allen Center for Integrated Systems (CIS), Gates Computer Science, Terman Engineering Center, and Humanities and Sciences.     Reception 3pm-5pm on November 5 at CIS

Works are for sale directly from artists. For information, contact M. Grossman, Curator Stanford Art Spaces (650) 725-3622,

Wild Thing © 1999   Mary Anhaltzer

Mary Anthaltzer is the owner of the Thirteen Moons Gallery in Santa Fe, New Mexico, which showcases quilts by artists who live throughout the U.S.. Her work has evolved from traditional quilts to contemporary ones and has been exhibited in many states.

Mary Anhaltzer's Website

  • Wild Thing (CIS 1)

Sonya Barrington

Sonya Barrington works with cloth, color and line. Her quilts vary in size from small to large. Most recently she creates her quilts with her own hand-dyed and textured fabrics. The work is thinly layered and usually hand-quilted. She also spends considerable time teaching others the art of her craft.

Sonya Barrington's Website

  • Back to the 50's (CIS 1)
  • Ninety-nine Patch (CIS 2)
  • Forest Floor Series #1 (CIS 2)
  • Uncle Phil (Terman 259)
  Back to the 50's © 1999

The Rug © 1999   Wati Grossman

A fashion designer, Wati Grossman enjoys quilting for its freedom from all the constraints of fashion design. Instead, the sole function is artistic expression. She has been making non-traditional quilts for about 5 years.

  • The Rug (CIS 1)

Lynn Koolish

Lynn Koolish quilts because she loves colors, patterns, and the feel of fabric. Her style is eclectic and non-traditional, inspired in part by Art Deco and Japanese gardens. She has a strong sense of asymmetrical balance and contrasts in line, texture and color. She currently edits quilt books.

  • Golden Path (CIS 1)
  • Peonies (Terman 214)
  • Leaves and Fishes (Terman 263)
  • Wow, What a Quilt (CIS 1)
    (several collaborators)
  © 1999

Shrine to Desiree © 1999   Jaye Lapachet

Jaye Lapachet did collages, acrylics, and watercolors prior to 1986 when she began quilting. Her quilts, usually done with machine piercing and quilting, have many different styles and techniques. She makes the same pattern several times to study the effects of changes in color. Recently she has begun using machine applique to study shape and the effects of layering.

Jaye Lapachet's Website

  • She Had to Have Her Latte (CIS 1)
  • Shrine to Desiree (CIS 1)
  • Pointillist Palette 2: Ice (CIS-X 2)
  • Pointillist Palette 3: Flower (Terman 214)

Diana Lynn

Diana Lynn has been a prolific quilter for ten years. Her recent works, wall vestments, are spiritual in nature and are influenced by kimonos, Christian vestments and Eastern contemplative arts. Her work has been in exhibits in Ohio and throughout Northern California.

  • Rokusu #1 (CIS 2)
  • Abhaya #4 (Gates 1)
  • Tashi Gawa #2 (Gates 1)
  • Abhaya #3 (Terman 251)
  • Abhaya #1 (Terman 263)
  Abhaya #1 © 1999

Portrait of J. Robert Oppenheimer © 1999   Linda MacDonald

Linda MacDonald's quilts range from fantasy images to political statements and images that tell a story about living where she does. All are hand-dyed, painted and stitched. She always starts with white fabric and adds the color, patterning and layers of images. Her work has been exhibited in a dozen states, throughout Europe, and in Japan.

  • Portrait of J. Robert Oppenheimer (CIS 2)
  • Endorphins (CIS-X 1)
  • Watching You (CIS-X 1)
  • Friends on Fire (Terman 259)

Therese May

Therese May's quilts are an affirmation of life. While grounded in the tactile quality of fabric, paint, buttons and beads, she finds that creating art is more than a process of discovery... something is revealed which she did not previously know. It may be the evolution of material and form, or psychological truth, or some whimsy that needs expressing.

  • Contemplating the Nine Patch (CIS 1 )
  • Twins (CIS 1)
  • Wedding Quilt (CIS-X 3)
  © 1999

Blue Cat © 1999

  Nana Montgomery

Nana Montgomery's contemporary quilts express emotions from life experience and dreams. She loves the process and tactility of combining fabric and paint, producing pictorial compositions with contrasting saturated colors. Her recent work features human and animal figures. Her work has been in many exhibits in the Bay Area.

  • Apocalypse (CIS 1)
  • Roll the Bones (CIS-X 2)
  • Underwater Arch (Hum & Sci 1)
  • Blue Cat (Hum & Sci 1)

Ann Rhode

Ann Rhode quilts are influenced by Asian-Pacific art. Combinations of color value and intensity blend into complex designs. Working from a basic block structure, she rotates the blocks to establish pathways for the eye to follow. The lines assist viewers in defining 3-dimensional images. Each quilt has a unique personality and mood. Her work has appeared in publications and has been exhibited internationally and throughout the U.S.

  • Pinwheels (CIS 1)
  • Dancing Amoebas (Gates 167)
  • It is Only a Little Planet (Gates 2)
  • Viewing Klee (Gates 4)
  © 1999

Dreaming of Heat © 1999   Rebecca Rohrkaste

Rebecca Rohrkaste comes to quiltmaking from a fine arts background. Her work is marked by an original sense of color and fine craftsmanship, inspired by unexpected eccentric elements in antique and scrap quilts. While drawing on basic geometric patchwork, she uses vivid and subtle color combinations to produce a variety of moods. Her work has been exhibited internationally, is in private collections, and has been published in magazines and books.

  • Dreaming of Heat (CIS 1)
  • Live Dream (Gates 2)
  • Atmospheres (Gates 4)
  • Japanese Autumn (Hum & Sci)

Joan Schulze

Joan Schulze has been a visiting artist/lecturer in Europe, Australia, Canada, and throughout the U.S. Her work, which includes collages, paper/silk constructions, and installations, as well as quilts, has appeared in numerous exhibitions, galleries, and books. She has a 1-person exhibit that is currently touring two cities in Europe.

Joan Schulze's Website

  • Earthquake Country (CIS-X 1)
  • A Cautionary Tale (CIS-X 1)
  • Reconstruction (CIS-X 1)
  • Six Point Two (Gates 1)
  © 1999

© 1999   Cathy Shanahan

Cathy Shanahan lives in the circles and cycles of the creative process. Inspiration and imaging lead to the construction, the feel of the fabric, thread, beads, the tactile properties of the medium... the piece sings. She want her work to grab viewers, pull them close, and make them smile.

  • Pi in the Sky (CIS 1)
  • Once There Was a River (CIS-X 2 Office)
  • Square Dance (CIS-X 3)
  • The Villagers (Terman 2)

Kathleen Sharp

Kathleen Sharp enjoys the hunt for the right textile to place against another to evoke the tension, flow or rest point dictated by an inner force. Then dreamlike images demand that she also find line and form by cutting and tearing these fabrics into pieces. Her quilts frequently suggest 3-dimensional space through references to architectural motifs. What started as a disparate pile of fabric comes to evoke place, event, feeling. Her work has been shown in the U.S., Europe, and Australia and has been published in several magazines.

  • Musing the Arch (CIS 1)
  • Big Top (CIS 1)
  • Summer House (CIS-X 1)
  • Red Blessing (CIS-X 2)
  • Tableaux (CIS-X 3)
  © 1999

To Life © 1999   Lita Star

Lita Star's designs are purely subjective, evolving from photographs she has taken. A snowstorm of little clippings of lines, design and colors, things seen without being truly aware or conscious of them. At some point they become full-blown ideas on scraps of paper. The challenge is to interpret these scraps within the parameters of fabric and thread.

  • To Life (CIS 1)
  • Square Dance (CIS/CIS-X)
  • I Didn't Know Goldenrod Grew on the Sand (Gates 167)

Joan McLeod

The art of marbling probably originated in Japan, early in the 10th Century. Known as Sumigashi (ink/water) and restricted for use by the ruling class, swirling patterns were formed by floating inks on water and transferring the image to handmade paper. In 15th Century Persia, artists began using paints and a mucilaginous solution made from plants and water. Marbling later spread to Turkey and India, and through Europe to England and the U.S., with marbled designs appearing on our currency. With the advent of machine bookbinding, the art of marbling declined, although it is recently enjoying a revival in the U.S.

  © 1999

The marbling process itself was a closely guarded secret until late in the 19th Century. It starts with a bath containing a solution made from seaweed. An eyedropper or whisk is used to apply watercolors that have been mixed with ox gall to insure that they will float. Patterns are created with rakes or a stylus. Then a piece of paper coated with alum is placed face downward on the bath, quickly lifted, and gently rinsed.

Joan McLeod uses this medium to create a sense of drama, mystery, and movement. At her studio in Aptos she also creates custom monoprints, handmakes frames and albums, and teaches classes on marbling.

  • Marbled Monoprints (5 at CIS 1)
  • Marbled Monoprints (3 at CIS 2)
  • Marbled Monoprints (2 at Gates 1)
  • Marbled Monoprint (Hum & Sci 1)
  • Marbled Monoprint (Terman 2)

Works are for sale directly from artists. For information, contact M. Grossman, Curator Stanford Art Spaces (650) 725-3622,

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