Margaret (Peggy) Fetterhoff

Margaret (Peggy) Fetterhoff

TX77010-049

audio

Margaret (Peggy) Fetterhoff

Clarissa Cox

11/05/2011

Karey Bresenhan, in honor of Jewel Pearce Patterson

Houston, Texas

Natasha Gaiski

Clarissa Cox (CC): This is Clarissa Cox. Today's date is November 5th, 2011. It is 1:40 pm., and I'm conducting an interview with Peggy Fetterhoff for Quilters' S.O.S--Save Our Stories, a project of The Alliance for American Quilts. Peggy and I are at the International Quilt Festival in Houston, TX.

CC: Peggy, can you tell me about the quilt you brought here today?

Peggy Fetterhoff (PF): This is my latest quilt that has been traveling and hanging in competitions all over the country. It's named "Transitions," and the reason it's called "Transitions" is because I recently retired, only I didn't stay retired, because I haven't dealt with it very well [MF laughs]. It is machine pieced and all hand quilted. I personally consider it some of my best work. It's won a Best of Show in Lowell, Massachusetts, a first place in Georgia and two hand quilting awards in Vermont and Dallas, TX.

CC: Was there any particular inspiration for creating this quilt?
PF: No

PF: Like I said, I laughed at your question, 'Do you have a design wall?' I had my son and my brother remodel the upstairs in my home including taking the walls out of a couple of bedrooms to build a large studio with three design walls. My inspiration is fabric. I just start cutting pieces of fabric up, place them on a design wall and move them around until something starts to gel in my mind for whatever idea I am thinking about. That is most often how I create designs.

CC: How did you get started quilting?
PF: Well, I think because I had a basis in sewing. I have sewn since I was 12 years old. I used to sew all my own clothes. I had a very professional wardrobe by making suits out of Vogue designer patterns. I have four children which I raised pretty much by myself. I put myself through college while they were growing up and got into IT. Once the children were grown, I needed something else to do because I had too much time on my hands. So, I took up quilting.

I started making quilts in 1995. The book that really got me interested in quilting was called Watercolor Quilts by Pat Maixner Magaret and Donna Ingram Slusser which I found in the mid 1990's. Deirdre Amsden from England was the one who created this concept, she called it Colorwash quilts. This technique inspired me because it was like creating a Monet painting by sewing all the small pieces of fabric together.

So, when I make quilts, there's hundreds if not thousands of fabrics in each piece. I have lots of fabric most of which are very small pieces. I usually don't buy more than a quarter to a third of a yard.

If you look at the book, Lone Stars III, you'll see there's two watercolor quilts in it made by me. The quilt that's in the book called "Floral Phantasma" was the first quilt I ever hand quilted.
I hung it in the IQA 1998 show here in Houston. They gave me an award for my use of color. The one I brought is my latest quilt to hang in competitions named "Transitions." So I'm still quilting and entering shows.

CC: Did anybody in your family particularly inspire you to start sewing when you were 12?
PF: Not really, my mother didn't sew that much so she did not make clothes or quilts. I did have a grandmother who was a quilter, but she didn't live anywhere near us. We lived in Niagara Falls, NY and Grandma Fetterhoff lived in Pennsylvania. My mother and I made two quilt tops in the '60s. I made a green one, and my mother made a pink one. I still have my mother's, and it's sort of pink, and it has material from my maternity clothes which I made about that time. I believe we sent those quilts to Plumville, Pennsylvania which was where a group of ladies quilted, and my grandmother was a member of that group. I have one of her quilts, but most of her quilts have been lost or destroyed. She did a lot of handwork on her quilts but she didn't teach it to me.

CC: So did you mostly learn from books?
PF: Yes I'm pretty much a book person, so if I want to learn something, I
pick up a book and teach myself. I have taken a few classes over the years one of which was with John Flynn who taught a hand quilting class. My friend who is with me today at the IQA show, Jan Thompson, really taught me more than anybody else did. I met her in a quilt shop and found out she lived in my neighborhood. She taught me how to get started with hand quilting and about the quilting community.

CC: So, you would say that's more of your friendships that helped you build technique rather than your family?
PF: I think it's more my own inspiration. I work very much like
I stated, if I see something different that I want to learn, I'll buy a book on it. I tend to buy books that are more contemporary not the traditional quilting books. Because my quilts do not originate from traditional patterns, they're very unusual, very original. They have a traditional basis, but they look very contemporary or more like art quilts.

CC: How do you decide what fabrics to use in a particular spot in the quilt?
PF: As I said, I just play with the fabrics on the wall. I'll take some concept like diamonds but I try to make things more complicated by breaking them back down, so that I can do something different with them. To do the standard traditional quilts with just little blocks is kind of boring. I try to find something in each idea that is original that I have not seen previously.

CC: What's your favorite part about quilting?
PF: Probably the color, design, and the movement. It's very important to me to see movement in a quilt. If you ever see somebody standing in front of my quilts, especially men, their hands will be going in a circular directions over the quilt top. It is because the designs are relatively complex, and I have a very logical, mathematical type of mind. I'm more of an engineering type with an IT background in networks. I think my quilts reflect that background. I may see a design that interests me but it usually needs to be very intricate and colorful to catch my eye.
I don't like the simple ones and I do like very vivid colors; I don't usually deal in blasé or beigey, browny colors, that's not my thing.

CC: Do you work with any textiles outside of quilts? Do you still sew ?

PF: No. Once I gave up sewing my clothes and started making quilts, that's pretty much all I do. I used to crochet at one time, but I don't even do that. I haven't done that in years, so quilting is still pretty much the only handwork I do.

CC: How many hours per week would you say you spend quilting?
PF: When I was working full time, I used to spend maybe 3 hours at night and 8 to 10 hours on each weekend day. I'm not as dedicated as that anymore. This quilt took five years because I wasn't that dedicated. For the two quilts that are in the Lone Star III book, I did the one quilt in 18 months and the other one in 2 years. I don't quilt that much anymore as those long hours bothers my hands and my back.

CC: So, have you gotten any of your family members to start sewing and quilting?
PF: My daughter, Debra sews. I taught her to sew when she was quite young. She actually works in the garment industry in production and accessories. In fact, she just got offered a job with a uniform company here in Houston. There aren't very many manufacturing companies in Houston, and she's thinking about moving back to Houston. Right now she's in Los Angeles, in Long Beach, California actually. She's a much better sewer than I am. We did one small project together, which she has as a piece of wall art. She works a lot and sews very little. I have three sons who do not sew.

CC: So you're from Houston?
PF: No, I was born in Pennsylvania, little town called Gibsonia outside of Pittsburgh, but I grew up in Niagara Falls, New York. I have lived in the Houston area since 1974.

CC: Ok, so when you started quilting you were in Houston?
PF: Yes.

CC: Do you find that any part of your community here has inspired your quilting?
PF: Well, I guess that meeting Jan, and then Jan introduced me
to the quilt industry, where there was quilters' guilds, and bees, and quilt shops. I didn't' really know a lot about the quilting industry before then, so it had a lot to do with my friendship with her. Now, of course, I know a lot of quilters. I belong to a quilt guild in The Woodlands and was even president for awhile. I meet a lot of people when I travel to quilt shows, especially when I have a quilt hanging in the show. I've competed all over the country and won multiple awards. I haven't gone to any international shows, but I'm planning to do that since I'm not working.

CC: What parts of quilting do you find frustrating?
PF: For me, sometimes I get stuck on a concept trying to figure out where I'm going to go with it. When I do that, I just have to walk away from it and leave it alone so it can sort its way out in my brain. Right now, I have a quilt top that's totally complete, basted [enclosed together so the quilter can quilt the quilt, a temporary fusion.], and I am ready to start quilting. I don't mark a quilting design to follow before I put the three layers together. I use the same process as when I design and make it up as I go along. I haven't gone very far with the quilting design so it's sitting there right now until I figure out what my next step is. So, there's just times when you have to wait for the creative process to work.

CC: Do you only make quilts for walls?
PF: No, I have a quilt on my bed that I made when I first moved in the house. I have made a few quilts for my family. I'm not a fast quilter. So, probably in fifteen years, I've made less than 25 quilts,
if I've made that many.

I have made my three sons each a quilt. I made myself do that, I think the year I retired. My oldest son used to have a love of Texas, so he got one with all the Texas things including horses, and Indians in a Western theme. The second son is very much into marshall arts, jujitsu, and he's married to a Brazilian . His quilt only had one marshall arts fabric as that is all I could find. I did put a Brazilian flag on one corner for his wife and an American flag on the other corner for him. The youngest son is single, so his quilt had fabric with women, cars, coffee, gambling, and things that young men do. I have made a couple for my grandchildren. The last one I made was for Stefano, who is Robert's son, my third child. His dad said he liked ABC's, and farm animals so his quilt had these images in yellows and greens. Robert insisted on a Dallas Cowboy emblem even though it was blue but it all worked out great.

CC: What do you think makes a great quilt?
PF: I think there's a lot of great quilts so when you say what do you think makes a great quilt to me it's a combination of things. I like original ideas, but I expect very good workmanship. I enjoy art quilts if they're done well, but if they're very casually thrown together then I don't enjoy them as much as one that's well done. I am fascinated by all the different techniques in the IQA show. Compared to what the show was when I first started in '98--completely different show. In '98, hand quilting still dominated. Now, art quilts and machine quilting dominates. Very different concepts. They do things with machine quilting that I could never do with hand quilting. I like all the aspects of it, but I just don't care for something that has poor workmanship in it. And I do like to see original ideas, and new things because some things have been around for years and years. I enjoy looking at them, don't get me wrong, but it's not something I would ever do.

CC: What kind of quilt would you classify that you make?
PF: To me they're very contemporary quilts, they have a traditional basis, but they have an art quilt look to them. When you say quilts to a lot of people, they think of their grandmothers' quilts, and my quilts don't fit in that category. They're very contemporary, they're artistic, they're very bright. So, they tend to move more toward art quilts, and they tend to be large. I don't normally do very small pieces. I'm trying to convince myself to do them, but I haven't been very good at it. Like one of the quilts that's in the book is 96" by 96". This one's 86" by 86", so I have gone a little smaller.

CC: So, what was the first quilt you made like?
PF: Well, that was the one that my mother and I made when I was in
my 20s, and had little kids. And it was a I don't know, what do
they call it--like a dinner plate type of thing. [MF laughs and says how she doesn't remember, UP says 'Like Dresden plates?'] Yeah, something like that. Like I said, it had a combination of polyester fabrics because that's what maternity clothes were made of in those days. It was a very traditional quilt. I never made another quilt until 1995. That's a long time.

CC: When did you have a studio first?
PF: That came with this house, which I bought this house ten years ago, despite the fact that I have sewn since I was 12; I never had my own sewing room all those years. When I was raising the children, they had to listen to a sewing machine in the background of their television. But now, I have the studio which was probably built maybe 8 years ago. Everything was custom designed with oak wood cabinetry. There are 58 drawers in the room. The guy laughed at me when we bought the drawer fronts stating most rooms didn't have 58 drawers. All the table's heights are designed so that everything is interchangeable, you can move it apart or put it back together based on the project you are working on.

My brothers are very good carpenters. My youngest brother, Don, came from Florida and helped my son build it. The custom design includes an ironing table, 2 feet by 4 feet, and when you flip it over, it has a light box underneath. There's a cabinet on the wall for all the ribbons that I've won, so yes it's a neat room. People are very impressed when they come to see it; it's like something you see in a magazine. But I waited a long time for it. I earned it and I paid for it.

CC: So what is your creative process like when you decide to create a new quilt?
PF: With me, it's that you're walking around with ideas in your head, or you're making sketches, or you're doodling, and like I said, to me fabric's the inspiration. I don't create fabric, I don't dye or stamp fabric. I see a fabric that appeals to me, and I buy it. These days, I only buy for a project because I just have so much fabric. But, it's the fabric that's the inspiration most of the time

CC: Have you taught classes?
PF: No, no. I don't teach, it's a great skill but not mine.

CC: Has your quilt making impacted your family in any way?
PF: I'll tell you this story; this is my favorite story. I have three sons who were all living in Dallas, TX at the time. The other quilt that's in the book called "Sphere," won Best of Show in Dallas in 2000. I had a very hard time convincing my sons that they needed to go to the quilt show in Dallas and see their mother's quilt. Up to that time, Mom just sews; it's just no big deal. I walk in the door, there's my quilt hanging in the entrance and it has won Best of Show. My sons were very impressed. They now think of their mother and her quilts with more respect, let's put it that way. The phrase they used probably should not be repeated [they laugh.], but they were impressed when their mother's quilt won Best of Show and that Mom actually does pretty good stuff.

CC: Have you ever used quilting to get through a difficult point in your life?
PF: I think "Transitions" is a reflection of that question. I like to work. For me to stop working at a regular job has been very difficult. In fact, I just went back and took a job for four months over at El Paso in downtown Houston in IT. And my old boss called me up and said, 'Would you like to come back to work?' I said, 'Yes. Absolutely.' This is hard for me. We call it empty nest syndrome--that's when I took up quilting seriously

CC: Are there any particular artist who have influenced you?
PF: Oh, there are lots of people that I admire in this industry. Hollis Chatelain's work is just phenomenal. She paints, she doesn't really piece. I love her work. That was a new step for quilting, and I think her work is just really spectacular. Libby Lehman's a very good quilt artist from Houston. Michael James is a well known artist whom I admire. All the quilters I know, that are well known that hang in these shows, you get so you recognize their work. I would love my work to be that, where somebody would look at it and say, 'Hey, that's a Peggy Fetterhoff.' But my quilting's not at that stage. So, it's really interesting to be able to walk up to a piece and say, 'I know who made it,' before I look at the artist write up. I would love to go to London and see Deirdre Amsden's work since I have been so inspired by the technique she invented

CC: What do you think about the importance of quilts in everyday American life?
PF: Oh, I think all quilters are inspired by what was created in the past. My quilts are that way. There's a traditional block, Log Cabin, there's a diamond shape, even though I don't make traditional quilts, I still like to look at them. And I like to see what somebody did to them that was original or different, and what their interpretation of it was. When you look at what quilts have been over the years, from very utilitarian, where it was meant to keep somebody warm, to the art
quilts of today, it's quite a transition. It's very interesting, it has a lot of history, and there's a lot to discover about people who quilted over the years.

CC: What quilt groups do you belong to?
PF: Right now, I'm a member of the Woodlands Area Quilt Guild, a member of IQA [International Quilt Association.], I'm a member of the AQS [American Quilters'Society.], a member of the National Quilt Museum in Paducah, Kentucky and I have a quilt in the National Quilt Museum's traveling exhibit that just got printed in their book, New Quilts From An Old Favorite, Orange Peel for 2011.

CC: You said you have a piece in a museum. What do you think makes a piece worthy of being in a museum?
PF: Again, I'd start with technique. I want to see the quality of the workmanship in a quilt in a museum. I would like to think that it's very well done, it's the best of whatever it is be it a traditional quilt or an art quilt. Well done, well thought out; the artist has put a lot of effort into making it

CC: Has technology inspired you in any way, influenced you?
PF: Oh, I think so, yes. I'm always looking for new tools, new ideas. I have a huge collection of tools, rulers, and anything that I think is new that I might like. All of the things they're doing with machines, I would love to be a machine quilter. I'm just not very good at it at this stage. I'm good at piecing, but I'm not good at machine quilting. I'm still trying to learn. All the new things that they come out with on the home sewing machines, as well as the hand tools are always interesting. If you're going to be good at something, you need good tools. So, any technology improvement in how you make quilts is a great idea.

CC: So, what are your favorite techniques and materials to use?
PF: I pretty much sew with cottons fabrics for quilts. I love silk, and I do have a collection of silk fabric to make quilts, I just haven't gotten around to it at this stage. I like natural fibers. Anytime when I had sewn when I was younger, it was cotton, silk, and wool. Well, I shouldn't say that because the first one was polyester, but that was the '60s. Today I wouldn't use polyester. Even with the batting I try and stay with the more natural fibers. The longevity's better, the
handling of the quilt is better.

CC: So how do you preserve your quilts?
PF: To begin with, most of my quilts are competition quilts. They're not even washed, so they're kept on a bed or they're folded up if the children are visiting. I don't have that many. Now, the ones I made for the kids are very washable, for the grandchildren or my children. They have to be sturdy for grandchildren. You can't expect somebody to take care of it. The competition quilts don't go anywhere, they're in my home.

CC: How do you balance your time between a job and quiltmaking?
PF: Well, when I was in IT, I used to build computer networks and I traveled quite a bit so I enjoyed the hand quilting because it relieved the stress. I would laughingly say that quilting was cheaper than a psychiatrist, because the job could be very stressful, and the hand quilting was very relaxing. You also have something quite interesting to show for it when it's done. So, I've always liked that aspect. I will probably always hand quilt, even if I do learn how to machine quilt. I like the relaxation that's involved and you get to keep your hands busy while you're watching television. I don't sit quiet well without keeping my hands busy.

CC: So, what do you think somebody looking at this quilt might conclude about you?
PF: I don't know. I don't know the answer to that. I think with art in general, that people look at things and base it on their own beliefs in life, rather than mine. Hopefully, it's all good, but art is a personal sort of thing. So, I think people can look at an artistic piece and see very different things.

CC: Well, I'm out of questions. Do you have anything you wanted to add?
PF: No, not in particular. I'm kind of familiar with your organization, so I do know what you do.

CC: I'd like to thank Peggy for allowing me to interview her today for the Quilters' S.O.S--Save Our Stories Oral History Project. Our interview concluded at 2:09 p.m.

5.1 Margaret (Peggy) Fetterhoff TX77010-049Fetterhoff Quilters' S.O.S. -- Save Our Stories The International Quilt Festival QSOS Quilt Alliance awards hand quilting quilt International Quilt Festival Margaret (Peggy) Fetterhoff Clarissa Cox TX77010-049Fetterhoff-1.mp3 1:|12(3)|27(11)|37(3)|51(11)|65(4)|79(10)|92(4)|107(6)|121(4)|140(10)|155(1)|168(3)|178(2)|187(10)|201(13)|215(4)|225(14)|236(13)|250(10)|261(2)|274(9)|286(13)|299(1)|311(4)|326(2)|339(5)|352(8)|365(11)|380(2) 0 http://quiltalliance.org/wp-content/uploads/2015/06/TX77010-049Fetterhoff-1.mp3 Other audio 0 Interview Introduction 17 26 Tell me about the quilt you brought in today. ; This is my latest quilt that has been traveling in competitions. It's called &quot ; Transitions,&quot ; and the reason it's called &quot ; Transition&quot ; is because I recently retired Cox introduces Fetterhoff and begins the interview by asking Fetterhoff about the quilt she has brought in. Fetterhoff talks about its method of creation and its success in shows. The quilt, called &quot ; Transitions&quot ; , symbolizes her retirement and the transition she's been experiencing from working to retiring. Awards ; Hand applique ; Hand quilting ; Machine quilting ; Quilt shows/exhibitions 42.637332, -71.326691 17 Lowell, Massachusetts http://quiltalliance.org/wp-content/uploads/2015/06/qsos_TX77010-049_fetterhof_01.jpg Margaret (Peggy) Fetterhoff and &quot ; Transitions&quot ; 102 At what age did you start quiltmaking? ; What is your first quilt memory? ; From whom did you learn to quilt? ; Are there other quiltmakers among your family or friends? Please tell me about them. ; Well, I think because I have a basis in sewing. I have sewn since I was 12 years old. I used to sew all my own clothes. Fetterhoff talks about how she got into quilting and her inspirations. A book called Watercolor Quilts by Pat Margaret and Donna Slusser was her biggest inspiration. She talks about her first quilt she ever hand quilted which won an award for color. She and her mother made their first hand quilt in the 60's. Fetterhoff also says she has one of her grandmother's quilts, but was not taught by her because she lived very far away. Fetterhoff states she learned from books and took a John Flynn hand quilting class one time but a woman name Jan Thompson was who taught her the most Deedra Amstead ; Donna Slusser ; Pat Margaret ; Texas Lone Star Three ; Watercolor Quilts 40.793, -79.181 17 Plumville, PA http://quiltalliance.org/wp-content/uploads/2015/06/qsos_TX77010-049_fetterhof_04.jpg Detail of &quot ; Transitions&quot ; 344 Do you use a design wall? If so, in what way/how does that enhance your creative process? If not, how do you go about designing your quilts? ; What do you find pleasing about quiltmaking? ; As I said, I just play with the fabrics on the wall, or I'll take some concept like diamonds. And this one has diamonds Fetterhoff talks about how she goes about designing her quilts. She doesn't use design wall, but rather just plays with fabrics on the walls and tries do do something original with every quilt. Fetterhoff emphasizes that she likes to see movement in a quilt. Her quilts reflect her engineering type background so her designs are often most complicated. She doesn't like boring designs or colors. color ; design ; quilt 17 465 How many hours a week do you quilt? ; Are there other quiltmakers among your family or friends? Please tell me about them. ; Well, when I was working full time, I used to spend, and I had a project like this. I'd spend maybe 3 hours at night and maybe 8 to 10 hours on the weekends Fetterhoff discusses how many hours she used to spend on her quilts. She no longer quilts as much anymore because of hand and back pains. She taught her daughter how to sew, who now works in a garment factory. The two of them have made a small project together. None of her 3 sons sew. Lone Star Three book 33.768, -118.203 17 Long Beach, California 562 Cox asks where Fetterhoff is from and if her current location has inspired her quilting No, I was born in Pennsylvania, little town called Gibsonia outside of Pittsburgh, but I grew up in Niagara Falls, New York Fetterhoff was born in Pennsylvania in a town called Gibsonia, but she grew up in Niagara Falls, New York. She's been residing in Houston since 1974, which has played a role in her inspirations for her quilts. Gibsonia ; Houston ; Jan Thompson ; New York ; Niagara Falls ; Pennsylvania ; Pittsburgh 40.629, -79.970 17 Gibsonia, Pennsylvania 628 What aspects of quiltmaking do you not enjoy? ; For me, sometimes I get stuck on a concept and trying to figure out where I'm going to go with it, and when I do that, I just have to walk away from it Fetterhoff talks about how she sometimes gets stuck during the design process and how she dislikes that basted 17 675 Cox asks what kind of quilts Fetterhoff makes No, i have a quilt on my bed that I made when I first moved in the house. I have made a few quilts for my family Fetterhoff makes various types of quilts, not just ones for wall decoration. in 15 years she's made 25 quilts. She has made a couple for her children, which she has put a lot of thought and care into. Each son has received a quilt with design elements that reflect their lives. Dallas Cowboys ; Robert ; Stefano 17 782 What do you think makes a great quilt? ; I think there's a lot of great quilts, so when you say what do you think makes a great quilt, to me it's a combination of things. Fetterhoff believes that great quilts are a combination of original idea and great workmanship. She is fascinated by all the various quilting techniques, but dislikes anything with poor workmanship. She says her own quilts are contemporary with a traditional basis, but have a lot of an art quilt look to them. They are artistic, very contemporary, and very bright Art quilts ; Hand quilting ; Machine quilting 17 917 What is your first quilt memory? ; Well, that was the one that my mother and I made when I was in my 20s, and had little kids. And it was a--I don't know Fetterhoff's first quilt was the one she made with her mother in her 20's. It had a combination of fabrics because they're what maternity clothes are made of. It was a very traditional style Fiber - Polyester 17 981 Describe your studio/the place that you create. ; Do you use a design wall? If so, in what way/how does that enhance your creative process? If not, how do you go about designing your quilts? ; That came with this house, which I bought this house ten years ago, despite the fact that I have sewn since I was 12 Fetterhoff has a custom designed sewing machine station made of oak which her brothers and one son made. It's all custom designed in there and she also displays all the ribbons she's won in competitions. Her creative process comes from the fabric that she sees. It is her inspiration Home sewing machine ; Work or Studio space 17 1137 How does quiltmaking impact your family? ; I'll tell you this story ; this is my favorite story. When you have three sons, two of them are in Dalls, and all of three Fetterhoff's favorite story is when her quilt won best of show in Dallas, and up until that point, her sons didn't fully acknowledge how amazing her mother's work was. They just thought of her as someone who sews for a hobby, but after that day, they respected her quilts and were genuinely impressed Dallas 32.782, -96.793 17 1214 Tell me if you have ever used quilts to get through a difficult time? ; I think &quot ; Transitions&quot ; is actually. I like to work, for me to stop working has been difficult. In fact, I just went back and took a job for four months Quilting helped her during the time period in which she experienced &quot ; empty nest syndrome&quot ; after her children had left home. Her quilt &quot ; Transitions&quot ; , reflects the impacts of her retirement on her life El Paso ; Houston 17 http://quiltalliance.org/wp-content/uploads/2015/06/qsos_TX77010-049_fetterhof_05.jpg Portion of &quot ; Transitions&quot ; 1269 Which artists have influenced you? ; Oh, there's lots of people that I admire in this industry. Hollis Chatelain's work just, I think, is phenomenal There are quite a few quilters whose works Fetterhoff admires. She would like for her work to become so well known that people can recognize its her quilt just by looking at it. She feels that is a sign of true accomplishment, when you know that your work is really respected Caryl Bryer Faller ; Deirdre Amsden ; Hollis Chatelain ; Libby Lehman ; watercolor quilts 51.506, -0.144 17 London, United Kingdom 1357 What do you think about the importance of quilts in American life? ; Oh, I think all quilters are inspired by what went on in the past. My quilts are that way. There's a traditional block Log Cabin Fetterhoff says that all quilters are inspired by what has happened in their past. Quilts have had a very utilitarian function, to serving no purpose other than to be displayed for visual pleasure Center Diamond -- quilt pattern ; Log Cabin - quilt pattern ; Quilt Purpose - Utilitarian 17 1420 What art or quilt groups do you belong to? ; Right now, I'm a member of the Woodlands Area Quilt Guild. I'm a member of IQA, I'm a member of AQS, and i have a quilt in the National Quilt Museum Fetterhoff belongs to a variety of quilt groups American Quilter's Society (AQS) ; IQA ; National Quilt Museum (Paducah) ; Woodlands Area Quilt Guild 37.089, -88.596 17 National Quilt Museum in Paducah, Kentucky 1452 What makes a quilt appropriate for a museum or special collection? ; Again, I'd start with technique. I want to see the quality of the workmanship in a quilt in a museum. I would like to think that Fetterhoff emphasizes that technique and workmanship is most important on what makes something museum worthy. It has to be evident that a lot of effort has been put into the creation of the quilt Art quilts 17 1495 Have advances in technology influenced your work? If so, how? ; Oh, I think so, yeah. And I'm always looking for new tools, new ideas. I have a huge collection of tools, rulers Fetterhoff is always looking for new tools and new ideas for her quiltmaking. She has a huge collection of tools, rulers, and anything she thinks is new and useful. She expresses a desire to be a machine quilter, however, she's not good at it yet. She believes that to be good at something, one needs good tools. Machine quilting ; piecing 17 1543 What are your favorite techniques and materials? ; I pretty much sew with cottons swift quilts. I love silk, and I do have a collection of silk to make quilts Fetterhoff has used a variety of materials to make her quilts including cotton, silk, polyester, and wool. She sticks to mostly cotton because of it's longevity and better handling Fiber - Cotton ; Fiber - Cotton or polyester blend ; Fiber - Silk ; Fiber - Wool ; Silk quilts 17 1591 Cox inquires about how Fetterhoff preserves her quilts To begin with, most of my quilts are competition quilts. They're not even washed, so they're kept on a bed Most of her quilts are competition quilts so they aren't washed. the ones that were made for the kids are washable. The ones that are made for competitions stay in her home and under her supervision Quilt competitions 17 1637 Tell me how you balance your time. ; Well, when i was in IT, I used to build computer networks. Then, I traveled quite a bit, and I laughingly would say that this was cheaper Hand quilting was a source of relaxation for Feterhoff, so even when she was in IT, she made time for quilting. Hand quilting also allows her to multi-task while she's watching television Hand quilting ; Machine quilting 17 1693 What do you think someone viewing your quilt might conclude about you? ; I don't know. I don't know the answer to that. It hink with art in general, that peole look at things and base it on their own beliefs Fetterhoff believes the interpretation of art is subjective to the viewer, so each individual can take away different things. She hopes that it's all good. 17 Oral History Clarissa Cox (CC): This is Clarissa Cox ; today&#039 ; s date is November 5th, 2011. It is 1:40 pm., and I&#039 ; m conducting an interview with Peggy Fetterhoff for Quilters&#039 ; S.O.S--Save Our Stories, a project of The Alliance for American Quilts. Peggy and I are at the International Quilt Festival in Houston [Texas.]. Peggy, can you tell me about the quilt you brought here today ? Margaret (Peggy) Fetterhoff: This is my latest quilt that has been traveling in competitions. It&#039 ; s called &quot ; Transitions,&quot ; and the reason it&#039 ; s called &quot ; Transition&quot ; is because I recently retired, only I didn&#039 ; t stay retired, because I don&#039 ; t deal with it very well [MF laughs.]. But, it&#039 ; s machine made, it&#039 ; s all hand quilted. I personally consider it some of my best work. It&#039 ; s won a Best of Show in Lowell, Massachusetts, a first place in Georgia. It&#039 ; s won two hand quilting awards in Vermont and Dallas [Texas.]. CC: Was there any particular inspiration for creating this quilt? MF: No. Like I said, I laughed at your question, &#039 ; Do you have a design wall?&#039 ; I had my upstairs--my son and my brother took the wall out of a couple of bedrooms, and I have a very large studio with three design walls, and my inspiration is fabric. So, I just start putting fabric on a design wall and move it around, and that&#039 ; s how I create designs. CC: How did you get started quilting? MF: Well, I think because I have a basis in sewing. I have sewn since I was 12 years old. I used to sew all my own clothes. I had a very professional wardrobe, doing suits out of old patterns, and then at some point, I have four children. And I raised them, put myself through college while they were growing up, got into IT, and once the children were grown, I needed something to do, too much time on my hands. So, I took up quilting. The book that probably inspired me the most was a book called Watercolor Quilts by Pat Margaret and Donna Slusser, and if you look at the book here, you&#039 ; ll see there&#039 ; s two watercolor quilts in the Texas Lone Star Three. Deedra Amstead from England was the one who started it, and that really inspired me because it was like putting a Monet painting together for me. So, when I do quilts, there&#039 ; s hundreds if not thousands of fabrics. I have lots of fabric, very small pieces. I usually don&#039 ; t buy more than say, a quarter to a third of a yard, and I have thousands of fabrics that I&#039 ; ve collected. I started in &#039 ; 95, the quilt that&#039 ; s in the book called &quot ; Floral Fantasma&quot ; was the first quilt I ever hand quilted, and I hung it in the show here, and they gave me a special award for it for color. So that was my first award, my first quilt, my first quilting show. And I said, this one is the latest one to be traveling, the &quot ; Transitions.&quot ; So I&#039 ; m still quilting and entering shows. CC: Did anybody in your family particularly inspire you to start sewing when you were 12? MF: Not really. My mother didn&#039 ; t sew that much, she didn&#039 ; t make clothes. But I do have a grandmother who was a quilter, but she didn&#039 ; t live anywhere near us. I think my mother and I, the original quilt that we made in the &#039 ; 60s. I made one, and my mother made one. And I still have my mother&#039 ; s, and it&#039 ; s sort of pink, and it has my maternity clothes in it, fabric from them. But I believe we sent those quilts to Plumville, Pennsylvania which was where a group of ladies quilted, and my grandmother was a member of that. I have one of her quilts, but most of her quilts are gone, but she used to do a lot of handwork, but she didn&#039 ; t teach it to me, so. And my mother wasn&#039 ; t a quilter. She wasn&#039 ; t a sewer. CC: So did you mostly learn from books? MF: Yeah. I&#039 ; m pretty much a book person so if I want to learn something, I pick up a book and teach myself. So, I&#039 ; ve taken a few classes over the years, but nothing--I took a John Flynn hand quilting class one time, but the lady who was with me, Jan Thompson, really taught me more than anybody else did. I met her in a quilt shop, she lived in my neighborhood. So, she probably taught me a little bit about hand quilting. That&#039 ; s it, not so much my mother. CC: So, you would say that&#039 ; s more of your friendships that helped you build technique rather than your family or--? MF: I think it&#039 ; s more my own inspiration. I&#039 ; m very much like I said, if I see something that I want to learn, I&#039 ; ll buy a book on it, and I tend to buy books that are different, not your standard quilting books. Because my quilts aren&#039 ; t standard, they&#039 ; re very unusual, very original. They have a traditional basis, but they look more like art quilts. CC: How do you decide what fabrics to use in a particular spot in the quilt? MF: As I said, I just play with the fabrics on the wall, or I&#039 ; ll take some concept like diamonds. And this one has diamonds, but I try to make things more complicated and then break them back down, so that I can do something different with them. To do the standard traditional quorts with just little blocks is kind of boring. I just try and find something original in it that I can do. CC: What&#039 ; s your favorite part about quilting ? MF: Probably the color, design, and the movement. It&#039 ; s very important to me to see movement in a quilt. And if you ever see somebody standing in front of my quilts, their hands will be going in the circular directions because the designs are relatively complex, and I have a very logical, mathematical type of mind as I work in IT. I&#039 ; m more of an engineering type of background, networks. And I think my quilts reflect that, so I may see a design, and I usually like the most complicated designs. I don&#039 ; t like the simplest ones, and it&#039 ; s just the way I look at it. And I like very vivid colors ; I don&#039 ; t usually deal in blasé or beigey, browny colors, that&#039 ; s not my thing [MF laughs.]. CC: Do you work with any textiles outside of quilts? Do you still sew ? MF: No, no. Once I gave up sewing my clothes and started with quilts, that&#039 ; s pretty much all I do. I used to crochet at one time, but I don&#039 ; t even do that. I haven&#039 ; t done that in years, so quilting is still pretty much-- if I&#039 ; m going to be working on sewing, I&#039 ; m going to be quilting. CC: How many hours per week would you say you spend quilting? MF: Well, when I was working full time, I used to spend, and I had a project like this. I&#039 ; d spend maybe 3 hours at night and maybe 8 to 10 hours on the weekends, in each Friday and Saturday. I&#039 ; m not as dedicated as that, like this quilt took five years because I wasn&#039 ; t that dedicated. The two quilts that are in the Lone Star Three book, I did the one quilt in 18 months and the other one in 2 years. And that&#039 ; s a lot of work. I don&#039 ; t quilt that much probably anymore ; it bothers my hands, my back. So I don&#039 ; t spend as much time quilting as I used to. CC: So, have you gotten any of your family members to start sewing and quilting? MF: Well, my daughter. I taught her to sew when she was quite young. She actually works in the garment industry, she&#039 ; s in production and accessories. In fact, she just got a job in a uniform company here in Houston, and there aren&#039 ; t very many manufacturing companies here in Houston, and she&#039 ; s thinking about coming back to Houston. Right now, she&#039 ; s in Los Angeles, in Long Beach, California, actually. But she&#039 ; s worked in the garment industry, and a lot of that came from me, from the sewing. And she&#039 ; s a much better sewer than I am, and we did one small project together, which she has a wall quilt that we did together. She works a lot, but yeah she does, and I have three sons, so they don&#039 ; t sew. No. My daughter does, but not my sons. CC: So you&#039 ; re from Houston? MF: No, I was born in Pennsylvania, little town called Gibsonia outside of Pittsburgh, but I grew up in Niagara Falls, New York. But I had been in Houston since 1974. CC: Ok, so when you started quilting you were in Houston? MF: Yes, yeah. CC: Do you find that any part of your community here has inspired your quilting? MF: Well, I guess that meeting Jan, and then Jan introduced me to the quilt industry, where there was quilters&#039 ; guilds, and bees, and quilt shops. I didn&#039 ; t&#039 ; really know a lot of that before then, so it had a lot to do with my friendship with her, and then, of course, I know a lot of quilters now. I belong to a quilt guild. I was even president of one for a while. Yeah, I know a lot of people, and I travel to quilt shows, especially when I have a quilt hanging in the show. And I&#039 ; ve competed all over the country. I haven&#039 ; t gone to any international shows, but I&#039 ; m planning to do that since I&#039 ; m not working. I want to go to some international shows. CC: What parts of quilting do you find frustrating ? MF: For me, sometimes I get stuck on a concept and trying to figure out where I&#039 ; m going to go with it, and when I do that, I just have to walk away from it, leave it alone so it can sort its way out in my brain. Right now, I have a quilt top that&#039 ; s totally complete, basted, and I have started quilting it, but I don&#039 ; t have the quilting design down where I want to go with it, so it&#039 ; s sitting there right now until I figure out what my next step is. So, there&#039 ; s just times when you have to wait till you know what&#039 ; s the next step ; you just have to wait for that. It&#039 ; s the creative process [MF laughs.]. CC: Do you only make quilts for walls ? MF: No, I have a quilt on my bed that I made when I first moved in the house. I have made a few quilts for my family. I&#039 ; m not a fast quilter. So, probably in fifteen years, I&#039 ; ve made 25 quilts, if I&#039 ; ve made that many. I just don&#039 ; t make a lot of quilts. I spend more time on one quilt. I have made my three sons each a quilt. I made myself do that, I think the year I retired, I made myself do that. My oldest son used to have a love of Texas, so he got one with all the Texas things, and horses, and Indians and Western. The second son is very much into jujitsu, and he&#039 ; s married to a Brazilian, so his one had--I couldn&#039 ; t find very much jujitsu fabric, but I did put a Brazilian flag on it for his wife. Then the youngest son is single, so his had women, and cars, and coffee, and gambling, and things that young men do. And I have made a couple for my grandchildren. The last one I made was for Stefano, who is Robert--that&#039 ; s my middle son. His dad said he liked ABC&#039 ; s, and what was the other thing, some kind of toy that he likes, so that&#039 ; s what his quilt is in, yellows and greens. It has all his ABC&#039 ; s and lettering on it, but I had to put it a Dallas Cowboy thing on it, which was blue, which was really hard to do, but we managed a block of the Dallas Cowboys. CC: Let&#039 ; s see. What do you think makes a great quilt? MF: I think there&#039 ; s a lot of great quilts, so when you say what do you think makes a great quilt, to me it&#039 ; s a combination of things. I like original ideas, but I expect very good workmanship. I enjoy art quilts if they&#039 ; re done well, but if they&#039 ; re very causally thrown together, I don&#039 ; t enjoy them as much as one that&#039 ; s well done. I am fascinated by all the different techniques, just watching the show. Compared to what the show was when I first started in &#039 ; 98--completely different show. In &#039 ; 98, hand quilting still dominated. Now, art quilts, machine quilting dominates. Very different concepts and they do things with machine quilting that I could never do. I like it, I like all the aspects of it, but I just don&#039 ; t care for something that has very poor workmanship in it. And I do like to see original ideas, and new things because some things have been around for years and years, and I enjoy looking at them, don&#039 ; t get me wrong, but it&#039 ; s not something I would ever do. CC: What kind of quilt would you classify the kinds that you make? MF: To me they&#039 ; re very contemporary quilts, they have a traditional basis, but they have a lot of an art quilt look to them. When you say quilts to a lot of people, they think of their grandmothers&#039 ; quilts, and my quilts don&#039 ; t fit in that category. They&#039 ; re very contemporary, they&#039 ; re artistic, they&#039 ; re very bright. So, they tend to move more toward art quilts, and they tend to be large. I don&#039 ; t normally do very small pieces. I&#039 ; m trying to convince myself to do them, but I haven&#039 ; t been very good at it. Like one of the quilts that&#039 ; s in the book said 96 [inches.] by 96 [inches.]. This one&#039 ; s 86[inches.] by 86 [inches.], so I have gone a little smaller. CC: So, what was the first quilt you made like? MF: Well, that was the one that my mother and I made when I was in my 20s, and had little kids. And it was a--I don&#039 ; t know, what do they call it--like a dinner plate type of thing. [UP says &#039 ; Like Dresden plates?&#039 ; ] Yeah, something like that. Like I said, it has a combination of polyester fabrics because that&#039 ; s what maternity clothes were made of in those days. I was making my own maternity clothes, and the one I made was very green. It had lots of greens in it. And the one my mother made was very pink. And I still have the pink one, but the kids lost the green one. But it was a very traditional. Yeah, they were just very traditional, and I never made another quilt until &#039 ; 95. It&#039 ; s a long time. CC: When did you have a studio first, when did that-- MF: That came with this house, which I bought this house ten years ago, despite the fact that I have sewn since I was 12 ; I never had my own sewing room. When I was raising the children, they had to listen to a sewing machine in the background of the television because Mom was usually running a sewing machine in the background. But now, I have that studio was probably built maybe 8 years ago, and it&#039 ; s custom, it&#039 ; s got all these walnut -- there&#039 ; s 58 shallow drawers in it, the guy laughed at me when we bought the drawer fronts. It&#039 ; s all done in oak ; it&#039 ; s got a custom cabinet. All the tables are designed for a very short woman, so that everything&#039 ; s interchangeable, you can move it apart and take it. My brothers are very good carpenters, and one of them came from Florida and helped my son build it. But yeah, it&#039 ; s custom designed, my ironing table is 2 feet by 4 feet, and when you flip it over, it&#039 ; s a light box underneath so it&#039 ; s very well put together. There&#039 ; s something everywhere in that room, that&#039 ; s designed. And then there&#039 ; s a cabinet on the wall for all the ribbons that I&#039 ; ve won, so yeah it&#039 ; s a neat room. People are very impressed when they come to see it ; it&#039 ; s like you see in a magazine [inaudible.]. But I waited a long time for it [MF laughs, UP says &#039 ; You earned it.&#039 ; ], I earned it, [inaudible.]. I paid for it. CC: So what is your creative process like when you decide to create a new quilt? MF: With me, it&#039 ; s that you&#039 ; re walking around with ideas in your head, or you&#039 ; re making sketches, or you&#039 ; re doodling, and like I said, to me, fabric&#039 ; s the inspiration, like I don&#039 ; t create fabric, I don&#039 ; t dye fabric. I see a fabric that appeals to me, and I buy it. These days, I only buy for a project because I just have so much fabric. But, it&#039 ; s the fabric that&#039 ; s the inspiration most of the time. CC: Have you taught classes? MF: No, no. I don&#039 ; t teach, it&#039 ; s a great skill, but not mine, no. CC: Has your quiltmaking impacted your family in any way? MF: I&#039 ; ll tell you this story ; this is my favorite story. When you have three sons, two of them are in Dallas, and all of three them were in Dallas at the time. The other quilt that&#039 ; s in the book called &quot ; Sphere,&quot ; it won Best of Show in Dallas. And I had a hard time convincing my sons that they needed to go see their mother&#039 ; s quilt. Up to that time, Mum just sews ; it&#039 ; s just no big deal. And I walk in the door, there&#039 ; s your quilt hanging up for all the world to see, and it wins first place. My sons were very impressed. They now think of their mother and her quilts as more respected and more important, let&#039 ; s put it that way. The phrase they use probably should not be repeated [they laugh.], but they were impressed about their mother&#039 ; s quilt winning first place in Dallas [MF laughs]. And they had it walking in the show and seeing it ; they kind of got the message that Mom actually does pretty good stuff. CC: Have you ever used quilting to get through a difficult point in your life? MF: I think &quot ; Transitions&quot ; is actually. I like to work, for me to stop working has been difficult. In fact, I just went back and took a job for four months over here at El Paso in downtown Houston in IT. And my old boss called me up and said, &#039 ; Would you like to come back to work?&#039 ; I said, &#039 ; Yes. Absolutely.&#039 ; This is hard for me, the first time, and that&#039 ; s probably a lot of what the quilting--the first time when I realized the children were gone, you call it empty nest syndrome--that&#039 ; s when I took up quilting, and then this quilt is very much I finished it after I retired. That&#039 ; s why it&#039 ; s called &#039 ; Transitions.&#039 ; It does impact your life, there&#039 ; s things like this too. CC: Are there any particular artist who have influenced you? MF: Oh, there&#039 ; s lots of people that I admire in this industry. Hollis Chatelain&#039 ; s work just, I think, is phenomenal. She paints, she doesn&#039 ; t really piece. I love her work.That was a new step for quilting, and I think her work is just really spectacular. Libby Lehman&#039 ; s a very good quilt artist, Caryl Bryer Fallert. All the quilters that you know, that are just well known that hang in these shows. You get to so you recognize their work. I would love my work to be that, where somebody would look at it and say, &#039 ; Hey, that&#039 ; s a Peggy Fetterhoff.&#039 ; But my quilting&#039 ; s not at that stage. So, it&#039 ; s really interesting to be able to walk up to a piece and say, &#039 ; I know who made it,&#039 ; before I look at the--because then people really, really know your work and respect it, and I think that&#039 ; s neat. I would love to go see Deirdre Amsden&#039 ; s work in London, and I hope to get to do that, because her Watercolor Quilts was what inspired me, and I have the only book she ever published. So, hopefully one day I&#039 ; ll get to London and get to see her. CC: Let&#039 ; s see. So, what do you think about the importance of quilts in everyday American life? MF: Oh, I think all quilters are inspired by what went on in the past. My quilts are that way. There&#039 ; s a traditional block Log Cabin, there&#039 ; s a diamond shape, even though I don&#039 ; t make traditional quilts, I still like to look at them. And I like to see what somebody did in them that was original or different, and what their interpretation of it was. And, when you look at what quilts have been over the years, from very utilitarian, where it&#039 ; s keeping somebody warm, to the art quilts of today, it&#039 ; s quite a tradition. It&#039 ; s very interesting, it has a lot of history, and there&#039 ; s a lot to read and find out about people who quilted over the years. CC: What quilt groups do you belong to? MF: Right now, I&#039 ; m a member of the Woodlands Area Quilt Guild. I&#039 ; m a member of IQA, I&#039 ; m a member of the AQS, and I have a quilt in the National Quilt Museum in Paducah, Kentucky that&#039 ; s traveling, that just got printed in that book, Orange Peel, so it&#039 ; s in a traveling exhibit for two years. So, I&#039 ; m a member of all those organizations. CC: You said you have a piece in a museum. What do you think makes a piece worthy of being in a museum? MF: Again, I&#039 ; d start with technique. I want to see the quality of the workmanship in a quilt in a museum. I would like to think that it&#039 ; s very well done, it&#039 ; s the best of whatever it is, whether that&#039 ; s a traditional quilt or an art quilt. But that it is well done, well thought out. The artist has put a lot of effort into making it. CC: Has technology inspired you in any way, influenced you? MF: Oh, I think so, yeah. And I&#039 ; m always looking for new tools, new ideas. I have a huge collection of tools, rulers, and anything that I think is new that I might like. All of the things they&#039 ; re doing with machines, I would love to be a machine quilter. I&#039 ; m just not very good at it at this stage. I&#039 ; m good at piecing, but I&#039 ; m not good at machine quilting. But, I&#039 ; m still trying to learn. And all the new things that they come out with the sewing machines, as well as the hand tools. If you&#039 ; re going to be good at something, you need good tools. So, any technology improvement in how you make quilts is a great idea. CC: So, what are your favorite techniques and materials to use? MF: I pretty much sew with cottons swift quilts. I love silk, and I do have a collection of silk to make quilts, I just haven&#039 ; t gotten around to it at this stage. I like natural fibers. Anytime when I had sewn when I was younger, it was cotton, silk, and wool. Well, I shouldn&#039 ; t say that because the first one was polyester, but that was the &#039 ; 60s. Today [MF laughs.], I wouldn&#039 ; t use polyester. Even the batting should try and stay with the more natural fibers. The longevity&#039 ; s better, the handling is better. But right now, mostly cottons. CC: So how do you preserve your quilts? MF: To begin with, most of my quilts are competition quilts. They&#039 ; re not even washed, so they&#039 ; re kept on a bed or they&#039 ; re folded up if the children are visiting. I don&#039 ; t have that many, again, I don&#039 ; t have a lot of quilts. Now, the ones I made for the kids are very washable, for the grandchildren or my children. Yeah, they&#039 ; re put in a washing machine, and they&#039 ; re washed. They have to be sturdy for grandchildren. You can&#039 ; t expect somebody to take [MF laughs.] care of it. So, but for these quilts, no. These quilts don&#039 ; t go anywhere, they&#039 ; re in my home. They aren&#039 ; t washed a lot, nothing like that. CC: How do you balance your time between job and quiltmaking? MF: Well, when I was in IT, I used to build computer networks. Then, I traveled quite a bit, and I laughingly would say that this was cheaper than a psychiatrist, because the job would be very stressful, and that&#039 ; s why I think I hand quilted, because I really find it very relaxing. And you have something quite interesting to show for it when it&#039 ; s done. So, I&#039 ; ve always liked that aspect--I will always hand quilt, even if I do learn how to machine quilt. I will always hand quilt because I like the relaxation that&#039 ; s involved and peace and quiet to it, and you get to keep your hands busy while you&#039 ; re watching television or something. I don&#039 ; t sit well without keeping my hands busy CC: So, what do you think somebody looking at this quilt might conclude about you? MF: I don&#039 ; t know. I don&#039 ; t know the answer to that. I think with art in general, that people look at things and base it on their own beliefs in life, rather than mine. Hopefully, it&#039 ; s all good, but art is a personal sort of thing. So, I think people can look at it and see very different things. CC: Well, I&#039 ; m out of questions. Do you have anything you wanted to add? MF: No, not in particular. I&#039 ; m kind of familiar with your organization, so I do know what you do. CC: I&#039 ; d like to thank Peggy for allowing me to interview her today for the Quilters&#039 ; S.O.S--Save Our Stories Oral History Project. Our interview concluded at 2:09 p.m. 2015 Quilt Alliance. All Rights Reserved. audio 0 http://quiltalliance.net

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