Quilting with June in Healdsburg

        One doesn't fathom sometimes the simple nuances that come from any endeavor into the fields of dreams of any craft, but today I got an inkling into the same sort of cultural anthropology that comes with what I have

always espoused about architecture and it's protocols as far as the material the geometric patterns and shapes and the textures associated with the gender of the architect and their images of historical sequences in

 their personal artistic nomenclatures.

        I can tell you even though I was actually thrilled with going with our friend June, who I consider not only an historian of great stature personally, but of her time and space in the community in which she was born and

 raised to such an artful degree, to see a variety, and also fusions of different historical time frames and the materials and the shapes that shared sometimes individual art pieces symbolized in the quilts we were so lucky to

 have the opportunity to witness, but I gladly accepted the numerous additions to my new beginnings into the altered states involved within the artwork and the craft itself, but also the historical signposts associated with

the evolutionary processes that came with quilting itself, just like you would find in the evolutions of humankind itself.  There is the necessities of time consumption, yes, but also the multitasking qualities necessary to 

 achieve the completion of the story, like a novel, which takes place over time, and goes thru numerous character changes, as well as plot changes.

           Along with our guide, like you would find on any Antique Roadshow, who had cultural, historical, religious and political information about the design, the accepted patterns, the fabrics being used, she took each separate

quilt, displayed it on a large board, and preceded to explain what part of the country it represented, the time period involved, the type of stitching or applique that was being represented and then went on to enrich your

knowledge of the type of material being used, and which cultures made the same patterns in less or more colors, and the differences that each culture used in their borders, plain or patterned, and like the Germans, she retorted

who couldn't stop being creative and colorful and not only made the borders patterned, but found the time to be as creative on the backing as they were on the pattern they had chosen to symbolize on the front of the quilt.

         I have to admit, I was only into the color, the pattern, not even so much the historical time frame, or the cultural fusion that came with it, but also the geometric shapes involved with the individual designs

represent on the face of the quilt itself.  I was ignorant as to the type of fabric, the stitching, the historical time frames, the colors that were used, and the actual cultural backgrounds of the individual doing the piece

of craft involved, but also the artwork necessary to complete the storytelling going on, like in a book about what was going on in their personal lives, but also of the communities they lived in and the ancestry

of the people they represented in the quilt but also the story that was symbolized in the face of the quilt itself.  There is after all, for me, lots to learn about this craft, this storytelling, and the foundations of the lives it represents.