Carla Hemlock

Partial Transcript: [Westerman]: My name is Gwen Westerman for the Q.S.O.S Oral History Project

Segment Synopsis: Gwen Westerman is interviewing Carla Hemlock. Hemlock's touchstone quilt named, 'Walking in the Footsteps of Our Ancestors' was made for one of her children, around the year 2000. She notes that she had to ask to borrow this quilt because she doesn't have many of her quilts. The quilt includes symbolism from the Haudenosaunee creation story. The center of the quilt has a turtle, with a photo transfer of a painting her husband made.

Keywords: Family; Quiltmaking for family; Fabric selection

Subjects: Native American quiltmakers; Quilts--United States; Artists

Partial Transcript: [Westerman]: How did you get into quilt making?

Segment Synopsis: Hemlock states that in her Indigenous community, Kahnawake Mohawk, handmade items are the norm when gift-giving. Quilts, woodworking, and beadwork are common crafts in her community. Hemlock herself gravitated towards sewing and beading. Hemlock's early quilts were utilitarian, made for her children or as gifts. She began beading on quilts around 25 years ago. Her beading began after she made a quilt for a baby shower, and one of her children drew on the quilt with a pen, so she beaded over the penmarks.

Keywords: Family; Native American quilts; Quilt purpose - Bedcovering; Quilt purpose - Gift or presentation; Quiltmaking for family; Beads

Partial Transcript: [Westerman]: Is there a process you use to design? [Hemlock]: Actually, No

Segment Synopsis: Hemlock states that her process of designing is that she thinks about something sometimes for around a year. She states she works from the 'outside, in' and does not sketch, design, or plan her work. She states that her work just evolves from just trying something. This style of work is applicable when creating quilts, beading, and cradleboards.

Keywords: Design process; Beads

Partial Transcript: [Westerman]: How do sustainability and the environment influence your work?

Segment Synopsis: Hemlock states that sustainability and the environment impact her work because she wants to address issues such as land displacement, land rights, and the environment. She states that it is easiest to express these issues through quiltmaking because they are hard subjects to engage in. People are more likely to engage in these subjects through the quilt medium because quilts evoke comfort. She notes that she has gotten negative feedback regarding a quilt she made about fracking. She expands on the story behind her quilt, 'We Remain Haudenosaunee' that addressed the displacement of Indigenous people.

Keywords: Quilt design; Quilt purpose - Activism/Awareness; Quilt purpose - Storytelling; Art quilts

Subjects: Quilts--United States; Quilting

Partial Transcript: [Westerman]: Do you ever incorporate Haudenosaunee language in your quilts?

Segment Synopsis: Hemlock states that her quilt 'Kahwa:tsire' was the first art installation she did with a quilt, and has been acquired by the Montreal Museum of Contemporary Art. She explains that Kahwa:tsire in the Haudenosaunee language defines who they are as a people. The quilt depicts Iroquois pottery and beadwork. Using the Haudenosaunee language and pottery, both that date pre-contact was important for Hemlock.

Keywords: Quilt design; Quilt purpose - Activism/Awareness; Quilt purpose - Storytelling; Quiltmaking inspiration; Pictorial quilts

Subjects: Quilting

Partial Transcript: [Westerman]: You've talked a lot about issues of land, and how that influences the work that you do. What do you think is the importance and meaning of the quilts you make in contemporary Haudenosaunee culture, or in the broader culture of North America?

Segment Synopsis: Hemlock when designing a quilt, begins with thinking about an issue. She notes that she sometimes makes quilts for her people, meaning that a regular viewer and a Haudenosaunee person would have a different perception of the meaning of the quilt based on the symbolism.

Keywords: Female quiltmakers; Quilt purpose - Art or personal expression

Partial Transcript: [Westerman]: So we have talked a little bit about history, we've talked about design, and interaction. What makes a quilt you design meaningful for you?

Segment Synopsis: Hemlock states that a meaningful quilt is when someone learns something from her quilts. She talks about an interaction she had regarding a quilt she made addressing the Washington Redskins NFL team and the impacts of that team name. Westerman discusses the impact of utilitarian quilts and the stories they carry in Indigenous households. Hemlock states that she has been to several quilt shows, and she loves to see the artistry on display. Hemlock loves the stories, imagination, and innovation of quilts.

Keywords: Quilt design; Quilt purpose - Activism/Awareness; Quilt purpose - Cultural Education; Quilt shows/exhibitions; Design process

Subjects: Art quilts

Partial Transcript: [Westerman]: Do you have favorite fabrics or kinds of fabrics? [Hemlock]: I wouldn't say favorite.

Segment Synopsis: Hemlock states that she likes to work with fabric that has very little print and gravitates to tonal fabrics rather than bold fabrics. She has no preference for a specific brand or designer. She has made a quilt made of wool, titled 'Our Destruction' which was inspired by Inuit quiltmakers in Northern Canada.

Keywords: Fabric choice; Fabric selection; Fiber - Wool; Fabric - Solid/plain

Subjects: Wool quilts

Partial Transcript: [Westerman]: What would you say to other people out there who think "Oh, I could never make a quilt'.

Segment Synopsis: Hemlock states in response to people asking her how to start quilting to start small, with projects such as a baby quilt or placemat. Hemlock states that it is best if you don't follow a pattern, and do your own thing.

Keywords: Children's quilts; Quilt patterns; Learning quiltmaking