Interview with Lura Schwarz Smith, October 22, 1999

Partial Transcript: My name is Janice Simpson. Today's date is October 22nd, 1999. I'm conducting an interview with Lura Schwarz Smith for the Oral History Project in Houston, Texas. We're at the International Quilt Show. Lura, how did you come to bring a quilt here for the interviewing?

Segment Synopsis: Smith explains that she brought her touchstone quilt to the interview, because it is significant for her. She is still currently working on the touchstone quilt. Smith says she considers her pieces to be art quilts and describes this piece as a "meditational quilt." It depicts a woman who, Smith says, is not a self-portrait, but rather "an image of the female inner nature." Smith is inspired to work from "inner images or dream images." When making the touchstone quilt, Smith used a photo transfer process to print her drawings onto fabric and then painted them. Smith says she does not plan her quilts in advance, but instead makes sketches and follows concepts as she works on a project.

Keywords: Art quilts; Design process; Design walls; International Quilt Festival; Janice Simpson; Jean Ray Laury; Meditational quilts; Painting; Photography/photo transfer; Quiltmaking inspiration; Techniques

Subjects: Art quilts

Partial Transcript: You say you started with an art background. What is your background with art?

Segment Synopsis: Smith has an undergraduate art degree from San Francisco State University with an emphasis in painting and drawing. She works as an illustrator for magazines, books, and graphic arts. Smith initially began to quilt with her mother, after her grandmother passed away and left behind some quilt blocks. Smith describes the quilts they made, each based on one of the quilt blocks, as "really terrible." They used the wrong type of fabric, made mistakes, and did not purchase a quilting book. In college, she started to approach "fabric as an art medium." Smith made her first art quilt as the final project for her senior painting course. She sold her "wall quilts" in art galleries for a long time, but Smith says she was not using traditional quiltmaking techniques, because she did not know them. After moving to a new area, Smith joined a quilt guild and discovered more about quiltmaking techniques, as well as a "huge quilt world" that she was not aware of. Since then, she has been working to merge her art background with quiltmaking techniques.

Keywords: Family; Grandmothers; Learning quiltmaking; Mothers; Quilt guilds; Quilt purpose - Artistic expression; Quilt purpose - Exhibition; Techniques

Subjects: Art quilts

Partial Transcript: What did you think when you were chosen as one of the best one hundred quilts? What was that like for you?

Segment Synopsis: Smith was not aware of the search for the 100 Best American Quilts of the 20th Century, until she received a package from Karey Bresenhan saying that one of her quilts had been chosen. She felt very honored, particularly when she thought about all the quilts and quilters that did not make the list. Her family was also quite pleased. Smith almost did not create this chosen quilt, which she originally made for a show in Lyon, France. She did not have much time to make it, but Smith's family encouraged her to work on it anyway. The contest was for quilts made "in the style of an artist that inspired you." Smith's winning quilt was an homage to Edgar Degas. When asked if she enters a lot of quilt competitions, Smith says she does, but adds that she hasn't made as many quilts in recent years as she'd like.

Keywords: Awards; Family; International Quilt Association; Karey Bresenhan; Published work - Quilts; Quilt Expo; Quilt shows/exhibitions; Quilters Newsletter Magazine

Subjects: Degas, Edgar, 1834-1917

Partial Transcript: So, do you, does your family think, well, does your mother quilt, or anyone in your family?

Segment Synopsis: Smith's mother was not a quilter, but her grandmother was. When she was a teenager, Smith and her mother tried to learn how to quilt using blocks that Smith's grandmother left behind after she passed away. Smith has some her grandmother's hand quilted work and says that she was a competent quilter. Smith describes her touchstone quilt as a "fun one." In it, she used a new technique involving variations in the size of stitches. Smith learns a lot while making each new quilt. Smith also says it has taken her almost a year to come close to finishing this quilt, and she is looking forward to starting her next project.

Keywords: Family; Grandmothers; Hand quilting; Missouri; Mothers; Techniques

Partial Transcript: Where do you get your ideas from?

Segment Synopsis: Smith says she has many ideas for her quilts, but she lacks the space and time to work on them. The touchstone quilt is titled "Letting Go" and is part of her Gaia series. She is interested in working on another Gaia series, focused on the "wholeness of the planet." Smith is also "interested in trying to work with some of the inner nature of people and the inner life that it has." When asked if she likes to sell her quilts or keep them, Smith says that she is an artist and selling her work "feels very complete." However, it's also useful for her to have some quilts on hand to show for teaching and lectures. She used to sell quilts without keeping a record of them. Smith expects to keep the quilt that was chosen as one of the 100 Best American Quilts of the 20th Century, despite receiving offers to sell it. She likes taking that quilt to her talks, because it's a quilt "people respond to very well."

Keywords: "Letting Go"; Quilt Purpose - Teaching or learning sample; Quilt documentation; Quilt series; Quiltmaking inspiration; Selling quilts; Teaching quiltmaking; Time management

Partial Transcript: Did you take regular quilt classes, too, or have you just, gone right into your art quilting?

Segment Synopsis: Smith has taken some traditional quilting classes. She says that she could still learn new techniques, so she has more skills to work with. Smith continues to learn when making all of her quilts. At the time of the interview, she is experimenting with "free-form, curved piecing." Smith began taking classes after joining her quilt guild. She points out that there are a lot of different techniques to use. Her goal is to learn sufficient technique to be able to do "decent work." She prefers to avoid techniques she sees as "tedious" and prefers "to work as quickly and directly as [she] can." When asked what she doesn't like about quilting, Smith says there isn't anything that she does not like. Instead, Smith talks about what she does like, including the variety of practitioners, styles, levels of ability, and "workmanship." Smith likes that quiltmaking is predominantley done by women, although she acknowledges that some men are also quilters. Smith finds that quilters tend to underestimate their own abilities. She thinks of quilting as an art form that is accessible to everyone, especially because quilters can use patterns.

Keywords: Amish quilts; Learning quiltmaking; Male quiltmakers; Quilt guilds; Quiltmaking classes; Quiltmaking process; Quiltmaking style; Rotary cutters; Techniques

Partial Transcript: Okay, how many quilt shows have you been to, I mean, do they, is this the first time you've been here?

Segment Synopsis: Smith lives in California and finds it hard to travel to the International Quilt Festival in Houston, Texas. The interview was recorded during her second trip to the festival. She does, however, go to quilt shows in California, including the Pacific International Quilt Festival. She has shown quilts in that show for about six years. Smith finds it inspiring to attend quilt shows and thinks "it's a shame" when gifted quiltmakers don't want to enter their work into shows. Smith says that entering work into shows is a way for members of the quilting community to communicate and inspire each other. Smith has a couple of quilt-tops that she has not finished yet. She discusses starting to do more machine quilting, but Smith has a small work space that limits her to working on one project at a time.

Keywords: Hand quilting; International Quilt Festival; Machine quilting; Pacific International Quilt Festival; Quilt shows/exhibitions; Quilt tops; Show and Tell (quilt guild); Unfinished objects (UFO); Work or Studio space

Partial Transcript: Do you always work in these kind of colors or do you...?

Segment Synopsis: Smith uses a variety of colors in her quilts, although she especially likes teals and purples. She describes the colors in the touchstone quilt as "a very likeable color range." In contrast, when researching Degas' color palette for her Degas quilt, she did not like his use of ochre, orange, and olive. She was initially put off by them, but then decided that, just like a painter ought to purchase all colors of paint, she as a quilter ought to have access to fabrics in all colors. Smith concludes that having "a full palette range of color" is valuable, and she thinks choosing "a really ugly fabric" and finding a way to use it that looks nice is a good challenge. For example, Smith bought fabrics with Degas' colors that she initially disliked, but when she used those colors in the quilt, she was happy with the result.

Keywords: Color balance; Color theory; Fabric - color; Quilt purpose - Challenge or contest entry; fabric selection

Partial Transcript: Could you describe your quilt that you have here?

Segment Synopsis: Smith says she is "inspired by lots of artists," but she was attracted to Degas' work because of his drawing ability. When Smith made the quit, she was thinking about having the ability to photocopy her own drawings onto fabric. Smith's Degas-themed quilt, "Seams a Lot Like Degas," is based partly on Degas' dancers series. She used a Hole in the Barn Door or Churn Dash pattern for the background. When Smith was researching the pattern, she also discovered that it was called French Fours. She used the same pattern, in "distorted" form, in the dancers' clothing. Smith had to rush to finish the quilt before the competition's deadline. When Smith checked the deadline for the competition, she realized that it was only a month away and also close to Christmas. Fortunately, her husband volunteered to help out at home, so Smith could work on the quilt. She also had other distractions, including leaks in her studio. Smith managed to finish the quilt on time, and it was awarded "Best of Show" at Quilt Expo V in Lyon, France. It has garnered additional honors since then.

Keywords: Awards; Barbara Brackman; Churn Dash - quilt pattern; Family; French Fours - quilt pattern; Hole in the Barn Door - quilt pattern; Husbands; International Quilt Festival; Jean Ray Laury; Quilt Expo; Quiltmaking process; Seams a Lot Like Degas

Subjects: Degas, Edgar, 1834-1917

Partial Transcript: But your husband is very supportive then?

Segment Synopsis: Smith agrees with Simpson that her husband is very supportive. He appreciates Smith's artwork and encourages her to buy fabric. Smith's children are now teenagers. Although they are not interested in quilting, Smith says her children are creative in other ways. Both children, especially Smith's daughter, like her quilts. Smith's daughter gives helpful criticism about her quilts. Smith says her family is "very supportive."

Keywords: Children; Family; Husbands; Quilt Purpose - Bedcovering; Quiltmaking for family

Partial Transcript: Is there anything else you'd like to share about your quilting life, or your family, or?

Segment Synopsis: Smith says, "it's so important to feed your art nature." She is glad quiltmaking is growing and can be a great creative outlet for many people. Smith acknowledges that quiltmaking has become a "big business," but she thinks that it is also very personal and significant. Smith says that she and other quiltmakers are lucky to be quilting now, especially because the availability of fabrics and supplies has improved since she began quilting.

Keywords: Children's quilts; Fabric selection; Quilt business; Quilt purpose - Art or personal expression

Partial Transcript: And what did you think about coming here for the interview? Did you, were you, apprehensive to come and be interviewed about your quilts, or?

Segment Synopsis: Smith was not apprehensive about the interview. She believes that "every quilt has its story." Smith says that every quiltmaker brings something unique to their quilts. For Smith, quiltmaking is a form of communication. She hopes that people who see her work "might get something from it." Smith also did a TV interview earlier in the morning. Smith finds the experience of going through the exhibit of the hundred best quilts, where her Degas quit is displayed, to be "flabbergasting." She has found the stories in the catalog are helpful for providing more context and information about quilts that might not otherwise grab her attention.

Keywords: International Quilt Festival; Published work - Quilts; Quilt preservation; Quilt shows/exhibitions; Traditional quilts

Partial Transcript: Do you teach, too?

Segment Synopsis: Smith also teaches quiltmaking. At the time of the interview, she is teaching one class about designing art quilts. She has participants bring a photograph to their class and teaches them how to use it as a pattern for an art quilt. She enjoys teaching people and seeing them understand the quiltmaking process. She thinks it's a shame that "people are just so shy about their art abilities." For that reason, she likes encouraging them to draw or do something creative that encourages their abilities.

Keywords: Photography/photo transfer; Teaching quiltmaking; Techniques; Technology in quiltmaking

Subjects: Art quilts

Partial Transcript: Well, what's the memory of your first quilt?

Segment Synopsis: Smith says she would love to have known her grandmother, who quilted and left behind some quilt blocks and a "crazy top" after passing away. Smith's first quilts were made with her mother for a church raffle. When making one of those quilts, Smith thought it would be a good idea to make a large version of a bear claw quilt block. She says the colors were lime green and maroon calicos, and they finished the quilt by tying it. Later, she read Ami Simms' book, "How Not to Make a Prize-Winning Quilt" and found it to be extremely funny, because she had made many of the mistakes that are mentioned in it. Smith says that people are now able to take quiltmaking classes when learning, instead of making so many mistakes.

Keywords: Bear Claw - quilt pattern; Family; Grandmothers; How Not to Make a Prize-Winning Quilt; Learning quiltmaking; Opportunity quilt; Quilt Purpose - Fundraising; Quiltmaking classes

Subjects: Simms, Ami, 1954-

Partial Transcript: Well, with this, here's another good question to follow that one. What do you think makes a good, a great quilt? What do you think makes a great quilt?

Segment Synopsis: Smith says a great quilt is "one of those that just reach out and grab you." Color and composition often attract Smith to great quilts. She also appreciates great quiltmaking technique, although she does not consider herself to be a precise quilter. Smith mentions that other people will all have different ideas of what makes a great quilt. When considering what makes a great quilter, Smith says she respects women who may create many quilts, but who do not think that they are gifted artistically or don't consider entering quilts into shows. When discussing quiltmakers who are more well-known, Smith says she is inspired by people who are pushing quilting further into the art world, or who have founded quiltmaking organizations, while also finding the time to continue making quilts.

Keywords: Aesthetics; Color balance; Color theory; Quilt design; Time management

Subjects: Art quilts

Partial Transcript: Do you think that there are a lot of art quilts in the show here today?

Segment Synopsis: Smith, who arrived at the International Quilt Festival on the day of her interview, says she has only seen a third of the show so far. However, a lot of quilts in the exhibition have already caught her attention. One of the things that Smith likes about quilting is that it makes art more accessible. Smith is a member of SAQA and likes looking at more artistic quilts, but she also is very interested in traditional techniques, such as binding and applique. Smith says that she likes to try new techniques and continue learning with every piece she makes. When asked if the faces in her work are people she knows, Smith says they are more generic. She has also featured images of hands into her most recent quilts. Although hands are known for being hard to draw, Smith finds that she loves drawing them and thinks they are very expressive.

Keywords: Applique; Binding; Figure drawing; International Quilt Festival; Machine quilting; Quiltmaking inspiration; Studio Art Quilting Association (SAQA); Techniques

Subjects: Art quilts