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Lorraine Pettway, born 1953. Medallion work-clothes quilt, 1974, denim and cotton/polyester blend, 84 x 68 inches.
This is a quilt made from work clothes. Rather than linking the image to the original site, it is linked to a larger image where one can see the size of the squares that make up the colour blocks. Blue chambray work shirts (usually from J C Penney, but Sears did them – each brand slightly different in detail and fabric) faded to this pale sky colour in the sun, leaving darker patches underneath the pockets and at the bottom of the sleeves which were usually rolled up. They disintegrated across the back and at the elbows. The pieces in this quilt would have been from shirts patched and mended until they could be mended no more, leaving the tails, the cuffs, collars and pockets.
Like any sort of piecing activity: dry stone walls, broken tile mosaics, quilting, each piece in the pile of material becomes intimately known for its colour, its shape, its peculiarities that allow it to fit into a greater whole. Each piece is considered, set aside, reconsidered elsewhere, set aside and finally used in precisely the right place. In this process all the pieces become characters in the larger narrative that is the quilt, or the wall, or the floor.
This is also a process whereby the weak, the broken and the otherwise unuseable become strong. Worn out fabric, easily torn, is stitched through a cotton batt layer to a backing cloth, so that it has no stress on it: strain is taken collectively by the batting, the stitching and the backing.
What these pieced surfaces look like is an entirely different discussion. Of course each piece is chosen and placed to make a beautiful surface. But it is not by design, rather it is by detail at the scale of the fingers and the needle, and this is where the Gee's Bend quilts part company with modern quilting as supported by the contemporary quilting industry of patterns, books, new 'vintage' cottons, fat quarters and all the rest.
I would say, not being an African-American from Alabama with a history of slavery, poverty and the church, that we could read these surfaces as conversations between each piece of fabric and the woman assembling and stitching the pieces. And like conversations they are unpredictable, idiosyncratic and emotional. They switch direction mid-stream, they are sometimes angry. They can sooth and they take a long time.
Loretta Pettway, born 1942. "Lazy Gal" -- "Bars," ca. 1965, denim and cotton, 80 x 69 inches. All images: Tinwood Media