Log Cabins and Luke Haynes are two of our favorite things. The Log Cabin block is of oldest and best known blocks and Luke Haynes has undertaken the Log Cabin as a course of study and inspiration. We hope you like the many versions of the Log Cabin block and the fabulous quilts the blocks have created.
A simple rotation of a block can create the most dramatic changes in the over-all look of a quilt. Same goes with a color change of one piece in each block. Imagination and experimentation leads to wonderful results.
We have had so much fun with Luke and his shows that we are letting him take over our Instagram feed for the weekend and have given him his own very one Pinterest board. Curated By Luke Haynes
Log Cabins Write up from Luke Haynes:
This is a show of textiles taking themes from the Donald Judd installation in Marfa at the Chinati foundation “100 untitled works in mill aluminum, 1982-1986”
I am working on 50 iterations within constraints similar to that project but in my case its within the vernacular of quilting.
The show I am producing is about materials and object.
It will be 50 quilts at 90″ inches square.
The spectacle will be scale and concept.
The show will be called “The Log cabins of Donald Judd”
The basic idea is that I want to make the 50 quilts, iterations of the log cabin. All different variations with the same language, all red centers with white and black fabric. All the fabric will be used textiles. so the patterns and language of the details will be dictate by the range of “black” or “white” or “red” that I have access to in the form of used garment/textiles. But will all read as graphic compositions in black and white.
In learning my trade and the vernacular of quilting I have been practicing block types and learning history of piecing. There are a vast amount of overlaps in quilting blocks, that lead me to take the designers method and try and learn the basic language before venturing forth.
The log cabin is arguably the first repeatable quilting block and therefore that is where I started.
The reason it’s alluding to Judd is the material and iteration and to suggest that the show is objects in space and sculpture and remove the “Quilt” pre-conception of bed and private and valueless.
Also to remove the narrative component, I want to make a show that isn’t about figure/ground but rather about the understanding the medium and materials and contextualizing the work as object/sculpture
The quilts will be displayed hanging away from the walls in a forest of pieces to walk through.
The details to work out have to do with the venue and lighting etc. The final layout and hanging method will be dependent on the actual space and infrastructure.
You can see the overall graphic change within the small iterative changes of the project. Each will read like a study in graphic arrangement of elements [with the added intrigue of the material. Approaching each of the objects will reveal a varied array of textile types and language of the stories within the history of the materials used.
[shirts, jeans, sheets, towels, etc.]
I expect the viewer to be slightly overwhelmed by the exhibition.
I dont anticipate anyone to take the time to examine all 50 or even 1/4 of them.
I want there to be too many so the experience is one of the breadth of the undertaking then as a viewer digests the project to take time with just a few of the ones that speak to them at which point they will see the details and materials and get a sense of the story of the project and the materials.
Since the pieces will be hung for the viewers to move around, the show it will be an immersive one with the sound dampening a bit as well as the kind of environment that overwhelms similar to Richard Serra pieces.