American textile artist Season Evans creates quilts that are both “objects and storytellers.” While the front of each quilt is meticulously planned with a sparing use of colour often representing the theme of the quilt, the back “is an emotional reaction to the geometric design of the front.” This juxtaposition creates a beautiful balance and shows that less can definitely be more. 

Firstly where did you grow up and where do you live now? 

I grew up in Reading, Pennsylvania, a small city in Southeastern PA. It’s an interesting place in that it’s a small city that’s surrounded by suburbs that are surrounded by rural areas. There are Amish and Mennonite farmers markets just a 10-15 minute drive from an urban downtown. As an adult I’ve lived in a few different places: Philadelphia, New Jersey, Brooklyn, and now I live in Seattle, WA. I’m grateful for being able to have lived in two very different parts of the US. The Pacific Northwest – the mountains, the trees, the rain – is such a contrast to the Northeast, and each is so special in its own way. Living in so many different environments has been very influential in informing my work and developing a sense of place.

What is your background in textiles?

I am a self-taught quilter. Growing up in Southeast PA, I was surrounded by the quilts of the Amish and Mennonite communities found in shops and farmers markets throughout my hometown. My grandmother taught me how to use a sewing machine when I was about eight years old but I didn’t start quilting until I was in college in rural PA. My dad bought me a used sewing machine for my birthday, I bought some books (this was before YouTube videos), and made a lot of mistakes. I still have (but am very proud of) my first quilt. 

What is it about quilting as an art form that appeals to you? 

The functional beauty of quilts is what first appealed to me. Even as a child I was drawn to their pattern and colour as well as the sensibility of comfort and home. As I learned more about the history of quilts and quilters, I was drawn to the narratives within the patterns and telling stories through stitching. My background is in writing and it began to make sense to me that I was drawn to these visual stories. Once I started making my own quilts – finding my narrative voice in my quilts – I revelled in the abstraction, creating a narrative through only the essentials: shapes and colours. The quilt-making process provides a great connection to the work. Each step in my process is methodical and repetitive, which becomes a meditation on the story of the work. I find such great joy in the process and even a submission to the time and effort to make each quilt. 

How do you describe your work?

I use quilts as objects and as storytellers. My fascination with materials and the root of pattern creates space for my quilt making process to continually evolve, allowing me to tell stories – stories exploring place and identity – with the goal of connecting traditional craft to contemporary life, techniques, and aesthetics. 

Your style is quite minimal, how do you choose which colours you use?

Colour can often have it’s own story and I try to let the quilt’s story drive my colour choices. For instance my “Tower” series was created as an emotional response to the US political climate of 2016 and beyond. Each colour represented the spectrum of responses that I experienced: rage, anxiety, fear, and endurance. 

How do you create a piece?

I always start my pieces by writing. Writing through the concept helps carve out the story and get down to the essence of the concept. I spent some time as a writer and editor and these experiences really shaped how I create my quilts. I’m very methodical in developing my quilt tops: I write and then I sketch to scale (on graph paper because drawing itself is meditative for me). Once I’ve drawn the design, I start construction. I don’t make samples although sometimes I’ll sew blocks of colours together to see how the fabric colours communicate to each other. Most of my quilts are pieced and quilted on my machine. Some, including the “Tower” series, are pieced and woven. However, I’m working on a piece now that is entirely hand pieced and hand quilted. The technique I use depends on what I’m trying to say with the quilt. 

However, the quilt backs I create a little differently. The back of the quilt is an emotional reaction to the geometric design of the front. The backs are created organically with little planning – just pulling fabrics from what I have on hand – and I don’t use precision cutting or sewing.

I know this is a hard question but how long does a bigger piece take?

How long a quilt takes really depends on the type of construction. If a quilt is both machine pieced and quilted it can take from 40-60 hours (depending on size). The woven quilts take longer because those pieces are more complicated. If I’m hand sewing or quilting, a quilt could take at least 100+ hours. Technique truly dictates the time and I try to embrace each moment and not just the outcome. 

What are you most proud of in your art career so far?

I would say I’m most proud of being an artist and taking the leap into making it into a career. I didn’t go to art school and I started my career when my daughters were very young. I am proud to show them what you can accomplish when you are passionate about something. 

Do you have any advice for aspiring textile artists?

Listen to your voice and learn to trust your voice. Yet, also always be open to learning from others and from history. The quilting community is vast and so giving. I’ve learned so much over the years from the quilting community, its rich history, and the many anonymous quilters from the past. 

www.sdevans.com 

www.instagram.com/s.d.evans/