1999 Exemplary Ribbon Winners

The 1999 Exemplary presented an impressive display in the world of Art Needlework. Following are the winners of the special awards. To view an enlarged picture, click on either the small image or the name of the piece.

Kimono Ribbons was designed and stitched by Jennifer Ashley Taylor of Florida. This embroidery was created as a Japanese embroidery teaching piece and incorporates 10 of the 46 Kurenai-Kai techniques. Stitched on obi Shiozi, the materials include Japanese gold and silver and flat silk. The silk is twisted for foundations as well as decorative edging. The metal threads are couched and twisted with the silk to form delicate outlines for many of the areas.

The left side of the peach ribbon (with the superimposed gold and silver cherry blossoms) is an optical mix of two values. The twisting technique is particularly effective using Japanese flat silk. Each filament is approximately the diameter of a strand of hair. Each strand is composed of 12 to 16 filaments. If examined closely (within 6"), the twisting of two values can be seen. However, at any distance beyond than, usually the eye mixes the two colors and makes them appear as one.

Kimono Ribbons was awarded a First Place Ribbon in the Original Professional Category and also received The Exemplary Ribbon which is awarded by the Academy Directors to the piece of embroidery which most embodies technical excellence. As the crowning touch, Kimono Ribbons was selected by the Exemplary as the Judges’ Best of Show.

Moon Spirits, designed and stitched by Peg Laflam of New Hampshire, began with 140-pound watercolor paper painted using the same techniques used when painting fabric for collage. The design pieces were cut from paper and assembled by overlapping. Some fabric is included along with the paper, and the entire piece is mounted on a thin sheet of poster board. The resulting design is embellished with machine embroidery.

The design idea came from photography that Peg had done several years ago in which she developed film and printed overlapping larger and smaller portions of the negative. The whole effect was quite surrealistic and yet very pleasing. Working on the paper has been an enlightening experience and one which she hopes to continue combining both paper and fabric in future collages.

Moon Spirits was awarded, (along with Mainely Fall by bev s. handwerger), The Muse’s Kiss by the Academy Directors for innovation and creativity.

Mainely Fall, designed and stitched by bev s. handwerger of Maryland.

The background of Mainely Fall is handmade paper. The tree is stitched in variegated threads using the raised chain band and outline/stem stitches, under-and over-stitched. On top of the basic stitched tree is irregular buttonhole stitching to simulate moss. The base of the tree is grounded on a mound of overlaid torn handmade paper. The leaves of the tree are all real leaves, each enclosed in a "Bondex"™ sandwich for preservation, then stitched on to the ground using satin/straight stitches, laid and layered. All of the leaves were gathered around her cottage in Maine in the Fall, thus adding special meaning and inspiration to the embroidery.

Mainely Fall was awarded by the Academy Directors (along with Moon Spirits by Peg Laflam), The Muse’s Kiss for creativity and innovation.

My Sister and Me When She Was Three was designed and stitched by Gail Carolyn Sirna of Michigan.

This piece depicts the artist and her sister as children. The colors chosen are the colors they wore, her sister in pink, clutching a beloved doll, and Gail in her favorite blue, hanging on to her ever-present book. Most characteristically, their dominant feature is their unruly, abundant and untamable hair. Although curly hair, á la Shirley Temple, was a desired look in the 1940s, theirs was to excess – riotous, frizzy and effusive.

So there they are by the garden fence with freckled noses and skinned knees – the very essence of 1940’s childhood.

My Sister and Me When She Was Three was awarded The Academy Heart which is given by the Academy Directors for the evocation of emotion.

My Spooky Halloween Purse was stitched by Amy Lou New of Arizona.

This was a challenging, inside summer project to avoid the outside temperature of 122 degrees! Although a stitch guide was provided, Amy followed her own artistic talent and added her own flavor. She redesigned the beaded fringes to look more like candy corn and selected a different variety of beads.

My Spooky Halloween Purse and its stitcher, Amy Lou New, was selected to receive the Hope Hanley Award which is presented to the most promising amateur canvas needle artist.

My Spooky Halloween Purse was also awarded a First Place Ribbon in the Non-Original-Amateur Category.

Post Cards from Paradise – Assisi was designed and stitched by Gail Carolyn Sirna of Michigan.

This piece is one of a series of small compositions – about the size of post cards – depicting personally favorite travel destinations. Assisi, one of the world’s most mystical cities, is steeped in history and faith and art. Shimmering on the hillside as one approaches, the town itself is ancient and charming, constructed of wonderful old stone. The view from the town walls is of the beautiful Umbrian countryside. And the Basilica and churches of the region transport one back to an age of artisans who devoted their lives to the Almighty.

Post Cards from Paradise – Assisi merited the Linda Calsing Award which reflects Linda’s love of history and travel.

Poppies, stitched by Pat Dowse of Wyoming and designed by Jean McIntosh.

This petit point entry was stitched on 40-count silk gauze. One strand (ply) of floss (DMC and Anchor) was used for stitching over single threads of the gauze. Completion of this piece was attained by working 4 hours a day for 6 months.

Poppies was selected by visitors to our exhibit as their favorite piece in the show and was thus awarded with NAN’s Popular Choice Ribbon – The Favorite.

Vortex, designed and stitched by Karla Kellenberger of Ohio.

The challenging objective in creating this piece was to capture the abstract essence of the swirling motions of wind and water utilizing Hardanger, in general a very static type of embroidery.

The color choices of quiet blues are generic enough to allow the viewer to see any motion that is common in nature: whirlpools, hurricanes, or tornadoes. A slightly darker blue was used for the buttonhole stitching at the edges of the embroidery to "lift" the stitching away from the ground thus providing a dimensional aspect.

The rounded and slightly irregular shapes of freshwater pearls were added to emphasize the swirling motion of the piece. The pearls are amorphous enough to be whatever the viewer needs them to be – clouds, raindrops, or just tiny, contrasting abstract shapes.

Judge Ann Harris awarded her Judge’s Choice Ribbon to Vortex which also garnered a First Place Ribbon in the Original Category.

Winter Topiary, designed and stitched by Gail Carolyn Sirna of Michigan.

Winter’s icy hues are artfully rendered in canvas embroidery, the second in a series of seasonal designs based on the designer’s own concept of botanical prints.

White poinsettias are depicted in the long and short stitch, gently shading from white to the palest of pink-lavenders. Pomengranates appear to be made of brocade, frosty grapes add texture and hibernal cherries are worked in a delicate needlelace. Silver holly leaves and sprigs of wintergreen with beaded berries complete this botanical fantasy. All flow from a matte finish silver cachepot, banded with jewel-like accents. This piece is stitched on blue congress cloth and is worked in a variety of silks, cotton and metallic threads.

Judge Carlene Harwick awarded her Judge’s Choice Ribbon to Winter Topiary which also won a Second Place Ribbon in the Original – Professional Category. Winter Topiary is scheduled to be taught at The Assembly of the National Academy of Needlearts, March 19 - 23, 2000 at the Homestead in Hot Springs, Virginia.