41of matching points or accurate cutting. I love the dynamic
surprises that emerge from piecing fabrics this way.’ Just like
Alison, Rachaeldaisy sews what makes her happy, rather than
conforming to a particular aesthetic to try and fi t in to a certain
show or guild’s style. ‘I was a fl orist for more than 20 years.
Because colour has always been part of my life in lots of ways,
I would say my approach is to embrace it all. I use the colours
that make me happy at the time or what I feel would suit a
certain project whether it be brights or all neutrals.’
Unlike Rachael and Alison, Carole Lyles Shaw was already
describing herself as a maximalist when I contacted her.
‘My love of maximalism in colour started long before I
was a quilter. Starting in my early 20s, I constantly visited
contemporary art collections in major museums and local
galleries in Washington DC, Baltimore MD, Philadelphia and
New York City. I was always drawn to the work of maximalists,
orphism (a form of abstract painting) and colour fi eld painters.
I was drawn to the way these painters used rich colour to
create a vibrant abstract surface. Complex, tactile surfaces
appealed to me. I studied works by collagists who created
complex colourful surfaces using loads of paint and mixed
media. I continue to look at work by abstract painters to
see where new ideas are emerging. And, there’s another
maximalist movement that I love looking at — urban graffi ti.’
Rachaeldaisy,
with her quilt
‘Merry Whizz’‘Whizz Bang!’,
Rachaeldaisy,- This quilt
uses Rachael’s
Pine Burr block
and variations