the title 9 patch is apropos...because fundimentally, the whole quilt is just a 9 patch of 9 patches.

i started with the made fabric, which was cut into 6 inch squares, and then rejoined into nine patch squares. the cross blocks have made fabric blocks in the center, with prairie points pointing out of all sides. the fabric is a mix of stuff, as usual, mostly newer bits. the black sashing is black kona. the peach and green are vintage solids from the 1970s.

adding some kind of dimension to my quilts has become increasingly important to me. sometimes this just means the impression of depth or dimension via value changes and/or colors, sometimes it means the illusion of depth through devices like overlaid grids, and sometimes it means texture...actual factual tactile texture that you can see. things that stick up and off the surface of the quilt. quilts are typically very flat, in my observation. it can be fun to play with the surface and do something unexpected. i like the push and pull. if you look it's almost like the black grid is floating above another grid that appears to be formed by the green solid crosses. this wasn't anything i really planned from the outset but a design that came together as the quilt itself came together. typical of how i usually make quilts.

my use of grids and my obsession with them comes from two distinct inspirations: one, the quilts of australian quilter judy hooworth, specifically her book razzle dazzle quilts. i found a copy of it at a chicago-area thrift store, and fell in love with her contemporary use of sashing and cornerstones. two: a number of the bold improvisational sashed and cornerstone-ed quilts in roderick kiracofe's book unconventional and unexpected. it's something i want to explore more in other quilts going forward.

frank palmer, of orlando, florida, longarmed this for me.