Southport Magazine

Traditions are an important part of every culture’s history. They bring each generation into the next and strengthen our roots and a sense of belonging. From grandmothers to mothers to daughters, handing down the art of quilting has been an important tradition carried on by the women of not only this country but women all over the world. “Quilting is an important part of our history, particularly women’s history,” said local fabric artist Marilyn Ridgeway. “It was an opportunity for women to get together and discuss issues. Quilts were made to aid the community as well as to mark important events in the history of families. Quilting like any art has its own language and recognizing the names (sometimes very regional) of quilt patterns signals you are part of the sisterhood.”

Just as in the passing on of traditions, Ridgeway’s learning has involved friends and learning skills passed on from others. “Working on all these quilts not only increases my skills, but also my interest in taking quilting past the traditional model of quilting one. I started taking classes with nationally known teachers and expanding into shinier dyeing, working with silk and vintage fabrics, modern design, painting with dyes, painting on fabric, thread painting, embroidery. My quilting friends became an important part of my learning experience.”

A Southport resident, Ridgeway has always had an interest in textiles. From her painstakingly hand-stitched applique to the dyed fabric in her dragon quilt, Ridgeway has poured her heart and soul into each stitch of her work. “I taught English in Columbus, Ohio for thirty years. I have always loved textiles and probably would have gone into the textile industry. My college textile professor was from North Carolina and said the mills were closing, so finding a textile design job would be difficult. So, I went with my first game plan- to become an English teacher. I did teach English for 30 years but dabbled in the arts and still have my passion for design and textiles.” Ridgeway has also taught classes in embroidery techniques and shibori fabric dyeing.

Ridgeway’s love of history is what drew her to quilting about 10 years ago when she was living on Bald Head Island. “Old Baldy Lighthouse has collected a wonderful collection of children’s artwork of the Old Baldy Lighthouse in the style of the masters. A good friend, Jane Johnson was a quilter. I asked her if somehow, we could transfer the drawing to fabric and make a quilt. As karma would have it, she had just taken a workshop on the topic. That’s what started my wonderful experiences with Old Baldy Quilters. We gathered interested women together and hand quilted our first quilt on an antique quilting frame,” she said. “We made several more quilts to benefit Old Baldy Lighthouse, each quilt done to learn a new technique or involve the community. We did a whole cloth quilt, dyed fabric with natural dyes and made a traditionally pieced quilt, a Hawaiian appliqued quilt with the flora and fauna of Bald Head, an appliqued vintage linen quilt, a crazy quilt featuring historical pictures of Bald Head, a row quilt. A red and white trapunto quilt. Our final quilt celebrated the 200th birthday of Old Baldy Lighthouse featuring Southport fireworks viewed from Bald Head and paper pieced historical personages surrounding the quilt.”

According to Ridgeway, designing the quilt is the most challenging part of the process but also the most enjoyable.  “The fabric is the starting point and then the technique. Which technique would make the fabric pop? A good quilt should be beautiful from a distance, even surprising as you walk closer, and one final wow when you examine up and closer personal. That is what I work for in each quilt,” she explained. “I generally work on several quilts at a time. Sometimes a large queen size quilt will take me a year to complete. If I have to dye the fabric, it could be longer. If I stayed on task and forgot I had a life, I could probably do a large quilt in two months,” she laughed. “It is a time-consuming process. Sometimes a quilt will sit on the design wall for several weeks, changing each time I enter the studio.”

According to Ridgeway, you have the same elements to consider with quilt making as you do with other art forms, and she starts with the color, then the line and space. “You also have to have movement to control the viewers’ eyes. The principle of thirds is also an important factor,” she said. “The difference may be that you not only have the fabric which you piece into your design but then you have to decide what quilting pattern will add to your design and not distract from it. This is a step that I do not have to consider when painting.”

Ridgeway has a large dedicated studio in her home for making her quilts and design walls where she hangs her work in progress to help her get a feel for the design. Her quilts, as well as her other handmade artwork such as pottery, tiles and mosaic backsplashes, are integrated into her home design with large quilts hanging in several rooms and warming the beds.  “I just finished a layered seascape wall hanging using organza layers to create a semi 3D effect. I also finished a small quilt for golf cart use. My next quilt is on the design wall but has not decided what it wants to be!”

You can see more of her quilting at The Smith Island Art League shows twice a year on Memorial Day weekend and Thanksgiving weekend and on their website https://www.smithislandartleague.com/You can reach Ridgeway by email at Pataskalam@bellsouth.net.