L + N, 2025

72” x 86” | Made from cotton fabric, batting, and thread | Machine-pieced and -quilted

Front of the quilt suspended beneath an overpass, showing the curved frame border surrounding pale blue and green pieced forms.
Back of the quilt showing dense quilting on blue backing fabric.

Photos by Libby Cook

L + N is a wedding quilt for two friends who moved away. While visiting them in their new home city, we spent an afternoon at the Art Institute of Chicago. We disbanded into our own journeys through the exhibits, shared a few works whenever our routes overlapped, and then wandered off separately again. That afternoon is a portrait of how I understand the new dynamic of our friendship, and it’s the memory I came back to when I designed their quilt.

I was captivated by the idea of creating a framed painting. I referenced elaborate museum frames for the quilt’s border and applied bright red echo quilting for the whimsy that occurs when something’s form is drawn onto itself (which was also partly inspired by a cool dish towel the bride bought at an art market with top stitching to make it look like a sheet from a legal pad). The painting expanding over the frame is “incomplete.” It references the soft colors and forms of impressionism, an exhibit I always visit in art museums.

Top third of the quilt showing the curved frame edge transitioning into blue and green pieced forms.
Lower edge of the quilt showing the curved pillowcase-finished border and dense contour quilting across the pieced surface.
Detail of the quilt draped in sunlight showing red grid quilting layered beneath blue contour quilting.
Close-up of the blue quilt back showing stitched contour shapes interrupting a uniform quilted grid.

Photos by Libby Cook

L & N was designed and made between June and December 2025 at my home in Austin, TX.

I created the piecing pattern by drawing rectangles over a blurred and pixelated image I took of a shoreline in Northern Ireland. To reduce unnecessary seams and fabric waste, I challenged myself to not create any vertical seams between shapes of the same color, which required careful planning of the piecing and pressing so that all the shapes nested perfectly. A pillowcase binding was the only finishing I considered, because I wanted the true border of the quilt to be the one created through the echo lines of the frame. The organic blue stitching is free motion-quilted with 12wt thread.

Fabric swatches used to plan the quilt color palette, including bright red and saturated blue accent colors alongside pale greens and blues.
Stack of selected fabrics in pale blue, mint, cream, and deep royal blue used throughout the quilt.
Cut fabric rectangles sorted into labeled stacks before assembling the quilt top.
Early section of the pieced quilt top showing horizontal bands of rectangular fabric shapes.
Quilt in progress with safety pins basting the layers together and contour quilting stitched near the curved border.