Spotlight: Hilde Morin, Fiber Artist

Hilde Morin is a fiber artist who is inspired by architecture and nature, her organic works include a distinctive use of color. She incorporates a variety of media into her work which brings the viewer closer to see the details.

How did you get started making fiber art? Why did you choose that medium? Or did it choose you?

As I reflect on it now, I realize that it was the fabrics that chose me. Shortly after leaving my job as a software engineer, I found myself browsing through a fabric store. Intrigued, I took a quick quilting class to learn the basics, and here I am, still enjoying this craft.

What do you do differently? What is your signature that makes your work stand out as yours?

I believe my work stands out for its distinctive use of colors and organic aesthetic. I generally work with batiks and hand-dyed fabrics, which lend a natural, textured quality to my pieces. A signature aspect of my work is my commitment to using piecing techniques, as I prefer to construct my large-scale quilts through strip or curved piecing.

What different creative media do you use in your work?

I consistently incorporate machine embroidered elements into my artwork as little surprises. These elements take various forms, such as windows or weathered walls in my architectural pieces, and moss, flowers, and rocks in my nature-inspired works. I also enjoy incorporating photography and acrylic skins into my smaller pieces.

Do you plan your work out ahead of time, or do you just dive in with your materials and start playing?

I typically begin with a general concept in mind, then gather fabrics and immediately immerse myself in the creative process. As I develop initial units, which might represent tree trunks, curved shapes, or buildings, I transition to arranging them on my design wall. From this point onward, each subsequent unit is constructed with a specific intention, guided by the evolving design on the wall.

How do you manage your creative time? Do you schedule start and stop times? Or work only when inspired?

I don’t stick to a specific schedule and prefer to work in my studio when inspiration strikes. However, I’ve found that committing to dates for exhibits, commissions, or gallery work serves as a great motivator for me. Once I’ve made such commitments, I establish a more consistent schedule to make sure I complete projects on time.

Are you a “finisher”? How many UFOs do you think you have?

I have a strong inclination to finish my projects. In rare instances where I find myself working on a piece that I don’t enjoy, I’m not hesitant to either repurpose it by cutting it up, give it away to someone who might appreciate it more, or, occasionally, discard it altogether.

Do you use a sketchbook or journal? How does that help your work develop?

I don’t write down my ideas, which can sometimes lead to feeling overwhelmed as they all swirl around in my mind. I try to compartmentalize them, but of course, they intermingle, often sparking even more creative concepts. I frequently rely on my computer and Photoshop Elements to visualize and develop my work or to resolve trouble areas when I am stuck.  

How often do you start a new project? Do you work actively on more than one project at a time?

Yes, I do work on multiple projects simultaneously. It can be a pieced quilt, a fused bowl or tile, a knitting and/or a hand embroidery project. They each serve a purpose in my day and they each have a spot in my workspace. Despite juggling several tasks, I try to finish most of my projects.

Can you tell us about the inspiration and process of one of your works? How does a new work come about?

I’ll use my architectural quilt “Pueblo Blanco” as an example.  It was inspired by the white villages of Andalucía, in Southern Spain. The moment I saw these clusters of white houses, I was motivated to create a quilt capturing their essence. However, I knew that finding fabrics that conveyed the weathered white appearance, and designing and piecing a scene with overlapping angles were going to be my challenges.

I began by designing a simple building shape and then, using Photoshop Elements, I duplicated this shape in various sizes and distortions, changing its width and height. This process provided me with a design concept that I could further explore on my design wall. It took me months of searching through fabric stores to find the perfect fabrics for the project.

Which part of the design process is your favorite? Which part is a challenge for you? 

Without a set plan in mind, I find great pleasure in the spontaneous creation process on my design wall. Seeing the sections come together brings me great joy. As the design solidifies, I really enjoy the challenge of piecing it together, and quilting adds yet another layer of fun to the entire process. I suppose I love every stage of making an art quilt.

Is there an overarching theme that connects all of your work?

I would say that there are two: architecture and nature.  However, what connects my work, specifically my large works, is the design and construction technique that I use. I design spontaneously and push myself to construct complex art quilts using mostly straight and curved piecing techniques.

What inspires you to create?

Tough question and I am not sure how to answer this other than telling you that I have always created and can’t remember a time when I didn’t.

How is your work different than it was in the beginning? How is it the same?

I’ve always enjoyed designing and working spontaneously, and that remains unchanged. However, what has evolved is my exploration of a wider range of fabrics and materials in my creations. I now incorporate techniques such as photo printing, screen printing, color discharging, hand painting, thread painting and mixed media into my quilts.

What do you do to keep yourself motivated and interested in your work? 

Each piece I create tends to feature a new aspect I’m experimenting with, which keeps me motivated. This could range from color and medium to techniques and materials. For instance, I’ve incorporated handmade lace, rocks, painted silk organza, and photography into my work. Lately, I’ve also begun delving into mixed media, creating acrylic skins and integrating them into my fiber art.

Do you critique your own work? What is your process? 

Of course, I critique my own work constantly! I never consider a piece finished until I’ve examined it for several days from various perspectives. Every day, I make a few tweaks until I eventually stop, usually due to a looming deadline.

How do you know when a piece or project is finished and needs no additional work? 

When the deadline is approaching and I’ve poured everything I wanted into the project.

How have other people supported or inspired you?

I draw a lot of inspiration from my students, whether it’s from their use of interesting color palettes, encountering new project scenarios, or sparking great ideas through discussions. These opportunities constantly encourage me to experiment and explore.

Another artist whose work has inspired me is Ana Buzzalino, especially her utilization of acrylic skins, a technique I learned during a workshop with her.  She is a frequent contributor to art quilting magazines sharing many tips and techniques.  Last, Leah Higgin’s two books on screen printing have been invaluable resources in learning this technique.

Where can people see your work?

I primarily participate in gallery exhibits, which I regularly update on my website under the ‘calendar’ section. My work is currently featured in Shearwater Studio and Gallery, a small gallery located in Cannon Beach, Oregon.

https://www.hildemorin.com/
https://www.instagram.com/hildemorinfiberart/

Interview posted February 2024