Jan Soules started working in a series during the Pandemic and shifted her style of making textile art from being inspired by her photos to working improvisationally. Starting with selecting her color palette of fabrics, Jan paints with fabric to create her textile art.
How does your environment influence your creativity?
About ten years ago I would say I was highly influenced by my environment. I like to travel and take photos. Several of my quilts during that period were based on my photos. Nowadays, most of my work is improv and not influenced in any way by my surroundings.
Do you do series work? How does that affect your approach?
Since the pandemic, I have begun working in a series.
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My first series called “Finding Neverland” began in a virtual class with Sheila Frampton Cooper. Her method freed up my work in a completely new and organic way. At the outset I told Sheila I wanted to get out of making blocks. My mission was accomplished!
Most of my work since then has been improvisational, with one series leading into another. I have eight quilts in the Finding Neverland series and perhaps more to come. I consider series fluid, without a definite end.
When it comes to creating, are you more of a planner or an improviser?
For the past few years my work has been strictly improvisational. I enjoy the freedom of working with shapes, lines and colors on the design wall and seeing what can happen.
In my newest piece I experienced quite a change. When I began the project I thought as I worked it looked like a church, then I turned it around and it looked like a girl’s dress. During sleep, I envisioned the shape lying in another direction. It looked like a fish! That ended up being the idea that stuck.
Are you a “finisher”? How many UFOs do you think you have?
I am definitely a finisher! I’ve had a few UFO’s, but that is an exception. Occasionally I have started something in a class just to learn a technique with no motivation to finishing. I recently dropped a few off at the “free table” at my local guild for others to finish.
Do you have a dedicated space for creating? If so, what does it look like?
Yes, I have a large studio above our two car garage. It has three large windows facing our driveway and the street. Not the most scenic of views, but it does allow plenty of light into the space and I am able to watch the comings and goings in my neighborhood. It is equipped with a professional sized cutting table and a large design wall. I have two sewing machines setup permanently. One I use for piecing and the other for free motion quilting. I also have a tiny bathroom, microwave oven and TV!
How do you make time for creating? Do you try to create daily?
I have been retired for quite a few years so I make time for quilting every day. Even if I have something else to do, I will usually sneak away to the sewing studio for a little bit of time.
Do you use a sketchbook or journal? How does that help your work develop?
No, I do not use a sketchbook or journal. My work is improvisational without any preconceived ideas.
How often do you start a new project? Do you work actively on more than one project at a time?
Each time I finish a new project, I start a new one. It depends on how long it takes, but usually a month or so.
I overlap only on the small things, like putting on the binding, sleeve, or label. I always have new color combinations that I want to try, so that motivates me. Also, I belong to an international group called 20 Perspectives and we have challenges that need to be done on time.
Can you tell us about the inspiration and process of one of your works? How does a new work come about?
The inspiration for my work comes from my fabrics. I begin by choosing a wonderful color palette. I cut random shapes and put them on my design wall. I usually surround the first piece with a border to enclose it. I make more shapes and see how they work together. The color palette changes as the piece develops, adding and subtracting colors, until I am satisfied. At some point early on in the piece, I establish one corner. Then I build out from that point.
Which part of the design process is your favorite? Which part is a challenge for you?
My favorite part of the design process is choosing the color palette. Once I have that narrowed down the design falls into place.
I don’t find any part of the process challenging. Early on in my career, I found the machine quilting challenging. Now I just have fun with it and make up my own designs as I work.
I would say choosing a name for the finished piece sometimes takes a long time.
Is there an overreaching theme that connects all of your work?
I would not say I have an overreaching theme. Several of my series have works that are similar, and that is why they are in a series. Each series has a theme but the execution changes between pieces.
How has your creativity evolved over the years? What triggered the evolution to new media/kinds of work/ways of working?
I think my work changed dramatically during the pandemic. I had a new perspective brought on by taking online classes. I tried to fill my at home time, with new interests.
I took a class with Susie Monday and learned a lot about working with digital apps. That opened a new dimension for me. I incorporated those ideas in several quilts.
Also, I started working with solid fabrics and changed up my piecing techniques, to almost exclusively improvisational. It was an eye-opening way to work and very freeing!
What’s the best piece of advice you’ve received?
Irene Roderick said not to choose the binding/facing option on the edge of your quilt until after it is trimmed. I had never thought of that and it really makes a difference.
I went from mostly facings to regular bindings on a lot of my new quilts. The outside binding usually picked up a key line quality of the piece and added another dimension.
Do you enter juried shows Do you approach your work differently for these venues?
I enter several juried shows each year. I enjoy the process.
Entering and then waiting to hear the results, is always nerve racking. To get an acceptance into a major show is worth all the in-between anguish!
I approach all my work in the same way. I do my best on each, as it may find a home in a major show or in someone’s collection.
Do you keep track of your work? Shows that you’ve entered? Tell us what works for you.
Yes, I keep track of my work!
When I enter a show, I print out the prospectus and file it in a notebook for that year. I then mark the date of notification on a calendar datebook, which I look at each day. That gives me a clear idea of when to expect to hear.
I also have a small composition notebook in which I designate a page for each month. On those pages I jot down all the things I need to do for that month, along with due dates and requirements. As I complete a task, I check it off. This helps to keep me organized and not to miss key entry dates.
I have been using this system for several years, and I have a notebook for each year. It is fun to look back and see all I did in a specific year. It also came in very handy when I had to compile my resume.
Where can people see your work?
My work can be seen in several ongoing SAQA Global exhibits around the world. I also have a website where my work can be viewed. www.jansoules.com
Interview posted June 2024
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