QUILT NATIONAL 2023 ‘Wattle Time’


I have been blessed to have a piece chosen into Quilt National 2023. This is a prestigious and sought after exhibition, which many people enter year after year without any success. This year there were 674 entries from 20 countries. Many thanks to jurors Chiako Dosho, Dr, Carolyn L. Mazloomi, and Irene L. Roderick; and the Quilt National Director Keri Wolfe.

The Diary Barn Cultural Arts Centre has been hosting this exhibition since 1979. It is a refurbished 200 ft barn built in 1914 set in the rolling Appalachian foothills, Ohio.

This piece has come about through a lot of thinking and experimentation with abstract landscapes. I have been wanting to get more ‘loose’ in my work and embarked an online course with a wonderful UK abstract landscape painter/ceramist Lewis Noble. Lewis takes his inspiration directly from being in the landscape and reacting in that space, making painterly sketches and gestural marks. He then uses this material back in his studio to make more resolved works. He has a very informative YouTube channel if you would like to check it out.

Although my work is a lot more representative than of Lewis’s, I found the process really helped me to get the feeling of being out in the landscape.

Preliminary work

Inspirational source: Gold dust wattle in my driveway

From my sketchbook, acrylic paint sketches, collaged.

Wattle sketch 1, Linden Lancaster 2021

Wattle Time sketch 2, Linden Lancaster 2021

Designing the fabric.

I spent a couple of days splashing dyes in various thicknesses. I decided to use a blue for the sky that was leaning to the complimentary purple to offset all the yellow.

Fabric audition

A light fusible was ironed to the back of the fabrics and then roughly cut and pinned on the substrate. I decided the size would be about 48 x 32 inches (122 x 81 cm). The idea in my head was for a high horizon, wattles everywhere in the background and a large feature wattle on top. I put the darks toward the bottom. I added a bit of stripy commercial fabric for a bit of zhuzh.

Fabric placement for ‘Wattle Time’ Linden Lancaster 2022

This background was then quilted. The final part was to add the trunk and branches of the main tree and all the blossoms on top. I like to use paper cut-outs to audition the branches etc (it would have probably been better to use dark paper). Confetti collage was a good way to depict the energy and vibrancy of the wattle, with some black fine tulle to add more shadow. Lots more machine stitching was added. I just use a domestic machine.

Using paper cut out to audition placement of trunks and branches.

I am not able to show you the whole piece yet (sorry), but here are a few details.

Wattle Time detail, Linden Lancaster 2022
Wattle Time detail, Linden Lancaster 2022

Wattle Time detail, Linden Lancaster 2022

This is a small piece in a similar style that I produced at the same time for Australia Wide 8. This exhibition showcases fibre artists from Australia and new Zealand is travelling around for the next few years. To check out the details info@ozquiltnetwork.org.au

Gold Dust Wattle 40 x 40 cm Linden Lancaster 2021

Old Coach Road Flora

Old Coach Road Flora 155 x 96 cm Linden Lancaster 2022

Walking the Old Coach Road alongside our property has become a source of great delight since the lockdown in 2020. My husband and I have discovered hundreds of different plants, including some rare ones. I have used the process of ‘wet cyanotype’ to record a few here.

Cyanotype has been around a long time as a monochromatic photographic device since the 1900s. The algae specimens of Anna Atkins (1852) is worth checking out. These days cyanotype can be done in various colours, but I love the blue.

Here I have experimented with the addition of water spray, turmeric, salt and bleach on various types of fabric, including linen, cotton and silk. The additional fabrics are mostly screen printed with thickened dyes, with a few commercials thrown in for good measure. The piece is predominantly hand stitched with free motion quilting pulling everything together.

Old Coach Road Flora detail Linden Lancaster 2022
Old Coach Road Flora detail Linden Lancaster 2022

You can view this quilt at the ‘DARE TO DIFFER’ exhibition which is on at the moment at the Gallery M, MARION centre in Adelaide, Australia, until September 22, 2022.

Something Different- ‘Snails on the Table’


In the past few years I have been sorting and cleaning out my mother in law’s old farm house. She was a ‘saver’ and never threw anything out. She lived in this house for most of her life.

There was a lot of ephemera and old clothes. After studying the works of artists who work with preloved and ‘found’ fabric and papers, like Mandy Patullo, Mrs Bertimus, Ann Kelly and Cas Holmes, I have been making samples using Mum’s old stuff. In a previous blog ‘Vintage Concertina book’, you can see some of the fabrics I have collected.

Responding to the Australian Quilt Show’s prompt ‘Recycled and Restyled’, I have put together a quilt entirely from tables cloths and aprons.

This is a rather quirky design and a departure from my usual style. I adapted some childrens’ drawings I collected many years ago in my music teaching days (from a listening and responding exercise on ‘fast and slow’).

It was very enjoyable working with these soft and worn fabrics and combining them with a contemporary spin.

This piece is travelling around to the Craft and Quilt Fairs associated with Expertise Events.

‘Snails on the Table’ Linden Lancaster 2022
‘Snails on the Table’ detail Linden Lancaster 2022

Blue-green Algae


This piece is a finalist in the 2022 Australasian Quilting Convention challenge.

The theme was ‘Going Green’.

Blue-green algae (Cyanobacteria) are naturally occurring organisms that live in waterways. Under certain conditions they go crazy and reproduce expeditiously forming ‘toxic blooms’ that impact the environment. These conditions include excessive nutrients (often the result of fertilizer run off) and hot, dry seasons. Decomposing algae brings a depletion of oxygen in the water, leading to fish kills, and makes the water hazardous to drink or come in contact with. Throughout Australia, the potential for blooms is increasing…..a ‘going green’ not to be admired.

Cotton fabrics, silk organza, tulle, polyester and metallic threads.

Hand-painted and printed with thickened dyes, raw-edge applique, foiling, painting, free-motion stitching.

Middle of Nowhere…Picola


This quilt was recently a part of the at the ‘Australian Quilts in Public Places’ exhibition at the Whitehorse Gallery in Melbourne. The theme was ‘Where in the World?’

This is quite an experimental piece and based on a google map of the tiny town closest to where I live.

‘“Blink and you miss it”, I tell people travelling to my place.

A tiny Australian rural town like many others, but scratch the surface and you’ll find unique people, flora and fauna.

Parts of the map where enlarged and painted directly to a silk screen. I then printed sections using the breakdown method with dye paste. I was looking for organic lines and marks depicting trees, dams, roads paddocks, etc.

Houses were appliqued and other details stitched in by machine and hand. Overlays of printed silk organza with birds and leaves were added toward the end. It was difficult to balance all the elements in this piece, but I’m fairly happy with the result.

The birds shown are the iconic Superb parrots that live in our district.

‘Picola’ by Linden Lancaster 2021
‘Picola’ Detail Linden Lancaster 2021
‘Picola’ detail by Linden Lancaster



This quilt forms part of my new series of works depicting observations from walks around my property, consisting mostly of birds and wildflowers.

The humble little bird, the ‘silver eye’ is in many gardens and backyards. They don’t seem to be able to compete for artists attention like the blue fairy wrens…..

The main process in this piece is mono-printing, using a round geli plate. Feathers were done directly, whilst I used a stencil for the bird shapes. Because this process is quite unpredictable (and more difficult on fabric), only one in four or five work out. I probably did over 100 prints to get the ones shown here!

It is worth it, however, for the delicate and interesting marks that can be produced.

It is a further challenge to add stitching that will complement these marks. After a lot of thought I decided to use have a combination of hand and machine stitching (see details).

This piece was recently exhibited in the ‘One Step Further’ 2021 exhibition at Kyabram Art Gallery.

Silver Eyes Linden Lancaster 2021
Silver Eyes (detail) Linden Lancaster 2021
Silver Eyes (detail) Linden Lancaster 2021
Silver Eyes (detail) Linden Lancaster 2021
Silver Eyes (detail) Linden Lancaster 2021
Silver eyes (detail) Linden Lancaster 2021



Showcasing a collection of bold, intricate and colourful art quilts by artists from Australia, New Zealand and worldwide.

At the Yarra Ranges Regional Museum – entry is free, no bookings required.

on exhibition until Sunday 27th of February, 2022.

This is my piece with the title of ‘Nathalia’s Wildflowers’. 84 x 164 cm

Since joining our local Wildflower group, I have developed a passion for indigenous flora. Here I have included some favourites including corresponding notations from my field journal.

Kangaroo grass, Pink bindweed, Blue devil, Tufted bluebell, Box mistletoe, Yam daisy, Silver wattle, Grey parrot pea, Australasian buttercup, Chocolate lily, Grey sunray, Drumsticks (commonly known as ‘Billy buttons).

Techniques: Dye, mono-print with acrylic paints, screen print, raw edge /collage applique, thread sketching. The journal entries have been digitally printed on silk organza.

Materials: Cotton, silk organza, silk, cheese cloth, satin, tulle.

Nathalia’s Wildflowers by Linden Lancaster 2021 164 x 84 cm
Nathalias Wildflowers by Linden Lancaster detail

Nathalia’s Wildflowers by Linden Lancaster detail

Nathalia’s Wildflowers by Linden Lancaster detail
Nathalia’s Wildflowers by Linden Lancaster detail

SAQA Oceana: Distance and Diversity

‘GILGAI’ Linden Lancaster 2020 40 x 60 cm

We are often prepared to travel a great distance to experience the beauty of our natural world. Last year, in the midst of the ‘Coronavirus lockdown’, my husband and I took a bushwalk in an area of the Barmah River Redgum forest down the end of our road. Our quest was to see what wildflowers may be present. Imagine our excitement to discover a ‘Gilgai’- formed from a depression in the soil which then collects and retains water from rainfall or flood. Such a surprise to see the diversity of shape and form of the plants in such a small area. They could not all be fitted into my representation!

‘Gilgai’ Linden Lancaster 2020 Detail

New Class: Vintage Fabric Concertina Book


Telling a story through collage and stitch

Three things have brought about these pieces of work:

Firstly, last year during lockdown I did an online course with Karen Stamper (from England). This was done on paper and we were encouraged to do a lot of mark making and experimenting with different media. I liked the idea of working back and forth in the pages and continually making additions, responding to what was already there.

Secondly, over the years I have been studying works by by several other British artists Cas Holmes, Mandy Pattillo and Anne Kelly. All these artists work with ‘found’ and pre-loved fabrics and ephemera. I gradually became able to see the beauty in old and worn out things. Using them in my work has been very satisfying, not to mention cost effective and an environmentally sound practise!

Lastly, I had the privilege of helping to clean out my mother-in-laws old country home. She is 91and worked on the farm until recently. She ‘made do’ in so many ways and threw anything out! Here I had the perfect opportunity to gather a collection of materials and pay homage to my husbands family history. Many years worth of inspiration and work!

Thus was born my version of the fabric concertina book- a lovely balance between fabric collage and stitch. In this proto type I have used the combination of both machine and hand stitch. I have also used a mini-theme (kitchen) and restricted colour palette (red, cream and a little green/blue) and only used materials found from the old house.

The cover is made from the curtains that hung in my husbands boyhood bedroom.

The jug is backstitched with black thread. Couching and blanket stitch.
Running stitch, machine free-motion, the orange is made up of fabrics from two little girls dresses, one synthetic, the other velvet.
Work in progress from another book with a green theme. Part of a tie in the left hand upper right. The dish is a gel transfer from a laser printout. A buckle will be added after the cover is attached.
Work in progress from the ‘green’ book. ‘Fake Herringbone’ stitched with two threads in the needle on the checked school uniform. Flowers and leaves have been cut form a tablecloth and attached with chain stich.
Found buttons, all different but with the same size and colour.

These small projects are a perfect way to try out lots of ideas for a larger piece of work. I plan to make a series of larger textile collages about this old country home and its people.

Church quilt next chapter


Quite a hiatus since my last blog. My beautiful mother died and I am all at sea………

The progress on our new Church has been very slow- the continuation of the pandemic has not helped our cause. As there is no urgency for the triptych to be completed, the poor thing is languishing in the spare bedroom!

Progress to date

Cutting and auditioning pieces on my design wall. With this project I am pre-fusing the fabrics with Heatn’Bond Lite (iron on fusible). I am paying close attention to the distribution of lights and darks. There is no planned focal point. I need to make sure that my blue-violet medium fabric is dominant, so I begin with blocking that in.

Auditioning wall

This process cannot be rushed. Viewing photos on my phone really helps with making decisions in progress.

Blocking in completed

Here the blocking in is completed.

Adding text.

There are lots of ways to add text. I thought about stencilling or hand drawing/painting but that can a bit risky. So I have decided to stitch the words. The problem here would be to how to make the stitching stand out. I would have to use a thick weight thread and contrasting colours/values.

How do I fit in the text?

I also tried to fit the text in by using a computer program. Alas, my technical skills were not up to the task, so I decided to use my own hand writing (this will be more personal anyway). This photos shows the use of tracing paper to see how it will fit. I use a chalk pencil to mark the quilt before I baste it.

Basting the layers with pins

As you can see, my pins do get rather tangled!

The next thing is to do a small test piece to try out some quilting ideas and threads.

Test piece

This is very rough, but you get the idea. In the upper left corner you may be able to just see some sketches of possible designs.

This is where I leave you until the big reveal!