Tasmanian Art Quilt prize 2018 ‘Ebb and Flow’


I was excited to be a finalist in the above exhibition and attend the opening last Tuesday night. The event was well attended with high quality works presented.

I was quite ambivalent about whether to enter my piece, as I felt it was quite experimental and, therefore, not quite up to my usual standard. I had to really push myself to finish it; and I’m glad I did as I learnt a lot from the process.



Artists Statement:

‘Fly like a bird and look down on the tidal flats where exposed shells and assorted seaweed are strewn on the sand. Or bob along in your boat looking across the waters, where the light and reflections dance together, to the shoreline and mouth of the tidal river.’

These two perspectives are overlaid.

Process and Materials:

This piece is an experiment in layers and transparency. There are five layers of process, beginning with thickened Procion dye monoprints of two similar landscapes in different colours. These were then torn into strips and woven together and fused to the top of the quilt sandwich. The piece was then stamped with fabric paints using found objects, such as cardboard tubing and a plastic cotton reel. The fourth process was the quilting, and lastly, painted organza added with metallic thread.

Cotton whole cloth, organza, thickened Procion dyes, fabric paints, foils, cotton and metallic threads. Quilted on a domestic machine.



AQC finalist ‘Bridges and Borders’ 2018


‘BORDER TOWN’ by Linden Lancaster 2018

Lancaster Border Town

‘Border Town’ by Linden Lancaster

I grew up in the border town of Echuca where the Murray River divides Victoria and NSW. I spent many hours on the river – a scruffy, suntanned girl – swimming, fishing and riding my bike up and down the goofies with friends. Sometimes we would construct cubbies in the shadow of the bridge when the river was low.

My first kiss was under that bridge, bridging childhood into adolescence. Forty years later, the painted graffiti of first crushes are still being proclaimed from the bridge pylons and framework.

Raw edge applique with hand designed and commercial fabrics and organza. Machine embroidered with polyester threads. Domestic machine quilted with cotton threads.

Detail 1


Detail 1. Border Town by Linden Lancaster 2018

Detail 2

Lancaster Border Town detail

Detail 2 ‘Border Town’ by Linden Lancaster

A WORK IN PROGRESS: ‘SEASON AFTER SEASON’ A personal journey. Part2: Feb 2018


Developing ideas in the artists journal

Not putting too much pressure on myself to make ‘good art’, but trying out ideas with different media. Getting a feel for the subject in other words.


Agapanthis in different scales. White pastel resist with watercolour, pen and ink (nib). I like the combination of line and organic form and that it gives the impression of the flower without being overworked.


Photo of blue bells collaged over calendar. Gesso has been used to soften the design.

Second page has been given as wash with then a Lillium flower cut from the wrong side of a calendar page. It was chosen for its good shape.

I don’t think I will use green.


Colour notes. I love this gold back ground with a limited colour scheme of yellow, white, burnt umber, burnt sienna and blue.


A photo copy of a drawings of crocus pasted onto a coloured background.

I have used ‘All purpose’ inks to colour the flowers. The inks are useful for building up layers of opaqueness and can be used on fabric.


Printing with kids foam. Flower incised with knitting needle. Black paint is rolled over the foam and printing into the sketch book. The second page has left over paint brayed from another printing project.


This piece of scrap booking paper is layered, with negative and positive shapes. The background has subtle text and lines from an old dress pattern.


Photo pasted onto a smudgy background with gold transfer. The leaves have good shapes.


This flowering quince comes out in August (late winter) when there is little else around. It is a tough and thorny bush. Watercolour and oil pastel resist (stamens). Charles’s drawing on the left is more stylized and has only colour in some of the flowers. I like this look.

Using Photoshop to convert my own photos to line drawings is useful, but does not have the charm of a direct observational drawing.


Each month of the calendar will be enlarged and printed out. They will then be joined together to make the background of the master pattern. The design will have to be extended to fit in with the size parameters.


Initial notes – everything is going into this book!

A WORK IN PROGRESS: ‘SEASON AFTER SEASON’ A personal journey. Part 1


One of my aims every year is to enter a piece in a SAQA (Studio Art Quilt Associates) call for entry.

This year the topic of ‘Season after season’ looked most appealing.  The premiere location is Texas Quilt Museum. Each accepted piece of work is to have an accompanying artist’s journal which explores the artist’s journey from initial thought and concept to final artwork- something I’ve always wanted to do. This is the first time I have shown a work in progress in public from start to finish. The risk is of course that the piece may not be at all successful. I’m thinking that this experience will be a lot more enriched by sharing my thoughts and processes along the way- a win-win situation whether my work is accepted or not. I hope you will find it interesting….


A collection of sketchbooks with drawings and water colours of flowers from my garden


Photos in my ‘garden journal’ and ‘still life’ files:

A few samples from other projects:


Mono-printed black lines with colour trials


Stitched photos on fabric from sketchbook. Organza, a non-woven and TAP.


A sketch book page printed directly to silk.


Other ideas:

Garden diaries and lists of plants

‘A Country Ladies Diary’

Seasonal colour

Old and new calendars- I have never thrown out my calendars and have over20 years’ worth (somewhere in the cupboard).

Poetry about seasons and/or flowers


Some artists who work with florals

Charles Rennie Mackintosh

I love the way he leaves some of the flower/plant not coloured in. His line work is to die for!

Kurt Jackson

His work is very organic. The flowers are not explained too much and are nice and loose. Texture and line.


Chinese botanicals

I like the antique parchment look of the background combined with the lively brushwork.


Hitoshi Kobayashi

My latest favourite discovered form Pinterest. Beautiful depictions of flowers standing out from gold, speckled or grungy backgrounds.


Robert Kushner

Interesting use of blocks of colour and line interwoven with floral theme. Great use of pattern and line, negative and positive. Thick and thin outlines could be described as stitch or applique. Also use of text.


As I was going through all those calendars mentioned above, I picked out a possible candidate that had nice printed text in Art Noveau style. When I looked closer at the actual hand-written notations, I became rather nostalgic and my feelings became mixed. This particular calendar was from 2001 and I realised that two beloved fathers and brother had passed in that time. My sister’s baby which was due is now a beautiful year 12 student. There were lots of banal appointments and running children to various activities (how did we do all that). These children have long flown the nest. Even my own bodily functions had changed! (no more marking 28 on the calendar, yay).



My life marches ever onward never being the same.


The flowers in my garden always come out season after season.

Chrysanthemums for Mothers’ day, Easter daisy, winter gladiolus, autumn crocus, white Christmas lilies, Spring bulbs……

This gives me a sense of comfort.

How often do we get tied up in the busyness of our lives and forget about those little treasures peeking out from the earth all around us season after season?





New Class for 2018 ‘Gelatin printing on Fabric’



Gelatin-sample-9   Gelatin-sample-3   Gelatin-sample-5

*Awaken possibilities for your creative application in your own work

*Learn the process and technique

*Begin a resource file

Gelatin printing is type of mono printing that has been around for years. It is a wonderful way to add interesting layers to your fabric or paper. As an artist I find the type of marks that can be expressed with this process very exciting. I used gelatin printing for the background of my quilt ‘If these walls could speak’. I wanted the ‘wall paper’ to look old and grungy and this was the perfect technique.

Linden Lancaster. If-these-walls-could-speak-detail-2             if-these-walls-could-speak

Despite there being hundreds of demonstrations and samples on the internet, I found that many people have not tried this technique….or have brought a Gelli plate and have not got around to using it.

This one day class will give you a skill set for this process and give you lots and lots of ideas for future experiments and projects.

Look in ‘classes’ above for more information……

Gelatin Sample 4




Last night was the opening of the bi-annual exhibition of ‘Australian Quilts in Public Places’. This years theme was ‘Reflection’. There were more than 50 quilts jammed into the White Horse Art space in Box Hill, Melbourne, Australia.

I received a ‘highly commended’ for the following work: ‘Place of Reflection’. It is a whole quilt and begun its life as a piece of ice-dyed fabric. I added hand-dyed sheer and cotton fabrics. The darker tree fabric is, in fact, one of my children’s baby sheets that has been over-dyed. If you look closely you can even see a few alphabet blocks! There is a lot of machine stitching with metallic and shiny threads to add shimmer to the water. Some Inktense pencil work has been added to define the waters edge.

Unfortunately this is a poor quality photo, but will have to do, for now.



Place of Reflection 2017 by Linden Lancaster




Last days of my exhibition


The 17th of November is the last day of my exhibition at the GRAIN store art gallery in Nathalia. Opening times are Thursday, Friday, Saturday from 11 am to 4pm (or by arrangement with myself for a group).

The following photo (and article by Genevieve Barlow) is in this weeks Weekly Times ‘Miranda’ section.

Also, ‘Great Australian Quilts’ by Quilters Companion has just arrived in the newsagents with an article and pattern/instructions for ‘Bugs on Boxes’. I am the representative for Victoria.

Please note that you can get the bug kits from Sue Thiel at sewmanyblessings@live.com.au and not the shop mentioned .

Nathalia, after the rain Photo by Judy Ormond

What a day!


Thanks to all who came along to the exhibition opening yesterday. It was a very special day and one that will stay in my memory always….

Here are some pics:


Me and my family : Austin, Erin and Cameron


Susan Matthews (wonderful textile artist) opened the exhibition with Jo Toohey director of Regional arts Victoria in the background. We are laughing about not liking our photo taken.


Design wall with my friend Kay reading.


My beautiful sister in law, Lyndal with Easter quit and Bugs on boxes in the background.

My first solo exhibition is about to begin!


SUNDAY OCTOBER 8TH at 2 pm  The G.R.A.I.N store community art gallery, Blake St. Nathalia, Victoria, Australia.

A selection of over 40 works produced from 2007 until 2017


Design board display with inspiration and works in progress:



‘Fragments from the found’ small textile/mixed media pieces mounted on canvas $40 (or sign up for a class on Saturday October 14th and learn how to make them)


Post cards:

Two different sets: Michellia and Carolyn’s Roses- $10 for a pack of 6



I will be at the Gallery every Sat between 11 am and 2 pm until the exhibition closes on November 18. Come in and have a chat!