I braved the rain Sunday for the opening of a local SAQA show, Stitch Dialectic.

Sometimes, when I remember to make a quilt without boobs in it, I have a piece for this exhibit. Not this year, but I did find some pieces I really liked while I wandered around.

Canyon De Chelly, by Patricia Charity, had all this amazing textural complexity. It’s even better in real life (because you can ignore the unfortunate lighting).

Broken, by David Charity, her husband, has a graphic quality, in this case both in image and subject matter, that I truly appreciate.

Rusted, by Carol Sebastian-Neeley, is another one that is even more radiant in real life. The surface of her work was truly beautiful.

Whidbey Island 5, by Sherri Foster, was simple but so textural, with lines of close stitching only visible up close.

Siena Portal, by Carol Sebastian-Neeley, used that yellow hand-dyed fabric to create a sense of dimension.

Close Reading, by Viviana Lombrozo, is ironically so much better up close. I should have taken a detail, but I was in a hurry. There’s hand-stitching everywhere in what looks like a secret alphabet.

Waiting Expectantly, by Sherry Davis Kleinman, is simple, but so evocative of that last month, waiting for baby to come out. So few lines and limited detail create a beautiful portrait of her daughter.

From the show postcard, Botanica Balboa and Floribunda Balboa, by Karen Cunagin. If you’re local, these quilts speak of Balboa Park.

Kalamina Gorge, by Carol Sebastian-Neeley, has more of that complicated surface beauty that is hard to photograph.

Bitmap, by David Charity, shows his sense of humor.

Three-Eighths, by Catherine Baltgalvis, is exactly the kind of subtle yet complex quilt that I could never make, but appreciate for its visual interest.

There were many other quilts to catch your fancy. It’s up until the 24th, so you should stop by.