The page illustration for Australia from Alphabet Atlas, written by Arthur Yorinks and illustrated by Adrienne Yorinks. Photo courtesy of Adrienne Yorinks.
Textile artist and designer Adrienne Yorinks has conversations with fabrics. The same piece of fabric might tell her a completely different story, depending on the time of day or night.
Based on her mindset at a given time or what is going on in the world at a particular moment, a fabric’s message might change. And Yorinks’ feelings about it may change as well. Some fabrics whisper, some shout, some laugh. Some are highborn; some are common. Some come from other countries; some are homegrown. Adrienne gets to know them all. She spends time with her fabrics, learns about their ages, their places of origin, what they’re made of, how they’re formed. It is through such intimate communication that she translates their stories into images that speak to the rest of us.
Looking at books illustrated with original quilts by Adrienne, it is clear that she uses her love of fabric to good effect. A piece of 1885 mourning fabric is used in a quilt to illustrate Eugene O’Neill’s The Last Will and Testament of an Extremely Distinguished Dog, written in the 1940s about the death of a beloved pet. Cloth featuring honey possums—an animal unique to Australia—and, artwork by Aborigines, borders a block depicting Australia in The Alphabet Atlas.
In Quilt of States (written with assistance from 50 librarians and published by National Geographic), conversation prints depicting iconic images about each state playfully enliven the descriptions, encouraging readers of all ages to enjoy learning things they might have overlooked had they not examined the quilted illustrations.
Adrienne’s passion for fabric began when she was just a child. Growing up in New York City as the daughter of an artistic mother, she was exposed to art early on. As she was particularly drawn to color and texture, fabric was a natural choice to express her creativity. She started out by making doll clothes, a hobby that propelled her at an early age to assemble what has now become a huge collection of textiles of all sorts.
Although fabrics have always been Adrienne’s medium of choice and she has been sewing most of her life, she has not always been a quilter. She became one when she moved to upstate New York and joined a quilt guild. Serving as program chair, being inspired by others who were as passionate about fabrics as she was, and learning by doing, Adrienne fell in love with quilts and quiltmaking.
She is now internationally known for her art quilts, and her clients range from public entities such as the AFL-CIO, the Texas Library Association, and City University of New York (to name a few), to private collectors such as well-known children’s book author and illustrator Maurice Sendak. Her pieces often contain a powerful social message.
Adrienne certainly did not set out to be a book illustrator, using quilts as a medium for those illustrations. Lisa Holton, the publisher of Hyperion Books for Children, who had seen a one-woman show of Adrienne’s work, approached her about doing the illustrations for a book entitled Stand for Children.
The text was a famous speech by the founder and president of the Children's Defense Fund, Marian Wright Edelman, in which she said, “If we don't stand up for children, then we don't stand for much.” The publisher thought that quilts would be a good choice for the book and felt certain that Adrienne would be the best person to realize that idea. It was the beginning of a new facet of Adrienne’s career.
Since illustrating that first book in 1999, she has steadily worked on others, including the recent Hummingbirds, which was published in 2011. Each book features quilts that add another dimension to the subject matter and text—a visual narrative that enhances the written one.
Adrienne designs her quilts on a wall, like a puzzle, putting up different fabrics to see how they look, varying the colors and textures as the piece takes shape and comes together. “I like to work big,” she says. “Some of my quilts are 8 ½ feet by 10 feet, and that feels comfortable to me. Learning to work within the parameters required for book illustration has been a real stretch.”
Thankfully for readers, she has managed that transition, allowing her fabrics to reveal their secrets and share their stories in an unexpected way. In short, through her quilted illustrations, Adrienne Yorinks has given her beloved fabrics a voice and allowed them to speak to an audience they might otherwise have never reached.
Click here to return to top.
Column 115: All in the Family
Column 114: The Alabama State Quilt
Column 113: Balloon Quilts of Albuquerque
Column 112: The Family That Quilts Together, Stays Together
Column 111: Two Rivers, Three Sisters
Column 110: Quilters Helping Quilters
Column 109: Community Cookbooks and Fundraiser Quilts—Parallel Histories
Column 108: Quilting to Freedom
Column 107: National Quilting Day
Column 106: The Airing of the Quilts
Column 105: A Call for a National Juneteenth Commemorative Quilt
Column 104: Dominoes
Column 103: 1936 Texas Centennial Bluebonnet Quilt
Column 102: Helen Blackstone, A Texas Quilter
Column 101: Montana CattleWomen Anniversary Brand Quilt
Column 100: 100th Suzy's Fancy Column!
Column 99: Montana Stockgrowers Anniversary Brand Quilt
Column 98: The Tobacco Sack Connection
Column 97: Meet the Sisters Who Are State Fair Quilting Queens
Column 96: The connection between fairs and quilts.
Column 95: Her Mother Pieced Quilts
Column 94: Rebecca Barker’s Quiltscapes
Column 93: The Thread and Thimble Club Mystery
Column 92: The Ballerina Quilter
Column 91: Grandmother's Flower Garden Comes Alive at Texas Quilt Museum
Column 90: Leitmotif for a Lifelong Love Affair
Column 89: Quilting in The Bahamas
Column 88: Joan of Arc: A Quilter's Inspiration
Column 87: Home Demonstration Clubs and Quilting
Column 86: Linzi Upton and the Quilted Yurt
Column 85: A Bounty of Quilts
Column 84: Desert Trader
Column 83: Quilts and the Women’s Liberation Movement
Column 82: Replicating the Past: Reproduction Fabrics for Today’s Quilts
Column 81: Why So Many Quilt Shops in Bozeman, Montana?
Column 80: Southeastern Quilt and Textile Museum
Column 79: 54 Tons of Quilt
Column 78: Ollie Steele Burden’s Quilt Blocks
Column 77: Quilting with AMD
Column 76: Maverick Quilts and Cowgirls
Column 75: The Modern Quilt Guild—Cyberculture Quilting Ramps Up
Column 74: The Membership Quilt—Czech Quilting in Texas
Column 73: Maximum Security Quilts
Column 72: Author: Terri Thayer
Column 71: The Christmas Quilt
Column 70: New Mexico Centennial Quilt
Column 69: Scrub Quilts
Column 68: “Think Pink” Quilt Raises Funds for Rare Cancer Research
Column 67: Righting Old Wrongs.
Column 66: 100 Years, 100 Quilts - More on the Arizona Centennial.
Column 65: Arizona Centennial Quilt Project
Column 64: Capt. John Files Tom’s Family Tree
Column 63: The Fat Quarters
Column 62: Quilt Fiction Author: Clare O’Donohue
Column 61: Louisiana Bicentennial Quilt
Column 60: The Camo Quilt Project.
Column 59: Thread Wit
Column 58: Ralli Quilts
Column 57: Preschool Quilters
Column 56: The Story Quilt
Column 55: Red and Green Quilts
Column 54: On the Trail
Column 53: Quilt Trail Gathering
Column 52: True Confessions: First Quilt
Column 51: Quilted Pages
Column 50: Doll Quilts
Column 49: More Than a Quilt Shop
Column 48: Las Colchas of the Texas-Mexico Border
Column 47: Literary Gifts
Column 46: A Different Way of Seeing
Column 45: Sampling
Column 44: Hen and Chicks
Column 43: A Star Studied Event
Column 42: Shoo Fly Pattern
Column 41: Awareness Quilts
Column 40: Tivaevae
Column 39: UnOILed UnspOILed Coast Quilt Project
Column 38: Katrina Recovery Quilts
Column 37: Quilted Vermont
Column 36: The Labyrinth Quilt—A Meditative Endeavor
See other archived columns here