The show is objects in space and sculpture, and it removes the pre-conception of quilts as private and valueless.

– Luke Haynes

The designer Luke Haynes found inspiration from the minimalist artist Donald Judd’s work, 100 untitled works in mill aluminum, 1982-1986, which is installed in two former Army artillery sheds in Marfa, Texas. Each of Judd’s works is made of the same material in the same outer dimensions, but each has a unique interior. Likewise, Haynes created 50 Log Cabin quilts that all share the same materials and size, but each has a unique graphic arrangement.

Haynes’s minimal palette of black and white, with points of red, sharply articulates the graphic variations. By using repurposed clothing and household fabric, he textured the quilts with the inherent evidence of those who once used the cloth. To counter prejudices against quilts, Haynes conceived his work as what he calls “inhabitable sculpture.”

The environment-like installation of Log Cabins by Luke Haynes occupies a space that integrates quilts, sculpture and architecture. It is, further, a metamorphosis of personal to public, planar to sculptural and iconic to unorthodox.


Subverting the traditional quilting form by integrating modern concepts, Luke Haynes transforms the comfortably familiar into the visually evocative. He continues to experiment with quilting while exploring art and architecture across the globe.

Haynes received his formal training in art and architecture at Cooper Union, New York. A chance encounter with a box of fabric remnants sparked his foray into quiltmaking. His first quilt, measuring 7 by 10 feet, launched years of experimentation and design of a system to piece manageable parts into a larger whole. His quilts are in private collections as well as the Brooklyn Museum, the International Quilt Study Center & Museum and the Norton Collection.