Until 1971, Loving’s art was hard-edged, geometric and based on his fascination with illusionistic color effects. That year he saw an exhibition of patterned American quilts that had a dramatic influence on his work. Loving returned home, cut up his old canvases, learned to use a sewing machine and began stitching constructions. Soon, he began dying the fabric instead of painting it. Loving no longer considered himself a painter but rather an abstract sculptor who was challenging the distinctions between two and three-dimensional art.