John & Corliss Rose
"Our work is a conscious effort to explore art jewelry through a purposefully improvisational approach driven by emergence, convergence, and change. We employ fluid and ever-changin...g combinations of traditional and unorthodox materials and techniques, resulting in a body of work that is eclectic by design."2Roses is a Southern California design studio and collaboration of Corliss Rose and John Lemieux Rose. Together they create a wide range of one-of-a-kind and limited-edition adornments and objects d'art. The studio is well known for its use of a wide range of highly unorthodox materials with designs sold in 42 countries worldwide and exhibited in major art institutions in the US, Europe, and Asia. Their work appears in over 40 books on jewelry design and countless magazines ranging from design, fashion, art, and jewelry
"Drawing from my architecture training and practice, I believe the logic of beauty is embedded in every form of art, inspired by the critical role of the golden ratio in ancient Gre...ek architecture. Sterling silver, gold, and other alternative materials are my new "building materials" in these small-scale sculptures. I envision my creative life as an everlasting journey pursuing the golden ratio."Award-winning artist Sophia Hu started making jewelry seven years ago when she left a career as an architect to pursue a career as a jewelry designer. As she has moved away from architecture for a new career and advanced in her skills as a silversmith, more and more architectural features have appeared in her work. Space, shadow, and geometric aesthetics play important roles in her jewelry design. In 2017, Hu won second place in the Alternative Materials division of the Saul Bell Design Award. Her collection beautifully honors ancient Chinese architectural elements and experiments with alternative, unconventional materials. In 2018, Sophia’s collection Window with a View, total 20 pieces, won Best of Show in all nine categories at the Saul Bell competition. Sophia also won two first places in 2019 and 2020’s Saul Bell Awards.
"I am a social entrepreneur and solution-based designer and I am driven to make a difference in global displacement. Born and raised in Beverly, MA, I moved to New York to pursue my... education in fashion design at Parsons School of Design at The New School. While studying and working in the industry, I realized how disconnected fashion was from what was going on with the world and sought to find a way to remedy this detachment through my senior thesis. Moved by the stories of Syrian refugees suffering from the ongoing crisis in the Middle East and Europe, I designed a revolutionary collection of multifunctional jackets that created solutions to daily and life-threatening issues faced by displaced persons. The success of my thesis collection propelled me to notoriety and led me to create my humanitarian clothing brand, ADIFF, which utilizes the fashion industry to provide aid and awareness for global displacement. Currently based in New York City, I am not only committed to building my brand but I am attempting to change the fashion industry. I am committed to applying creativity and design thinking to develop products and services that better the world. "ADIFF is a female-founded design label that empowers refugees and upcycles traditional "waste" materials to create clothing and accessories. They own their manufacturing facility in Athens, GR, where they employ resettled refugee tailors from Afghanistan to produce their collections. Their claim to fame is the "jacket that can turn into a tent” (a.k.a. the trench & bomber), one of their first solution-based items designed to provide assistance to homeless and refugee populations, that was sold on a buy-one-give-one model. Their mission is to empower marginalized communities and fight climate change through the vehicle of fashion.
Amy Sunshine Designs
"I’m a fiber artist based in New Jersey. All my work is infused with color and a bit of whimsy, using traditional materials in new and unexpected ways. From handwoven baskets to e...mbroidered hoop art, each piece is intricate and time-consuming - truly a labor of love. I hope my work helps people smile, connect with Something Bigger than ourselves, and remember for a moment that yes, life can be lovely. "Amy Sunshine comes from a long line of painters and musicians. Since she showed an early aptitude for music, she was guided down a musical performance path. Later, Amy became a magazine writer and editor, but she always yearned to be a visual artist. As a child, Amy spent hours playing with yarn, beading, and stitching anything she could get her hands on. She rediscovered this passion in midlife and began studying fiber arts at crafts schools. (Shout-out to Peters Valley, Snow Farm and Penland!) With encouragement from master teachers Lois Russell and Jackie Abrams, Amy began selling her work online and in galleries across the Northeast. And yes, Sunshine is her real name.
Katie Rose Holmes
"My intention in creating Asonder Stones is to add a bit of love and kindness into the world. Each piece is uniquely crafted using weaving and basketry knot techniques, incorporatin...g a balance of intention, gratitude, and mindfulness. The journey of an Asonder Stone may originate with its creation, but it begins again once chosen by you. Whether they are used in a meditation practice, as a touch point to connect to nature, or simply as a decorative art piece, I invite you to discover their meaning."Katie Rose Holmes resides in the Pacific Northwest which provides both an abundance of inspiration and the opportunity for collaboration with nature. Each stone is a reminder that stillness, simplicity, and beauty can help us fully appreciate any moment. When she’s not wrapping rocks she enjoys cooking, traveling, going on hikes with her pup & spending time with friends and family.
"I began my artistic adventure as a painter. One Christmas, my children gave me felted scarf making kit. On a very dissatisfying day in the studio I picked up the kit my children ga...ve me. The minute I opened it I was intrigued. “How could these little bits of fluff turn into the scarf that was pictured on the front of the kit?” I was hooked, and from scarves I went on to make dresses, jackets, coats, rugs, handbags, hats, and jewelry. "Barbara Poole has been creating fashion felt accessories and teaching felt making techniques in the Boston area since 2003. She has a Masters in Art Education from the Mass College of Art, and a Bachelor of Fine Arts from Tufts University and the Museum School of Fine Arts. She began her career as a painter but after falling in love with felting and she made the switch in 2003. Barbara has exhibited her felted creations at national juried shows, galleries, and boutiques.
Baby Sweaters by L'Agneau
"I believe in the artistry of hand knitting. This craft allows for individual creativity of pattern, texture, and design. Hand-knit items should be made to withstand the test of tim...e, and my original designs draw upon generations of classic style interpreted with timeless combinations of patterns. These sweaters are created to fit little bodies and allow for growth. I use only the finest quality natural fiber yarns that are resilient, warm, and washable. Each little sweater is a work of art but don't be fooled, each one will withstand your child's rough and tumble play and survive to be passed along to siblings."Following a rewarding career as an Elementary School Principal, this teacher, Mom, and Nana, built her website and business practicing a craft she learned when she was 10 years old. Gaylene Heppe finds creating and designing baby sweaters both challenging and rewarding. She hand-knits each sweater with attention to detail, style, and fit, so that the Baby Sweaters by L'Agneau label assures finely crafted quality. Gaylene personally hand-knits each sweater with the finest quality natural fiber yarn at her home on Cape Cod.
"I am interested in how we see ourselves in relation to our surroundings and how we situate ourselves in the world. I draw inspiration from just about everywhere…sometimes it is a... word or phrase that I hear or read. It may be something as simple as hearing a word while reading another passage, or it may be the result of a conversation, or something that I see, and of course any time someone tells me a story there’s the possibility for art! The inspiration leads to questions that often (usually) include lots of research and sometimes interviews. The materials represent layers of experience, memory and thought as well as unknown forces such as collective memory. Sometimes the materials have sentimental meaning and sometimes they are found, gifted, or purchased. I’m drawn to textiles that have a history. "Alisa is a visual artist who is intrigued by the layered meanings of “home.” She works in multiple media, often featuring textile and fiber manipulative processes such as embroidery, sewing, twisting, and tying. Her work has been exhibited in Canada, Europe, Asia, Africa and throughout the US, and has been placed in numerous private and public collections, including the Smithsonian Institution, the New York Public Library, and the United States Library of Congress. Alisa is an exhibiting artist with the Art in Embassies program of the United States State Department. Alisa received her BS in Medical Technology from Oklahoma State University and her MFA in Art from Texas Woman’s University. She lives in Dallas, TX.
Bear Creek Paperworks
"When I became interested in creating work for installation, I focused on simplicity of form and complexity of surface. Laminating layers of found paper into “fiber phyllo”; cu...tting and folding forms; drawing, painting and collaging; allowed me to create many, many elements of consistent size and form. Each boat is unique and one-of-a-kind."Leandra Spangler creates sculptures from simple, often recycled materials. Her love of “anything paper” began in childhood, but focused on paper as an art medium when she began making paper by hand. She works in a series, with one concept feeding the next. After twenty-five years of teaching art in the public schools, Spangler became a full time studio artist in June 2000. She holds a Master’s in (art) Education from the University of Missouri. She continues teaching at national, regional and state conferences, guilds, schools and in her studio.
Berri Kramer Textiles
"As a quiltmaker for many years I celebrate the thought that “The whole is greater than the sum of the parts.” A love of textiles, construction, and function make time in the te...xtile studio a joyful pursuit. I work on a vintage Featherweight sewing machine, a beautiful tool made of metal, not plastic. There is great satisfaction in working with simple, well-made tools. From repurposed vintage Japanese cottons and silk, I create ”Komebukuro.” These traditional offering bags were once carried to the temples filled with rice. I practice “Mottainai” (meaning: too good to waste) in that I use every scrap left on the cutting table. Often these tiny pieces find their way into a wall piece where even the smallest of snippets can be appreciated. In deconstructing damaged kimonos, futon covers, and furoshiki, the steam of my iron releases a whiff of foreign aromas. Traces of flowers, cedar, or incense add an unseen and timeless element to the process. My goal is to design not only functional work, but pieces that can hang as engaging compositions, in honor of the centuries-old dyeing and weaving techniques, now virtually lost."Berri Kramer grew up in Lincoln, Massachusetts and was greatly influenced by classes at the DeCordova Museum. She earned a BFA in Design and Crafts from Kent State University in Ohio and a Masters in Fiber Exploration from Lesley University in Boston. Berri learned how to express stories in clay, metal, and color, but most importantly, she observed people making their way in the world as artists. Her art career began as a designer for Better Homes and Gardens and lasted lasted over 20 years. That venture became not only an opportunity to discover new materials and techniques, but one that involved continuous creative problem solving. She founded Heartwood College of Art in Maine, and for the past 25 years she has been its President. Berri also taught Color and Design, Exploration of Crafts, and Service to Humanity at Heartwood.
Beyond the Fringes Wedding Blankets and Tableware
"Each day I am drawn to my loom with the challenge of creating combinations of traditional and unique materials. Bits of gold, paper linen yarn with a stainless steel core, silk, le...ather, or copper provide texture which make tableware not only functional, but unique and distinctive. I have been developing luxury handweaving utilizing blends of exotic materials from around the world to create textures for your table; a spectacular venue that begs flowers and your loveliest and favorite vase. These mats and table runners are both washable and sustainable. Wedding blankets and bed runners, both boho and traditional, are created to provoke a dramatic emotion of warmth and invitation. Your most personal space. I chose weaving to help me inspire you to create special personal spaces whether they be industrial or classic. I will ravel, unravel, layer, and interface color with your taste and mood. These compositions of textural fiber begin to tell a story."Beyond the Fringes is a Boston-based handweaving studio specializing in high-end luxury textiles. Master weaver Debra Stewart has produced fabrics for department stores, design houses, and private clients, working in silk, angora, alpaca, mohair, and exotic fibers including leather, paper, and gold. Debra’s life as a weaver began during her studies at Emerson College, when she rescued an old handloom from an attic in Vermont and restored it to working condition. Experimenting on that small loom, she fell in love with the art of textile design. Her passion for weaving was further inspired by her experience studying with master textile craftsmen in British Columbia. She founded Beyond the Fringes as a line of elevated handwoven accessories and materials for the home. Beyond the Fringes offers a full range of interior fabrics, from Moroccan-inspired wedding blankets, pillows, and brushed mohair throws, to luxe tableware. The new collection of oversized placemats, crossmats, and table runners offers contemporary statement pieces inspired by classic handloom patterns.
"I’ve experimented with a variety of basketry techniques to create my sculptures - coiling and random weave are a couple of my favorites. I often combine these forms with cast pap...er and then paint, collage, and embellish them with found objects. Whether my sculptures are inspired by the world of the goddesses and gods of ancient Egypt, the fantastic underwater sea life of the waters in the Pacific Northwest, or by treasure hunting in antique and hardware stores for the perfect embellishment, I find great joy in the process of creating each one."Danielle Bodine began her journey into fiber arts as an artist, teacher, and lecturer over 40 years ago. Her unique sculptures have been exhibited nationally and internationally in solo and group shows in museums, galleries, colleges, and art centers and included in numerous books and periodicals. She studied at the University of Washington, Bowling Green University, and received a BFA from the University of Michigan in Weaving and Textile Design. She began experimenting with paper after a trip to Japan in 1996, combining it with a variety of basketry and surface design techniques. Her imaginative pieces and installations range in size from 1” to 10’ and always have a story to tell.
Min W. Chiu
"My teacher when it comes to colors is nature. My job is to present the beautiful colors of nature through my artwork."
Min W. Chiu was born and raised in Beijing, China. She graduat... ed from Peking University with a bachelor’s degree of science, but Min always had a passion for art and crafts. Immigrating to America provided Min with the opportunity to pursue what she always loved – handmade art and crafts. Min’s passion for art is rooted in the concept of transforming thought to form – bringing to life what was once just imagination into reality. In recent years, Min and her team have been making scarves with the Arashi Shibori, a traditional Japanese technique to dye fabric. She creates scarves that are a reflection of nature, with color inspiration from the majestic Grand Canyon to elegant peacocks. For each of her Shibori scarves, Min uses a piece of white silk. It is then dyed, pleated, discharged, and painted, all by hand. Although the process is time-consuming and demanding, Min finds joy in it because of the final product, a vibrant and dramatic scarf.
"My basket making grows from my love of basketry. During my years of travel across Africa to meet and work with basket weavers, I discovered that basketry is as diverse as it is uni...versal. I am inspired by global weaving traditions to create my own unique baskets. I try to convey my interpretation of places, people, things, and ideas through basketry."Cael has been weaving primary in waxed linen thread since 2017, but he has diligently worked for decades to promote artisans in Africa, primarily basket weavers, for more than 30 years. Cael's personal work has been shown in juried exhibits such as "Small Expressions 2020" from the Handweavers Guild of America, "Yarn, Rope, String" by the Fiber Art Network, "Craft Nouveau: An International Fine Craft Competition" by Blue Line Arts, "Members in Print 2" and "Basketry Now" by the National Basketry Organization. His work has appeared in Shuttle, Spindle & Dyepot, Basketry+, and Fiber Art Now magazines. Cael often gives presentations to weaving guilds and groups across the country.
"My interest in the art of ancient Korean Joomchi papermaking techniques has taken me on an exploration of the significance of women’s work in Korea, to our relationship to each o...ther across cultures, and then to our connection with nature and ultimately to God. The “Whisper-Romance” series began as a result of a conversation I had with my father in Korea after reading a disturbing article in the newspaper. It was a story about a son killing his parents. My father said, “This has happened because the essential relationship has been broken.” My thoughts on this concept became the foundation for this series: the many facets of broken relationships. We have “horse whisperers” and “dog whisperers” but I believe we need “human whisperers” to heal what has been broken in our essential relationship to ourselves, to nature, and to God. It is important to be reminded of how important and valuable each of our lives is--regardless of where or how we were raised or what position we find ourselves in now---to enjoy living life to the fullest. The holes, layers, and free mounting of my work represent these conversations, the whispers, and the breath between them. “The Relationship between God and Human” Whisper- Romance. "Jiyoung Chung is a Joomchi artist, painter, and freelance writer who shows her works nationally and internationally. She has developed an innovative method for utilizing a traditional Korean method of papermaking called Joomchi into a contemporary art form. Jiyoung (B.F.A., Painting from RISD, and M.F.A., Print/Media from Cranbrook Academy of Art) has had numerous solo shows (31 times) in Korea, U.S.A., Australia, France, Finland, Romania, and UK. In 2010, she curated the Int’l Korean / American Joomchi show for European Patchwork Meeting in France, and later toured in Korea (2010/2011/2014/2016) and in America (2012, 2015). She authored a How-to-Do book titled “Joomchi & Beyond”. She was awarded several times; including ‘Gold Award’ by Smithsonian Craft Show, Washington, DC (2019), ‘Award of Excellence’ by American Craft Council/Baltimore show (2012) and Adrianna Farrelli Prize, ‘Excellence in Fiber Art' by Philadelphia Museum of Art Craft Show (2012), and Silver Prize at the 8th Cheonggju International Craft Competition, Korea (2013). Her works are in the permanent collections of Fidelity Corporate Art Collection, Boston and Museum of Art & Design, NY.
"Embracing installations, wall hangings, paintings, and garments, my work mines autobiography and investigates current socio-political issues. I am also inspired by traditions of c...raft and the history of ‘women’s work.’ My choices of materials and processes are informed by trauma and feminism; I employ worn fabrics of the domestic sphere and the mark making of stitch to convey contemporary narratives of mending and endurance. Ninety percent of my materials are repurposed textiles -- mother-in-law’s blouse, stained tablecloth, discontinued designer prints -- each communicating identity and status while revealing lived lives and embodying memory. Repurposed materials reflect lives lived and address anxiety around the consumer cycle and the environment. I reclaim cast-offs transforming them through painting, printing, stenciling, thermo-faxing, rusting, and composting layering myself onto a past creating a new enriched surface. In tandem, I often create large drawings to flesh out ideas and metaphors. My multifaceted approach uses imagery from nature as a symbol of our life cycle, text to convey or imply meaning, and abstraction to mirror the cacophony and complications of everyday life. As I stitch hundreds of snippets together, each part becomes integral to the whole, akin to the sum of the many moments that make up a lifetime. Sharing individual stories is a powerful force connecting us to communal interests. I teach written and visual techniques of discovery and symbolic translation of anecdotes enabling people to communicate the inchoate. Relational moments of listening and the exchange of tales provides me with abundant inspiration to create. "Merill Comeau has participated in over 80 exhibitions including at Fuller Craft Museum, Danforth Art Museum, Fitchburg Art Museum, Attleboro Art Museum, Museums of Old York, and the Edward M. Kennedy Institute of Boston. The Institute of Contemporary Art Boston’s Art Lab hosted her interactive project Threads of Connection in 2020. Her residency highlights include Southern New Hampshire University, Hambidge Center for Art and Science, the National Parks of Cotoctin Mountain and Acadia, and Weir Farm National Historic Site in CT. Publications showcasing her work include Surface Design Journal, TextileArtist.org, Fiber Art Now, MutualArt.com, and The Boston Globe. She has been a guest speaker at academic institutions including Arnold Arboretum of Harvard University, Simmons College, Stonehill College, Dana Hall School, and Phillips Exeter Academy. In addition to her studio practice, Comeau executed over 30 public projects and is a teaching artist for youth 15-22 years of age residing in secure treatment centers in Massachusetts.
"Combining fiber with printmaking has taken me along many paths of expression. The initial exploration of traditional American quilting techniques has evolved with the introduction ...of various printing processes. I print on silk and cotton fabrics using linoleum blocks, a gelatin plate or occasionally an ink jet computer and/or copier. Research into the construction of pojagi, a type of Korean silk wrapping cloth, has allowed me to explore the layering of materials. Much of my content is inspired and motivated by the natural world, especially with the problems associated with the use and misuse of our natural resources, the effects of which are not always apparent to the naked eye. Monoprinting on opaque cotton and constructing them as quilts, by stitching and embroidering through three layers of fabric, lends an added dimension to smaller works."Nancy Crasco is a BFA graduate of the Rhode Island School of Design, earned her Master’s degree at Lesley University in Cambridge, MA and has been working in fiber since 1968, actively exhibiting her work nationally and internationally since 1975. Since her retirement from public education in 2003, and working from a studio in her home in Brighton, Massachusetts, she has pursued her career in the arts full time. Nancy has extensive teaching experience in both public and private education, and gives lectures and workshops to various groups interested in fiber art processes. She is a member of the Cambridge Art Association, Studio Art Quilters Association and the Surface Design Association, for which she is currently is a co-representative for the Massachusetts/Rhode Island Chapter.
Eclectic Nature Jewelry & Design
"My jewelry involves the blending of organic shapes, contrasting crisp lines, and geometrics. I meld texture, dimension, color, and even sound. I create pieces with an eye towards b...oth function and form, often including hidden design elements in the piece, known only to the wearer. I work primarily in silver and gold with pearls and cut and rough gemstones as accents. This newest work, the Weft Collection, explores the junction of my signature hand-hammered metal textures with the dimensionality and depth born of using precious metal as fiber. Weft pieces are woven with precious metal (fine and sterling silver and 22k gold bi-metal) and detailed with small gems. Each piece starts with laying out the warp (lengthwise lines), made either of strips cut into sheet metal or of freestanding wires. I texture it by hand with a small goldsmith’s hammer before placing the warp lines in special pliers that hold them in place as I weave. After texturing the crosspieces, or weft, I weave the components together, carefully folding ends over to the back side of the work, where they are subsequently soldered in place – a delicate and time-consuming operation! Once I have a piece of “material” completed, I can cut shapes out of it as one would a pattern from fabric. I edge the shapes in round wire, giving a finished, neatly-hemmed look, and add decorative details such as rose-cut stones set in 18k yellow gold. "Rachel Morris balances a day job is as a business consultant with her not-so-secret identity as an artist/educator with 20+ years’ experience in bench jewelry and fabrication. She holds a Master in Teaching and has studied metal arts under John Cogswell, Jayne Redman, Joanne Conant, Kate Wolf, Victoria Lansford, Cynthia Eid and others. She enjoys a constantly evolving approach to her own work, and bringing the joy of metalworking to others through teaching. She has been a Halstead Design Challenge and Art of the Northeast finalist, and displays in galleries and teaches on both the East and West Coasts. She is a past president of the Creative Metal Arts Guild of greater Portland (Oregon). While she has dabbled in numerous other media, she always returns to metal work, which she describes as her “life’s breath.”
"I create quilts that explore structure and pattern in the natural world through the use of hand-dyed and screen-printed textiles and complex, often improvisational, piecing. The em...otional impact of a landscape, the variability of weather patterns, and the abbreviated timeline of the earth visible in geology and landforms all speak to me on a spiritual level. I am equally inspired by the biological and chemical systems that make up living organisms, mathematical and planned systems such as central pivot irrigation, and the logistics of cities and roadways. I use color, geometry, and repetition to explore and represent these ideas. Though I embrace the functional history of quilting, I choose to forgo their functional nature and display my quilts on the wall. My quilts are constructed of natural materials such as wool, silk, cotton, and linen almost exclusively and I use dyes and pigments made from plants and insects. I grow or forage many of my own dyes, such as black walnuts, Osage orange, madder, marigolds, and weld. Inherently tactile, slow, and labor intensive, quilting provides an opportunity for quiet reflection. Like quilting, the process of dyeing or printing fabric using natural dyes is slow and methodical. From growing, harvesting, and preserving the plant materials, to creating the dye baths and carefully dyeing the fiber, each step creates an opportunity for reflection and gratitude."Kim Eichler-Messmer is an Associate Professor of Fiber at the Kansas City Art Institute, where she has taught since 2008. She received a BFA in studio art from Iowa State University and an MFA in Textiles from the University of Kansas. She was an Artist in Residence at Arrowmont School of Arts and Crafts in 2007/08. She teaches workshops on dyeing and quilting regularly around the United States and her hand-dyed, one-of-a-kind quilts have been exhibited nationally and internationally in numerous solo and juried shows. Kim is the author of “Modern Color: An Illustrated Guide to Dyeing Fabric for Modern Quilts” and her work has been included in “Quilting with a Modern Slant” by Rachel May and “The Uppercase Compendium of Craft and Creativity” by Janine Vangool, among others.
"I’m excited by words – the way they sound, their appearance on the page, and how they join together as phrases and sentences. The individual letters that make up words are fasc...inating as well, each different, and each beautiful. Throughout my life, I’ve spent nearly every spare moment with books, and reading has long been one of my greatest pleasures. This pleasure is the starting point for the cloth I make, including hand-woven and hand-dyed linen panels with text and images laid into the fabric. In these panels, the narrative being told has no beginning or end. Instead, it provides vignettes of Daniel Janes, a 19th century weaver living in Randall, Massachusetts; his daughter, Lissy; and other weavers, mill owners, and farmers in the communities of the surrounding Linden River Valley. Rather than telling a complete story, the panels reflect my absorption with letters and words, as well as 18th century handwriting, early printing, calligraphy, and book illustration. Illustrations also serve as the inspiration for linen dishtowels, bath towels, and small wall hangings with woven images of weavers, shepherds, textile mills, and scenes from the everyday lives of Daniel Janes, Lissy, and other people in the towns that lined the Linden River."Although originally trained as a composer, with graduate degrees from Columbia and Brandeis universities, Scott Norris has spent the past thirty years weaving linen in his studio in Florence, Massachusetts. He has received Best In Show honors from the New England Weavers Seminar, and has published profiles, essays, and reviews in American Craft, Ceramics Art and Perception, Ceramics Monthly, and other publications.
Michele A Friedman
"My jewelry is the result of my desire to incorporate color into my work without using stones. I wanted the color to come from an alternative source. Through trial and error and con...sideration of many materials, I concluded that wool felt was perfect. The material is durable, pliable, possesses a rich, saturated color and a hint of texture. I manipulate felt into shapes and set or inlay them like stones into my oxidized sterling silver and 18k bi-metal jewelry. This is a technique that I developed on my own to suit my needs. I almost went into fashion design and with this line of jewelry feel that I coming full circle."Michele A. Friedman has been a full time studio jewelry designer and metalsmith since 1998. A native Chicagoan, she was inspired by architecture, art, and design from a young age. It wasn't until she attended Parsons School of Design when her love of fashion collided with a vocabulary of shapes as she studied design and metalsmithing. When not exhibiting her work at many of the best craft shows and art fairs in the country, she loves to travel with her husband, loves good food, working off that good food, the Cubs and nests at home with her two cats. She recently made the pivot to all things online all the time.
"Since I started my business in 2008, I’ve been exploring fabrics to its limits and felt like it’s time to move on to my next favorite material, paper. It has opened before me a... world of new techniques, shapes and textures that I’ve been entirely drawn into. Pieces is a new jewelry line in which I’m using Tyvek paper with a combination of resin. This unusual type of paper is commonly used for mail packaging and construction as it is highly durable and water resistant. It also contains nylon fibers which allows it to be easily wrinkled and manipulated. During the process, I’m using heat which creates organic and uneven textures as a result of its shrinking reaction. The added resin gives the pieces of paper a firm body and weight while the forms keep evolving and changing throughout the process, which eventually leads to its final result. Each piece is one-of-a-kind and cannot be fully duplicated due to the use of randomness as an essential element in the creation process. Changeability is a primary aspect in my work and has a direct connection to my life, in which I’m constantly analyzing and understanding through creation. Over the last 8 years, my life has changed drastically from being a single, Tel Aviv-based business owner, to a married woman with 2 kids, reinventing myself and navigating my life in New York City. The challenges of the relocation inspired me create a new form of identity in a way and adapt my culture, routines and habits that played a big roll of who I was until then. I’ve adjusted to a new environment, rediscovered new sides in my personality and literally continuing to reconnect the pieces into a new form of me, every single day. In this line of jewelry, I’m exploring organic evolution, time as an essential element for development and imperfection as a form of beauty."FrogAspect was established in 2007 by Einat Burg Cohen, 40, a mother of 2, jewelry designer and artist. Einat Studied in multi-disciplinary design at Seminar Hakibutzim collage In Tel Aviv, focusing on costumes design for performance arts. originally from Tel Aviv ISRAEL, relocated to Brooklyn, New York in 2016. the name FrogAspect derives from her curiosity to the frog's metamorphosis process and its extraordinary changeability with movement. this Summarizes The Process Of Einat's work That she's trying to emphasize by manipulating materials and taking their behaviors to its limits. Einat started her business with a singular collection of theatrical handmade scarfs made out of fabric scraps using repetitive hand knotting and threading techniques. Inevitably, due to the Israeli hot weather and in addition to the scarf collection, she created a line of textile Jewelry that both makes a statement, is light weight and fits most Climates. what started off as leftover Materials has turned into a line of textile necklaces, Mostly made out of spandex and Stretch fabric which Einat had found to be highly Versatile and fun to work with in the context of Jewelry Design. The process itself of manipulating the material and exploring its behaviors transforms it into new textures, transparencies and shapes. at times, she likes to describe her work as putting a spotlight on an imperfect detail or behavior and make it shine. if we just zoom in, we will find endless Treasures.
"I work by building up layers of flat sheets of colorful wool felt, cut by hand or with custom made dies and then carved with scissors, to construct three-dimensional pieces of whim...sical art to wear. My hope is that the work captures and carries on the joy I find in celebrating the intrinsic beauty of everyday objects and nature."Danielle has worked for over 30 years as a painter, metalsmith, and fiber artist, exhibiting in countless fine craft shows, as well as galleries and museums nationwide. Her work has been featured in various craft and fashion publications, as well as in several books about contemporary jewelry design. She was born in Washington, D.C. and earned her B.A. with a focus on painting from Sarah Lawrence College. After taking jewelry classes at Penland for one very intense summer on a whim, she suddenly realized she was a jeweler! She began her career in New York City, working in metal for a decade. Then she moved to Florence, Italy, with her growing family, and spent the next decade there exploring the softer and more colorful medium of felt. She currently resides in Middlebury, Vermont (another decade!).
"The discarded jacket, woolen skirt, or pantsuit is rich in potential as a raw material, but it first must be disassembled stitch by stitch. In my work, I have found the act of taki...ng apart a garment is slow, methodical, and intentional. Each unstitched seam is a small act of rebellion that upsets prevailing familial and social expectations. The undoing of trauma and inherited gendered roles is fulfilled through a garments demise. Yet, there is beauty and endless potentiality in its destruction. The process of deconstruction also contains healing. Holes are repaired, and rips are mended which signifies the emotional and mental work that I have undertaken to move beyond the confines of destructive familial patterns and expectations. The process of disassembling clothing serves as both a metaphor and a physical performance that seeks to amend the harmful expectations of femininity and motherhood that have been placed upon me and so many other women. I honor the resourcefulness I learned from my parents in a blue-collar upbringing by gathering my materials from thrift stores. Through the jacket or skirt’s transformation from protection to adornment, I subvert its original function and allow the wearer to objectify the necklace, brooch, or earrings, thus re-contextualizing societal understandings of the garment’s original form."North Carolina artist Renee Holliday utilizes traditional metalsmithing and hand-sewing techniques to combine discarded clothing and textiles into wearable objects that subvert existing expectations of motherhood and femininity. Gathering her materials from thrift shops and secondhand stores allows her to honor her middle-class upbringing while also gleaning other’s unwanted goods. For Renee, the deconstruction of clothing creates a metaphorical and physical space of healing through the garments demise and is fully realized in her contemporary jewelry. Renee’s work has been shown regionally throughout North Carolina, South Carolina and at the Fuller Projects in Bloomington, Indiana.
Intruse Studio of Contemporary Fine Craft
Tamra M. Thomas-Gentry
"I have always loved the textile nature of woven metal chains. As one who weaves chain, I find inspiration in the exquisite work of the women I consider to be the trinity of metal-w...eaving masters—Mary Lee Hu, Arlene Fisch, and Hanne Behrens. Coincidentally, the braiding seed was planted in my head years ago while reading Fisch’s book, Textile Techniques in Metal. After inhaling the book, I began to dig deeper into Japanese braiding where I later became obsessed with Samurai armor and the silk braids used to connect their armor plates.  In 2015 I visited a museum dedicated exclusively to Samurai armor and accoutrements, where I was able to closely examine several sets of classical armor. The armor x-rays, the details of the braids, and how they are threaded through the plates were mind-blowing. Even the taxidermized horses on display had on complete suits of armor--all held together with intact silk braids. Since 2015, I’ve developed a ritual of returning to that museum every couple of years for a deep creative re-charge.  The craft of Japanese braiding has a long and fascinating cultural history. There are so many braids to study and make that I don’t think I have enough lifetimes to work through all of the structures or materials available about them. Since I began my studies in 2014, I am fortunate to have acquired several rare and out-of-print books about braiding. The remaining task is to learn Japanese so that I can read the books myself without having to rely on a translation tool.  In addition to all of that, I haven’t even begun to get into braid theory--the area of study in mathematics devoted to braids and knots…"Tamra Thomas-Gentry is an award-winning self-taught metalsmith and textile artisan. She has maintained a solo studio practice since 2005 after leaving a position as an administrator at DePaul University. Tamra graduated from Normandy High School in St. Louis, earned a bachelor’s degree in applied physics from Florida A&M University, and received her master’s degree in education from Vanderbilt University. She has taken a variety of jewelry fabrication and textile workshops with master craftsmen, and she has taught metalsmithing and other specialty technique classes at a local Chicago art center. Tamra is a trained photographer who loves both nature and abstract macro photography. Adding to the creative chaos she is a classical pianist and, since the pandemic began, she has developed an interest in various types of cultural and historical woodwind instruments. She's currently teaching herself to play the flute as a diversion from braiding. She is a native of the north St. Louis area, and now lives in Chicagoland with her husband of twenty-seven years and their two Standard Schnauzers.
"My designs are inspired by manipulating fabrics for specific accessory and fashion silhouettes, mindful of their purpose, function, and ultimately the wearer. The designs reference... my years of study and work in Japan and knowledge of Japanese design aesthetics meshed with my Western sensibilities. These design concepts are deeply rooted in my research and studies of textile and fashion history, creative and cultural arts, traditional and contemporary dyeing techniques, current trends in the arts, and couture sewing. My current silk UNFOLDING PROJECT accessories and garments are inspired by a Chinese Court Skirt from the Qing dynasty now in my archival collection (circa late 19th century). My cotton Khadi Squares Scarf and Shawl Collection looks at hand-woven cotton panels that are dyed using origami-like folding and clamp-resist techniques. The design challenge becomes the ability to combine creative and technical skills with a nod to current market trends and consumer habits. Delicate details and uncluttered designs are my signature."Mary Jaeger is an entrepreneur well-known for her innovative textile, fashion and interior designs. She is a master of natural fiber manipulation, repurposed cloth, resist dye techniques, digital technologies and minimal to zero waste. The core of Jaeger’s niche women's and interior accessory collections are inspired by her passions for color, texture, and pattern, synthesized with simple silhouettes and a love of handcrafted and couture sewing details. Drawing on years of study and work in Asia, Southeast Asia and Europe, Mary exhibits internationally at museums, galleries, and fine stores. Mary won the Smithsonian Honoring the Future Sustainability Award in 2019. Her heirloom collections can be seen at her Brooklyn, NY atelier, online at maryjaeger.com, and on Instagram @maryjaeger_ny.
Jenne Rayburn Textiles and Wearable Art
"I have loved fashion from a young age, when I would wear custom clothes designed by my Grandma Ruth. My fashion accessories collection, inspired by the quality, beauty, and history... of vintage textiles and notions, and the technologies that make mid-century modern fashion and jewelry as compelling and timeless today and it was when introduced, is a tribute to my Grandma Ruth - an amazing seamstress who inspired me to sew. She told me stories about how, as a young woman, she would see a new couture fashion on Michigan Avenue in Chicago, and by the next evening have created the dress to wear out dancing. She had an eye for style and glamour, which combined with her practicality, gave her a special flair. My designs draw from the silhouettes worn by my grandma, updated with a contemporary twist, and a little rock and rock. An avid explorer, I have traveled extensively, scouring local and global markets, auctions, and galleries for eye-catching finds. Antique artifacts picked up from my travels around the world, including rhinestones, cut-steel buckles, antique buttons and sequins, and silk fringe and tassels, are often featured on the one-of-a-kind handbags. Wherever I go I am always on the hunt for local fashion, handcrafts and vintage treasures. Back in the studio, each design is thoughtfully pieced together and embellished, and is totally unique because no two fabrics in my collection are alike. From vintage and handmade saris, to kimonos, obis and uchikakes; Victorian trims, dresses and wedding sashes, to wall hangings and drapery, and folk costumes dating back to the 1800s, I have gathered my collection from far away places such as India, Japan, Turkey, Morocco, Russia, and Mexico. I love transforming them into something fresh and relevant, for someone to enjoy and use anew."Jenne Rayburn is a Boston-based artist who also studied architecture. Her designs are known for combining vintage textiles, findings and components, with contemporary textile and fashion design. A graduate of the University of Washington where she studied metals and fiber arts, and of the University of Massachusetts, Amherst with a MS in Design, Jenne has a perpetual curiosity and a passion for experimentation resulting in her first textile collection made from hand dyed and pieced fabrics inspired by Norse Mythology. It is her hope that the wearers of her pieces will find joy in a delightful artistic statement, and also something that enhances their individuality and confidence.
"I am a thread illustrator. I use hand and freehand machine embroidery with appliqué techniques on found, vintage, and certified organic fabrics, to illustrate my perception of our... natural and complicated world, concentrating on ignored birds and plants. My process begins with ink drawings from observation and photographic resources. The rest relies on mind ramblings, juxtapositions, and compositional techniques. I love the look and the challenge of drawing with the stitch line, especially the black line that so eloquently imitates ink marks. I am drawn to pattern fabrics that remind me of historical trends that I can interplay with my images. I am drawn to overlay and transparency leading me to experiment with a variety of fabrics from felt to organza. I am challenged by mixing colors of thread to create realistic effects. I make ecological choices to keep my wall pieces, handbags, and decor pillows sustainable with small-batch, high quality, and eco-friendly production and packaging."Jennifer McBrien is a native Baltimore textile artist who uses her sewing machine as a drawing tool to honor her fragile subjects. Trained as a painter, with only one sewing class from Junior High under her belt, she has relied on her experimentation and creative thinking skills to make her original designs.
"I first hand-dye my yarn, then I knit using hand-manipulated techniques on a knitting loom. Each piece is knit in such a way that gives the scarf a sculptural effect when worn. I f...inish the knit by felting each piece. I use premium, eco-friendly, fibers such as merino wool, silk, bamboo, and Tencel."After graduating from the Rhode Island School of Design with a degree is Textiles, Kristin Gereau moved to Waukesha, WI, to found K.Gereau Textiles. In 2005 Kristin participated in her first trade show and has been creating unique and one of a kind hand-made scarves and gauntlets ever since. With a passion for "playing around with the materials," Kristin pushes the limits of her Brother Knitting Machines. Each piece is organically hand-loomed using luxury natural fibers.
"My tapestries are woven in wedge weave, most often using yarns hand-dyed with natural materials. Wedge weave is a tapestry weave originated by the Navajo around 1870. In contra...st to most weaving, which is woven horizontally on the loom, wedge weave is woven on the diagonal which gives it its characteristic scalloped edge. This trait, which I find intriguing, is thought to be one of the reasons the Navajo abandoned it in the 1800’s though it has resurfaced in recent years. The colors in my palette are created with natural dyes – mainly indigo, madder, goldenrod, cochineal, and black walnut. As a result, I have become aware of the rich local history of indigo, once considered "blue gold" in my home state of South Carolina. Yarns are hand-dyed using indigo leaves from my garden, goldenrod gathered in the fall, black walnut hulls from a friend’s tree, as well as other natural dyes. My work celebrates nature and the spirit that reveres the natural world. My message is one of environmental respect and protection."Connie Lippert weaves tapestries using the wedge weave technique. Her work has been exhibited in 30 states. She has received 4 artist grants from the South Carolina Arts Commission. Her work is represented in museum, corporate, academic and private collections and has been widely published. In 2020, her work was included in The Art is the Cloth by Micala Sidore and in The Art of Tapestry Weaving by Rebecca Mezoff. She has taught wedge weave workshops and given seminars in California, New York, Michigan, Colorado, New Mexico, Georgia, Florida, New Jersey, South Carolina, North Carolina, Massachusetts, and Wisconsin. Connie is represented by Blue Spiral 1 in Asheville, North Carolina.
Lynne Dees Fiber Artist
"My basketry work emphasizes traditional techniques of weaving, coiling, twining, knotting, and wrapping to create contemporary works which stretch the boundaries of that which the ...materials will allow. Although many traditional baskets are strictly functional, my work is also narrative. Currently I am exploring two directions. My palette series utilizes the format of the historical American tobacco basket, a large, square, shallow hardwood basket which was used to display tobacco leaves to prospective customers. I like to think of these works as ‘painting with reed’—translating the colors and design of painting into the basketry format. My three-dimensional series is based upon indigenous fish, crab, eel, and lobster traps which were traditionally made of bamboo and rope. I incorporate the concepts of trapping, captivity, isolation, censorship and imprisonment to illustrate current human conditions and events."Lynne began her fibers and textiles career in the 1960s when she started making macrame wall hangings, and her studies led to the completion of the Master of Fine Arts degree in weaving and fabric design from the University of North Texas. Having worked in fiber for many decades, Lynne has created loom-woven tapestries, off-loom woven sculptures, and her work now focuses upon basketry forms and materials.
"Working with minuscule seed beads forces a weaver to be methodical and attentive, as a small mistake on a large piece can turn into a serious complication. This technique is extrem...ely time-consuming, and necessitates the creation of a meditative state of mind. When I begin a new project and start to look at and deal with this peculiar quality of bead-weaving, I find that the practice is also the message. The values I uphold in my practice are those of labor through intense artisanal skill, the quality of the work, and the enduring nature of a piece of jewelry. I have been fascinated by pre-Colombian art since a young age, and I have consciously tried to emulate the geometrical fluidity found in some Aztec inscriptions. I also have a taste for minimalist art and in particular the design elements of eminent artists from the Bauhaus movement, along with the daring color combinations typical of pop art. All these inputs are combined and infused in my aesthetics and studio practice."Born and raised in Urbino, an art town in mid-northern Italy, Mara Colecchia has been exposed to an incredible amount of influential art, mostly from the Reinassance, and had the chance to experiment with many and various artistic practices over decades (such as Venetian Mask making, performing, sculpting, painting a fresco with egg tempera, glass decoration with varnish, and illustrating with water color and ink). In 1999 she earned a bachelor degree as a “Maestro D`Arte” from La Scuola Del Libro, in Urbino, with a specialization in drawing animation. In 2005 she earned a master degree from the European Institute of Design in Roma (Roma IED) to complement her education in animation and gaming. Mara worked in the animation industry in Rome until 2009, when Italy fell into a dreadful recession, and she took the chance to relocate to Los Angeles, California, to study screenwriting at the New York Film Academy. There she had many artistic pursuits, becoming an active member of The Los Angeles Art Association from 2012 to 2017, until she finally explored wearable art. Mara learned how to weave seed beads in late 2018, and Maracole Bijoux has become her main artistic endeavor ever since. Her beaded work has been exhibited at the international art fairs Artistar Jewels in Milan, 2019, Noel Autor Contemporary in Bucharest, 2019, and Joya Barcelona in Barcelona, 2021. She was a finalist in the online contest Arte Y Joya in 2020.
Meg Black Studio
"The subject of my art is seascapes. I am drawn to the primordial pull of the sea. Not just any seashore, but the North Atlantic, with its harsh terrain, ice-cold water, and thunder...ous crashing waves. Here, rocks are thrown to the shore by an unrelenting tide. The metaphor of life is in this imagery-the rocks are harder than the water, but the water can be fiercer and can move the rocks at will. This is for me the metaphor for life, we long for the smoothness of the water, but are shaped by the steeliness of the rocks. Using abaca (a plant fiber) and cotton pulp that I beat in my Hollander beater, combined with pure pigments, commercial paint, and pearlescent pigments, I create an array of textures and colors that imitates those found along the shoreline. In this way, I attempt to depict the emotional pull of the sea and to tell my story using simple materials much like a poet uses words. "Meg Black has been a practicing artist working with natural fibers for over thirty years. Her focus on nature’s palette, detailed compositions, and atmospheric perspective yield stunning landscapes, seascapes, and garden views. Her paintings are acclaimed for their textured surface and colorful luminosity. Meg received a PhD. in Education from Lesley University, an MFA in Studio Art from the Massachusetts College of Art, and a BFA from the State University of New York, Oswego. She has extensive teaching experience. Currently, she is the Coordinator of Art Education at Salem State University. Meg’s work has been included in multiple group and solo exhibitions and has been acquisitioned into private, corporate, healthcare, and public collections. Collectors of her work live as far away as Venice, Italy to the remote corners of northern Alaska. As a widely acclaimed artist, Meg has been asked to contribute to several art publications including The Arts, Aesthetics, and Education, Salem State University Sextant, and Hand Papermaking Magazine. She has appeared on New England Chronicle and Home and Garden TV. She currently calls Topsfield, MA. home where she spends long hours cocooned in her attached studio.
"I create handmade contemporary knitwear made in the intarsia technique. My signature style includes such details as intricate stitching, combining fabrics and strong architectural ...lines that are flattering and functional. They are made of natural fibers with an emphasis on craftsmanship."As the creative director of her company, Sandra designs all of her knitwear. She selects the yarns and accessories for her collection seeking the highest quality and most fascinating materials. She supervises all knitwear production, overseeing the work of a few expert knitters, completing much of the hand-finishing work herself. This enables her to ensure that her clients receive the finest workmanship possible. Sandra's success is due to her artistic talent, business experience, and educational background. To enter the field, Sandra studied Applied Fashion Design, graduating with honors from the Rhode Island School of Design. Before launching Sandra Miller Knitwear in 1986, Sandra worked for years as a fashion designer in New York City. She gained extensive experience in pattern making, draping, and fitting. From her start as a youngster learning to sew and knit from her mother and grandmother to her distinction today as a major creative force in the textile and fashion world, Sandra's craft has been characterized by imagination and quality. She continues to grow as she creates unusual and visually exciting sweaters for her clients' knitwear collections.
Muffy Young Handweaving
"These scarves and shawls are all hand woven and hand-dyed. My looms have 24 and 32 harnesses instead of the more usual 4 or 8. This allows me to design highly complex structures, a...nd to combine them in a single piece for intriguing variations in scale, texture, and motif. My designs are original, unique, and innovative, with images inspired by nature, modernism, and the fabrics of Latin American, Central Asia, and Africa. Guided by the weave structure, I select silk fibers to maximize visual impact and to balance drape and stability. Hand-dyeing my yarns gives me complete control of my color palette. My passion is to create refined scarves and shawls that are beautiful to look at and comfortable to wear."Muffy Young has been a handweaver and dyer since 1978. Originally inspired by textiles and landscapes when traveling in Latin America at age 16, she continues to be influenced by the colors and design elements of Peruvian and Guatemalan cloth. She was a math major in college and this shows in her love of pattern, problem solving, and complexity. She lives and works in Waltham Massachusetts, walks every day in the woods and fields there.
"I create soft sculpture and jewelry from felted wool and often embed materials like stone, silicone, or acrylic. My needle felted and wet felted forms are curvaceous and biomorphic.... Sometimes my forms are quiet with smooth, gentle curves and a sense of stillness, other times they are zany and full of life in a bright neon color palette."Shannon received her BFA in Metalsmithing & Jewelry from Maine College of Art and additional training in felting from Arrowmont School of Arts and Craft and the Appalachian Center for Craft in Tennessee. She currently lives in Somerville, MA and works with several small art businesses assisting with product photography, customer outreach, website and social media management. Shannon has assisted sculptural felting courses taught by Shana Kohnstamm at Arrowmont. She is a recipient of the Denis Diderot [A-i-R] Grant, Château d’Orquevaux in France, which she will attend in 2022.
"I believe that material has memory. Creating abstract patterns is my way of dealing with life’s ambiguities and uncertainties. I create complex, vibrant, quilt-inspired wall scul...ptures from wooden debris collected after natural disasters, such as hurricanes, fires and floods. Working with broken and discarded materials invites exploration of ideas universal to the human experience: nostalgia, second chances, renewal, memory, and the beauty of imperfection. "A New Jersey native living and working in the Boston area, Laura Petrovich-Cheney is a nationally recognized, award-winning artist and teacher. She is a sculptor, quilter, visual artist, educator and fashion designer, with unique position in the commercial and non-profit art fields, whose interests in textiles, wood working, and environmental concerns have created a diverse body of work.
"Wire and paper— two materials I can’t get enough of! The wire serves as my outline, the paper as my illustration, filling in the details within the wire shapes. The titles of m...y artwork hint at the concepts behind them, most often life experiences, puns, or simply things I love. I use wire as fine as thread to as thick as rope. As for paper, if my scissors can cut it, I’ll use it. I appreciate the process of taking tightly coiled wire on a spool and combining it with flat paper and transforming these materials into unexpected 3-dimensional objects."Sally blends traditional basketry and wirework techniques to create her unusual wire objects. All work is done by hand, freeform, using only wire and whatever materials she includes in the construction, most often paper, found objects, or vintage beads. Sally has drawn, painted, and created mixed-media art all her life and is largely self-taught. She minored in art history at Northwestern University and received her MBA in marketing from the George Washington University. Sally lives in her hometown of Seattle after many years on the east coast.
Michèle Fandel Bonner
"I learned to sew as a pre-teen and have never stopped. Whether it's making clothing, toys, pillows, or quilts, the simple act of poking a needle pulling thread through cloth again ...and again, is very meditative. As a volunteer in a thrift store, associated with a homeless shelter, I became acutely aware of the amount of clothing waste. So much of what was donated was in fine condition. Jeans are donated as soon as the fashion industry dictates they are no longer "in style". I love making something beautiful, useful and long lasting with what someone deemed unusable. Inspiration comes from the physical characteristics of the clothing collected, and also in their past uses and the lives they once touched. No two coverlets are the same, each one is as individual as the wear signature on the jeans. "Michèle Fandel Bonner is a mixed media and fiber artist. Her work explores the relationship between time, identity, beauty, and waste. She is an Associate Member of the Boston Sculptors Gallery, an Artist Member of the Cambridge Arts Association, and a member of Surface Design Associates. Her work has been shown throughout the US and in Australia. She teaches workshops in fiber techniques and the political power of mending. She has been a maker as long as she can remember, making self designed stuffed animals for her babysitting charges in her teens and has continually come up with new ways to use vintage fabrics and used clothing, especially denim and cashmere. She made cashmere blankets and cowls under the name Trashmere, and currently has an Etsy store with vintage clothing and mended cashmere sweaters and cowls, called Renewist. Michèle lives and works in her studio in Marblehead, Massachusetts.
"Two major influences running through my work are that of biological science and the automatism of surrealism. Natural biological form is alluring and fascinating to me, and defines... the basis for my exploration of form. Building on the forms of the natural world, I combine instinctual and imaginative impulses with dream imagery to explore the boundaries where mind and nature meet. I feel my work is most successful when the viewer finds understanding of the piece in being intrigued with the unknowable. The content of the work is for the viewer to contemplate and complete, only becoming whole with the intellectual and spiritual contribution of the viewer. Imagination does not have an instinct for imitation, not to hold a faithful image of reality, as habit has accustomed us to see. "Knot Now, Knot Here, Knot Forever. Norman Sherfield's current work revolves around using found kitsch ceramic figurines and giving them a new skin. Some have objects inside the figurines that make noise when shaken. They want you to play with them. His work reflects the strangeness of the world and gives that strangeness an opportunity to exist or become aware. These Merz Kitsch objects reflect the process of Schwitters/Dadaist use of found objects to create sculptural collages, giving new life and meaning to these found objects through this transformation; redefining the idea of beautiful in the modern world. It is ready for you to dance with it and create new stories.
Spiders & Birds
"We all have different stories that have emerged from the Covid-19 Pandemic. After a 15-year, solid career in exhibiting sculptures all over the US and abroad, I wanted to stretch m...y wings again to start a design studio that borrows my fine arts aesthetics of play to combine with more functional items for the home. Thus, Spiders & Birds was born. While I am still working in my regular studio making sculptures (www.nathaliemiebach.com), I am excited to start this new branch in my art career that focuses on a slightly different interest of mine: playful design products for the home that likes to smile. Why name it Spiders & Birds? After weaving for over 20 years, I can’t imagine a better way to give honor to traditional weaving techniques than by naming my business after the two greatest engineers and weavers on this planet – spiders and birds."Nathalie Miebach is the founder of Spiders & Birds, a design studio that focuses on playful, functional objects for the home, that likes to smile. She is also a data translator for Nathalie Miebach Studio, where she explores the intersection of art and science by translating scientific data related to meteorology, ecology and oceanography into woven sculptures and musical scores and installations. She is the recipient of numerous awards and residencies, including a Pollock-Krasner Award, TED Global Fellowship, Virginia A. Groot Foundation Grant, and two Massachusetts Cultural Council Fellowships. Her work has been shown in the US, Canada, Europe and Australia and has been reviewed by publications spanning fine arts, design, and technology. She lives in Boston.
Studio 338 Handwoven
"I find the physical and tactile experience of weaving to be so satisfying. I am constantly intrigued by the evolution that takes place when texture, pattern, and color come togethe...r. It is their interaction that inspires me to weave. I love the results that happen when these components come together to form new relationships in a finished piece. The first step in creating my one-of-a-kind handwoven pillows involves choosing materials from my vast yarn stash. After choosing yarns for the warp I then use a combination of tapestry and embroidery techniques to create the pattern and texture I desire as I weave. I let the materials tell a story about their interaction with each other because, to me, weaving is all about that interaction. I approach my weaving like it is a drawing where my tendency is to be spontaneous at the loom. Wool is the main material I use because of its flexibility. The woven material changes when it comes off the loom and is processed by washing before fabricating the pillows. The color palette I favor is a mixture of New England fall and Southwestern Desert. I'm also drawn to the beautiful contrast of black and white, especially when combined with fibers and weave structures that have a lot of texture. "Paula Veleta first explored weaving as an undergraduate in the fine arts program at Kent State University were she received a B.F.A in 1985. She spent the intervening years working as a ceramic artist before receiving a M.F.A. In 1998 from Southern Illinois University. Paula spent her time there venturing beyond clay to devote time to creating assemblages made of clay, metal, and found objects. Paula started to seriously explore weaving in 2007 while she was employed as a ceramics instructor at The Austen Riggs Center in Stockbridge, MA. In 2008 Paula transitioned to the fiber arts instructor position and became immersed in weaving. In 2020 she graduated from the Hill Institute where she is currently pursuing Master Weaver Certification. Paula continues to maintain the connection to her love of three dimensional work through her explorations in weaving.
Studio B Knits
"I hand-knit sculptural, one-of-a-kind, bead knitted jewelry and accessories. My work celebrates and is rooted in traditional, knitted stitch making but is distinguished by original... techniques, some unorthodox construction, bead-woven embellishment and unique, contemporary applications. I like to call it "knitting made clever." I’ve been enthusiastically - some might say obsessively - knitting since the age of 8, but my knitting world was turned upside down and inside out when I learned how to bead knit in 2002. As a myriad of ideas for combining beads and fiber began to take over my knitting brain, I found myself on a completely unexpected journey which has forever altered the way I think about my “left-brained” self and the creative process. My studio mantra is "Play. Knit. Create.""A self-confessed "Left-Brained" knitter, Ms. Hershberg has turned a life-long love of knitting into a later-in-life, award-winning career as a knitting designer, a well-traveled, celebrated instructor and a published author of knitting designs and a best selling book. The book, "Betsy Beads: Confessions of a Left-Brained Knitter," published by XRX Books, comprises bead knitting techniques, design patterns, and seven essays on creativity. To date it has sold over 15,000 copies. Her work has been sold at galleries and juried craft shows, including The Philadelphia Museum of Art Small Indulgences Show, CraftBoston Spring and Holiday, Germantown Friends School Craft Show, Gravers Lane Gallery (Phila., PA), Society of Arts and Crafts Gallery (Boston, MA), Kiana Malekzadeh Gallery (NYC, NY) and Vogue Knitting Live.
Studio Narcisse Noir
"I am a fiber artist. I love discovering the infinite possibilities of creating fabric by dyeing and blending wool roving and other natural fibers and transforming the piece into on...e of a kind wearable art. I am inspired by a myriad of experiences. I grew up in Cambridge, MA surrounded by the sights, sounds and tastes of a rich multi-cultural community all from within a close African-American family. Throughout my career I have traveled extensively both in the United States and around the world. Armed with my camera and journal I collect the stories of fabric created by crafts people. During this year of upheaval due to the Covid-19 pandemic, I have had the opportunity to pause and reflect on my art and think and plan and dream of future projects."Mary Turpin (Studio Narcisse Noir) is a fiber artist specializing in one-of-a-kind hand-felted wearables. She holds Guild membership in the Potomac Fiber Artists Guild and the Pennsylvania Craftsman Guild. She is a permanent juried artist in the Potomac Fiber Arts Gallery in the Torpedo Factory in Alexandria, VA and has participated in numerous gallery showings in Dimensions, Artists and Makers, Gallery 311, Mosaic Gallery and the Minneapolis Textile Center. She has juried into the following fine craft shows: Arena Stage, the American Craft Council (Baltimore, Atlanta, San Francisco) and CraftBoston. She holds a Bachelor of Music degree from Ohio Wesleyan University.
Nora Swan and Sam Stone
"We are a couple of women milliners who met through our kids years ago. We began designing, felting, and blocking together as soon as our hands became toddler-free, and our collabor...ation combines Nora’s mastery of traditional millinery techniques with Sam’s richly textural felt-making prowess. We love dreaming up new hat designs in our Vermont studio and playing dress-up with customers at craft fairs. We love the alchemy that happens when the right person puts on just the right hat and presto, their personality comes into vivid focus. The beautiful Vermont landscape also deeply influences our designs, and we trim many of our hats with locally found or grown objects (metal, roots, feathers, and vintage fabrics). Our hats begin in the hills of Vermont, but transcend their rustic roots in style and artistry, and have travelled the world over."Nora Swan trained in Millinery Design at the Fashion Institute of Technology and made hats in New York for fashion and theater before returning to Vermont to raise her son. Samantha Stone also came to Vermont from New York to raise her children, and quickly fell in love with felting the wool she grows on her small farm. Together they make hats that range in style from classical to avant garde, always with a strict eye on wearability and craftsmanship. Swan&Stone hats are wonderfully flattering, and their wide stylistic range means you can find the perfect look for your personality, mood, and season. They invite you to discover the charisma and subtle power of wearing a truly great hat!
"My work is constructed from recycled textiles, clothing, ceramics, and household items: materials that have former functions and associations. I source many of these supplies from ...my own life, and the lives of my friends and family, to build compound sculptural forms. I sew by hand and work intuitively, allowing the forms to grow organically into complex aggregates of color, pattern, and texture. I know my materials from their previous lives and functions, and this memory and intimacy dictates my visual language."Hanna Washburn was born in Boston, MA, and currently lives and works in Beacon, NY. She received her MFA in Fine Art from the School of Visual Arts in 2018, and her BA in Fine Art and English Literature from Kenyon College in 2014. Washburn has exhibited with Sotheby’s Institute of Art (New York, NY), The Affordable Art Fair (New York, NY), Rice University (Houston, TX), Chashama (New York, NY), Russell Sage College (Albany, NY) and the Munson Williams Proctor Art Institute (Utica, NY). She has held residences at Monson Arts (2020), Vermont Studio Center (2019), the Society of Arts + Crafts in Boston (2019), the Textile Arts Center (2018), and the Woodstock Byrdcliffe Colony (2018).
"This new series of patchwork assemblies grew from a chapter of transition and exploration. The pieces are a combination of precise sewing, intuitive color work, and the freedom of ...the irregular raw edge. More than anything, they represent the pure pleasure of putting colors together."Erin Wilson is a textile artist based in New York City. She’s had solo quilt exhibitions in NYC and Japan and has been a regular at fine craft shows for the past 15 years. In addition to quilt making, Erin makes custom goods for interior designers, has worked in puppet fabrication and military combat apparel sample-making, and built a house in Brooklyn. She earned her BFA in dance from The Juilliard School and performed for many years before trading the stage for a sewing machine.