fiber artists catalog
DESCRIPTION
Este es un catálogo que presenta a varios artistas de la fibra textil. AG Artextil -Alejandra Gutiérrez - lo comparte con los artistas que participarán en la VII Bienal Internacional WTA–Colombia 2014, con el fin de que aprovechen esta información en su investigación personal.TRANSCRIPT
7/16/2019 Fiber Artists Catalog
http://slidepdf.com/reader/full/fiber-artists-catalog 1/52
Crossing Maintaining Boundaries T r aditions
Teaching Artists
of the Southeast
7/16/2019 Fiber Artists Catalog
http://slidepdf.com/reader/full/fiber-artists-catalog 2/52
Crossing Boundaries Maintaining Traditions
Teaching Artists
of the Southeast
Curated for the Center for Craft, Creativity and Design
by Catharine Ellis and the Southeast Fibers Educators Association
Exhibition Venues
Center for Craft, Creativity and Design, Hendersonville, NC Aug. 9–Oct. 29, 2005
The 1912 Gallery, Emory & Henry College, Emory, VA
Jan. 17–Feb. 24, 2006
Art Gallery, Meredith College, Raleigh, NC
Aug. 1–27, 2006
Catherine J. Smith Gallery, Appalachian State University, Boone, NC
Sept. 11–Oct. 24, 2006
Fine Art Museum, Western Carolina University, Cullowhee, NC
Nov. 1–Dec. 15, 2006
7/16/2019 Fiber Artists Catalog
http://slidepdf.com/reader/full/fiber-artists-catalog 3/52
Teaching Artists
of the Southeast
Mary Babcock
Jeanne Whiteld Brady
Susan Brandeis
Pip Brant
Cayewah Easley
Candace EdgerleyCatharine Ellis
John David Hawthorne
Susan Iverson
Jeana Eve Klein
Bethanne Knudson
Carol Lebaron
Patricia Mink
Vita Plume
Junco Sato Pollack
Jennifer Sargent
Georgia M. Springer
Janet Taylor
Christi Teasley Jan-Ru Wan
LM Wood
Christine L. Zoller
7/16/2019 Fiber Artists Catalog
http://slidepdf.com/reader/full/fiber-artists-catalog 4/52
For ancient peoples, textiles meant survival: shing nets, ropes, baskets, shelters, and
clothing. Textiles predated the arts of ceramics and metallurgy and were highly developed
before man could write. For over 10,000 years humans have made textiles for everyday use
and ritual, for status and protection, for work and adornment, for money and pure delight.
Initially, we respond to their lively decoration, their touch, and their protective comfort. If we
stop to look more carefully, however, we can be moved deeply by their ability to embody
meaning and to evoke associations from our own lives.
For thousands of years textiles were made slowly, and entirely by hand with skill, patience
and artistry. Today most of the textiles in our everyday lives are mass-produced at
astonishing speeds and are easily available in cheap abundance. Although the preciousness
of the handmade textile object is still widely acknowledged, the hand making of textiles
in America, once passed down from mothers to daughters, is no longer widely taught in
the home. Beginning soon after World War II, that responsibility shifted to the many new
programs established in colleges and universities across the country. Some programs
started and remained in home economics departments, but by the end of the 1960’s, many
state universities included textiles—along with ceramics, metalsmithing, and woodworking—
in their art departments. But, inclusion in the academic setting did not necessarily guarantee
universal acceptance. For decades, textile artist/educators have worked with dedication and
persistence to wrest the medium from its simultaneous denigration as “women’s work” and
“craft” and to secure its deserved equality with other visual arts.
Across the country, in all types of academic settings, teaching ber artists demonstrate an
unswerving commitment to the preservation of the ancient hand techniques, and an equally
courageous embrace of new tools, new chemistry, and digital technologies. While they
maintain and pass on the traditional techniques, they also cross boundaries of concept,
material, and technique—the inspiration for the title of this exhibition.
Armed with the skills and sensitivities of a good textile arts education, an individual can
choose many paths along a “creative continuum” that includes the studio artist, the studio
craftsperson, the production craftsperson, the free-lance designer, the entrepreneur, and
the on-staff designer working in industry. Each choice is valuable to society and provides
creative challenges worth embracing. With knowledge about yarn, cloth, structure, color,
pattern, and dyes, each will bring into being objects of use, beauty, and/or meaning. The
expertise and accomplishments of the artists in this exhibition span the full range of this
creative continuum.
The making of “textile art” (also referred to as “ber art” or “art fabric”)—objects that
are intentionally nonfunctional and that embrace ne art concepts as well as material
considerations—is largely a phenomenon of the 20th century. Its roots reach to the Arts and
Crafts movement in the 19th century and the legacies of important craft schools like the
Bauhaus in Germany, and Black Mountain School in North Carolina. Its practitioners drawon inuences from traditional European tapestry, American quilt making, and important 20th
century Western movements in the visual arts such as Abstract Expressionism, Minimalism,
Decorative Art and Conceptual Art.
The great themes of mid-20th century textile art—large scale, three-dimensional form,
natural materials, and strong but minimal color palettes—established the medium in the
visual arts alongside painting and sculpture, and began to break down the barriers between
the ne arts and crafts. Since the 1950’s, the textile arts have evolved to embrace a wider
range of expressions and to allow artists to address more intimate themes; to tell stories; to
express ironies; and to shock, provoke, denounce, or delight.
The work produced today takes many forms ranging from large hangings for the wall to
miniature works; freestanding sculptures to site-specic works; performance pieces to
Crossing Maintaining Boundaries T raditions
2 Cssing Bundies
7/16/2019 Fiber Artists Catalog
http://slidepdf.com/reader/full/fiber-artists-catalog 5/52
Susn Bndeis
Professor of Art and Design
Director of Graduate Programs,
Art and Design, College of Design
North Carolina State University
Raleigh, NC
installations; and wearable art to functional clothing. To express their ideas, many textile
artists now deliberately embrace the traditional aspects of textiles which once branded the
medium as “women’s work” and which the previous generation therefore sought to avoid:
color, pattern, texture, structure, and even decoration. This development signals a collective
maturing in the discipline and a condence in its stature and acceptance in the art world.
Many mid-career textile artists working today were rst drawn to the medium by the slow,
meditative, and repeated hand motions in weaving, dyeing, printing, painting, and stitching,or because they craved the feel of the materials in their hands. In the late 20th century
this way of making came face-to-face with the computer age. The “collision” raised many
important issues about the nature of textile making and was accompanied by waves of both
enthusiasm and resistance.
Some artists continue to explore the potential of handmade textiles, achieving increasingly
greater sophistication, elegance, and artistic control in their work. Many have leaped
wholeheartedly into complete digital production, exploring the potential of a new realm
of image possibilities. With curiosity, reection, experimentation, and careful evaluation,
others have “seam”lessly (pun intended at the reader’s option) integrated the new digital
technologies into their work alongside the hand technologies. In the new century, digital
technology has spawned many new types of images not previously possible in hand made
textiles, thus expanding the visual vocabulary of the medium. Using the computer, both
surface designers and weavers can easily manipulate their original source images in size,scale, color, and structure, and, if the artist desires, the nished works may display more
complex color palettes; layered and blended images; and a renewed interest in the ability of
cloth to incorporate photography—as evidenced by many of the works in this exhibition.
One of the realities of teaching the textiles arts is that the programs are usually small,
typically a single professor and students. Most textile art faculty therefore work alone in their
medium, surrounded by groups of painters, sculptors, or other visual artists or designers
who may not understand it (or wish to). The result is that these teaching artists rarely have
professional peers in their immediate geographical area. Ironically, just when work in the
medium has grown so robust and mature, college-level textile arts programs themselves,
always small in enrollment and faculty, are also shrinking in number. A teacher’s retirement
often results in the loss of the single bers faculty position, the selling off of equipment,
the shutdown of the program, and the distribution of its budget to larger and more
bureaucratically powerful programs. Seeing a need to combat our common isolation andto “network” for our mutual survival, in 2001 I contacted all of the teaching textile artists
known to me in the Southeast region, and organized a meeting at Penland School of Crafts
to discuss forming a loose alliance that would allow us to share our work; to talk about our
teaching successes, challenges and solutions; to strengthen our programs by exchanging
knowledge and strategies; to demonstrate the collective strength of our accomplishments;
and, most importantly, to create a kind of collegiality we found missing in our own
schools. To my delight, that group has grown steadily larger and now enthusiastically
gathers each October to laugh; to gripe good-naturedly; to share new artwork; to exchange
instructional projects and tactics for working the academic “system” on behalf of our small
programs; to celebrate; and to grow.
Each artist in this exhibition teaches the textile arts in a college, university, or art school
setting in the Southeast, offering instruction in everything from the ancient arts of hand
weaving, dyeing, printing, and stitching cloth, to explorations in digital technology, mixedmedia, and space age materials. In both the classroom and the studio, these teaching
artists synthesize ideas from diverse inuences and push the boundaries of traditional
materials and techniques as they explore widely diverse concepts ranging from the intimate
to the cosmic. Despite the relative insecurity of the current academic atmosphere, this
group of teaching artists collectively demonstrates the strength, integrity, vitality, and creative
energy alive in the medium today. The works in this exhibition reveal imagination; openness
to challenge; embrace of both the traditional and the new technologies; commitment to
standards of excellence; and a great and abiding joy in the making. The Southeast Fibers
Educators Association and the exhibition organizers hope that you will enjoy this glimpse of
the variety, sensitivity, creativity, skill and intelligence of these teachers guiding tomorrow’s
textile artists.
Mintining Tditins 3
7/16/2019 Fiber Artists Catalog
http://slidepdf.com/reader/full/fiber-artists-catalog 6/52
Mary BaBCoCk
EDUCaTIoN 2002 MFA Studio Art, University of Arizona l 1996 BFA Painting University of
Oregon,1988 MA/PhD Psychology, University of Pennsylvania l 1985 BA Psychology, Cornell University
SELECTED oNE- & TWo-PErSoN EXHIBITIoNS 2004 Circumspect , The Jones House, Boone,
NC l 2003 Dirty Laundry , performance and installation, The Wedge Gallery, Asheville, NC l _____.,
installation and CD, Printmaker’s Gallery, Kansas City Art Institute, Kansas City, MO l 2001 Residue—in
two acts, collaborative installation, Lionel Rombach Gallery, Tucson, AZ l Coming to Terms, Central
Arts Collective, Tucson, AZ SELECTED GroUP EXHIBITIoNS 2004 The Fifth International Biennial
on Contemporary Textile Art ( cd), Kherson, Ukraine, juror: Ludmila Egorova l 2004 American Gourmet,
Appalachian State University Faculty Show, Catherine J. Smith Gallery, Boone, NC l 2004 13th North
American Sculpture Exhibition, Foothills Art Center, Golden, CO, juror: James Surls l 2003 Art in
Craft; Craft in Art: The 3rd Cheongju International Craft Competition and Biennale, Cheongju Arts
Center, Cheongju-city, Korea, jurors: Oh, Won Tack, Eun, Byung Soo l 2003 Wrapped in Cloth: The
Human Figure in Textiles, Tubac Center of the Arts, Tubac, AZ, juror: Julie Sasse, Tucson Museum of
Art; awarded special recognition l 2002 The Fifth Annual International Festival of Tapestry and Fiber
Art (catalogue), Beauvais, France, juror: Denise Bigot l 2001 The Breath of Nature: The Cheongju
International Craft Competition and Biennale, Cheongju Arts Center, Cheongju-city, Korea, ber
jurors: Sheila Hicks, Kim Le-na, Lin Le-cheng l 2001 ArtCultureNature, Coconino Center for the Arts,
Flagstaff, AZ, jurors: Shawn Skabelund, Alan Petersen CoLLaBoraTIoNS 2005 “Double Agency”
at Convergence: installation/performance with Christopher Curtin, Project CREO, St. Petersburg, FL
l 2004 “Converse” at Conversations with the Contemporary Figure: installation with Kerry Phillips,
Eyedrum Art and Music Gallery, Atlanta, GA, curator: Danielle Roney l 2003 “____” at Couplets (CD):
Artist/poet collaboration with poet Steve Burt, The Writer’s Place, Kansas City, MO l 2002 “Isoline” at
in response…with Kerry Phillips, The Red Gallery, Savannah, GA, juror: Robin Cembalest of ARTnews
l 2001 Five Wily Muses: Subverting the Prevailing Paradigm (collaborative installation), Tucson Pima
Arts Council, Tucson, AZ SELECTED PUBLICaTIoNS Surface Design Journal, Summer 2005 l
Interview by Patricia Malarcher, Fiberarts Design Book 7 , 2004 l 22nd North American Sculpture
Exhibition catalog , Foothills Art Center, Golden, CO, 2003 l Art in Craft; Craft in Art: The 3rd Cheongju
International Craft Competition and Biennale catalog , Cheongju Arts Center, Cheongju-city, Korea, 2003
l Jours de l’Oise, Beauvais, France, September 2002 l “Beauvais, capitale de al Tapisserie” The Breath
of Nature: The 3rd Cheongju International Craft Competition and Biennale catalog , Cheongju Arts
Center, Cheongju-city, Korea, 2001 SIGNIFICaNT aWarDS 2004 HR Meininger Company Award,
22nd North American Sculpture Exhibition, Foothills Art Center, Golden, CO l 2003 Richard T. Barker
Award for Outstanding Creative and Scholarly Achievement, Appalachian State University, Boone, NC
l 2003 Special Citation in Mixed Media, 3rd Cheongju International Craft Competition and Biennale,
Cheongju Arts Center, Cheongju-city, Korea l 2001 Silver Award in Fibers, 2nd Cheongju International
Craft Competition and Biennale, Cheongju Arts Center, Cheongju-city, Korea SIGNIFICaNT GraNTS
2005 Professional Development Grant, Surface Design Association, Sebastapol, CA l 2003 University
Research Council Grant, Appalachian State University, Boone, NC l 2002 University Research Council
Grant, Appalachian State University, Boone, NC l 2002 Amazon Foundation Grant, Tucson, AZ l
2000-02 Jacob K. Javits Fellowship, U.S. Department of Education, Washington, DC l 1986-88
National Science Foundation Fellowship, National Science Foundation, Washington, DC SELECTED
CoLLECTIoNS Department of Arid Lands Studies, University of Arizona, Tucson, AZ l Savannah
College of Art and Design, Savannah, GA
Mary Babcoc
Teachings on Love, 2005
hand-embellished antiqu
wedding dress, deta
M Bbcc is assistnt Pfess/Fibes ae Hed in the Deptment f at t
applchin Stte Univesit in Bne, NC.
My work is principally concerned with
unifying two characteristically divergent
paradigms of art-making: art as beauty and
art as social criticism. The content focuses
jointly on the potential for and blocks to
human understanding at both international
and interpersonal levels.
In the 2004 presidential election, I watcheda nation engaged in a devastating war
purportedly based on the ideals of
democracy and freedom, vote—state by
state—to ban the “sacred” union between
thousands of individuals who against all
odds remain in love and deeply committed
to one another. This defense against the
“gay agenda” played a more important
role in American politics than issues of
economics or international policy. In fact,
most statistics reveal that nearly half of
American heterosexual marriages heretically
break the sacred bond and end in divorce.
And the sanctimonious “red” states have a
divorce rate 27% higher than “blue” states.
Makes you wonder… What is the anxiety
here? Why does my love make you so
nervous and scared?
The title of this piece, Teachings on Love,
is borrowed from a book of the same name
by Thich Nhat Hanh, Zen master, political
exile, poet and peacemaker. He quotes
Nagarjuna, a second century Buddhist
philosopher: Practicing the Immeasurable
Mind of Love extinguishes anger in the
hearts of living beings. Practicing the
Immeasurable Mind of Compassion
extinguishes all sorrows and anxieties…
detail
7/16/2019 Fiber Artists Catalog
http://slidepdf.com/reader/full/fiber-artists-catalog 7/52
FPO
Mintining Tditins 5
7/16/2019 Fiber Artists Catalog
http://slidepdf.com/reader/full/fiber-artists-catalog 8/52
EDUCaTIoN 1996 MFA Surface & Textile Design, East Carolina University l 1977 BFA Printmaking/
Drawin, East Carolina University SELECTED INTErNaTIoNaL EXHIBITIoNS 2004 Fiberart
International-Biennial Exhibition of Contemporary Fiberart, Pittsburgh, PA, jurors: David McFadden,
Sarah Quinton, and Barbara Lee Smith, on tour at the Museum of Art & Design, NYC and the Bellevue
Museum, Seattle, Washington l 2002 Migraine, solo exhibition of mixed media drawings centered
on the theme of children and migraines, in conjunction with the Fifth International Symposium on
Headaches in Children and Adolescents, Oberhausen, Germany l 1999 Pain and the Art of Healing,
curator and exhibitor: Praterinsel, Munich, Germany l 1998 American Landscapes, solo exhibition,
Dusseldorf, Germany l 1997 East Meets West, invitational exhibition, Oberhausen, Germany l 1996
International Kimono Exhibition, jurors: Jason Pollen & Susan Brandeis, Tampa, FL, rst place l 1996
International Iron ‘96, invitational exhibition, TaIllnn Art University, Tallinn, Estonia l 1994 Sammas Galerii
invitational exhibition, Tallinn, Estonia l 1994 1st Annual Invitational , Oberhausen, Germany SELECTED
NaTIoNaL EXHIBITIoNS 2004 Tennessee Masterworks 2004, invitational, Madison Art Center,
juror: Craig Nutt l 2004 Best of Tennessee Craft, TACA 2004 Biennial, Tennessee State Museum,
Nashville, TN, juror: Toni Sikes; honorable mention award l 2004 As I See Myself, An Exhibition of
Autobiographical Art, invitational, Kentucky Museum of Arts & Design, Louisville, KY l 2004 38th
Mid-States Craft Exhibition, Evansville Museum of Arts, History & Science l 2003 Fiber Focus 2003,
Art St. Louis Gallery, St. Louis, MO, juror: Junco Sato Pollack l 2003 Cross-Sections: Processes and
Materials, bers invitational, East Tennessee State University Slocumb Galleries, curator: Carol LeBaron
l 2003 Personal Vision: Artist Made Paper and Books Invitational, St. Andrew’s-Sewanee Gallery,
curator: Claudia Lee l 2002 The Best of Tennessee, Hunter Museum of Art, Chattanooga, TN, juror:
Bruce Pepich l 2002 Handcrafted: A Juried Exhibition of Ceramics, Fiber, Glass, Metal, Wood, Rocky
Mount Arts Center, NC, juror: Ron Meyers l 2001 Fiber Focus 2001, Art St. Louis Gallery, St. Louis,
MO, juror: Laurel Reuter l 2001 Baskets, Beads, and Fiber Invitational , Indiana University Southeast
l 2000 American Journeys Solo Exhibition, Appalachian Center for Crafts, Smithville, TN l 2000 The
Artist and the Journal: Processing, Recording, Re-visiting Invitational, Appalachian Center for Crafts l
2000 East Meets West Invitational, High Desert Gallery, Flagstaff, AR SIGNIFICaNT aWarDS 2004
Honorable Mention, Best of Tennessee Crafts, juror: Toni Sikes l 2001 Award of Excellence, Fiber Focus
2001 National Juried Textiles Exhibition, St. Louis, MO, juror: Laurel Reuter l 1998 Textiles, CAA ‘98,
juror: Jerry Jackson, second place l International Kimono Exhibition, Tampa FL, jurors: Jason Pollen,
Susan Brandeis, rst place PUBLICaTIoNS Fiberart International-Biennial Exhibition of Contemporary
Fiberart, exhibition catalog 2004 l Fiberarts Design Book 7, Lark Books, 2004 l Southern Living, August
2003 l Surface Design Journal , 25th anniversary issue, 2002 l The Art and Craft of Handmade Books,
Shereen LaPlantz, ed., 2001 l Papermaking. Beautiful Papers & Projects to Make in a Weekend,
contributing chapter on handmade paper lanterns, Claudia Lee, ed., 2001 l American Craft, February/
March 1998 SELECTED CorPoraTE CoLLECTIoNS Evangelical Hospital Children’s Clinic,
Oberhausen, Germany l Boddie-Noell Enterprises, Rocky Mount, NC l R.J. Reynolds Corporation,
Atlanta, GA l East Carolina University, Greenville, NC l Miami-Dade Community College, Miami, FL
T he ber pieces in this exhibit are part of
a body of work that represents an ongoing
visual journal of my travels throughout the
North American continent. My American
ancestry is not uncommon. I am a direct
descendent of that restless journey West.
“Roots” is a foreign concept to me. I havepassed through this land, and over it; rarely
have I lived in it, and only briey lived off it.
It is that ever-increasing desire to be, to feel,
rooted in this land that creates the desire to
make these images manifest.
Fabric is a natural choice for me. It is woven
of nature. It offers a surface upon which
to root ones’ self yet is changeable, not
unlike the landscape. All fabric I hand dye,
choosing colors I remember from a walk
in the woods, the wind blowing across the
grasses of the prairie, the rivers and lakes
I live near in Tennessee, and oceans I havevisited. The motifs are synthesized elements
of the landscape. Geology attracts me, the
external view and the internal structure,
the large scale and the microscopic, the
dynamic and the subtle. Only recently have
I settled down, nally content to be in one
place and grow a few “roots.” I’m curious to
discover how this will affect the landscape
of my future creative endeavors.
JEaNNE WHITFIELD BraDy
Jeanne Whiteld Brady is Associate Professor of Fiber, Head of Fiber Arts Department at the
applchin Cente f Cfts in Smithville, TN.
Jeanne Whiteld Brady
Listening for the Words Beneath the Water , 2005
ber, hand-dyed and printed silks
(shantung, habotai
26"w x 72"h
detail
6 Cssing Bundies
7/16/2019 Fiber Artists Catalog
http://slidepdf.com/reader/full/fiber-artists-catalog 9/52 Mintining Tditins 7
7/16/2019 Fiber Artists Catalog
http://slidepdf.com/reader/full/fiber-artists-catalog 10/52
M aking a textile is magic. My early life
experiences planted seeds, now grown into
my passion for making textiles by hand,
and my understanding of the powerful
combination of materials, techniques, skill,
craft, imagination and spirit.
I make textiles because I love the rhythm
of repetition and pattern, complex color
contrasts, textured relief surfaces, and the
feel of the materials in my hand. I savor the
slow meditation of making as an antidote to
life’s rush and bustle. I choose simple, naturalmaterials for their honest liveliness. I avoid
trends to search for an enduring aesthetic.
While the ideas are mine, the work is not
about me. I prefer images and concepts that
transcend the personal to touch universal
human themes. Fabric work is as natural
for me as breathing, and its expressions
a “language” often more eloquent than
speech. For 25 years, I have used nature and
natural phenomena as the subject matter
for my work, developing dyeing, printing,
piecing, weaving and stitching techniques
to construct complex relief surfaces. The
works have evolved from grand viewsand generalized effects, to the power and
uniqueness of more specic places and
moments in time; from exuberance and
celebration, to elegance and poetry. Both my
sources of inspiration and the images I make
have become more intimate, more heartfelt,
more quiet and reective.
I use the contrast of panels in a single piece
to allow the viewer multiple simultaneous
glimpses: close views next to distant ones,
views toward the horizon or from above—
mimicking the way we see our surroundings.
We look to the distance, we look at what is
close to us, we turn, we change focus, oureyes move about because we cannot take in
everything at once. I use multiple works in a
series to speak more comprehensively about
the experience of a special place.
My approach allows incorporation of a wide
variety of textile techniques and materials,
now including digital printing. Each piece I
make requires different technologies—many
hand, but some computer. The balance
among them makes my current working
process satisfying—and magical.
EDUCaTIoN 1982 MFA Textile Design/Fiber Art, University of Kansas l 1979 MS in Art Education,
Indiana University l 1971 BA Indiana University SELECTED EXHIBITIoNS 2005 Hypertextiles,
Bloomington, IN l 2005 Recursions: Material Expressions of Zeros and Ones, Atlanta, GA l 2004 NC
Craft 04: A Celebration of Penland’s 75th Anniversary, Greenville, NC l 2004 Convergence/Divergence:
Split Rock Artists at the Goldstein, St. Paul, MN l 2004 Alchemy: Transforming Material, Technique,
and Idea, Penland, NC l 2004 NCAC Fellowship Recipients Exhibition, Charlotte, NC l 2004 Fabulous
Fibers, Isabella Cannon Gallery, Elon University, Elon, NC l 2003 Cross Sections: Process and Materials
East Tennessee State University, Johnson City, TN l 2003 Robert V. FulIei toil Museum, California StateUniversity, San Bernardino, CA l 2002 Technology as Catalyst: Textile Artists on the Cutting Edge, The
Textile Museum, Washington, DC, Gallery of Art and Design, North Carolina State University, Raleigh, N
l 2001 Cheongju International Craft Competition, Cheongju, Korea, honorable mention l 1999—2001
Perpetua: Images of Place, Portland and McMinnville, OR; Raleigh, NC l 2000 The Contemplative Stitch
Kansas City, MO l 2000 ReFormations: New Forms from Ancient Techniques, Portsmouth, Glen Allen,
and Farmville, VA; Smithville, TN l 1999 Taide—Kasityo—Taide: Art and Craft from North Carolina, USA,
National Craft Museum, Helsinki, Finland l 1999 Susan Brandeis: Fiber Works, Duke University School o
Law, Durham, NC l 1998 Fiber as a Medium in Contemporary Southern Art, Atlanta, GA l 1998 Throug
Women’s Eyes, By Women’s Hands, University of North Carolina, Chapel Hill, NC l 1997—1998 North
Carolina Arts Council Visual Artist Fellowship Exhibition SIGNIFICaNT aWarDS 2002-2003, 1996-
1997 and 1991-1992 State of North Carolina, Dept. of Cultural Resources, North Carolina Arts Council
Visual Artist Fellowship l 1997 NCSU School of Design nominee for Distinguished Alumni Undergraduat
Professor l 1994 Outstanding Teacher, North Carolina State University School of Design SELECTED
PUBLICaTIoNS “Post Digital Textiles: Rediscovering the Hand,” (author) Surface Design Journal, Summer 2004 l Fiberarts Design Book 7 , Lark Books, 2004; Design Book 6, Lark Books, 1999; Design
Book 5, Lark Books, 1995; Design Book 4, Lark Books, 1991; Design Book 3 Lark Books, 1987; Desig
Book 1, Hastings House, 1980 l Embroidery, Great Britain, July 2002 l Surface Design Journal , Winter
2003; Winter 2001 PUBLIC & CorPoraTE CoLLECTIoNS Bank of America, Charlotte Gateway
Village, Charlotte, NC l Bell Northern Research, Research Triangle Park, NC l Central Carolina Bank,
Cary, NC l The Lucy Daniels Foundation, Cary, NC l Embassy Suites Hotel, Syracuse/DeWitt, NY l Erns
& Whinney, Washington, DC l Glaxo Inc., Research Triangle Park, NC l Helikon Division of Herman Mille
Sanford, NC l IBM, Research Triangle Park, NC l Kaiser Permanente, Durham, NC l North Carolina
State University, Raleigh, NC l Omni Hotel, Durham, NC l Renwick Gallery, Smithsonian American
Art Museum, Washington, DC l Southland Corporation, Dallas, TX l City of Toyama, Japan l United
Parcel Service Headquarters, Atlanta, GA l University of North Carolina School of Law, Chapel Hill,
NC l Wachovia Bank, Winston-Salem, NC l Washington State Arts Commission, for public school art
purchases l White House Christmas Tree Ornament Collection, Washington, DC l White House Easter
Egg Collection, Washington, DC
SUSaN BraNDEIS
Susn Bndeis is Pfess f at nd Design, Cdint f the Fibes nd Sufce Design
cuiculum nd Diect f at nd Design Gdute Pgms t Nth Clin Stte
Univesit in rleigh, NC.
Susan Brandei
Succulence, 2005
digitally printed, hand- and machine
embroidered and beaded
cotton and silk, glass bead
79"w x 39"
photo by Susan Brande
detail
8 Cssing Bundies
7/16/2019 Fiber Artists Catalog
http://slidepdf.com/reader/full/fiber-artists-catalog 11/52 Mintining Tditins 9
7/16/2019 Fiber Artists Catalog
http://slidepdf.com/reader/full/fiber-artists-catalog 12/52
Pip Bran
Environmental Liberation Front, 2004
found cloth, dyed, silk screen, embroider
57"w x 72"
T his work re-contextualizes news reports
and morality debates concerning topics
such as abuse of authority and economic
strategies as possible sources for terrorism.
The juxtaposition of nostalgic and
sentimentally loaded 50’s tablecloths
and dyed appropriated imagery countersthe original purpose of a blanket or
decorative tablecloth that once covered
a festive table surrounded by a well-
behaved, tightly dened, American family.
The depiction of public tragedy on these
domestic pieces of cloth, once used to
shelter a piece of furniture used to feed
a basic human clan, is converted into a
narrative that seeks to relocate states
of social disarray. These tablecloths can
resume their original postures and once
again cover tables, but instead of providing
somnambulist visual muzak for the dinner
guest, they will be invited to consider thesocial implications of issues normally swept
under the table. Potential dinner guests will
be left to question as to what will be
served.
PIP BraNT
EDUCaTIoN 1992 MFA, University of Wyoming, Laramie, WY l 1976 BFA , University Of Montana,
Missoula, MT l 1996-97 Performance, Set and Costume Design, Barnet College SoLo EXHIBITIoNS
2006 Tabled Reports, University Of Wyoming Art Museum, Laramie, WY l 2005 Undomesticated,
William Blizzard Gallery, Springeld College, Springeld, MA l 2004 Wear and Tear, Lawrence Hall
Gallery, Rosemont College, Rosemont, PA l 2003 Tabled Reports, The Art Gallery, Broward Community
College, South Campus, Pembroke Pines, FL l 2001 Twistedtwosome, Hollywood Art and Culture
Center, Hollywood, FL l 2000 Agrarian Ballads, Florida International University Museum, Miami, FL l
2000 Urbanrefusenik, Interactive Performance, Tessie Franzblau Gallery, North Miami, FL l 2000 StemCell Menu, installation, Tessie Franzblau Gallery, North Miami, FL l 1999 Hose Hairdo, winner of Ft.
Lauderdale Art Museum Folly Design, Ft. Lauderdale, FL l 1999 Paint/Print, Truman State University
Gallery, Kirksville, MO l 1997 Prosty Postcards, Leichester Square And Charing Cross Phone Booth
Installation, London, Great Britain SELECTED GroUP EXHIBITIoNS 2005 Domesticity, Fort Collins
Museum of Contemporary Art, Fort Collins, CO l 2004 Omni, Art Basel, Miami, FL l 2004 Miami Now,
World Arts Building, Miami, FL l 2004 T ransgressing Boundaries, Surreal Saturday, Subtropics, Pet-O-
Rama, Ps742, Miami, FL, curator: Elizabeth Cerejido l 2004 The Last Show, The House, invitational,
Miami, FL l 2004 Against The Law, Artists Rewrite The Books, Bernice Steinbaum Gallery, Miami, FL
l 2003 Singular Impressions, invitational, Western Wyoming Community College Art Gallery, Rock
Springs, WY l 2003 Turning Pages: Celebrating South Florida Artist-Made Books, Centre Gallery,
Wolfson Campus, Miami, FL l 2003 Secac and Tri-State 2003 Members Exhibition, Gallery of Art And
Design, Raleigh, NC l 2003 Florida Cultural Consortium Fellowship Curated Exhibition, Palm Beach
Institute Of Contemporary Art, Lake Worth, FL l 2003 Hungarian Multicultural Exchange Residency
Exhibition, Vizivarosi Gallery, Budapest, Hungary l 2002 Artist’s September 11 Response Show, Pelham Art Center, NY l 2002 An Intuitive Edge, Patricia Carlisle Gallery, “Shit Heads,” Sante Fe,
NM l 2002 Artists Books 2002, Cuesta College, Fine Arts Department, San Luis Obispo, CA l 2002
Fiberworks!, Mary Ann Wolf Gallery, Miami, FL l 2002 Women in Textile Art, International Biennial 2002,
Coral Gables, FL l 2001 Unafliated Basel Juried Exhibition, Miami, FL l 2001 Fly By Night, Fibers,
Hollywood, FL l 2001 Artist’s Books, Beines Center, Fort Lauderdale, FL l 2000 Flirting With Stability,
Kate Kretz, Duane Brant, Pip Brant, Glass Gallery, Pembroke, FL l 2000 Hortt, Fort Lauderdale Art
Museum, Fort Lauderdale, FL l 2000 Artists from Ucross, University of Wyoming Art Museum, Laramie,
WY aCaDEMIC HoNorS, aWarDS & rESIDENCIES 2003 South Florida Cultural Consortium
Fellowship for Visual and Media Arts, (ber project award, jurors: (regional) Bonnie Clearwater, Don
Chauncey, Wendy Blazier, Corky Irick, Jorge Santis, (national) Valerie Cassel, Jeffrey Grove, Michael
Lumpkin, Maria Christina Villasenor, Olga Viso, Miami, FL l 2003 Jentel Residency, Research Little
Bighorn Battleeld/Fetterman Battleeld, Banner, WY l 2002 Hungarian Multicultural Artist Exchange
Residency, Balatonfured, Hungary l 2001 Visiting Professor for Graduate Painting, University of South
Florida, Tampa, FL l 1995 Fulbright Exchange In London, Partner, Research in Set And CostumeDesign CoLLECTIoNS Ucross Foundation, Clearmont, WY l Ft. Peck Museum, Poplar, MN l
Sublette County Library, Pinedale, WY l Peoria Art Guild, Peoria, IL l Richard Rideout, Cheyenne, WY l
Rocksprings Community Art Center, Rock Springs, WY l Wyoming State Art Museum, Cheyenne, WY
l Neltje, Banner, WY l Anne Evans, London, England l Mary Hawkins Harden, Kansas City, MO l Fort
Lauderdale Art Museum, Fort Lauderdale, FL l Jill And Allen Greenwald, Coral Gables, FL
Pip Bnt is asscite Pfess t Flid Intentinl Univesit in Mimi, FL.
detail
10 Cssing Bundies
7/16/2019 Fiber Artists Catalog
http://slidepdf.com/reader/full/fiber-artists-catalog 13/52 Mintining Tditins 11
7/16/2019 Fiber Artists Catalog
http://slidepdf.com/reader/full/fiber-artists-catalog 14/52
EDUCaTIoN MFA Fiber, Cranbrook Academy of Art, Bloomeld Hills, MI l BS Environmental Design,
University of California Davis, Davis, CA (emphasis in Textile Arts) SELECTED EXHIBITIoNS 2005
on the bias, Starland Center of Contemporary Art, Savannah, GA l 2005 Palpable, Starland Center
of Contemporary Art, Savannah, GA l 2005 Cranbrook in Atlanta, Krause Gallery, Atlanta, GA l 2003
Making Our Mark, Red Gallery, Savannah, GA l 2002 Fiber Celebration, Lincoln Center, Fort Collins, CO
l Meditation and the Creative Arts, Diego River Gallery, San Francisco, CA l 1997 Zozobra: Obras en
Fibre de Cayewah Easley, X Galeria de Arte, Valdivia, Chile l 1995 New Work from Cranbrook, J. Wilson
Center Gallery, Washington, DC l Intersections/Interstices: A Collaborative Project in Pontiac, Pontiac,
MI PUBLICaTIoNS Architecture of Fear , Nan Ellin, ed., Princeton Architectural Press, New York, NY,
CayEWaH EaSLEy
Cewh Esle is Pfess f at, Fibes Deptment t Svnnh Cllege f at nd
Design in Svnnh, Ga.
Cayewah Easle
bees and sheep (blue book), 200
encaustic, wool, cotton threa
12"w x 12"h
deta
Even, and perhaps especially, as a kid, I
had to answer a long string of questions
before I could start any art endeavor. My
father wanted to know my intentions to
make sure I was ready to work. Not only
did I have to sweep and organize the
workspace, but I also had to explain, and
justify, the purpose of the materials, the
content and the end-use. On occasion
I would try to sneak materials or tools inorder to avoid the delay from the seemingly
endless, pointless interrogation so that I
could “enjoy myself.” My father was quick
to catch me, however, and would reward
me with a lesson on the proper use of a
tool, or the importance of a scrap of wood.
I realize now, of course, that my father not
only had incredible experience, integrity and
an understanding of the entire art-making
process but also endless patience and
expectations that challenged me to work
awfully hard. I learned that preparation, and
honesty, saved me time and heartache in
the end. I also learned to work toward abalance between intuitive creating and the
conscious, rigorous inquiry and reection
that pushes work forward in a way that
promotes growth and exchange. I am ever
grateful for those lessons, which I use daily
as a teacher and a maker.
To balance teaching and making is another
endeavor that requires preparation, patience
and honesty. The bees and sheep series
began as a reection on teaching and
learning through the use of two materials
that oppose, and complement, each
other: wool and wax. The molten wax ismethodically applied around the wool and
fused to the layer beneath with a heat
gun. The wool must be protected from
the heat in order not to burn. The size,
quantity, and placement of the wool, in turn,
determine how the wax must be applied
which mediates the quality and texture of
the overall surface. This mediation is the
balance I seek as a maker.
12 Cssing Bundies
7/16/2019 Fiber Artists Catalog
http://slidepdf.com/reader/full/fiber-artists-catalog 15/52
7/16/2019 Fiber Artists Catalog
http://slidepdf.com/reader/full/fiber-artists-catalog 16/52
My current work explores the inherent
qualities of silk organza and the possibilities
presented by using Shibori dye techniques
to color and transform the fabric. Using the
smocking pleater as a tool to create shallow
pleats in the silk, the fabric is drawn up
tightly on threads to create areas between
the pleats which resist the dye. By folding
and creasing the silk as it goes through
the pleater, the precise patterns split anddivide into random patterns and directions.
The cloth that emerges from the dye bath
creates opportunities to cut and piece the
small windows of light and movement which
are then framed by tiny French seams.
Process driven, the possibilities of this
technique and fabric continue to capture
my interests.
EDUCaTIoN 2002-present Continuing Education, Corcoran College of Art + Design l 1967 BS Busi-
ness Education, Northern Illinois University ProFESSIoNaL EXPErIENCE 2002-present, Adjunct
Faculty, Corcoran College of Art + Design, Washington, DC l 2000-present, Instructor, Springwater
Fiber Workshop Inc., Alexandria, VA l 1994-present, Ginkgo Designs by Candace, studio artist produc-
ing hand-dyed silks, cottons and linens for wall pieces and wearables, Alexandria, VA l 1998 Teacher,
(summer program for high school students) Surface design, bookmaking, weaving, basket making,
papermaking and creative lettering, Fairfax County Institute for the Arts, Fairfax, VA l 1997 Visiting Art-
ist, Fairfax County Institute for the Arts, Fairfax, VA GroUP EXHIBITIoNS 2005 Twenty Years of the
Corcoran Print Portfolio, Corcoran Museum, Washington, DC, curated l 2005 Art by the Yard, Spring-
water Fiber Workshop and Del Ray Artisans Gallery l 2005 Taking Flight, Surface Design Association
Fashion Show, Kansas City, MO, juried l 2005 Uncovering the Surface, Surface Design Association’s In
ternational Member Show, Kansas City, MO l 2004 Corcoran College of Art + Design Faculty Exhibition
Corcoran Museum, Washington, DC l 2004 A Tribute to Fiber Art, APEX Gallery, Washington, DC, juried
l 2004 Conceal/Reveal, Del Ray Artisans Gallery and Springwater Fiber Workshop, Alexandria,, VA l
2004 Material World—Contemporary Fiber, Target Gallery, Torpedo Factory Art Center, Alexandria, VA,
juried l 2004 Blues, Corcoran College of Art + Design Print Portfolio, District Fine Arts Gallery, Wash-
ington, DC l 2004 Inn Places Reversed, Reversing Vandalism Exhibit, San Francisco Public Library,
San Francisco, CA l 2003 Up Close and Far Away, Surface Design Association’s International Member
Show, Kansas City, MO l 2003 Circle of Life, Creative Crafts Council, Strathmore Hall, Rockville, MD,
juried l 2002 For the Home, Springwater Fiber Workshop and Del Ray Artisans Gallery, Arlington, VA l
2001 Wearable Art Show, Bay School for the Arts, Matthews, VA l 2000 Potomac Craftsmen Gallery
Exhibition, Ronald Reagan National Airport, Washington, DC l 1999 Fall Fashion Fantasy, Wearable Art
Show, JCCNV Fine Arts Department, Fairfax, VA, Invitational l 1999 Off the Wall and On My Back –
Wearable Art Event, invitational, Embassy of Ecuador, Washington, DC l 1999 Foolin’ with Fashion,
Invitational Wearable Art Fashion Show, Strathmore Hall, Rockville, MD l 1998 Creative Crafts Council
22nd Biennial Exhibition, Strathmore Hall, Rockville, MD, juried l 1998 Fiber Futures-a view from the end
of our millennium, Potomac Craftsmen Guild Biennial Show, Strathmore Hall, Rockville, MD aWarDS
& GraNTS 2005 Faculty Development Grant, Corcoran College of Art + Design, Washington, DC l
2005 Taking Flight, Surface Design Association Fashion Show, Kansas City, MO, Judges Choice Award
l 2004 Conceal/Reveal, Del Ray Artisans Gallery and Springwater Fiber Workshop, Alexandria, VA,
Surface Design Association Award l 2003 Up Close and Far Away, Surface Design Association’s Inter-
national Member Show, Kansas City, MO, award l 2002 Art by the Yard, Springwater Fiber Workshop
and Del Ray Artisans Gallery, Judge’s Choice Award l 2002 Faculty Development Grant, Corcoran
College of Art + Design, Washington, DC l 2002 For the Home, Springwater Fiber Workshop and Del
Ray Artisans Gallery, Arlington, VA, Howard C. Payne Memorial Award for Excellence in the Use of
New Technology l 2001 Wearable Art Show , Bay School for the Arts, Matthews, VA, judges recogni-
tion ProFESSIoNaL SErVICE 2004-present Surface Design Association, Director of Membership,
International Association l 2002-04 Potomac Craftsmen Fiber Gallery, Jury Committee, 1999-01 Board
Chair
CaNDaCE EDGErLEy
Cndce Edgele is n djunct fcult membe in Sufce Design f Textiles t the
Ccn Cllege f at + Design in Wshingtn, DC.
Candace Edgerley
Sidewinder Dawn, 2005
Shibori-dyed silk organza
machine pieced with French seams
39"w x 47"h
detail
14 Cssing Bundies
7/16/2019 Fiber Artists Catalog
http://slidepdf.com/reader/full/fiber-artists-catalog 17/52 Mintining Tditins 15
7/16/2019 Fiber Artists Catalog
http://slidepdf.com/reader/full/fiber-artists-catalog 18/52
EDUCaTIoN 1973 BA, Marymount College, Tarrytown, NY l Penland School of Crafts SELECTED
INVITaTIoNaL EXHIBITIoNS 2005 Shibori Moderne: New Expressions in Traditions, Nagoya,
Japan l 2004 NC Craft 04, Wellington B. Gray Gallery, East Carolina University, Greenville, NC l
2004 Convergence, Divergence, Goldstein Museum of Design, St. Paul, MN l 2004 The Nature of
Craft and the Penland Experience, Mint Museum, Charlotte, NC l 2004 Alchemy, Penland Gallery,
Penland, NC l 2003 Raking Stones: Four Artists Reecting the Japanese Aesthetics, St. Louis, MO
l 2003 Southeastern Fiber Invitational, Blue Spiral Gallery, Asheville, NC l 2002 International Shibori
Symposium, fashion show, Harrogate, England l 2002 Silk Dichotomies, group show, Northhampton,
MA l T 2002 Textiles 2000, group show, Detroit, MI l 2001 Stories of the Landscape, two-person
exhibit, Central Piedmont Community College Art Gallery, Charlotte, NC l 2001 A Legacy of Information
and Inspiration, group show, Penland Gallery, Penland, NC l 2001 Daegu International Textile Design
Exchange Exhibition, Korea l 2000 Six Plus Six, Blue Spiral Gallery, Asheville, NC SELECTED JUrIED
EXHIBITIoNS 2004 Can See for Miles: Yardage. Denver, CO l 2002 Tsunami, yardage exhibition,
Vancouver BC, Canada l 2002 Textile Tides, Vancouver, BC, Canada l 2000 Fiber 2000: Indigo,
Bridging Cultures, Ukrainian Art Center, Chicago, IL l 2000 Measure for Measure, an exhibition of
yardage, Kansas City Art Institute, MO l Yardage, Carnegie Visual Arts Center, Covington, KY aWarDS
Carnegie Grand Prize Winner, Carnegie Yardage Exhibit, Covington, KY l Carnegie Grand Prize Winner,
Virtuoso Yardage Exhibit, Atlanta, GA ProFESSIoNaL EXPErIENCE Professional Craft Fiber
Instructor, Haywood Community College, Clyde, NC l Workshop Instructor, Penland School of Crafts,
Convergence 1998, 2000, 2002 l Coupeville Arts Center, Surface Design Conference 2000, 2003 l
International Shibori Symposium, Harrogate UK 2002 l Tama University Japan 2005
Catharine Elli
Four Hundred Steel Threads, 2005
stainless steel, heat, woven shibo
80"w x 20"h
Cthine Ellis is n instuct in the Pfessinl Cft Fibe Pgm t Hwd
Cmmunit Cllege in Clde, NC.
I have been a weaver for more than 30
years. My original training was in traditional
woven techniques, which led me to weave
functional fabrics in natural bers for many
years. Most recently, my career has been
dened by the discovery and exploration of
the woven shibori process. Woven shibori
transforms a traditional stitched resist into
one that conjoins with a woven structure.It results in fabrics that completely integrate
weaving, dyeing and surface application,
providing a new freedom in fabric design.
Woven shibori has challenged all that I know
about weaving and has led me to investigate
new materials, resists, dyes and nishing
processes. The fabrics I have produced
include combinations of dyed cellulose
bers, wool felting and resist, permanent
shaping with thermoplastics, and burning
out areas of ber. Continued exploration of
woven shibori and its applications will dene
and guide my work for many years to come.Four Hundred Steel Threads is one of a
series of stainless steel thread weavings. It
is the result of weaving and heat. Fire bites
the cloth, embossing it and causing it to
be more stable than before it was heated.
These weavings cause me to question all of
my pre-conceptions about the essence of
woven cloth.
CaTHarINE ELLIS
detail
16 Cssing Bundies
7/16/2019 Fiber Artists Catalog
http://slidepdf.com/reader/full/fiber-artists-catalog 19/52
7/16/2019 Fiber Artists Catalog
http://slidepdf.com/reader/full/fiber-artists-catalog 20/52
My work is about my collective personal
experience, my reaction to that experience,
the resulting perception I have of the world
around me and my relation to, or position in
that world.
Brief Elaboration
The work has always been autobiographical;
a visual diary, a rather self indulgent con-
versation that I carry on with myself.
Visualizing allows me to exercise my
thoughts and ideas, if not exorcise them.
I have always been curious about the idea
of the meaning of my experience. Of course
there are any wide variety of philosophical
constructs in myth or religion that have
addressed the great mysteries, offering
ways of thinking that at least provide a
context for experience, if not explanations.
I am fascinated with the relationship
between the theoretical spirit described byphilosophy, and the actual one that evolves
through experience. I try to establish an
iconic character in my presentation to
reference this curiosity.
My recent work has involved images
appropriated from scientic illustrations
EDUCaTIoN 1976 MFA Fiber, Cranbrook Academy of Art, Bloomeld Hills, MI l 1973 BFA Theater/
Fashion, Colorado State University, Fort Collins, CO SELECTED EXHIBITIoNS 2004 Sleight of Hand ,
McDonough Museum of Art, Youngstown State University, Youngstown, OH l 2004 Crafts National 38,
Zoller Gallery, Penn State University State College, PA l 2003 Think Small, Artspace Gallery, Richmond,
VA l 2003 Spotlight 2003, Blue Spiral, Asheville, NC l 2003 Select 1 WPA/Corcoran, Corcoran Gallery
of Art Washington, DC l 2002 Through the Needles Eye, 17th National Exhibition of the Embroidery
Guild of America, traveling l 2002 Crafts National 36, Zotler Gallery Penn State University, State College
Pennsylvania, PA l 2001 Life Forms, Hand Workshop Art Center Richmond, VA l The Fiber of CSU, Bayeux Gallery, Denver, CO l 2001 Drawing the Thread, Southwest School of Art and Craft, San
Antonio, TX CoLLECTIoNS 2003 Smithsonian American Art Museum, Renwick Gallery, Washington,
DC, Kenneth Trapp, curator aWarDS 2002 Crafts National 36, Merit Award l 1982 National
Endowment for the Arts, Crafts Fellowship, Emerging Artist
JoHN DaVID HaWTHorNE
of marine life forms recorded by Ernest
Haeckel in the early 20th century.
Collectively his illustrations represent a
fantastic, surreal and ‘invisible’ parallel
universe that exists in our own time and
place. The images are so foreign to our
standard notion of life forms that, even in
the realism of scientic illustration, they shiftreadily into an illusion of abstraction. In most
cases I try to maintain the intrinsic form and
structure of the life form. Media, process
and context transform them into a variety
of manifestations, illustrating different ways
of being, and looking at or thinking about
the image. I am intrigued be the tension
between the realism of Haeckel’s illustration
and the illusion of a philosophical metaphor
I bring to bare. I am particularly interested in
those forms that reference vessels. Through
my representations, I hope to evoke a
traditional ‘gurative’ metaphor with ritual
overtones. Historically this metaphor seemsto characterize the vessel as a container for
a spirit or essence.
I have always been taken with virtuosic
craftsmanship, initially for the same reasons
most people are; ‘beauty’ rising from
obsessive attention and amazing skill.
Obviously, many objects are imbued with
an unusual power because of the way they
have been made. Ideas can be venerated
John David Hawthorn
Disorder, 2003
embroidery, cotton oss on line
14"w x 16"h
Jhn Dvid Hwthne ecentl etied s Pfess f at fm Vigini Cmmnwelth
Univesit in richmnd, Va.
through a particular application of media
and process. The meditative nature of
process can be built into the object. Objects
that are products of extreme craftsmanship
can, through their essential nature, seduce
even the most unlikely viewer into being
engaged with an idea. Obviously people
have realized this for a long time and haveconsciously exploited this essential nature
to subvert ‘the masses’ into belief in one
thing or another. This intent carries a very
certain amount of irony, a tension between
a character that truly arouses aesthetic
pleasure and subconsciously subverts.
At once, irresistible and dangerous.
I utilize embroidery for a variety of reasons.
It is constructive. Like many aspects of ber
technology, embroidery involves building
an image. There is a physicality here that
cannot be found in other two-dimensional
disciplines. Embroidery is diverse in media
and process. The work to date has involved
a rather traditional approach to visualizing
very nontraditional images. I see appropriate
metaphors in embroidery; it is intricate/
complex, it is contrived, it is obsessive
and self indulgent. In the sum of these
characteristics, the work has a very certain
pretension, hopefully in a guise of mystery,
intrigue and ‘beauty’.detail
18 Cssing Bundies
7/16/2019 Fiber Artists Catalog
http://slidepdf.com/reader/full/fiber-artists-catalog 21/52 Mintining Tditins 19
7/16/2019 Fiber Artists Catalog
http://slidepdf.com/reader/full/fiber-artists-catalog 22/52
EDUCaTIoN 1975 MFA, Tyler School of Art, Temple University, Philadelphia, PA l 1973 BFA, Colorado
State University, Ft. Collins, CO SELECTED EXHIBITIoNS 2004 American Tapestry Biennial 5, Center
for Visual Arts, Denver, CO, traveling l 2004 Right at Home: American Studio Furniture, Renwick Gallery
Washington, DC (tapestry included in furniture exhibition) l 2003 Materials: Hard & Soft, The Center
for the Visual Arts, Denton, TX l 2003 Select, WPA/Corcoran Exhibition and Auction, Corcoran Gallery,
Washington, DC l 2003 New Directions, Southern Connections: Potters of the Roan and Tapestry
Weavers South, Arrowmont School of Arts and Crafts, Gatlinburg, TN l 2003 Place, Theme & Variation,
Good Goods Gallery, Saugatuck, MI l 2002 American Tapestry Biennial IV, Richmond Art Gallery,Richmond, British Columbia, Canada, traveling l 2002 Tapestry: Art in Fiber, Oak Ridge Art Center, Oak
Ridge, TN l 2002 Treasure Trove, Vancouver Convention & Exhibition Centre, Vancouver, Canada l
2002 Fiber, Clay & Mixed Media: Three Master Artist/Craftsmen, Anderson Gallery, VCU, Richmond, VA
l 2001 Eclectic Expressions: Works by Southeastern Textile Artists, Atlanta International Museum of Art
and Design, Atlanta, GA l 2001 Tapestry/Traditions/Transitions, Center of Contemporary Art, St. Louis,
MO l 2001 Fiber Reections 2001, Holtsman Gallery, Towson University, Towson, MD l 2000 Thread
By Thread: American Tapestry Biennial III, Main Art Gallery, Northern Kentucky University, Highland
Heights, KY, traveling l 1999 The Woven Image: 20th Century Tapestry, Ukrainian Institute of Modern
Art, Chicago, IL l 1999 Fiberart International ‘99, Pittsburgh Center for the Arts, Pittsburgh, PA l 1998
Harmony: Interpretations of Nature In Contemporary Tapestry, Fernbank Museum of Natural History,
Atlanta, GA l 1998 Threadscapes: Interpretations of the American Landscape in Fiber, Atlanta Financial
Center, Atlanta, GA l 1998 ITNET 4: Tapestries 40/100, International Tapestry NETwork (ITNET), 2nd
virtual exhibition GraNTS 2002 Virginia Commonwealth University School of the Arts Faculty Grant
l 1989 Virginia Prize for the Visual Arts—Crafts, Virginia Commission for the Arts l 1984 NEA/SECCA Southeastern Artists Fellowship l 1979 National Endowment for the Arts Individual Crafts Fellowship
l 1976, 1978, 1983, 1992 Faculty Grant-in-Aid, Virginia Commonwealth University SELECTED
CoLLECTIoNS/CoMMISSIoNS Renwick Gallery, Smithsonian American Art Museum, Washington,
DC l American Consulate, Osaka, Japan l Federal Reserve Bank, Richmond, VA l Hanes Corporation l
Equitable Life Assurance l Virginia Power, Innsbrook, Richmond, VA l MCI, NC l Hale and Dorr, Boston
& Washington, DC l Medical College of Virginia, Richmond, VA
My tapestries are about memories and
dreams, they deal with the past and the
future—both real and imagined. The
sense of place and my attachment to my
environment are aspects of this work. I am
inuenced by both the physical landscape
around me and the remembered landscapes
that haunt me.
This recent tapestry, Useless, Secret
Dreams is specically about the way we
dream and how we remember dreams.
Fragments of dreams glide over the
anonymous gures, while the title is written
below in shorthand. We may have the desire
to decipher the dream fragments and the
written shorthand but we lack the skills.
For many years I have been intrigued with
the object quality of tapestries; the density
of structure and color along with the visual
and physical textures. These tapestries
are woven with silk and wool—each ber
reects light in a different way.
Susn Ivesn is Pfess f at t Vigini Cmmnwelth Univesit in richmnd, Va.
SUSaN IVErSoN
Susan Iverso
Useless, Secret Dreams, 2004
wool and silk tapestr
60"w x 34"h
detail
20 Cssing Bundies
7/16/2019 Fiber Artists Catalog
http://slidepdf.com/reader/full/fiber-artists-catalog 23/52 Mintining Tditins 21
7/16/2019 Fiber Artists Catalog
http://slidepdf.com/reader/full/fiber-artists-catalog 24/52
EDUCaTIoN 2004 MFA, Fibers, Arizona State University, Tempe, AZ l 1998 Bachelor Art and Design,
Fibers Concentration, North Carolina State University, Raleigh, NC SoLo EXHIBITIoN 2004 Telling
Stories, Harry Wood Gallery, Arizona State University, Tempe, AZ SELECTED GroUP EXHIBITIoNS
2005 Golden Threads,Connecting Innovation and Tradition, Lyndon House Arts Center, Athens,
Georgia, juror: Alice Schlein l 2005 Fiber Optics ‘05, Turchin Center for the Visual Arts, Boone,
NC, juror: Joe Cunningham l 2005 Fiber Directions ‘05, Wichita Center for the Arts, Wichita, KS,
juror: Jason Pollen l 2005 Hand Crafted, Rocky Mount Arts Center, Rocky Mount, NC, juror: Jean
McLaughlin l 2004 Fine Contemporary Crafts, Artspace, Raleigh, NC, juror: Sandra Blain l 2004Entwined: Contemporary Fiber Art, Shemer Art Center, Phoenix, AZ, juried l 2004 Art Quilts: Elements,
Page-Walker Arts and History Center, Cary, NC, jurors: Kathleen Rieder and Georgia Springer l 2003
Anifarm Decade, Gallery of Art and Design, North Carolina State University, Raleigh, NC l 2001 Variant
Materials, Memorial Union Gallery, Arizona State University, Tempe, AZ l 2001 Fine Arts League of
Cary Artists Exhibition, Page-Walker Arts and History Center, Cary, NC, juried l 2000 Raleigh Fine
Arts Society Artists Exhibition, Meredith College, Raleigh, NC, juried l 1999 Regional Project Grant
Recipient, invitational, Visual Art Exchange, Raleigh, NC l 1998 Instructors’ Biennial, invitational,
Crafts Center, North Carolina State University, Raleigh, NC SELECTED GraNTS & aWarDS 2004
Award of Merit, Fine Contemporary Crafts, Artspace, Raleigh, NC l 2004 Selma Sigesmund Memorial
Scholarship, Fibers Department, School of Art, Arizona State University, Tempe, AZ l 2003 Eirene
Peggy Lamb Graduate Fellowship, Herberger College of Fine Arts, Arizona State University, Tempe,
AZ l 2001 Regents Graduate Tuition Scholarship, Arizona State University, Tempe, AZ l 1998 Regional
Project Artist Grant, United Arts Council of Raleigh and Wake County, Raleigh, NC l 1998 Design and
Technology Faculty Book Award, Art + Design, School of Design, North Carolina State University,Raleigh, NC l 1998 Friends of the Gallery Scholarship, North Carolina State University, Raleigh, NC
T here is a photograph in my photo album
of the standing stones at Pentre Ifan, Wales.
Its observation does not recall details about
the theoretical time, method or reason for the
ancient monument’s construction. Instead,
like so many travel photos and mementos, it
inspires memories of every other event that
occurred on that specic day. On the day of
Pentre Ifan’s visit, I participated in the Welshnational sport of hitch hiking. After an hour in
the rain watching three-quarters-scale cars
zip by, unresponsive to my thumb, I accepted
a ride from a disturbingly decorated man.
His hands were tattooed with matching
swallows, amongst prison gang markings
and other undecipherable insignia. Further
on in the day, farther on in Wales, I wandered
into a community gallery featuring a
photography exhibition. There hung a picture
of two sted hands tattooed with swallows
identical to those I had met in the esh
earlier. When asked the signicance of the
swallow tattoos, the volunteer docent looked
up from her crossword puzzle and exclaimed
“Tattoo! That’s just the word I needed!” and
proceeded to ll in the appropriate boxes.
I am continuously obsessed with travel and
history. I visit every museum, monument,
gallery, church and historic site I can get my
eyes on. Yet when I return home, the photos
I have taken and the artifacts I carry and the
stories I tell have little relevance to the historic
signicance of the locales I have visited. In
my most recent work, I attempt to visually
reconcile the seeming disconnect between
the material objects—souvenirs—that
represent time and place, and the actualityof the times and places they represent in
my memory. I employ imagery and fabrics
that reference the past—architectural
elements and cotton remnants scavenged
from my grandmother’s quilting group—to
reinforce the theme of tangible history. I
nd connections between the inevitably
unpredictable events of travel, the sites I
intentionally seek, and the objects that come
home to tell the tales of both.
Jeana Eve Klei
Souvenirs, 2005
cotton and recycled fabrics; dyed and
over-dyed with ber-reactive dyes
screen-printed, discharged, potato dextrin
resisted, pieced, painted with acrylic pain
and hand-quilted with French knots
71"w x 72"
Jen Eve klein is lectue t applchin Stte Univesit in Bne, Nth Clin.
JEaNa EVE kLEIN
detail
22 Cssing Bundies
7/16/2019 Fiber Artists Catalog
http://slidepdf.com/reader/full/fiber-artists-catalog 25/52 Mintining Tditins 23
7/16/2019 Fiber Artists Catalog
http://slidepdf.com/reader/full/fiber-artists-catalog 26/52
EDUCaTIoN 1990 MFA, Textiles, University of Kansas, Lawrence, KS l 1987 BFA, Fiber, Kansas City
Art Institute, Kansas City, MO ProFESSIoNaL aCTIVITIES 2005 Guest Speaker, Chattahoochee
Handweavers Guild 50th Anniversary Celebration, Atlanta, GA l 2004 Guest Lecturer, Hallmark
Symposium, University of Kansas, Lawrence, KS l 2003 Visiting Professor, Fiber Department, Kansas
City Art Institute, Kansas City, MO l 2002 Guest Lecture & Panel Participant, Eastern Michigan
University, Ypsilanti, MI l 2002 Guest Lecture & Workshop, Kent State University, Kent, OH l 2002
Guest Lecturer, University of Kansas, Lawrence, KS l 2000 Workshop, California College of Arts
& Crafts, Oakland, CA l 2000 Lecture & Workshop, Eastern Michigan University, Ypsilanti, MI l Lecture & Workshop l 2000 Surface Design Conference, Kansas City Art Institute, Kansas City, MO
l 2000 Workshop, Surface Design Post-Conference, Kansas City Art Institute, Kansas City, MO
EXHIBITIoNS 2005 Recursions, Material Expression of Zeros and Ones, invitational, Museum of
Design, Atlanta, GA, traveling through 2008 l 2004 The Architecture of Cloth: Jacquard Woven Work
by Pauline Verbeek-Cowart and Bethanne Knudson, Rocky Mountain College of Art and Design,
Lakewood, CO l 2002 Digital Weaving and the Power Loom, Eastern Michigan University, Ypsilanti,
MI l Digital Weaving: A Collaborative Project, Fine Art Gallery, University of Kansas, Lawrence, KS l
Textiles: Two Thousand Two, Center for Creative Studies, Detroit, MI PUBLICaTIoNS 2003 Bethanne
Knudson, “ITMA 2003—Birmingham, UK: An Overview,” The Jacquard List, Online Newsletter and
Publication of The Complex Weavers Guild (November 2003) l 2002 Bethanne Knudson, “Flexibility
in CAD Systems Key to Innovation & Creativity,” Fabric and Furnishings International, Autumn 2002
BETHaNNE kNUDSoN PrESS “Reviews: Bethanne Knudson and Pauline Verbeek-Cowart,” by
Alyson B. Staneld, American Craft , Feb./Mar. 2005 l “Jacquard Study,” Carol Westfall, Shuttle Spindle
& Dyepot , Summer 2003 l “Jacquard Boot Camp,” Janice Lessman-Moss, Fiberarts, Summer 2002 l
“A New Jacquard Center in North America,” Cynthia Schira, ETN-Texti7eForuni, 2001
Bethnne knudsn is pesident f The Jcqud Cente Inc. in Hendesnville, NC.
BETHaNNE kNUDSoN
A rt creates its own reality. Few things in life
are as satisfying as time spent in that reality.
Bethanne Knudso
Postcards, 2005
Jacquard-woven cotto
59"w x 15.5"
24 Cssing Bundies
7/16/2019 Fiber Artists Catalog
http://slidepdf.com/reader/full/fiber-artists-catalog 27/52
detail
Mintining Tditins 25
7/16/2019 Fiber Artists Catalog
http://slidepdf.com/reader/full/fiber-artists-catalog 28/52
EDUCaTIoN 2003-04 Jacquard Weaving and Technology, The Jacquard Center Hendersonville, NC
l 2001 Collegiate Teaching Certicate, Brown University, Providence, RI l 2000 MFA Textiles, Rhode
Island School of Design, Providence, RI l1985 BA Printmaking/Art History, Smith College, Northampton
MA SoLo EXHIBITIoNS 2007 Joan Derryberry Gallery Cookeville, TN l 2006 1912 Gallery Emory,
VA l 2005 Surrender to Change, Woven Fiber Art House, West Chester, PA l 2004 Resist Exploration,
Lipscomb Gallery, South Carolina Governors School for the Arts l 2002-03 Collecting, Reecting,
Remembering, University of the South Gallery, Sewanee, TN l 2000 Reections of Light, Market
House Gallery RISD, Providence, RI l 2000 The Interior as Sanctuary, Pahana Gallery, Northampton,MA l 1999 Works on Paper, Pahana Gallery Northampton, MA TWo-PErSoN EXHIBITIoNS 2005
In Through the Outdoors, Tennessee Arts Commission Gallery, Nashville, TN l 2003 Investigations,
with Marvin Tadlock, Arts Council Gallery, Johnson City, TN SELECTED GroUP EXHIBITIoNS
2005 Fiber Directions, Wichita Center for the Arts, Wichita, KS l 2005 Innovations Textile Conference
and Symposium Exhibition, Jacoby Arts Center, St. Louis, MO l 2005 Golden Threads: Connecting
Innovation and Traditon, Lyndon House Arts Center, Athens, GA l 2005 Faculty Biennial, 1912 Gallery,
Emory and Henry College, Emory, VA l 2004-05 Hand Crafted, Rocky Mount Arts Center, Rocky
Mount, NC l 2004 Fiber Art 2004, Mills Pond House Gallery, St. James, NY l 2004 Best of Tennessee
Craft Biennial, Frist Museum, Nashville, TN, juried l 2004 Transient State, Woven Fiber Art House,
West Chester, PA l 2004 Fiber Focus 2003, Art St. Louis, St. Louis, MO, juried l 2003 Fiber Directions,
Wichita Center for the Arts, Wichita, KS, juried l 2003 New Talent in Crafts II Invitational, Wustum
Museum of Fine Arts, Racine, WI l 2002 Best of Tennessee Crafts Biennial Exhibition, Hunter Museum,
Chattanooga, TN l 2002 Faculty Show, Woods-Gerry Gallery, Rhode Island School of Design l 2002
Emerging Artists Exhibition, three-person exhibition, Wheeler Gallery, Providence, RI l 2001 New Faculty Exhibition, Slocumb Gallery, Johnson City, TN l 2001 Daegu International Exhibition, Seoul,
Korea l 2001 Textile Biennial, Woods-Gerry Gallery, Rhode Island School of Design l 2001 Faculty
Show, Woods-Gerry Gallery, Rhode Island School of Design EXHIBITIoNS CUraTED 2006 New
Feminist Work, West Chester, PA l 2005 Recursions: Material Expression of Zeros and Ones, Museum
of Design, Atlanta, GA, traveling l 2003 Cross Sections: Process and Materials, invitational, Textile Art
Exhibit, Slocumb Galleries, East Tennessee State University l 2002 Emerging Fiber Artists, Slocumb
Galleries, East Tennessee State University, juried l 2001 Materials, Market House Gallery, Rhode Island
School of Design aWarDS 2005 Golden Threads, Juror’s Award, Lyndon House Center, Athens, GA l
2003 Fiber Focus Art , Award of Excellence—Constructed Piece, St. Louis, Mo l 2003 Fiber Directions,
Honorable Mention, Wichita, KS, juried l 2002 Best of Tennessee Crafts Biennial Exhibit, Merit Award,
Chattanooga, TN l 2001 International Textile Marketing Award, Third Prize, Jacquard, High Point, NC
l 2000 International Textile Marketing Award, First Prize for Print, High Point, NC l 1999 Graduate
Award for Excellence, competitive juried award, Rhode Island School of Design GraNTS 2002-03
Major Research Grant, Research and Development Committee, East Tennessee State University
“Experimental Procedures in Wool Felting and Dyeing” l 2003 Small Grant, RDC Committee, East
Tennessee State University, textile research rESIDENCIES 2005 MacNamara Foundation, Westport
Island, ME l 2004 Oregon College of Art and Craft, Portland, OR PUBLICaTIoNS “Recursion,” essay,
Complex Weavers Journal, 2005 l “Concept, Process, Content,” curatorial introduction for brochure,
2002 l “Opportunities for Graduate Students,” Graduate Student Resource Publications, Rhode Island
School of Design Graduate Studies Ofce, 2001 CoLLECTIoNS Nashville State Museum l Rhode
Island School of Design Graduate Studies l Oregon College of Arts and Crafts l Appalachian Center
for Crafts l Virginia Vernon Salons l Paul Mascolino l Vanderbilt Childrens Hospital l Roger and Lynn
Harding-Harvey l Mark Bigda O.D. l Carolyn Fitz Collections l Larry and Barbara Carden l Robin Paris
Last summer, I visited old growth forest
for the rst time. The experience had a
profound effect on me, and as a result I have
begun to explore color as a way to express
human impact on natural land forms. Thework contains colors taken from satellite
photographs and images of colors created
by acid rain, warfare and other environmental
pressures.
I explore color from memory and observ-
ation, transforming remembered light to
imagery with fragments from both the
landscape of my remembered experience
and direct observation. I move both into
and away from the surface on several
levels through a combination of hand
techniques, color application, and repetitive
motion. Color moves inside the material
through structure while form moves intosubstance from both reected light and
light trapped within the substructure. I am
interested in the relationship between unseen
microcomponents and visual sensation.
I combine contemporary aesthetics and
ancient techniques, using the various reec-
tivity and absorption qualities of materials to
shape the results.
I begin with natural forms, abstract them onto
wooden shapes, and use them in the resist
process. In some cases I screen print, fold
the fabric, or piece small sections together
to create pattern. All of the stitching is done
by hand, concealing the action in an invisiblepresence. This work is in a nished state;
yet I move into the digital realm by scanning
these images and producing digital jacquard
weavings from them, allowing random
capture of information sorted by algorithms.
My methods require me to allow the natural
reaction of elements to play a part in the end
result. The gate to chance remains open,
so that a myriad of possibilities assist me to
control the image from start to nish.
Carol LeBaro
Patterns Ripping, 2004
clamp resist woo
pieced, acid dye
56"w x 49"
CaroL LEBaroN
Cl LeBn is membe f the t fcult t Em nd Hen Cllege in Em, Va. She
ls teches t hist t Est Tennessee Stte Univesit nd Sculptue nd Design t
Vigini Highlnds Cmmunit Cllege.
detail
26 Cssing Bundies
7/16/2019 Fiber Artists Catalog
http://slidepdf.com/reader/full/fiber-artists-catalog 29/52 Mintining Tditins 27
7/16/2019 Fiber Artists Catalog
http://slidepdf.com/reader/full/fiber-artists-catalog 30/52
Layers are the focus of my work in
several ways—as complex metaphor, as
components of physical and visual structure,
as elements of process.
For me, layers echo the processes of
learning and understanding, while also
evoking a sense of time. Repeated imagery
and patterns in my work function as
personal iconography. Their meanings can
be very specic, but are also intended to
speak on a more general or universal level,
addressing issues of individual development
and shared human experience. My work is
primarily textile based, and for me has strong
connections to the history of that medium
and its contextual associations. At the
same time, I enjoy pushing the boundaries
of traditional forms through the use of non-
traditional materials and techniques.
My current work explores the traditional
layered quilt form, employing new digitaltechniques for printing fabric, as a means
of establishing a visual dialogue addressing
issues of contemporary culture. Drawing
from historic associations with domesticity,
comfort and home, the quilt form offers
unique possibilities for developing content
when combined with non-traditional
techniques and unexpected imagery.
The images I print onto the fabrics are
primarily from my own digital photographs,
which have been combined and manipu-
lated in Photoshop. Generally, these
photographs are from my travels, and
focus on crumbling structures and agingsurfaces as visual subjects rich in layers and
metaphoric potential. Once the imagery has
been developed in Photoshop, it is sent to
an inkjet printer equipped with archival inks
and printed onto pretreated paper-backed
fabric. The resulting printed fabric is then
incorporated into a layered ‘quilt’ form
(although more specically designed for the
wall, as with tapestries), using multiple layers
of a variety of fabrics, and ‘drawing’ back
into the image through the use of hand and
machine stitching.
EDUCaTIoN 1996 MFA Studio Art, Fibers, Eastern Michigan University l 1996 Eastern Michigan
University, Studies Abroad Program, Spain l 1988 Millinery Certicate, Fashion Institute of Technology
1981 BA Liberal Arts, Theatre Arts. Kalamazoo College SELECTED EXHIBITIoNS 2005 Of Time and
Place: Layered and Stitched Textiles, Liz Axford, curator, Houston Center for Contemporary Craft,
Houston, TX l 2005 Quilt National ‘05, Dairy Barn Cultural Center, Athens, OH, juried l 2005 Form, Not
Function, Carnegie Center, New Albany, IN, juried l 2005 Computer-Aided Textiles, invitational, Sage
Center, Hillsdale, MI l 2004 Quilt Visions 2004, Quilt San Diego, San Diego, CA, juried l The Quilted
Surface, invitational, Indiana University, New Albany, IN l 2003 Quilts: A World of Beauty , InternationalQuilt Festival, Houston, TX, juried l 2003 Quilt National ‘03, Dairy Barn Cultural Center, Athens, OH,
juried l 2003 Art Quilts at the Sedgwick, Sedgwick Cultural Center, Philadelphia, PA, juried l 2003
Scarab Club Fiber Invitational, Scarab Club, Detroit, MI l 2002 Patterns of Behavior , solo exhibition,
Catherine S. Eberly Center for Women, University of Toledo, Toledo, OH l 2002 Focus: FIber 2002,
Textile Art Alliance, Cleveland, OH, juried l 2002 Art Quilts at the Whistler, Whistler House Museum of
Art, Lowell, MA, juried l 2002 Dancing Between the Semicolons, invitational, Arts Gallery, Drexel
University, Philadelphia, PA l 2002 A Page From My Book: Journal Quilts 2002, invitational, IQF,
Houston, TX l 2002 SAQA Regional Membership Exhibit, Crossroads VIllage, Flint, MI, juried l 2001
Hanging by a Thread ‘01,Old Main Art Gallery, Northern Arizona University, juried l Art Quilts at the
Sedgwick, Sedgwick Cultural Center, Philadelphia, PA, juried l In a Feminine Voice, 5 person show, Ann
Arbor Art Center, Ann Arbor, MI l 2000 Crafts National 34, Zoller Gallery, Penn State University, juried
l 2000 Cleaning House, Womanmade Gallery, Chicago, IL, juried SELECTED PUBLICaTIoNS Quilt
National '05, exhibition catalog, Lark Books, Asheville, NC, 2005 l Quilt Visions 2004, exhibition
catalog, Visions Publications, San Diego, CA, 2004 l Fiberarts Design Book 7 (juried survey catalog),
Lark Books, Asheville, NC, 2004 l James, Michael, "The Digital Quilt," Fiberarts Magazine, Nov/Dec.
2003 "Exposure," Surface Design Journal, Fall 2003 l Quilt National '03, exhibition catalog, Lark Books
Asheville, NC, 2003 l Pieceworks: Art Quilts at the Sedgwick, CD-Rom exhibition catalog, Sedgwick
Cultural Arts Center, Philadelphia, PA, 2003 l Greenwald, John, " 'Art Quilts' propels fabric into realm of
painting," The Lowell Sun, August 2002 l Whitesall, Amy, "Flood of Fine Art," Ann Arbor News, Dec.
2001 l Hanging by a Thread 2001, CD-Rom exhibition catalog, NAU Old Main Art Gallery, Flagstaff, AZ
2001 l "Art Quilts at the Sedgwick" by Edward J. Sozanski, Philadelphia Inquirer, April 2001
Pieceworks: Art Quilts at the Sedgwick, CD-Rom exhibition catalog, Sedgwick Cultural Arts Center,
Philadelphia, PA, 2001 l Miner, Barbara WF., "In a Feminine ((Voice))," Dialogue Magazine, Toledo, OH,
May/June 2001 l Cantu, John Carlos, “ 'Voice' offers a touch of femininity,” Ann Arbor News, January
2001 GraNTS & aWarDS 2005-06 Individual Artist Fellowship—Crafts, Tennessee Arts Commission
grant l 2005 Award for Most Innovative Use of the Medium, Quilt National ‘05, sponsored by Friends of
Fiber Art International, Dairy Barn Cultural Center, Athens, OH l 2004-05 Major Research Grant: RDC
Committee, East Tennessee State University, New Traditions: The Digital Quilt l 2003 Surface Design
Association, Award of Excellence, Art Quilts at the Sedgwick, Sedgwick Cultural Center, Philadelphia,
PA l 2002 Award for Best of Show, SAQA Regional Membership Exhibit, Crossroads VIllage, Flint, MI l
2002 Juror’s Choice Award, Art Quilts a the Whistler, Whistler, House Museum of Art, Lowell, MA
Ptici Min is assistnt Pfess f at (Fibes ) t Est Tennessee Stte Univesit in
Jhnsn Cit, TN.
Patricia Min
Tapia No. 5, 2005
bers/quilt: computer-manipulated origina
photograph, inkjet printed on cotton and silk; fused
appliqué, machine pieced, quilted, and embroidered
with rayon thread, cotton batting and backing
60"w x 40"h
PaTrICIa MINk
detail
28 Cssing Bundies
7/16/2019 Fiber Artists Catalog
http://slidepdf.com/reader/full/fiber-artists-catalog 31/52 Mintining Tditins 29
7/16/2019 Fiber Artists Catalog
http://slidepdf.com/reader/full/fiber-artists-catalog 32/52
I combine images, symbols, patterns and
text from family history and my Latvian
cultural background to address issues of
cultural duality, erasure and loss. Woven
structures are used as metaphors and
through the juxtaposition and manipulation
of pattern within image my weaving speaks
about the instability, and transformation of identity.
In the past year I have introduced woven
shibori as a form of expression in the work.
In combination with the realistic capacity
of the jacquard loom to create images, this
process suits the integration of image and
pattern that I have long sought to achieve.
These pieces are designed on computer
using Adobe Photoshop. They are hand
woven on a TC-1 digital Jacquard loom and
then dyed with ber reactive and vat dyes.
During weaving, supplemental weft threadsare woven in and then used to form a
reserve to create a dyed shibori pattern. The
image is designed using shaded satins and
woven with polyester and cotton weft which
respond to the shibori and dye processes
in different manners. The woven shibori
process is unpredictable with results that
can both distort and reveal the image.
This process is a lovely blend of hand
technique with computer wizardry!
EDUCaTIoN 1993 MFA, Nova Scotia College of Art and Design, Halifax, Nova Scotia l 1982 BFA,
Nova Scotia College of Art and Design, Halifax, Nova Scotia l 1977 Diploma, Fabrics Major, Sheridan
College, School of Craft and Design, Mississauga, Ontario SELECTED oNE-& TWo-PErSoN
EXHIBITIoNS 2003 Woven Works, solo exhibition, The Carnegie Building, Saint John, New
Brunswick, Canada l 2002 Cultural Journeys, the Woven Work of Ramona Sakiestewa and Vita Plume,
The Gallery of the College of Design, North Carolina State University, Raleigh, NC l 2000 There’s no
absence, if there remains even the memory of absence, solo exhibition, Gallery Downstairs, NB College
of Craft and Design, Fredericton, New Brunswick SELECTED GroUP EXHIBITIoNS 2005 TextileCatalysts: Shibori Shaping the 21st Century, Tama Art University Museum, Tokyo, Japan, juried l 2005
Recursions: Material Expressions of Zeros & Ones, curator: Carol LeBaron, Museum of Design Atlanta,
GA l 2004 2nd European Textile & Fibre Art Triennial: Tradition and Innovation, Museum of Decorative
and Applied Art, Riga, Latvia, juried l 2004 Crafts National 38, Central Pennsylvania Festival of the Arts,
Zoller Gallery, Pennsylvania State University, Pennsylvania, juried l 2004 Fabulous Fibers II, invitational
group exhibition, Isabella Cannon Gallery, Elon University, Elon, NC l 2003 Spotlight 2003, American
Craft Council, annual juried exhibition, juror: Kenneth Tripp, Blue Spiral 1 Gallery, Asheville, NC l
2003 Cross Section: Material and Process, six-person invitational, Slocumb Gallery, East Tennessee
University l 2002 Crafts National 30, juried exhibition, Zoller Gallery, Pennsylvania State University, State
College, PA l 2000 Looking Forward, Ontario Crafts Council, traveling, curator: Paul Greenhalgh, Head
of Research, Victoria and Albert Museum National Trade Centre, Toronto, Ontario and other venues in
Canada l 2000 Des champs textiles, curated group exhibition, Le Centre des Arts contemporains du
Quebec a Montreal, Montreal, Quebec, Canada aWarDS & GraNTS 2004 Dean’s Award, Research
Assistant, North Carolina State University l 2002 Faculty Research and Professional DevelopmentGrant, North Carolina State University l 2001 Creation Grant, New Brunswick Arts Board, Canada l
2000 Travel Grant, New Brunswick Arts Board, Canada PUBLICaTIoNS “Immigration & Integration” b
Sunita Patterson, Fiberarts Magazine, vol. 30, #4, Jan./Feb. 2004 l “Looking Back, Looking Forward:
Canadian Women Artists with Eastern European Connections and Postmodern Remembering” by
Loren Lerner, Canadian Ethnic Studies/Etudes Ethniques au Canada, 1999 l “Looking Forward: New
Views of the Craft Object” catalogue essays by Stuart Reid & Robin Metcalfe, Ontario Crafts Council,
2000 l “Exhibit exposes fallacy of distinguishing art from crafts” by Ray Cronin, The Fredericton Daily
Gleaner, April 2000 l Fiberarts Design Book 7 , Mowery Kieffer, Susan, ed., Lark Books, Asheville, NC,
2004 l Le tissage créateur, Louise Lemieux, Bérubé Editions Saint Martin, Montreal, Quebec, 1998
l A Joy Forever, Latvian Weaving, Traditional and Modied Uses, Jane Evans, Dos Tejedoras Fibre
Arts Publications, Saint Paul, MN, 1991 CoLLECTIoNS North Carolina State University, College of
Art & Design l Nova Scotia Art Bank, Halifax, Nova Scotia, Canada l Latvian Cultural Centre, Toronto,
Canada l Museum of Decorative Art, Riga, Latvian l Artists Union of the U.S.S.R. Riga, Latvia l Jeanne
Sauvé, former Governor General of Canada l Latvian Lutheran Peace Church of Ottawa, Canada and
numerous private collections
VITa PLUME
Vit Plume is assistnt Pfess in the Deptment f at nd Design, Cllege f Design,
t Nth Clin Stte Univesit in rleigh, NC.
Vita Plum
Pattern LSPO2, 2004
cotton, polyeste
hand-woven Jacquard
woven shibo
36"w x 56"hdetail
30 Cssing Bundies
7/16/2019 Fiber Artists Catalog
http://slidepdf.com/reader/full/fiber-artists-catalog 33/52
7/16/2019 Fiber Artists Catalog
http://slidepdf.com/reader/full/fiber-artists-catalog 34/52
EDUCaTIoN 1991 MFA, Textile Design, School for American Craftsmen, College of Fine and Applied
Arts, Rochester Institute of Technology, Rochester, NY l 1989 Musée des Arts Décoratifs, studied with
Marie Ann Quette, French Decorative Arts, Paris, France l 1979-80 Kyoto Fiber Polytechnic University,
studied sericulture, reeling process, spinning and weaving of silk, Kyoto, Japan l 1979-80 & 1974-75
Apprenticeship, Tsuguo Odani, folk artist, master silk weaver and Professor of Textiles Seian Women’s
University, Kyoto, Japan, Tokyo, Japan SoLo & TWo-PErSoN EXHIBITIoNS 2002 Kusokuzeshiki
Shikisokuzeku: Contemplative Textiles by Junco Sato Pollack , Gallery Art Life Mitsuhashi, Kyoto,
Japan l 2000 A New Aesthetic: Reective Fabric Sculpture by Junco Sato Pollack and Junichi Arai, Swan Coach House Gallery, Atlanta, GA l 2000 Junco Sato Pollack and Barbara Lee, Source Fine Art
Gallery, Kansas City, MO GroUP EXHIBITIoNS 2004 Shibori-Fabric Transformed, Nordenfjeldske
Kunstindustrimuseum, Trondheim; Bomuldsfabriken Kunsthall, Arendal, Norway l 2004 Gallery Artists,
Tigerman Gallery, Chicago, IL l 2004 Gallery Artists Recent Works, Katie Gingrass Gallery, Milwaukee,
WI l 2004 SOFA New York, Armory, New York, NY l 2004 SOFA New York, From the Permanent
Collection of the Museum of Art and Design, Museum of Art and Design, New York, Armory, New
York, NY l 2004 11th International Lace Biennial: Contemporary Textile Art Competition and Exhibition,
Brussels, Belgium l 2003 Shibori-Fabric Transformed, Kunstbanken Hedmark Kunstsenter, Hamar;
Nordenfjeldske Kunstindustrimuseum, Trondheim; Bomuldsfabriken Kunsthall, Arendal, Norway l 2003
Crafts Now: 21 Artists Each from America, Europe, and Asia, World Craft Forum Kanazawa Special
Invitational Exhibition, the 21st Century Museum, Kanazawa l 2003 Gallery Artists, Tigerman Gallery,
Chicago, IL l 2003 SOFA NY, Armory, New York, NY l 2003 Technology as Catalyst:Textile Artists on
the Cutting Edge, Art Museum of the University of North Carolina, Durham, NC, and University of
California, San Diego Art Museum, San Diego, CA l 2003 Dening Craft: Collecting for the Millennium,Spencer Museum, Kansas City, KS l 2003 Enhancing the Surface, Craft Alliance, St. Louis, MO l
2002 Technology as Catalyst: Textile Artists on the Cutting Edge, The Textile Museum, Washington,
DC l 2001 Dening Craft, Collecting for the Millennium, Houston Center for the Contemporary Craft,
Houston, TX l 2000 Dening Craft, Collecting for the New Millennium, American Craft Museum, New
York, NY l 2000 Miniature Textile Exhibition, Helen Drutt Gallery, Philadelphia, PA; Taideteollisuusmuseo
Museum of Art and Design, Helsinki, Finland GraNTS, FELLoWSHIPS, aWarDS/HoNorS 2004
11th International Lace Biennial Competition and Exhibition l 2003 School of Art and Design Summer
Faculty Research Grant l 2002 Georgia State University Research Initiative Grant l 2001 21st Century
Award for Achievement and International Man of the Year nomination, International Biographical
Center Publications, International Biographical Center, Cambridge, England l 2000 Outstanding Artists
and Designers of the 20th Century Honors List, GoldStar Award , International Biographical Center,
Cambridge, England l International Who’s Who of Professional and Business Woman, Gold Record of
Achievement for the Year 2000, American Biographical Institute, Raleigh, NC l Fulton County Hambidge
Center Artist Fellowship, Atlanta Bureau of Cultural Affairs Artist Project Grant l 2002 Georgia State
University Research Initiative Grant PUBLICaTIoNS The Guild: The Designer’s Source Book 18,
Milwaukee, WI, August 2003 l Memory on Cloth: Shibori Now, Yoshiko Iwamoto Wada, Kodansha
International, Tokyo, 2002 l The Guild: The Designer’s Source Book 14, Milwaukee, WI, January
2000 CoLLECTIoNS American Craft Museum, New York, NY l Pittsburgh Airport, Pittsburgh, PA
l Pinnacol Assuarance Headquarter, Scottsdale, AZ l UPS Corporation, Atlanta, GA l Sutherland,
Asbill & Brennan, Atlanta, GA l Hotel Mandarin Miami, Miami, FL l King and Spaulding, Atlanta, GA l
Arimatsu Shibori Museum Archive, Arimatsu, Japan l Taneda Shoten Co., Kyoto, Japan l Rochester
Institute of Technology, Wallace Memorial Library, Rochester, NY l University of Rochester Faculty Club,
River Campus, Rochester, NY l Beverly Heftner and Associates, Rochester, NY l Headquarter of M.H.
Fertilizer, Inc., Milwaukee, WS l numerous private collections
While incorporating industrial machinery
as my main creative means, I work
spontaneously with the natural accident that
occurs as a part of the whole process, not
unlike the ring process of clay work in a kiln.
Process and tools are chosen relevant to
my inquiry, the meaning and the metaphor
superimposed on the artwork. I combine
handwork, digital imaging and heat transferprocesses in the creation of my art textiles to
express the paradox I discover through my
experience of the world. The resulting work
is to be viewed as sculpture, with the 4th
dimension, a kinetic quality of light, shadow
and movement, built into the piece.
The KESA series comprises my on-going
contemplation on the metaphysic nature of
Buddhist teaching expressed by wisdom-lled
Sanskrit words that each work bears as the
work title. The pieces develop in this series as
I nd inspiration studying Buddhist texts and
sutras and combining research on the physical
aspects of historical kesa that I collect.
Kesa #7 “Sansara” is a formal priest’s prayer
shawl, a 15-column composition of vertical
and horizontal patches. The cloth is cut,
folded, heat transfer printed on the front and
back and the edges are left unnished in a
manner known as “funzo-e.” The Sanskrit
word “sansara” means life and death, wordly
pleasure and displeasure, or the source of
all suffering. This word is contrasted with
“nirvana” which is the cessation of life and
death, the end of all suffering.
(Some of my art textile work was printed using industrial
equipment with assistance from Robert Lemmarre,
owner and former director of EdiTextile, afliation of CRDIT in Montreal, Canada)
Junco Sato Pollac
Kesa #7 Sansara, 2003
dye sublimation, pieced polyeste
organza and metallic sil
50"w x 106"
JUNCo SaTo PoLLa Ck
Junc St Pllc is asscite Pfess f at nd Hed f Textiles t the Schl f at
nd Design t Gegi Stte Univesit in atlnt, Ga.
detail
32 Cssing Bundies
7/16/2019 Fiber Artists Catalog
http://slidepdf.com/reader/full/fiber-artists-catalog 35/52 Mintining Tditins 33
7/16/2019 Fiber Artists Catalog
http://slidepdf.com/reader/full/fiber-artists-catalog 36/52
I choose ber as my medium in order to
consider, the personal, the historical and the
impermanent.
My current work explores a mythic garden
that seems to exist in the margin between
civilization and wilderness. A place that
parallels my art making. Where repetitive
processes allow time to integrate thought,
action and materiality.
The historical is reected within this body
of work in references to the rich history
of textiles, in particular to the marvellous
ikats of woven silk from nineteenth century
Central Asia and the Pre-Columbian work
done some 1400 years before that.
I am fascinated with the space that exists
between things, the interplay between
material and immaterial, visual and tactile
and where the act of layering allows one
surface both to reveal and conceal another.
Working with these interactions of material,
space and light, I think about the way
personal and historical pasts constantly
shadow the present and alter it.
Jennife Sgent is asscite Pfess t Memphis Cllege f at in Memphis, TN.
JENNIFEr SarGENT
Jennifer Sargen
Timur’s Garden I, 2004
handwoven and knotted
two layers—ikat dyed linen
discharge printed
black line
14"w x 79"h x 2.5"d
EDUCaTIoN 1995 MFA, Fibers, Arizona State University, Tempe, AZ l 1968 BA (Honors),
Woven Textiles, Hornsey College of Art, London, England SELECTED oNE- & TWo-PErSoN
EXHIBITIoNS 2005 Tennessee Arts Commision Gallery, Nashville, TN l 2002 Lewis Art Gallery,
Milisaps College, Jackson, MS SELECTED GroUP EXHIBITIoNS 2005 Golden Threads: Connecting
Innovation and Traditon, Lyndon House Arts Center, Athens, GA l 2004 transFORMations, Woven
Fiber Art House, West Chester, PA, juried l 2004 Fiberart International 2004, traveling l 2003 Cross
Sections: Process and Materials, invitational, Slocumb Galleries, East Tennessee State University,
Johnson City, TN l 2003 Materials: Hard and Soft, Center for the Visual Arts, Denton, TX, juried l2003 Fiber Directions 2003, Wichita Center for the Arts, Wichita, KS l 2003-2004 Rhythm of Crochet,
traveling, juried l 2002 Gallery 510, Decatur, IL l Northwest Cultural Council Gallery, Rolling Meadows,
IL l 2002 Side by Side, invitational, Brooks Museum, Memphis, TN l 2001 Half-Passed 12: Moments
in Tapestry, invitational, Fine Line Creative Arts Center, St Charles, IL l 2001 Spotlight 2001, American
Craft Council Southeast Region, Arrowmont School of Arts and Crafts, Gatlinburg, TN, juried l The
Best of Tennessee, Tennessee State Museum, Nashville, TN l 2001 Fiber Focus 2001, Art St Louis,
St Louis, MO l 2001 Fantastic Fibers, Yeiser Art Center, Paducah, KY l 2000 GMI XV Invitational, Art
Center Gallery, Central Missouri State University, Warrensburg, MO l Crafts National 34, Zoller Gallery,
Penn State University, University Park, PA, juried l 1999 Mountain States Tapestry Invitational , traveling
l 1999 Essential Elements: Works in Fiber and Clay, Tohono Chul Park Exhibit Hall, Tuscon, AZ l 1999
Coloring Our Worlds, Textile Center of Minnesota, University of St. Thomas Gallery, Minneapolis, MN,
juried l 1999 Tapestries from the Southwest, American Tapestry Alliance, Tuscon Arts Council Gallery,
Tuscon, AZ l 1998 Muse of the Millenium, Nordic Heritage Museum, Seattle, WA, juried l 1998
Fantastic Fibers, Yeiser Art Center, Paducah, KY l 1996-97 American Tapestry Biennial I, traveling
SELECTED aWarDS 2005 First Place, Golden Anniversary Award, Golden Threads: Connecting
Innovation and Traditon l 2004 Individual Artist Fellowship: Tennessee Arts Commission 2003 Judges’
Award: Rhythm of Crochet, travelling l 2001 Purchase Award: Best of Tennessee, Tennessee State
Museum SELECTED PUBLICaTIoNS Fiberarts Design Book 7, Lark Books, 2004 l Surface Design
Journal, Fall 1999 SELECTED CoLLECTIoNS Arrowmont College of Arts and Crafts, Gatlinburg, TN
Tennessee State Museum, Nashville, TN
detail
34 Cssing Bundies
7/16/2019 Fiber Artists Catalog
http://slidepdf.com/reader/full/fiber-artists-catalog 37/52 Mintining Tditins 35
7/16/2019 Fiber Artists Catalog
http://slidepdf.com/reader/full/fiber-artists-catalog 38/52
Prayer Flags I: Life Cycle
In India, Tibet and other Asian countries,
Buddhists use Lung-ta (prayer ags) to
mark one’s passing, to bless the crossing of
a dangerous river, or to commemorate
the words of a wise teacher or Bodhisattva. These fabric squares hung outside in the
wind bring good fortune to all who share
their breezes. Traditionally, they were
yellow, green, red, white, and blue and
contained words and images invoking
the spiritual. My prayer ags are vibrantly
multicolored. They celebrate the life cycle
of my loved ones, captured in a haiku
written by my daughter, Dana. The text and
symbolism of the haiku is printed on the
ags themselves.
The river owing
With sweet unending care down
Until it is still
EDUCaTIoN 1990 MPD, Textile Design, NCSU School of Design; 1970 BA Duke University
SELECTED EXHIBITIoNS, aWarDS & GraNTS 2005 Expressions of Faith, Interfaith Alliance of
Wake County (Best in Show) l 2004 Fine Contemporary Craft, Artspace, Raleigh, NC l 2001, 2004
Fabulous Fibers I and II, Elon University, Elon, NC l 2003 SE College Art Conference Exhibition, NCSU
Gallery of Art and Design, Raleigh, NC l 2003 Up Close and Far Away, Surface Design Association
Conference, Kansas City, MO l 2003 Handcrafted, Rocky Mount Arts Council, Rocky Mount, NC l 2002
Functional Fine Art and Craft, Raleigh, NC, Award of Distinction l 2001 Textiles, The Visual Art
Exchange, Raleigh, NC, Best in Show l 2001 Raleigh Red Wolf Ramble, Exploris Museum, Raleigh,NC l 2001 Raleigh Fine Arts Exhibition, Frankie G. Weems Gallery, Raleigh, NC l 2000 Celebrating the
Spirit: Convergence 2000, Handweavers Guild of America, Cincinatti, OH l 2000, 2003 Meredith
College Professional Development Grants, (for National Surface Design Association Conference,
Kansas City, MO l 1991-2004 Meredith College Faculty Shows, Raleigh, NC l 2000 Lincoln Center,
NYC l 1999 The Legacy of Dino Reid, NCSU Craft Center, Raleigh, NC l 1997 Close Connections,
Raleigh, NC l 1996 The Exquisite Corpse, Artspace, Raleigh, NC l 1996 New Works, Artspace,
Raleigh, NC CoLLECTIoNS Sperry Corp., Kaiser Permanente, Wachovia Bank, Duke Medical Center,
SAS Institute, Unitarian Church of Raleigh (collaborative work), numerous private collections
ProFESSIoNaL aCTIVITIES 2005 Juror, Primary Colors, Visual Art Exchange, Raleigh, NC l 2004
Juror, Art Quilts: Elements (Professional Art Quilters Association–South), Cary, NC l 2003 Juror,
International Textile and Apparel Association Exhibition l 2003 Workshop Presenter, “Digital Printing on
Fabric”, Southeastern College Art Conference, Raleigh, NC l 2002 Juror, Cary Fine Art League Show,
Cary, NC l 2000-2005 Advisor, Meredith College Textile Study Group l 2002-2005 Southeast Fiber
Educators
Gegi M. Spinge is djunct fcult in Cl The, Sufce Design n Fbic t Meedith
Cllege in rleigh, NC.
GEorGIa M. SPrINGEr
Georgia M. Springer
Prayer Flags I, Life Cycle, 2004
cotton, silk
80"w x 12"h
with details
36 Cssing Bundies
7/16/2019 Fiber Artists Catalog
http://slidepdf.com/reader/full/fiber-artists-catalog 39/52
7/16/2019 Fiber Artists Catalog
http://slidepdf.com/reader/full/fiber-artists-catalog 40/52
My move to North Carolina has turned out
to be even more than I had hoped for. After
nearly 40 years of teaching I desperately
needed a new direction in my life and work.
After 4 years of living in the mountains near
Penland School of Crafts, I now feel thatmy work is beginning to reect the dramatic
changes of viewing the life that abounds
around me.
I am not always aware of where my work is
going but have faith that all I need to do is
pay attention to where I am and what I am
feeling and to express those feelings visually.
Historical quilts have always been of great
interest to me and yet I have never had one
bit of interest in making a quilt. Quilting has
been and still is part of the mountain crafts
heritage. In the most loose terms, I am
piecing together my new life and it is evidentin the work I am doing.
Collaborating with other artists, combining
our separate talents into new work is
a challenge and a source of delight. It
is amazing what two people can build
together.
The scarves and neckties are also an
important venue as they reect the kind
of color and texture that I see from my
perch on the mountain…the sky, the trees,
the owers, the streams, moss, rocks.
The spontaneity of creating the printedand painted silk is such a direct way of
expressing the moment or the culmination
of ideas.
EDUCaTIoN 1965 MFA Syracuse University, School of Art l 1963 BFA Cleveland Institute of Art
TEaCHING EXPErIENCE 2003 Adjunct Professor, Department of Art, Appalachian State University,
Boone, NC l 1977-2000 Professor Emeriti, School of Art, Arizona State University, Tempe, AZ l 1972-
76 Assistant Professor, School of Art, Kent State University, Kent, OH l 1969-72 Instructor, School of
Art, Kent State University, Kent, OH l 1967-68 Instructor, Moore College of Art, Philadelphia, PA l 1968–
2003 Guest Artist: Summer Program, Penland School of Craft, Penland, NC l 1983, 1986, 1990
Summer teaching at Haystack School of Crafts, Deer Isle, ME, and Arrowmont School of Arts and
Crafts in Gatlinburg, TN ProFESSIoNaL EXPErIENCE 2002 Founding member, Ariel Gallery,Contemporary Crafts Cooperative, Asheville, NC l 1991-2002 Janet Taylor Studio, owner, creating and
manufacturing custom interior fabrics for architects and interior designers l 1990 Colorist/Consultant:
International Trade Show, Jacob Javits Convention Center, NY, NY l 1990 Designer: American Indian
Wool and Mohair Company l 1965-67 Designer/Colorist: Jack Lenor Larsen Design Studio, NY, NY
SErVICE Co-director, Yavapai Summer Arts Institute, a collaboration between Yavapai College and
Arizona State University l Former board member, Penland School of Crafts, Penland, NC l Former
board member, Hampshire House Hosiery Project, Spruce Pine, NC rECENT LECTUrES 2005
Watauga Weaver’s Guild, Sugar Creek, NC l 2002 Furniture Discovery Center, High Point, NC
SELECTED EXHIBITIoNS 2005 Honoring Penland Resident Artists, Folk Art Center, Asheville,
NC l 2004 Penland Exhibition, Mint Museum in Charlotte, NC l 2002 Fresh American Perspectives,
Augustanna College Art Museum PUBLICaTIoNS American Craft Magazine, Fiberarts Magazine,
Phoenix Home and Garden, Phoenix Magazine, Phoenix Consumer Guide and Menu Magazine l
ARIZONA ARTFORMS (proling Janet Taylor’s work), pilot video for KAET PBS station in Tempe, AZ
CoLLECTIoNS Dr. Andrew Borin, Bloomeld Hills, Michigan l Dr. Andrew Borin, Bloomeld Hills,Michigan, NC l Tempe Public Library, Tempe, Az l Linde Collection, Phoenix, AZ l ARC International
Commission, Denver, CO l Becker Commission, Fountain Hills, AZ l Chandler Center for the Arts,
Chandler, AZ l Scottsdale Center for the Arts, Scottsdale, AZ l Union Commission, Short Hills, NJ l
Lowenstein Commission, Fayetteville, NC l Northern Trust Company, Phoenix, AZ l West Court in the
Buttes Resort, Tempe, AZ l The Boulder’s Resort, Carefree, AZ l Dushoff and Sacks Law Firm, Phoenix
AZ l Neshaminy Interplex Business Center, Trevose, Pa l Valley National Bank, tapestries in the followin
branches: Payson, Phoenix, Glendale and Tempe, AZ
JaNET TayLor
Jnet Tl is n djunct pfess t applchin Stte Univesit in Bne, NC.
Janet Taylo
Bracelets, 2004
felt, semi-precious stones
beads, bras
photo by Tom Mil
detail
A n n H a w t h or n e
38 Cssing Bundies
7/16/2019 Fiber Artists Catalog
http://slidepdf.com/reader/full/fiber-artists-catalog 41/52 Mintining Tditins 39
7/16/2019 Fiber Artists Catalog
http://slidepdf.com/reader/full/fiber-artists-catalog 42/52
EDUCaTIoN 1994 MA Art Education, Rhode Island School of Design, Providence, RI l 1987 BFA,
Textiles, Rhode Island School of Design, Providence, RI SELECTED EXHIBITIoNS 2005 Arrowmont
Spring Faculty Exhibition, Arrowmont School of Art and Craft, Gatlinburg TN l 2005 Rain Chains, A
Collaboration with Ginger Freeman, Shenanigans Gallery, Sewanee TN l 2004 Art at Work, Chattanoog
Resource Development Center, sponsored by Association of Visual Artists, Chattanooga TN l 2004
Tandem Tiles, A Collaboration with Ginger Freeman, Shenanigans Gallery, Sewanee TN l 2003 Journey
Proud, Flying Solo Exhibition, Nashville International Airport, Nashville TN l 2002 Summer Faculty
Exhibition, Appalachian Center for the Crafts, Smithville, TN l 2001 Tradition in Transition: Textiles of
Christi Teasley and Murray Gibson, University Art Gallery, The University of the South, Sewanee, TN
l 2001 Friends of Fiber Art International 25th Anniversary Exhibition, juror: David McFadden, SOFA,
Chicago, IL l 2001 Garden of Eden, curated by Ann Nichols, Creative Arts Guild, Dalton, GA l 2001
Fiberworks, Harris Art Center, Calhoun, GA l 2001 Craft Artist of Southern Tennessee, Award of
Merit, Tullahoma Fine Art Center, Tullahoma, TN l 2000 Le Chassy d’or International Art Quilt —Award
“Meilleure Realisation”, Chateau Musee de Chassy en Morvan, Bourgogne, France l 2000 Best of
Tennessee Crafts, Carrol Reece Museum, Johnson City, TN, juror: Kenneth Trapp, Honorable Mention,
traveling l 2000 President’s Collection, Chattanooga State Technical College, Chattanooga, TN l 2000
Marks of Measure: Works of Cloth, solo exhibit, University of South Carolina, Lancaster, SC l 1999 Fibe
Celebrated ̀99, The Albuquerque Museum, Albuquerque, NM l 1999 Lost and Found: Greg Phillipy and
Christi Teasley, Tennessee Arts Commission Gallery, Nashville, TN l 1999 Fiber Focus ̀ 99, juror: Yoshiko
I. Wado, Art St. Louis, St. Louis, MO l 1999 Works of Cloth, solo exhibition, Stirling’s Gallery, Sewanee,
TN l 1999 Reconstructed Cloth, solo exhibition, City Hall Rotunda, Murfreesboro, TN l 1998 BASF
Fiber Arts Exhibit , Creative Arts Guild, Dalton GA, Honorable Mention l 1998 Tennessee Fiber Artists
Invitational, Appalachian Center for Crafts, Smithville, TN l 1998 Best of Tennessee Crafts, Parthenon,
Nashville TN, Merit Award, traveling l 1997 Stirlings Coffee House, solo exhibition, The University of the
South, Sewanee, TN l 1997 BASF Fiber Arts Exhibit, Creative Arts Guild, Dalton, GA l 1997 Le Chassy
d’Or , Chateau Musee de Chassy en Morvan, Premiere Prix, Chateau Chinon Bourgogne, France l
1997 Quilt National, Dairy Barn Cultural Arts Center, Athens, OH, traveling l PUBLICaTIoNS 2004
Textiles of Tennesee, for The History of Tennessee Art, edited by Dr. Vann West, University of Tennessee
Press, Knoxville, TN l 1996 The Field Guide to Hot Sauces, Altamont Press Asheville, NC, illustrations
by E. Christine Teasley, text by Todd Kaderabek l 1996 “Dispelling the Myth of the Isolated Genius”
by Christine Teasley Nervo(us) Times SELECTED Work EXPErIENCE 2005 Workshop Faculty,
“Exploring the Textile Multiple”, Arrowmont School for Art and Craft, Gatlinburg, TN l 2004 Tennessee
Association of Craft Artists Board Member, Nashville, TN, Vice President l 2001 Workshop Faculty,
“Textile Printing and Collage”, Arrowmont School for Art and Craft, Gatlinburg, TN l 1996 Workshop
Faculty, “Contemporary Surface Techniques” Appalachian Center for Crafts, Smithville, TN l 1994–1996
Surface Design Association, Tennessee Representative l 1995–96, 98 Craft Artists of Southern
Tennessee Board Member, President, regional chapter of Tennessee Association of Craft Artists l 1991–
present Shenanigan’s Cooperative Gallery, Sewanee, TN, co-founder and member, coordinator 93-95
CHrISTI TEaSLEy
I nvented Spaces, a series of small stitched
collages, is inspired by my intrigue with the
ways people create space. Both interior
and exterior spaces are carved from bigger
entities to provide the places for work,
play, learning, sleep, nourishment, love,
meditation and all that we do daily. Walls,windows, doors, paths, roofs, steps, oors,
terraces, fences, screens, are a few of the
ways we dene space. The passage from
space to space are of particular interest.
I am fascinated by the variety of moods
that space acquires through accumulation,
purging, collecting, exhibiting, and storing,
objects. The range of ways we dene space
are of particular interest—from conscious
to subconscious, from purposeful to
accidental, from planned to random, from
calculated to intuitive.
Christi Teasle
Morning Melon, 2005
silk, cotton, and rayon, hand printed
digitally printed, machine and hand stitched
15"w x 20"
Chisti Tesle is glle diect nd studi t teche, gdes 7–12 t St. andew’s-
Sewnee Schl in Sewnee, TN.
detail
40 Cssing Bundies
7/16/2019 Fiber Artists Catalog
http://slidepdf.com/reader/full/fiber-artists-catalog 43/52 Mintining Tditins 41
7/16/2019 Fiber Artists Catalog
http://slidepdf.com/reader/full/fiber-artists-catalog 44/52
From constructing garment forms to creating
body sculptures, and then creating the space
embracing the body, I have always dealt
with the human body and its perceptions
in my work. My early education was deeply
inuenced by Taoism and Buddhism, which
allow me to sit back from the mundane world
and to look at the universal human being. By
experiencing two different cultures, east andwest, I have realized that no matter what kind
of system you live with, the essential human
being won’t disappear; the essential human
being is the one I search for in my work. The
body is born in nature and constructed by
culture, the dualism of the self and the external.
That constant process of reciprocal exchange
between these two builds up the world.
The space within and around my sculptural
installation work is intended to evoke the sense
of the body contained and the body projected.
By manipulating common objects I intend to
re-contextualize them to be perceived with
different kinds of senses creating new avenues.I have always emphasized the contrast
between the interior and exterior of my work:
harshness vs. softness; tension vs. freedom;
free oating vs. measuring; compulsive energy
vs. imperturbable silence. This gives rise to
the simultaneous existence of repulsion and
compulsion. All contradictions melt into a new
kind of balance.
The profusion of materials brings question into
the physical and psychological relationships
between the mechanical and the organic,
the gigantic and the miniature. Besides
the aesthetic aspect of repetition, the layer
upon layer of time-consuming labor alsobecomes a personal ritual. The multiplicity
of small images, details, and objects that
make up the whole reveal the individual and
the universal simultaneously. For example, in
some of my pieces, the repetition of three-
dimensional objects results in the individual
element merging into oneness, with units being
alternately recognizable and unrecognizable.
In one of my latest pieces, I have used a large
number of folded boats. The large quantity
EDUCaTIoN 1996 MFA University of Wisconsin-Milwaukee l 1992 BFA The School of Art Institute
of Chicago l 1987 Tainan Professional School of Home Economic, Tainan, Taiwan aWarDS &
EXHIBITIoNS 2005 A Tribute to Fiber Art, Apex Gallery, Washington, DC l 2005 Thirty-Third Annual
Competition for North Carolina, Fayetteville Museum of Art, Fayetteville, NC l 2005 Down East, Lee
Hansley Gallery, Raleigh, NC l 2005 DAC Celebrate 50 Years, Diamond View Gallery, Durham, NC l
2004 Emerging Artists Retrospective Exhibit, Durham Arts Council, Durham, NC l 2004 Exhibition at
ECU Chancellor’s House, Greenville, NC l 2004 Faculty Exhibition, Wellington B. Gray Gallery, East
Carolina University School of Art, Greenville, NC l 2004 Solo Exhibition, Sarratt Gallery, Vanderbilt
University, Nashville, TN l 2004 Sight Unseen, The Durham Art Guild, Durham, NC l 2003-04 NC Artist-
in-Residence Fellowship Award, Headlands Center for the Arts in Sausalito, CA l 2004 Fabulous Fiber
2004, Elon University, Elon, NC l 2003 Sorrow of the Great Wall, wearable art exhibition, International
Textile and Apparel Association 2003 conference l 2003 Excerpts, Public art project celebrating Orange
County’s 250th year l 2003 Arts Round Town Festival, People’s Choice Award, Chapel Hill, NC l 2002
Continuum, Peck School of the Arts, University of Wisconsin, Milwaukee, WI l 2002 Grand Arts at
Green Hill, 23 of North Carolina’s most innovative artists, Green Hill Center, Greensboro, NC l 2002
September 11 Remembered, Durham Art Guild, commission & purchase award, by Duke University
Children’s Hospital Conference Center l 2002 Sculpture on the Green, Chapel Hill, NC, Merit Award
l 2002 Mending & Praying, solo exhibition ber installation, Durham Arts Council Building, Durham,
NC l 2001 Constant Shifting: Chinese Transformations, Carrboro Branch Library, Carrboro, NC l 2001
Orange Arts & Grassroots Arts Grant Recipient l 2001 Regroup, Walker’s Point Center for the Arts,
Milwaukee, WI l 2001 Durham Arts Council Emerging Artists Grant Recipient l 2000 Mind, Brain,
Behavior Conference, solo invitational, Hall of Science, Duke University, Durham, NC l 2000 Solo
Invitational, NC State University, Raleigh, NC l 2000 2-3-4 Dimensional, an international juried art
exhibition, Period Gallery, Omaha, NE, Award of Excellence l 2000 Sculpture on the Green, Chapel Hill,
NC, Merit Award, Children Best Choice Award l 2000 Chapel Hill 2000 Exhibition, Chapel Hill Town
Hall, Chapel Hill, NC LECTUrES/rELaTED ProFESSIoNaL EXPErIENCE 2001 Lecture, Tainan
National College of the Arts, Tainan, Taiwan l 2001 Lecture, seminar, and critique of graduate work,
Fu Jen Catholic University, Taipei, Taiwan PUBLICaTIoNS & rEVIEWS “Galleries of Council, Guild
Bursting with Art” by Blue Greenberg, The Herald-Sun, Durham, 2002 l “New Culture Gives Artist a
Different Perspective” by Nerys and Jan-Ru Wan, The Chapel Hill News, Chapel Hill, 2001 l “Artist Taps
into Buddhist Roots to Fashion Her Fabric Sculptures” by Susan Broili, The Herald Sun, Chapel Hill,
2000 l “Fire Exhibition” reviews by Jerry Cullum, Atlanta Journal and Constitution, 1999
JaN-rU WaN
of hanging boats is magnetic, and draws the
viewers’ sense into the space; as a multiplicity
of musical notes. The quality of free-swinging
boats creates interaction among them,
simulating the nervous system. Through this
repetition of form and notion, the discrepancy
between materials is wedded alchemically to
produce a new harmony—the balance of the
chaotic, the sublime and the beautiful.
I have combined materials with totally opposite
characteristics in which contradiction exists
between structure and objects. Synthetic
materials like rubber gloves are used to create
an organic illusion, and organic substances,
like paper or feathers and silk are used to
construct a sharp geometry shape. Repetition
of form creates a sense of mutual harmony.
This juxtaposition implies the conict between
rational and emotional impulses, with the
possibility of reconciliation, through unication
into a singular entity.
Jan-Ru Wa
Roof Over My Head , 2004
Jacquard woven roof image
found keys, dyed and printed image
on cotton and silk organza, wax
44"w x 86"h
Jn-ru Wn is assistnt Pfess, Schl f at, t Est Clin Univesit, Geenville, NC
nd Visiting assistnt Pfess, the Deptment f at nd Design t Nth Clin StteUnivesit in rleigh, NC.
deta
42 Cssing Bundies
7/16/2019 Fiber Artists Catalog
http://slidepdf.com/reader/full/fiber-artists-catalog 45/52 Mintining Tditins 43
7/16/2019 Fiber Artists Catalog
http://slidepdf.com/reader/full/fiber-artists-catalog 46/52
I am drawn to the photographic image for
what it represents, that intersection between
reality and history. These quilted works are a
tribute to memory in visual form.
I begin with a vintage photograph of a
person I am particularly drawn to. It may be
their pose, their clothing or even the texture
of their skin that I feel a connection to. Thenusing the computer, this image is combined
with something manmade and something
from nature.
What connects these images together?
It’s rather like a puzzle. I search for those
elements that “t” together, creating a
narrative that brings them to life. Why do I
print these images on fabric? I am drawn
to the tactile nature of this medium and our
associations with the quilt. Quilts embody
the history and values of their makers. They
have a personal history and a collective
past. These unfolding stories are likeartifacts lifted from an imaginary place and
time. Every person has a story. It is up to
you to imagine what their memories may be.
EDUCaTIoN 2000 MFA Fibers, Southern Illinois University at Carbondale, Carbondale, IL l 1994
MFA Photography, University of Cincinnati, Cincinnati, OH l 1991 BA in Art, Concentrations in
Photography and Handmade Paper, Moorhead State University, Moorhead, MN SELECTED oNE- &
TWo-PErSoN EXHIBITIoNS 2004 The Poetry Of Objects, Lycoming College, Williamsport, PA l
2002 Personal Narratives, The Preservation Society of Chapel Hill, Horace Williams House, Chapel
Hill, NC l 1997 Confunction, Nash Center, Florida International University, Miami, FL l 1994 Artifacts of
Being Human, Images Annex, Cincinnati, OH l 1994 Touching The Skin, Creative Arts Center, Fargo,
ND EXHIBITIoNS 2005 The Human Condition, Davidson County Community College, Lexington, NC
2005 RECURSIONS: Material Expression of Zeros and Ones, Museum of Design, Atlanta, GA l 2005
Art In The Air, Southeastern Center for Contemporary Art, Winston-Salem, NC; Greensboro Artists’
League Gallery, Greensboro, NC; High Point Theatre Art Galleries, High Point, NC l 2004 NC Fellowship
Exhibition, Hickory Museum of Art, Hickory, NC l 2004 Film & Visual Artist Fellowship Recipients,
McColl Center for Visual Art, Charlotte, NC l 2003 Recent Works by Elon Faculty, Center for Creative
Leadership, Greensboro, NC l 2003 Faculty Exhibition, Isabella Cannon Room, Model Center for the
Arts, Elon University, Elon, NC l 2001 Quilts and Critters, Green Hill Center for North Carolina Art,
Greenhill, NC l 2001 Faculty Exhibition, Isabella Cannon Room, Model Center for the Arts, Elon
University, Elon, NC l 2001 Creative Resolution One, College Coffee, Elon, NC l 2000 Of Time and
Place, University Museum, Southern Illinois University, Carbondale, IL l 1999 MFA Preview Show,
University Museum, Southern Illinois University, Carbondale, IL l 1999 Dada Art Party, invitational,
Douglass School Art Place, Murphysboro, IL l 1999 Fibers: It’s Not Just A Breakfast Cereal, University
Museum, Southern Illinois University, Carbondale, IL l 1999 People’s Choice, University Museum,
Southern Illinois University, Carbondale, IL l 1998 Multi-Mini: An Invitational Art Exchange and Exhibition
of Miniature Works, University Museum, Southern Illinois University, Carbondale, IL SELECTED
PUBLICaTIoNS Film & Visual Artist Fellowship Recipients catalog, published by the McColl Center
for Visual Art, Hickory Museum of Art and the NC Arts Council, 2004 l “The Poetry of Objects,
artist couple’s works mesh in gallery space” by Katie Princ, Williamsport Sun-Gazette Showcase,
Williamsport, PA, 2003 l “Pretty Serious Stuff” by Tom Patterson, Winston-Salem Journal , Winston-
Salem, NC, 2001 l “Dening the rules in art” by Jennifer Guarino, The Pendulum, Elon College, NC,
2001 SIGNIFICaNT aWarDS & GraNTS 2003 Summer Fellowship, Elon University, Elon, NC l
2002-2003 North Carolina Visual Arts Fellowship, North Carolina Arts Council, Department of Cultural
Resources, Raleigh, NC l 2000-2001 Individual Technology Course Enhancement Faculty Grant,
Elon University, Elon, NC l 1996-97 Joint Women’s Studies and University Women’s Professional
Advancement Juried Competition, Southern Illinois University, Carbondale, IL
LM WooD
LM Wd is assistnt Pfess f at, digitl t cncenttin t Eln Univesit in Eln, NC
LM Wood
A Summer’s Morning, 2004
digital image, inkjet printed
on fabric, cotton sheeting
felt, machine stitching
33"w x 40"hdetail
44 Cssing Bundies
7/16/2019 Fiber Artists Catalog
http://slidepdf.com/reader/full/fiber-artists-catalog 47/52
7/16/2019 Fiber Artists Catalog
http://slidepdf.com/reader/full/fiber-artists-catalog 48/52
CHrISTINE L. ZoLLEr
EDUCaTIoN 1995 MFA, Fiber/Textiles, The University of Georgia l 1991 BS, Design,Textiles, Buffalo
State College, NY l Additional studies in apparel design/construction, costume design,CAD-CAM
and fashion illustration SELECTED EXHIBITIoNS 2005 Chancellor’s Exhibition, Faculty Exhibition,
invitational, Chancellor’s Residence, East Carolina University, Greenville, NC, l 2005 Down East ,
invitational, Lee Hansley Gallery, Raleigh, NC l 2005 Fine Contemporary Craft, Artspace, Raleigh, NC,
juried l 2005 Faculty Exhibition, East Carolina University, Greenville, NC l 2005 Faculty Invitational,
Arrowmont School of Arts and Crafts, Gatlinburg, TN l 2005 Faculty Invitational, Penland School of
Crafts, Penland, NC l 2005 Explorations, Manseld Art Center, Manseld, OH l 2004 Explorations,
Ohio Craft Museum, Columbus, OH l 2003 Faculty Exhibition, Wellington B. Gray Gallery, East Carolina
University, Greenville, NC l 2003 Explorations from Quilt Surface Design International, Wesserling
Textile Museum, Mulhouse, France l 2003 American Craft Council’s Spotlight 2003, Blue Spiral,
Asheville, NC l 2002 Faculty Exhibition, East Carolina University, Greenville, NC l 2002 Fall Faculty
Invitational, Arrowmont School of Arts and Crafts, Gatlinburg, TN l 2002 Lifeline, A Multi Media
Exhibition of Contemporary Women Artists, Kinston Council for the Arts, Kinston, NC l 2001 Faculty
Exhibition, Wellington B. Gray Gallery, East Carolina University, Greenville, NC l 2001 Summer Faculty
Invitational, Arrowmont School of Arts and Crafts, Gatlinburg, TN l 2001 A Common Thread, works by
nine regional ber artists, Wilson Art Center, Wilson, NC l 2000 Summer Faculty Invitational, Penland
School of Crafts, Penland, NC l 2000 Summer Faculty Invitational, Arrowmont School of Arts and
Crafts, Gatlinburg, TN, l 2000 Summer Faculty Invitational, Appalachian Center for Crafts, Smithville,
TN l 1999 Six Plus One, Beaufort County Arts Center, Washington, NC l 1999 ECU Faculty Invitation,
Kreuzherrenkloster, Erkelenz, West Germany l 1999 Patterns, Prints, Paints and Patience, The Arts
Center, Kinston, NC l 1999 Converging Terrains: Gender, Environment, and Technology and the Body,
Brooks Gallery, NCSU, Raleigh, NC l 1999 CCA ’99 18th Annual National Competition, Kinston,
NC CoMMISSIoNS/PrIVaTE CoLLECTIoNS 2000 Chancellor’s Ofce, East Carolina University,
Greenville, NC l 1998 Dr. Mary Ann Rose l 1997 Permanent collection of Arrowmont School of Arts &
Crafts l 1997 Adrian Turner, Ocean Springs, MS l 1997 Private collection of Mary Birks, Memphis, TN
l 1995 Private collection of S. Katherine Merry, Elijay, GA PUBLICaTIoNS l “New Techniques Mean
New Chemical Processes—How Do We As Textile Educators Teach Students Cutting Edge Techniques
and Keep Them Safe” abstract and presentation, SECAC Tri-State Sculptors Conference, Raleigh, NC,
2003 l “Spotlight on Education,” Surface Design Journal , 2002 l “Technology for the New Millennium”
review of CITDA Symposium, Surface Design Journal newsletter, Charlotte, NC, 2000 l Surface
Design Journal Quarterly Newsletter, 1998–present l Fiberarts Design Book 6, 1999 l President’s
Annual Report , Tennessee Technological University, Cookeville, TN, 1996 l Fiberarts Design Book 5,
1995 aWarDS 2004 East Carolina University Scholar-Teaching Award for signicant contributions
to research/creative activity and scholarship l 2002 “Who’s Who Among America’s 2003 and 2004
Teachers” l 1998 5th Annual Juried Exhibition, Rocky Mount Arts Center, Rocky Mount, NC, 2nd place
mixed media l 1996 Bank One, Cookeville, TN, 1st place professional bers
Christine L. Zoller teaches ber in the School of Art and Design at East Carolina University in
Geenville, NC.
Christine L. Zolle
The Music of Autumn Leaves, 2004
textile pigments on canvas
scanned music, with
Photoshop manipulatio
54"w x 48"hdetail
Music is all around us and it is not only
what we hear on the radio, through CD
players or in the movies. Each object has
a sound, a rhythm, and a movement all its
own whether it is the wind through the trees
or a jackhammer on a construction site. We
are part of a musical score, which surrounds
everything we come in contact with. In my
work, I have chosen to explore the manypossibilities of expressing how music
moves rhythmically through an abstract
composition. The varied gradation of colors
give depth and light to the work, helps to
enhance the ow of the elements, and gives
a suggestion as to the type of music being
used within the piece. It is not important that
these images become literal representations
of music; therefore, I have taken sheet
music and manipulated it through the use of
computer software technology. The resulting
patterns and textures capture the essence
of the music, as they are screen printed
within the piece. The squares, leaves andother objects, which oat through the work,
are music notes and their composition is
derived from the actual sheet music where
notes move rhythmically across the page.
At this station in life, I no longer have the
time to devote to the classical guitar studies,
which were once a part of my everyday
routine. My textile pieces have given me
an opportunity to discover a new way of
playing. I invite you to listen awhile and
experience each piece’s own sense of
rhythm.
46 Cssing Bundies
7/16/2019 Fiber Artists Catalog
http://slidepdf.com/reader/full/fiber-artists-catalog 49/52 Mintining Tditins 47
7/16/2019 Fiber Artists Catalog
http://slidepdf.com/reader/full/fiber-artists-catalog 50/52
The Cente f Cft, Cetivit nd Design
A UNC regional inter-institutional center
The Center for Craft, Creativity and Design, a regional inter-institutional
center of the University of North Carolina, was established by the Board
of Governors in 1996. It’s mission is to support and advance craft,
creativity and design in education and research and, through community
collaborations, to demonstrate ways craft and design provide creative
solutions for community issues.
Ptne Institutins
University of North Carolina at Asheville,
Chancellor Anne Ponder (administrative unit)
Appalachian State University, Chancellor Ken Peacock
Western Carolina University, Chancellor John W. Bardo
Plic Bd f Diects 2005-2006
Brenda Coates, Art History Faculty
Westen Clin Univesit, Cullowhee, NC
David Hutto, Dean, Technology and Development
Blue ridge Cmmunit Cllege, Flat Rock, NC
Matt Liddle, Chair, Fine Art Department, Book Arts
Westen Clin Univesit, Cullowhee, NC
Daniel Millspaugh, Sculpture Faculty, Art Department, Policy Board Chair
UNC asheville, Asheville, NC
Jody Servon, Catherine J. Smith Gallery Director/
Arts Management Faculty
applchin Stte Univesit, Boone, NC
Lisa Stinson, Faculty, Art Department (Clay) applchin Stte Univesit, Boone, NC
Megan M. Wolfe, Ceramics Faculty, Art Department
UNC asheville, Asheville, NC
Dian Magie, Executive Director (ex-ofcio)
Cente f Cft, Cetivit nd Design
Hendersonville, NC
Stff
Hillary Brett, Gallery Director
Cente f Cft, Cetivit nd Design
Hendersonville, NC
Danielle McClennan, Gallery Assistant
Cente f Cft, Cetivit nd Design
Hendersonville, NC
Cente f Cft, Cetivit nd Design Inc.
Nonprot Support Organization
Formed in 1997 and recognized as a 501 (c) (3) organization in 2000, the
nonprot supports the regional center through funding programs and
outreach to artists, craft organizations, centers and the community in
Western North Carolina and throughout the United States.
Nonprot Board of Directors 2005-2006
Pete albeice
Camille-Alberice Architects, P.A.
Asheville, NC
Bec andesn
Director, Handmade in America
Asheville, NC
ann Btchelde
Curator, Fiberarts Magazine editor,1988-1998
Asheville NC
Judith Duff
Professional potter
Cedar Mountain Artworks
Brevard, NC
Cthine Ellis
Fiber Faculty, Professional Crafts Department
Haywood Community College
Clyde, NC
ken Gld
Ken Gaylord Architects, AIA
Black Hawk Construction
Hendersonville, NC
andew Glsgw
Director, The Furniture Society
Asheville, NC
Stne Lm
Wood sculptor
Saluda, NC
Ted Lpps
Attorney, developer
Clyde, NC
Jen McLughlin
Director, Penland School of Crafts
Penland, NC
48 Cssing Bundies
7/16/2019 Fiber Artists Catalog
http://slidepdf.com/reader/full/fiber-artists-catalog 51/52
The Center for Craft, Creativity and Design A regional inter-institutional center of the
University of North Carolina, located at
the UNC Asheville Kellogg Center, 1181
Broyles Road, Hendersonville, NC 28791
Open Tues.–Sat., 1–5 p.m.
828.890.2050
www.craftcreativitydesign.org
This project is a collaboration ofthe Center for Craft, Creativity and
Design and the Southeast Fibers
Educators Association
Printed by Clark Communications
Asheville, NC
August 2005
Martha Smith Design
7/16/2019 Fiber Artists Catalog
http://slidepdf.com/reader/full/fiber-artists-catalog 52/52
THE CENTER