fiber artists catalog

7/16/2019 Fiber Artists Catalog

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Crossing Maintaining Boundaries T r aditions

Teaching Artists

of the Southeast



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



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



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



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



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



FPO

Mintining Tditins 5



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


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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



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

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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.

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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

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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

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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

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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

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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

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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"

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detail

Mintining Tditins 25



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



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



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



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



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



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

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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

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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

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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

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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

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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.

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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


Hendersonville, NC

Danielle McClennan, Gallery Assistant


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



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



THE CENTER

fiber artists catalog

Documents

thousands of years textiles

teaching fiber artists

art gallery

new programs

art departments

ancient hand techniques

southeastcrossing boundaries

new chemistry