Crossing Maintaining

Crossing Maintaining 

Boundaries Tr aditions 

Teaching Artists 

of the Southeast

Crossing Boundaries Maintaining Traditions 


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


of the Southeast 

Mary Babcock 

Jeanne Whitfield Brady 

Susan Brandeis 

Pip Brant 

Cayewah Easley 

Candace Edgerley 

Catharine 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

Crossing Maintaining 

Boundaries Traditions 

For ancient peoples, textiles meant survival: fishing 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 fiber 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 “fiber art” or “art fabric”)—objects that 

are intentionally nonfunctional and that embrace fine 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 draw 

on influences 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 fine 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. 

2 Crossing Boundaries 

The work produced today takes many forms ranging from large hangings for the wall to 

miniature works; freestanding sculptures to site-specific works; performance pieces to

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 confidence in its stature and acceptance in the art world. 

Many mid-career textile artists working today were first 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, reflection, 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 finished 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 fibers 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 and 

to “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, mixed 

media, and space age materials. In both the classroom and the studio, these teaching 

artists synthesize ideas from diverse influences 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. 


Professor of Art and Design 

Director of Graduate Programs, 

Art and Design, College of Design 

North Carolina State University 

Raleigh, NC 

Maintaining Traditions 3

Mary Babcock 

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 watched 

a 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… 

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, fiber 

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 Babcock is Assistant Professor/Fibers Area Head in the Department of Art at 

Appalachian State University in Boone, NC. 

Mary Babcock 

Teachings on Love, 2005 

detail 

hand-embellished antique 

wedding dress, detail

FPO 



The fiber 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 have 

passed through this land, and over it; rarely 

have I lived in it, and only briefly 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 have 

visited. 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, finally 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. 

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, first 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, fibers 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, first 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 

Jeanne Whitfield Brady is Associate Professor of Fiber, Head of Fiber Arts Department at the 

Appalachian Center for Crafts in Smithville, TN. 

detail 


Listening for the Words Beneath the Water, 2005 

fiber, hand-dyed and printed silks 

(shantung, habotai) 


26"w x 72"h



Making 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, natural 

materials 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 views 

and generalized effects, to the power and 

uniqueness of more specific 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 reflective. 

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, our 

eyes 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 State 

University, 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, NC 

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 of 

Law, Durham, NC l 1998 Fiber as a Medium in Contemporary Southern Art, Atlanta, GA l 1998 Through 

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 Undergraduate 

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; Design 

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 Ernst 

& Whinney, Washington, DC l Glaxo Inc., Research Triangle Park, NC l Helikon Division of Herman Miller, 

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 is Professor of Art and Design, Coordinator of the Fibers and Surface Design 

curriculum and Director of Art and Design Graduate Programs at North Carolina State 

University in Raleigh, NC. 

detail 


Succulence, 2005 

digitally printed, hand- and machineembroidered 

and beaded; 

cotton and silk, glass beads 

79"w x 39"h 

photo by Susan Brandeis


Pip Brant 

This 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 counters 

the original purpose of a blanket or 

decorative tablecloth that once covered 

a festive table surrounded by a wellbehaved, 

tightly defined, 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 the 

social implications of issues normally swept 

under the table. Potential dinner guests will 

be left to question as to what will be 

served. 

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, Springfield College, Springfield, 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 Stem 

Cell 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 Transgressing 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 Unaffiliated 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, (fiber 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 Battlefield/Fetterman Battlefield, 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 Costume 

Design 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 Brant is Associate Professor at Florida International University in Miami, FL. 

detail 

Pip Brant 

Environmental Liberation Front, 2004 

found cloth, dyed, silk screen, embroidery 


57"w x 72"h



EDUCATION MFA Fiber, Cranbrook Academy of Art, Bloomfield 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, 

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 in 

order 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 a 

balance between intuitive creating and the 

conscious, rigorous inquiry and reflection 

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. 

Cayewah Easley is Professor of Art, Fibers Department at Savannah College of Art and 

Design in Savannah, GA. 

detail 

To balance teaching and making is another 

endeavor that requires preparation, patience 

and honesty. The bees and sheep series 

began as a reflection on teaching and 

learning through the use of two materials 

that oppose, and complement, each 

other: wool and wax. The molten wax is 

methodically 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. 


bees and sheep (blue book), 2004 

encaustic, wool, cotton thread 


12"w x 12"h

Candace edgerley 

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 and 

divide 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 Business 

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 producing 

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 Artist, 

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, Springwater 

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 International 

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, Washington, 

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 International 

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 recognition 

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 is an adjunct faculty member in Surface Design for Textiles at the 

Corcoran College of Art + Design in Washington, DC. 

detail 

Candace Edgerley 

Sidewinder Dawn, 2005 

Shibori-dyed silk organza, 

machine pieced with French seams 


39"w x 47"h



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 fibers for many 

years. Most recently, my career has been 

defined 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. 

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 Reflecting 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 T2002 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 Ellis is an instructor in the Professional Craft Fiber Program at Haywood 

Community College in Clyde, NC. 

Woven shibori has challenged all that I know 

about weaving and has led me to investigate 

new materials, resists, dyes and finishing 

processes. The fabrics I have produced 

include combinations of dyed cellulose 

fibers, wool felting and resist, permanent 

shaping with thermoplastics, and burning 

out areas of fiber. Continued exploration of 

woven shibori and its applications will define 

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. 

detail 


Four Hundred Steel Threads, 2005 

stainless steel, heat, woven shibori 


80"w x 20"h


EDUCATION 1976 MFA Fiber, Cranbrook Academy of Art, Bloomfield 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 

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 conversation 

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 by 

philosophy, 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 scientific illustrations 

detail 

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 scientific illustration, they shift 

readily 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 ‘figurative’ metaphor with ritual 

overtones. Historically this metaphor seems 

to 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 

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 have 

consciously 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 fiber 

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’. 

John David Hawthorne recently retired as Professor of Art from Virginia Commonwealth 

University in Richmond, VA. 


Disorder, 2003 

embroidery, cotton floss on linen 


14"w x 16"h


Susan Iverson 

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 

influenced by both the physical landscape 

around me and the remembered landscapes 

that haunt me. 

This recent tapestry, Useless, Secret 

Dreams is specifically about the way we 

dream and how we remember dreams. 

Fragments of dreams glide over the 

anonymous figures, 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 fiber 

reflects light in a different way. 

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 Reflections 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 

Susan Iverson is Professor of Art at Virginia Commonwealth University in Richmond, VA. 

detail 

Susan Iverson 

Useless, Secret Dreams, 2004 

wool and silk tapestry 


60"w x 34"h



There 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 specific day. On the day of 

Pentre Ifan’s visit, I participated in the Welsh 

national 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 fisted hands tattooed with swallows 

identical to those I had met in the flesh 

earlier. When asked the significance 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 fill 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 

significance 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 actuality 

of 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 

find 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. 


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 2004 

Entwined: 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 

Jeana Eve Klein is a lecturer at Appalachian State University in Boone, North Carolina. 

detail 


Souvenirs, 2005 

cotton and recycled fabrics; dyed and 

over-dyed with fiber-reactive dyes, 

screen-printed, discharged, potato dextrin 

resisted, pieced, painted with acrylic paint 

and hand-quilted with French knots 

71"w x 72"h



Art creates its own reality. Few things in life 

are as satisfying as time spent in that reality. 

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. Stanfield, 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 

Bethanne Knudson is president of The Jacquard Center Inc. in Hendersonville, NC. 


Postcards, 2005 

Jacquard-woven cotton 


59"w x 15.5"h

detail 


CAROL LEBARON 

Last summer, I visited old growth forest 

for the first 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. The 

work 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 observation, 

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 into 

substance from both reflected 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 reflectivity 

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 invisible 

presence. This work is in a finished 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 finish. 


EDUCATION 2003-04 Jacquard Weaving and Technology, The Jacquard Center Hendersonville, NC 

l 2001 Collegiate Teaching Certificate, 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, Reflecting, 

Remembering, University of the South Gallery, Sewanee, TN l 2000 Reflections 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 Office, 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 

Carol LeBaron is a member of the art faculty at Emory and Henry College in Emory, VA. She 

also teaches art history at East Tennessee State University and Sculpture and Design at 

Virginia Highlands Community College. 

detail 

Carol LeBaron 

Patterns Ripping, 2004 

clamp resist wool, 

pieced, acid dye 

56"w x 49"h


PATRICIA MINK 

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 specific, 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 nontraditional 

materials and techniques. 

My current work explores the traditional 

layered quilt form, employing new digital 

techniques 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. 

EDUCATION 1996 MFA Studio Art, Fibers, Eastern Michigan University l 1996 Eastern Michigan 

University, Studies Abroad Program, Spain l 1988 Millinery Certificate, 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, International 

Quilt 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 

Patricia Mink is Assistant Professor of Art (Fibers ) at East Tennessee State University in 

Johnson City, TN. 

The images I print onto the fabrics are 

primarily from my own digital photographs, 

which have been combined and manipulated 

in Photoshop. Generally, these 

photographs are from my travels, and 

focus on crumbling structures and aging 

surfaces 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 specifically 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. 


detail 

Patricia Mink 

Tapia No. 5, 2005 

fibers/quilt: computer-manipulated original 

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


Vita Plume 

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 fiber reactive and vat dyes. 

During weaving, supplemental weft threads 

are 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. 

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 Textile 

Catalysts: 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 Development 

Grant, 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” by 

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 Modified 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 is Assistant Professor in the Department of Art and Design, College of Design, 

at North Carolina State University in Raleigh, NC. 

This process is a lovely blend of hand 

technique with computer wizardry! 


detail 

Vita Plume 

Pattern LSPO2, 2004 

cotton, polyester 

hand-woven Jacquard, 

woven shibori 

36"w x 56"h


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 firing 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 transfer 

processes 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-filled 

Sanskrit words that each work bears as the 

work title. The pieces develop in this series as 

I find 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 unfinished 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, affiliation of 

CRDIT in Montreal, Canada) 

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: Reflective 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 Defining 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 Defining Craft, Collecting for the Millennium, Houston Center for the Contemporary Craft, 

Houston, TX l 2000 Defining 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 

Junco Sato Pollack is Associate Professor of Art and Head of Textiles at the School of Art 

and Design at Georgia State University in Atlanta, GA. 


detail 


Kesa #7 Sansara, 2003 

dye sublimation, pieced polyester 

organza and metallic silk 

50"w x 106"h



I choose fiber 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 reflected 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. 

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 l 

2003 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 l 

Tennessee State Museum, Nashville, TN 

Jennifer Sargent is Associate Professor at Memphis College of Art in Memphis, TN. 


detail 


Timur’s Garden I, 2004 

handwoven and knotted: 

two layers—ikat dyed linen, 

discharge printed; 

black linen 

14"w x 79"h x 2.5"d



Prayer Flags I: Life Cycle 

In India, Tibet and other Asian countries, 

Buddhists use Lung-ta (prayer flags) 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 flags 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 

flags themselves. 

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 

Georgia M. Springer is adjunct faculty in Color Theory, Surface Design on Fabric at Meredith 

College in Raleigh, NC. 

The river flowing 

With sweet unending care down 

Until it is still 


Prayer Flags I, Life Cycle, 2004 

cotton, silk 


80"w x 12"h 

with details

JANET TAYLOR 

Ann Hawthorne 

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 that 

my work is beginning to reflect 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 evident 

in the work I am doing. 

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 (profiling Janet Taylor’s work), pilot video for KAET PBS station in Tempe, AZ 

COLLECTIONS Dr. Andrew Borin, Bloomfield Hills, Michigan l Dr. Andrew Borin, Bloomfield 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 following 

branches: Payson, Phoenix, Glendale and Tempe, AZ 

Janet Taylor is an adjunct professor at Appalachian State University in Boone, NC. 

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 reflect the kind 

of color and texture that I see from my 

perch on the mountain…the sky, the trees, 

the flowers, the streams, moss, rocks. 

The spontaneity of creating the printed 

and painted silk is such a direct way of 

expressing the moment or the culmination 

of ideas. 

detail 

Janet Taylor 

Bracelets, 2004 

felt, semi-precious stones, 

beads, brass 


photo by Tom Mills



Invented 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, floors, 

terraces, fences, screens, are a few of the 

ways we define 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 define space 

are of particular interest—from conscious 

to subconscious, from purposeful to 

accidental, from planned to random, from 

calculated to intuitive. 

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, Chattanooga 

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 Fiber 

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 is gallery director and studio art teacher, grades 7–12 at St. Andrew’s- 

Sewanee School in Sewanee, TN. 

detail 


Morning Melon, 2005 

silk, cotton, and rayon, hand printed, 

digitally printed, machine and hand stitched 


15"w x 20"h


Jan-Ru Wan 

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 

influenced 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 and 

west, 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 floating 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 also 

becomes 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 threedimensional 

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 Artistin-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 fiber 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 is Assistant Professor, School of Art, at East Carolina University, Greenville, NC 

and Visiting Assistant Professor, the Department of Art and Design at North Carolina State 

University in Raleigh, NC. 

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 conflict between 

rational and emotional impulses, with the 

possibility of reconciliation, through unification 

into a singular entity. 

detail 

Jan-Ru Wan 

Roof Over My Head, 2004 

Jacquard woven roof image, 

found keys, dyed and printed images 

on cotton and silk organza, wax 

44"w x 86"h


LM Wood 

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. Then 

using 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 “fit” 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 like 

artifacts 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 l 

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 “Defining 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 is Assistant Professor of Art, digital art concentration at Elon University in Elon, NC. 


detail 

LM Wood 

A Summer’s Morning, 2004 

digital image, inkjet printed 

on fabric, cotton sheeting, 

felt, machine stitching 

33"w x 40"h

CHRISTINE L. ZOLLER 

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 many 

possibilities 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 flow 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 and 

other objects, which float 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. 

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, Mansfield Art Center, Mansfield, 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 fiber 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 Office, 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 significant 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 fibers 

Christine L. Zoller teaches fiber in the School of Art and Design at East Carolina University in 

Greenville, NC. 


detail 

Christine L. Zoller 

The Music of Autumn Leaves, 2004 

textile pigments on canvas, 

scanned music, with 

Photoshop manipulation 

54"w x 48"h


The Center for Craft, Creativity and 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. 

Partner Institutions 

University of North Carolina at Asheville, 

Chancellor Anne Ponder (administrative unit) 

Appalachian State University, Chancellor Ken Peacock 

Western Carolina University, Chancellor John W. Bardo 

Policy Board of Directors 2005-2006 

Brenda Coates, Art History Faculty 

Western Carolina University, Cullowhee, NC 

David Hutto, Dean, Technology and Development 

Blue Ridge Community College, Flat Rock, NC 

Matt Liddle, Chair, Fine Art Department, Book Arts 

Western Carolina University, 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 

Appalachian State University, Boone, NC 

Lisa Stinson, Faculty, Art Department (Clay) 

Appalachian State University, Boone, NC 

Megan M. Wolfe, Ceramics Faculty, Art Department 

UNC Asheville, Asheville, NC 

Dian Magie, Executive Director (ex-officio) 

Center for Craft, Creativity and Design 

Hendersonville, NC 

Staff 

Hillary Brett, Gallery Director 



Center for Craft, Creativity and Design Inc. 

Nonprofit Support Organization 

Formed in 1997 and recognized as a 501 (c) (3) organization in 2000, the 

nonprofit 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. 

Nonprofit Board of Directors 2005-2006 

Peter Alberice 

Camille-Alberice Architects, P.A. 

Asheville, NC 

Becky Anderson 

Director, Handmade in America 

Asheville, NC 

Ann Batchelder 

Curator, Fiberarts Magazine editor,1988-1998 

Asheville NC 

Judith Duff 

Professional potter 

Cedar Mountain Artworks 

Brevard, NC 


Fiber Faculty, Professional Crafts Department 

Haywood Community College 

Clyde, NC 

Ken Gaylord 

Ken Gaylord Architects, AIA 

Black Hawk Construction 


Andrew Glasgow 

Director, The Furniture Society 

Asheville, NC 

Stoney Lamar 

Wood sculptor 

Saluda, NC 

Ted Lappas 

Attorney, developer 

Clyde, NC 

Jean McLaughlin 

Director, Penland School of Crafts 

Penland, NC 

Danielle McClennan, Gallery Assistant 



48 Crossing Boundaries

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 of 

the Center for Craft, Creativity and 

Design and the Southeast Fibers 

Educators Association 

Printed by Clark Communications 

Asheville, NC 

August 2005 

Martha Smith Design

THE 

FOR CENTER 

CRAFT, 

CREATIVITY 

& DESIGN

Crossing Maintaining

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