California Handmade: State of the Arts 2015

This catalog is published in conjunction with “California Handmade: State of the Arts,” an exhibition of innovative sculpture, furniture, textiles, jewelry, and decorative arts by 84 visionary California artists. The exhibition is co-presented by Craft in America and the Sam and Alfreda Maloof Foundation for Arts and Crafts, and exhibited at the Maloof’s Jacobs Education Center Gallery from June 7, 2015 – January 2, 2016.

This catalog is published in conjunction with “California Handmade: State of the Arts,” an exhibition of innovative sculpture, furniture, textiles, jewelry, and decorative arts by 84 visionary California artists. The exhibition is co-presented by Craft in America and the Sam and Alfreda Maloof Foundation for Arts and Crafts, and exhibited at the Maloof’s Jacobs Education Center Gallery from June 7, 2015 – January 2, 2016.


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A<br />







June 7, <strong>2015</strong> – January 2, 2016<br />

This catalog is published in conjunction with “<strong>California</strong> <strong>Handmade</strong>: <strong>State</strong> <strong>of</strong> <strong>the</strong> <strong>Arts</strong>,”<br />

an exhibition <strong>of</strong> innovative sculpture, furniture, textiles, jewelry, and decorative arts<br />

by 84 visionary <strong>California</strong> artists. The exhibition is co-presented by Craft in America<br />

and <strong>the</strong> Sam and Alfreda Malo<strong>of</strong> Foundation for <strong>Arts</strong> and Crafts, and exhibited at <strong>the</strong><br />

Malo<strong>of</strong>’s Jacobs Education Center Gallery from June 7, <strong>2015</strong> – January 2, 2016.<br />

www.craftinamerica.org<br />

www.malo<strong>of</strong>foundation.org<br />

Printed by Susan Ross Printing<br />

Designed by Stacie Martinez<br />

Typeface Gahndi Sans by Librerias Gandhi S.A. de C.V.<br />

Typeface Lato by tyPoland<br />

© <strong>2015</strong> Craft in America, Inc.<br />

All rights reserved.<br />

ISBN 978-0-692-56367-0<br />

A publication <strong>of</strong> Craft in America in partnership with <strong>the</strong><br />

Sam and Alfreda Malo<strong>of</strong> Foundation for <strong>Arts</strong> and Crafts<br />

Text by Emily Zaiden<br />

Images:<br />

Pg. 4-5 Dorothy Yule, Memories <strong>of</strong> Science detail, pg. 25<br />

Pg. 6-7 Sunshine Cobb, Rock Cup detail, pg. 98<br />

Pg. 8-9 Aya Oki, Plump detail, pg. 38-39<br />

Pg. 10-11 Laura Mays, Facet Boxes detail, pg. 80-81<br />

Pg. 12-13 Sandra Enterline, Diamond Web Necklace detail, pg. 118<br />

Pg. 14-15 The Haas Bro<strong>the</strong>rs, Unique Hex Stool detail, pg. 77<br />

Pg. 16-17 Christy Matson, Triangles in Pink, Red, Black and Tan detail, pg. 82-83<br />

Pg. 18-19 John Cederquist, Architectural Elements – Drapery Series detail, pg. 114-115


10 PREFACE<br />

● Jim Rawitsch<br />

12 FOREWORD<br />

● Carol Sauvion<br />



● Emily Zaiden<br />


● Written by Emily Zaiden<br />














WORLD<br />






134 INDEX<br />


6 7

8 9


An East Coast curator told me recently <strong>of</strong> returning disappointed from a conference in<br />

Europe. “I didn’t meet a single person under fifty years old who was interested in<br />

craft,” she said. I think she should have visited <strong>California</strong>.<br />

Since work began more than a year ago on <strong>California</strong> <strong>Handmade</strong>: <strong>State</strong> <strong>of</strong> <strong>the</strong> <strong>Arts</strong>,<br />

we’ve discovered tremendous energy coming from a new generation <strong>of</strong> artists<br />

across <strong>the</strong> Golden <strong>State</strong>. With participation as well from master artists already well<br />

known for <strong>the</strong>ir imaginative and innovative work, we have been able to bring<br />

toge<strong>the</strong>r a truly exquisite exhibition—and this catalog—as clear evidence <strong>of</strong> a<br />

thriving community <strong>of</strong> artists.<br />

With this work, we build proudly on <strong>the</strong> legacy <strong>of</strong> Sam Malo<strong>of</strong>, as an artist and<br />

maker <strong>of</strong> craft to be sure, but also as an avid collector <strong>of</strong> <strong>the</strong> handmade, and as<br />

someone who, with Alfreda beside him, so appreciated artists for <strong>the</strong>ir bright eyes,<br />

skillful hands and playful spirits.<br />

We are deeply appreciative <strong>of</strong> our partners at Craft in America. Founder and<br />

Executive Director Carol Sauvion has shared with us all her great curiosity for, and<br />

knowledge <strong>of</strong>, <strong>the</strong> handmade. We especially thank Craft in America Center Director<br />

Emily Zaiden, who worked tirelessly to fill <strong>the</strong> gallery with art and artists and with a<br />

curator’s eye, to illuminate so thoughtfully our understanding. We thank as well<br />

longtime Malo<strong>of</strong> board member John Scott, whose passionate devotion to <strong>the</strong><br />

cause added immeasurably to <strong>the</strong> results, and exhibition designer John Fleeman and<br />

his team, whose fine work is likewise appreciated.<br />

In addition to all those acknowledged elsewhere, we are grateful to <strong>the</strong> generous<br />

benefactors who have made it possible to publish this exhibition catalog: Dr. and<br />

Mrs. Joseph Unis—Joe and Georgette—great friends <strong>of</strong> The Malo<strong>of</strong> who, by <strong>the</strong>ir<br />

support, demonstrate <strong>the</strong>ir deep passion for art, artists, and education; and John<br />

Scott, who has been an enthusiastic advocate for producing exhibition catalogs for<br />

as long as anyone can remember.<br />

Jim Rawitsch<br />

Executive Director<br />

Sam and Alfreda Malo<strong>of</strong><br />

Foundation for <strong>Arts</strong> and Crafts<br />

10 11


<strong>California</strong> is a vast state resplendent with natural beauty, inviting to artists who<br />

wish to have unbridled freedom <strong>of</strong> expression. The crafts have been an essential<br />

part <strong>of</strong> life in <strong>California</strong> from <strong>the</strong> Pomo Indians’ baskets to <strong>the</strong> <strong>Arts</strong> and Crafts<br />

movement through to today, when artists are utilizing many forms and materials to<br />

express <strong>the</strong>ir vision. <strong>California</strong> <strong>Handmade</strong>: <strong>State</strong> <strong>of</strong> <strong>the</strong> <strong>Arts</strong> honors <strong>California</strong>’s craft<br />

traditions and introduces <strong>the</strong> work <strong>of</strong> <strong>the</strong> next generation <strong>of</strong> practitioners. Suggested<br />

by Malo<strong>of</strong> Foundation Executive Director Jim Rawitsch, curated by Craft in<br />

America Center Director Emily Zaiden with <strong>the</strong> participation <strong>of</strong> twelve “master<br />

artists,” and envisioned by Malo<strong>of</strong> Board members Connie Ransom and John Scott,<br />

<strong>the</strong> <strong>California</strong> <strong>Handmade</strong> exhibition is a record <strong>of</strong> <strong>the</strong> work being imagined and<br />

realized now, in <strong>the</strong> second decade <strong>of</strong> <strong>the</strong> twenty-first century. We have evolved<br />

as makers, but <strong>the</strong> intention to express, include, provoke and comment remains <strong>the</strong><br />

same.<br />

How appropriate that <strong>the</strong> <strong>California</strong> <strong>Handmade</strong> exhibition is presented by <strong>the</strong><br />

Malo<strong>of</strong> Foundation and Craft in America, two contemporary organizations that<br />

value and support <strong>the</strong> handmade. The Malo<strong>of</strong> Foundation is <strong>the</strong> result <strong>of</strong> Sam Malo<strong>of</strong>’s<br />

lifelong dedication to <strong>the</strong> crafts and Beverly Malo<strong>of</strong>’s dedication to Sam’s legacy.<br />

We at Craft in America, with <strong>the</strong> mission to promote and advance original handcrafted<br />

work through programs in all media, owe a debt <strong>of</strong> gratitude to Sam, who<br />

welcomed us to his new home in 2001 to film a sample episode <strong>of</strong> our documentary<br />

series. Sam <strong>the</strong>n participated in <strong>the</strong> first episode <strong>of</strong> Craft in America, which aired<br />

on PBS in 2007. Eight years later, his spirit <strong>of</strong> inclusiveness and his quest for<br />

excellence are qualities we continue to nurture in our documentary series and<br />

ancillary projects.<br />

This catalog is a lasting record <strong>of</strong> <strong>the</strong> objects and artists who participated in<br />

<strong>California</strong> <strong>Handmade</strong>. In it we have followed <strong>the</strong> inspiration <strong>of</strong> Eudorah Moore and<br />

photographed objects in nature as Eudorah did for <strong>the</strong> <strong>California</strong> Design exhibition<br />

catalogs <strong>of</strong> <strong>the</strong> early 1970s. Eudorah described herself as a protagonist for <strong>the</strong><br />

crafts. This catalog honors her vision, displaying many <strong>of</strong> <strong>the</strong> objects out <strong>of</strong> doors,<br />

in <strong>the</strong> magnificent garden planted by Beverly Malo<strong>of</strong> with <strong>the</strong> help <strong>of</strong> dedicated<br />

volunteers in <strong>the</strong> generous spirit <strong>of</strong> <strong>the</strong> crafts.<br />

<strong>California</strong> <strong>Handmade</strong> opened in June <strong>of</strong> <strong>2015</strong> with a reception that drew artists and<br />

appreciators from every corner <strong>of</strong> <strong>California</strong>. We rejoiced at being toge<strong>the</strong>r to<br />

witness <strong>the</strong> vitality <strong>of</strong> <strong>the</strong> artists and <strong>the</strong> crafts in <strong>California</strong>. To see generations <strong>of</strong><br />

makers join in celebration is a perfect way to understand <strong>the</strong> power <strong>of</strong> art. We at<br />

Craft in America are grateful to <strong>the</strong> Malo<strong>of</strong> Foundation for <strong>the</strong> opportunity to<br />

present a lasting documentation <strong>of</strong> that celebration in this catalog.<br />

Carol Sauvion<br />

Executive Director<br />

Craft in America<br />

12 13


We must first acknowledge all <strong>of</strong> <strong>the</strong> artists who have contributed to <strong>the</strong> exhibition<br />

<strong>California</strong> <strong>Handmade</strong>: <strong>State</strong> <strong>of</strong> <strong>the</strong> <strong>Arts</strong>, creating a vital, provocative, well-crafted and<br />

unique survey <strong>of</strong> <strong>California</strong> craft now. You increase our understanding <strong>of</strong> <strong>the</strong> field in<br />

this era <strong>of</strong> technology. You honor <strong>the</strong> individual and form a new community through<br />

your participation.<br />

From <strong>the</strong> Malo<strong>of</strong> Foundation, we extend deepest thanks to <strong>the</strong> following individuals:<br />

Longtime Malo<strong>of</strong> Board member John Scott and Malo<strong>of</strong> Board President Connie<br />

Ransom, who helped at every juncture and kept us focused on <strong>the</strong> exhibition as it<br />

reflected <strong>the</strong> Malo<strong>of</strong> philosophy; Beverly Malo<strong>of</strong>, for graciously hosting Madison Metro<br />

and Sebastian Duncan-Portuondo when <strong>the</strong>y spent days at <strong>the</strong> Malo<strong>of</strong> Foundation<br />

photographing <strong>the</strong> exhibition objects in <strong>the</strong> glorious garden that Beverly envisioned<br />

and brought to bloom. We thank Lindell Marsh, Malo<strong>of</strong> Foundation board member<br />

for sharing his desire to truly represent contemporary thinking in <strong>the</strong> craft field. We<br />

are grateful, too, for <strong>the</strong> photographic talents <strong>of</strong> Tom and Toni Bostick.<br />

We also thank Linda Apodaca, Malo<strong>of</strong> registrar who handled transport and care <strong>of</strong><br />

<strong>the</strong> objects with utmost pr<strong>of</strong>essionalism. Linda’s enthusiasm and energy propelled us<br />

to <strong>the</strong> installation. Melanie Swezey-Cleaves, who swiftly generated a database for<br />

efficiently cataloging <strong>the</strong> objects, brought her much-needed organizational skills to<br />

<strong>the</strong> exhibition. We owe appreciation as well to exhibition designer John Fleeman and<br />

his gifted team, who installed a fine presentation <strong>of</strong> objects that required sensitive<br />

placement.<br />

And finally, <strong>the</strong> heart <strong>of</strong> Malo<strong>of</strong> Woodworking, Ros Bock, who has kept <strong>the</strong> shop<br />

organized and productive all <strong>the</strong> years while Sam was with us and now. Ros always has<br />

time for everyone. She is dear to both Craft in America and <strong>the</strong> Malo<strong>of</strong> Foundation.<br />

From Craft in America, we appreciate <strong>the</strong> special contributions <strong>of</strong>: Madison Metro,<br />

our photographer, who saw <strong>the</strong>se objects from a fresh perspective and captured<br />

<strong>the</strong>ir spirit. Stacie Martinez, our Heroic graphic designer, whose talent and artistry<br />

were absolutely invaluable. Sebastian Duncan-Portuondo, Craft in America Center<br />

Coordinator, who has dedicated himself to <strong>the</strong> execution <strong>of</strong> <strong>the</strong> catalog in various<br />

capacities for many months. Judy Hing, who has dedicated her time and served as our<br />

deeply perceptive copy editor. John Maeda and Hannah Hawker, who designed <strong>the</strong><br />

<strong>California</strong> <strong>Handmade</strong> logo. Olivia Fales, who worked enthusiastically and creatively on<br />

envisioning <strong>the</strong> exhibition early on. We thank <strong>the</strong> Craft in America production <strong>of</strong>fice:<br />

Patricia Bischetti, Rosey Guthrie, Denise Kang and Beverly Feldman and <strong>the</strong> staff at<br />

Freehand Gallery: Terry de Castro, Mary Oligny and Ruth Oglesby for <strong>the</strong>ir generous<br />

assistance.<br />

We are incredibly grateful to Rick Hosmer and Susan Ross Printing for <strong>the</strong>ir kindness in<br />

helping to execute this project.<br />

14 15


This exhibition highlights <strong>the</strong> forward-thinking spirit <strong>of</strong> our state as embodied in<br />

recent works <strong>of</strong> art made with virtuosity and pr<strong>of</strong>undity. These objects are <strong>the</strong><br />

outcome <strong>of</strong> dexterous manipulation and contemplative application <strong>of</strong> materials in<br />

<strong>the</strong> service <strong>of</strong> personal expression and storytelling, infusing beauty into <strong>the</strong> world<br />

and eliciting more meaningful ways <strong>of</strong> living. Ranging from <strong>the</strong> functional to <strong>the</strong><br />

purely sculptural, this collection <strong>of</strong> eighty-four objects is filled with revelations<br />

about <strong>the</strong> evolving nature <strong>of</strong> craft and insights into what makes our culture tick.<br />

While <strong>California</strong> craft and its practitioners defy categorization, <strong>the</strong>se exemplary<br />

works assert that experimentation, imagination and diversity <strong>of</strong> thought are thriving.<br />

<strong>California</strong> <strong>Handmade</strong>: <strong>State</strong> <strong>of</strong> <strong>the</strong> <strong>Arts</strong> is a collaboration between The Malo<strong>of</strong> and<br />

Craft in America that revives <strong>the</strong> spirit <strong>of</strong> <strong>the</strong> influential <strong>California</strong> Design exhibitions.<br />

In those groundbreaking surveys, industrial design innovation and handcraft mastery<br />

were paired toge<strong>the</strong>r under <strong>the</strong> same spotlight. The <strong>California</strong> Design exhibitions<br />

documented essential contributions by <strong>California</strong>ns to <strong>the</strong> <strong>the</strong>n emerging Studio<br />

Craft movement. Now, four decades after curator Eudorah Moore orchestrated <strong>the</strong><br />

last <strong>of</strong> those exhibitions, we stop to evaluate and celebrate our current artistic culture.<br />

This new exhibition proudly features <strong>the</strong> work <strong>of</strong> several Studio Craft pioneers who<br />

were participants in those original <strong>California</strong> Design exhibitions. These artists have<br />

received national and international acclaim over <strong>the</strong> interim years while contributing<br />

to <strong>the</strong> expansion <strong>of</strong> <strong>the</strong> field. Their consistent dedication to reinvention and relevancy<br />

provides a model for those who have started <strong>the</strong>ir practices more recently and<br />

who will ideally have a similar legacy.<br />

As a launching point for this show, we relied upon <strong>the</strong> input <strong>of</strong> twelve core artists<br />

(signified with a ● throughout <strong>the</strong> catalog) from across <strong>the</strong> state to identify o<strong>the</strong>r<br />

artists in <strong>the</strong>ir specific disciplines who are generating exceptional work. We focused<br />

on six traditional media as a structural basis—glass, fiber, metal, wood, ceramics and<br />

book art—in addition to objects made from alternative materials, and set out to<br />

select artists who specialize in each <strong>of</strong> <strong>the</strong>se categories. Once <strong>the</strong> additional artists<br />

were determined, we selected recent, exemplary pieces from each <strong>of</strong> <strong>the</strong> core and<br />

<strong>the</strong> invited artists.<br />

This survey poses two difficult questions: what is <strong>the</strong> current significance <strong>of</strong> <strong>the</strong><br />

word “handmade” and what does it mean to be <strong>California</strong>n? In this day and age,<br />

“handmade” is a ubiquitous term that is casually and commercially exploited and its<br />

meaning has been diluted from overuse. Our intent is to re-evaluate <strong>the</strong> age-old,<br />

yet evolving practice <strong>of</strong> crafting objects by hand and call attention to its importance<br />

in our artistic trajectory.<br />

Included in <strong>the</strong> show are objects that were skillfully made with <strong>the</strong> help <strong>of</strong> tools, as<br />

has been <strong>the</strong> case throughout <strong>the</strong> course <strong>of</strong> time. Although <strong>the</strong> tools may have<br />

changed in some cases, skillful manipulation, concept and design remain vital to <strong>the</strong><br />

end product. While many objects in this show attest to <strong>the</strong> continuity <strong>of</strong> traditional<br />

16 17

methods and practices, we have also included objects that champion new tools,<br />

techniques and <strong>the</strong> limitless potential <strong>of</strong> technology.<br />

The second fundamental question touches on issues <strong>of</strong> identity and community.<br />

Is it possible to translate <strong>the</strong> impact <strong>of</strong> geographic and political boundaries into<br />

quantifiable artistic traits? Particularly in a state as large and demographically diverse<br />

as <strong>California</strong>, <strong>the</strong>se characteristics are hard to pinpoint. <strong>California</strong> has always been<br />

known for being unfettered to tradition, unlike older states where history and<br />

heritage shape <strong>the</strong> regional aes<strong>the</strong>tic. Resoundingly, <strong>California</strong> represents a broad<br />

cross-section <strong>of</strong> American and global currents, and individualism prevails over<br />

conformity.<br />

Today, <strong>the</strong> boundaries between media, <strong>the</strong> utilitarian and <strong>the</strong> conceptual, and around<br />

design, art and craft are eroded. Artists are increasingly versatile and experimental,<br />

<strong>of</strong>ten preferring to operate unencumbered by <strong>the</strong> limitations <strong>of</strong> traditional, singular<br />

disciplines. Several <strong>of</strong> <strong>the</strong> included artists split <strong>the</strong>ir practices between generating<br />

wares for living and sculptural works, which allows for creative diversification.<br />

A number <strong>of</strong> <strong>the</strong>matic threads link this body <strong>of</strong> works toge<strong>the</strong>r. There are moments<br />

<strong>of</strong> tranquility with unadulterated, exuberant visual pleasure balanced by strong<br />

social commentary about racial inequalities, identity conflicts and class struggles.<br />

Provocative conversation pieces are scattered throughout this group and artists’<br />

voices can be heard loud and clear. Engagement, beyond simply <strong>the</strong> visual and<br />

tactile, is a compelling motivation for many artists to create.<br />

The landscape has <strong>of</strong>fered lyrical, romantic inspiration throughout <strong>the</strong> state’s<br />

aes<strong>the</strong>tic history, resulting in <strong>the</strong> stylized representations, motifs and focal subject<br />

matter. While depictions <strong>of</strong> <strong>California</strong>’s varied natural assets continue, <strong>the</strong>y are<br />

tempered by a heightened fear for our legacy and even remorse about our impact<br />

on <strong>the</strong> natural world. Sustainability, eco-friendly production processes and use <strong>of</strong><br />

repurposed materials are primary considerations for many. This body <strong>of</strong> craft<br />

reconsiders our connection with <strong>the</strong> natural world and suggests that we have<br />

become increasingly removed.<br />

These works <strong>of</strong> humor and wit, experiments in process and design, and examples<br />

<strong>of</strong> artistic mastery are imbued with <strong>the</strong> signature free-spiritedness <strong>of</strong> <strong>California</strong>.<br />

Rays <strong>of</strong> optimism shine through, compelling us to consider what <strong>the</strong> future may hold.<br />

Emily Zaiden<br />

Director<br />

Craft in America Center<br />

18 19






Mat<strong>the</strong>w Hebert<br />

Cinder Slump, 2013<br />

Computer modeled, computer-controlled router cut Jelutong<br />

2 x 23 x 11 inches<br />

In his design studio, eleet warez, Hebert focuses on <strong>the</strong> intersection <strong>of</strong> technology, nature<br />

and <strong>the</strong> domestic environment by reformatting objects through a modern lens. The irregular,<br />

organic qualities <strong>of</strong> wood are digitally manipulated with a CNC router in this investigation<br />

<strong>of</strong> pattern, repetition and process.<br />

20 21

Christy Oates<br />

Facet Chair, 2012<br />

Plywood, maple, sapele<br />

Assembled Chair: 32.5 x 16 x 16 inches, flat wall display: 36 x 36 x 1 inches<br />

The inventive, laser-cut folding design that Oates generated has endless<br />

potential in a world that is aspiring for efficiency, compact living, and<br />

versatility. Oates has immersed her practice in <strong>the</strong> application <strong>of</strong> digital<br />

technology and programming, considering herself part computer programmer<br />

and toolmaker in addition to artist and maker.<br />

That is my goal: to find out if <strong>the</strong> machines can make something that cannot be<br />

made by hand.<br />

22 23

Adrian Clutario<br />

Labeija Series – Chair, 2012<br />

Powder-coated steel, cement<br />

Chair: 32 x 17 x 18 inches, Table: 15.5 x 18 x 18 inches<br />

As a tribute to one <strong>of</strong> <strong>the</strong> first, legendary Harlem drag ball communities<br />

that began in 1970, designer Clutario creates a vibrant commentary on<br />

gender and queer identity with this cement-upholstered outdoor set.<br />

Thick clouds <strong>of</strong> cement hover on slim, shocking-pink legs in this fresh<br />

take on garden furniture. The durable material stays cool and is ideal for<br />

hot climates.<br />

Dorothy Yule<br />

Memories <strong>of</strong> Science, 2012<br />

Letterpress on Mohawk Superfine, embroidery on felt, silk thread,<br />

gold-plated brass, brass, CXD binders board box, glass, book cloth,<br />

ultra-suede<br />

Closed book: 2.8 x 2.8 x 1.625 inches<br />

Yule creates a personal <strong>the</strong>atrical experience through her books, emphasizing<br />

a relationship between <strong>the</strong> structure <strong>of</strong> rhyming verse and <strong>the</strong><br />

architecture <strong>of</strong> pop-ups. This particular intimately scaled book speaks<br />

to her childhood love <strong>of</strong> science. The box <strong>of</strong> <strong>the</strong> book also houses a mini<br />

CD with <strong>the</strong> text set to original music.<br />

24 25

Abrasha<br />

Pendant, 2014<br />

Black anodized aluminum, 18-karat gold, stainless steel, diamonds<br />

Pendant: 2.5 x 8 inches, neckpiece: 14.25 inches<br />

German-trained goldsmith Abrasha considers <strong>the</strong> emphasis on simplicity<br />

in Japanese design and Bauhaus <strong>the</strong>ory as major influences on his aes<strong>the</strong>tic.<br />

He integrates both precious and non-precious materials in his<br />

jewelry, normally including just a few materials that create contrast and<br />

color play. Classically trained, Abrasha uses 3D modeling and rendering<br />

which enhances <strong>the</strong> seemingly effortless geometric precision <strong>of</strong> his pieces.<br />

Jennifer Reifsneider<br />

For A Sphere With Nine Poles, 2011<br />

Thread, rust, nails<br />

61.5 x 8 inches<br />

Rooted in <strong>the</strong> materials, traditions and patterns <strong>of</strong> her rural upbringing,<br />

Reifsneider creates labor-intensive works in fiber that are manipulations<br />

<strong>of</strong> tension designed to metaphorically control <strong>the</strong> threat <strong>of</strong> chaos.<br />

Reifsneider, whose work is firmly grounded in <strong>the</strong> essence <strong>of</strong> fiber<br />

tradition, crosses between media with her frequent application <strong>of</strong> rust.<br />

Patterns become a symbolic language for measuring and mapping <strong>the</strong><br />

inherent contradictions that exist between mind and body.<br />

26 27

Joy Stocksdale<br />

Dotted Lines & Triangles, 2013<br />

Stiffened and cut polychromatic screen-printed silk<br />

28 x 48 inches<br />

Polychromatic screen printing pioneer Stocksdale started experimenting<br />

with her unique silk process in <strong>the</strong> 1970s. She continues to bring light,<br />

shadow, movement and depth to her wall hangings and wearable garments.<br />

Her motifs include leaves, flowers and shapes, <strong>of</strong>ten taking inspiration<br />

from <strong>the</strong> stylized geometry <strong>of</strong> <strong>the</strong> Art Deco and <strong>Arts</strong> and Crafts styles.<br />

Julia Turner<br />

Mill Brooch #1, 2013<br />

Wood, steel<br />

2 x 2.75 x .5 inches<br />

Turner’s jewelry is characterized by geometric, nuanced compositions<br />

<strong>of</strong> everyday, but unexpected materials. She views jewelry as a language<br />

for directly communicating what cannot be expressed in words. Turner<br />

captures <strong>the</strong> disjunction between <strong>the</strong> natural and constructed worlds in<br />

wearable forms that are highlighted by surface pattern and color treatment.<br />

Her graphic designs in wood exude humility and strength.<br />

28 29



●<br />

Julie Chen<br />

Chrysalis, 2014<br />

Paper, binder’s board, book cloth, high density foam<br />

Box: 3.75 x 11.75 x 6.625 inches, closed book: 7 x 11 x 7 inches<br />

Chrysalis is an interpretation <strong>of</strong> <strong>the</strong> complex and transformative nature <strong>of</strong><br />

<strong>the</strong> process <strong>of</strong> grief. The piece consists <strong>of</strong> a sculptural book object housed<br />

in a box. The book object is held toge<strong>the</strong>r by a series <strong>of</strong> magnets and can be<br />

opened by <strong>the</strong> viewer until all <strong>the</strong> panels lie in a flat plane, revealing an inner<br />

book with circular pages that can be held in <strong>the</strong> hand and read.<br />

The fact that <strong>the</strong> full content <strong>of</strong> a piece can only be revealed over time with <strong>the</strong><br />

turning <strong>of</strong> <strong>the</strong> page, or an equivalent action, on <strong>the</strong> part <strong>of</strong> <strong>the</strong> reader/viewer, is an<br />

enduring fascination for me, and is, I believe, one <strong>of</strong> <strong>the</strong> book form’s most singular<br />

features.<br />

30 31

Macy Chadwick<br />

Pathways, 2010<br />

Handset letterpress, laser printed Kimodesk film, digitally cut UV Ultra<br />

paper, pochoir, machine stitching, codex structure in custom box with glass<br />

lid and base<br />

Closed book: 9 x 10.75 x .75 inches<br />

Within translucent pages, cut paper shapes create a neurological geography<br />

<strong>of</strong> veins and synapses as <strong>the</strong> text speaks <strong>of</strong> emotional pathways.<br />

Turning <strong>the</strong> pages echoes <strong>the</strong> experience <strong>of</strong> focusing a microscope layer<br />

by layer on a complex slide. On closer examination, once-familiar patterns<br />

<strong>of</strong> thought devolve into a dense, uncertain territory <strong>of</strong> an intimate relationship<br />

in flux.<br />

Robert Brady<br />

Untitled #1<br />

Ceramic<br />

18 x 18 x 5 inches<br />

Modernist sculptor Brady is interested in shapes, lines and <strong>the</strong>ir spatial<br />

implications. Since 1989, he has focused on wood, scavenging for components<br />

that form figurative sculptures, but this piece draws upon his original<br />

foundation in clay. Brady, acclaimed for abstract three-dimensional work,<br />

has also worked with versatility in bronze and on paper.<br />

32 33

Sonia Kim<br />

Hairy Subject, 2012<br />

Syn<strong>the</strong>tic Kanekalon hair, basket woven<br />

18 x 18 x 20 inches<br />

Kim, <strong>the</strong> Korean American daughter <strong>of</strong> a beauty supply store owner,<br />

wove this basket out <strong>of</strong> syn<strong>the</strong>tic hair as a statement about personal<br />

history and a commentary on <strong>the</strong> racial tension between <strong>the</strong> Korean<br />

American and African American communities, which erupted during <strong>the</strong><br />

1992 riots in Los Angeles.<br />

34 35

Victoria May<br />

Study in Convulsion #3, 2014<br />

Tire inner tube, thread, handmade silk, polyester cording<br />

48 x 18 x 18 inches<br />

May engages with <strong>the</strong> nature <strong>of</strong> fiber and explores its physical properties as<br />

metaphors for tension, containment and flow. The juxtaposition <strong>of</strong> syn<strong>the</strong>tic,<br />

industrial rubber and natural silk provides a textural contrast and sparks a dialogue<br />

about <strong>the</strong> potential <strong>of</strong> modern fiber sculpture. With dark humor, a flaccid<br />

and contorted body can no longer contain its inner-workings.<br />

A conceptual tension arises between beauty and darkness in my work, alluding to <strong>the</strong><br />

fundamental struggles inherent in <strong>the</strong> human condition.<br />

Mary Little<br />

Jessica Console, <strong>2015</strong><br />

Cedar, matte finish, felted wool, Ikea legs<br />

29 x 48 x 20 inches<br />

The intimate relationship that clothing and furniture have with our<br />

bodies is a central concept throughout Little’s work as an artist-designer.<br />

She envisions each <strong>of</strong> her couture, shea<strong>the</strong>d creations as imaginary<br />

characters with personalities <strong>of</strong> <strong>the</strong>ir own. They are intended to engage<br />

with <strong>the</strong>ir user over <strong>the</strong> course <strong>of</strong> time.<br />

36 37

Aya Oki<br />

Plump, 2014<br />

Blown and sandblasted glass, rubber thread, wood<br />

30 x 54 x 10 inches<br />

Experimenting with process, Oki forms <strong>the</strong>se corpulent bubbles by<br />

blowing glass into threaded encasements. She examines how glass mimics<br />

<strong>the</strong> mutable properties <strong>of</strong> <strong>the</strong> human body. The Osaka-native, who now<br />

works in <strong>California</strong>, completed graduate studies in glass both in Japan<br />

and at Rochester Institute <strong>of</strong> Technology. Her intrigue with glass lies in<br />

its life-like qualities, unique properties and essential materiality.<br />

38 39

●<br />

Consuelo Jimenez Underwood<br />

Rebozo for Guadalupe – Gold, 2013<br />

Gold, silver and syn<strong>the</strong>tic thread<br />

Outspoken and acclaimed weaver, Underwood creates political works in<br />

fiber that defy <strong>the</strong> inherently s<strong>of</strong>t nature <strong>of</strong> her media and that reference<br />

<strong>the</strong> history <strong>of</strong> indigenous cultures. Underwood pioneered <strong>the</strong> art <strong>of</strong><br />

weaving with various wire thread. She created a series <strong>of</strong> symbolic shawls,<br />

or rebozos, to honor and enshroud <strong>the</strong> powerful forces she describes as<br />

spiritually guiding her ancestral and modern culture.<br />

My work is a reflection <strong>of</strong> personal border experiences: <strong>the</strong> interconnectedness<br />

<strong>of</strong> societies, insisting on beauty in struggle, and celebrating <strong>the</strong> notion <strong>of</strong><br />

“seeing” this world through my tri-cultural lens. Engaging materials, which<br />

reflect a contemporary hyper-modern sensitivity, are interwoven to create<br />

large-scale fiber art that is inspired in equal measures by land, politics and Spirit.<br />

40 41




Victor De La Rosa<br />

Future Flags <strong>of</strong> America: Study for 2035 CA Flag, 2013<br />

Digital print on cloth, embroidery, appliqué, crochet<br />

72 x 48 inches<br />

Textiles are agents <strong>of</strong> change in <strong>the</strong> hands <strong>of</strong> De La Rosa, who presents a commentary on<br />

<strong>California</strong>’s ever-shifting population and identity. De La Rosa specializes in computerinterfaced<br />

weaving and printing technology using jacquard looms, digital printers and laser<br />

cutters to generate statements about history, race and geographic boundaries.<br />

42 43

Natalia Anciso<br />

Ricky, Matteo y Los Rinches, 2014<br />

Watercolor, pen, embroidery, handkerchief<br />

Individual panel diameter: 6 inches<br />

Anciso focuses on topics <strong>of</strong> immigration, border identity, family legacy and<br />

social justice in her work. Pano arte, or handkerchief art, is a craft tradition<br />

attributed to Chicano prisoners in <strong>the</strong> 1940s that Anciso has revived to<br />

depict <strong>the</strong> political strife <strong>of</strong> Chicanos living along <strong>the</strong> Rio Grande and<br />

Texas-Mexico border.<br />

44 45

Jim Bassler<br />

Home Land Security, 3365, <strong>2015</strong><br />

Wool, linen, silk, goat hair, nylon belting, waxed linen<br />

30 x 16 x 11 inches<br />

For six decades, Bassler has dedicated himself to exploring <strong>the</strong> global<br />

history and practice <strong>of</strong> textile arts as both an artist and pr<strong>of</strong>essor. In <strong>the</strong><br />

1980s, his work shifted from focusing on <strong>the</strong> revitalization <strong>of</strong> ancient<br />

methods towards applying <strong>the</strong>se processes to build expressive political<br />

statements about contemporary society. In response to recent tragic<br />

moments <strong>of</strong> violence in American history, Bassler wove a series <strong>of</strong><br />

metaphorically protective armor aprons that were inspired by Japanese<br />

firemen’s jackets. This particular piece, which takes <strong>the</strong> form <strong>of</strong> a singlet,<br />

pays tribute to one <strong>of</strong> <strong>the</strong> Boston Marathon bombing victims.<br />

It was <strong>the</strong> logic <strong>of</strong> <strong>the</strong> weaving processes that convinced me to link into<br />

this legacy.<br />

46 47

Latchezar Boyadjiev<br />

Freedom, 2013<br />

Cast glass<br />

25 x 40 x 6 inches<br />

Boyadjiev is known for creating dynamic shapes with sensual lines in cast<br />

glass. Before settling in <strong>California</strong> in <strong>the</strong> late 1980s, Bulgarian-born<br />

Boyadjiev studied under master glass artist Stanislav Libensky in Prague.<br />

Each <strong>of</strong> his pieces begins with a drawing that leads to a sculptural model<br />

in clay before a final plaster positive version is made that is used for a mold.<br />

Carole Frances Lung<br />

KO (Knock Off) Enterprises: Roadmap to a Living Wage, <strong>2015</strong><br />

Performance Installation<br />

Carole Frances Lung is a fiber artist whose performances fuse cultural<br />

criticism with spirited crafting. Lung’s alter ego, Frau Fiber, is a former<br />

East German garment worker turned activist who calls attention to unjust<br />

global labor practices and pays homage to textile manufacturing histories<br />

through a feminist lens. She investigates <strong>the</strong> human cost <strong>of</strong> mass production<br />

and consumption, addressing issues <strong>of</strong> value and time in <strong>the</strong> modern<br />

economy. For her KO Enterprises performance on August 22, <strong>2015</strong> at <strong>the</strong><br />

Craft in America Center, Frau recreated an H&M clothing collection by<br />

hand with <strong>the</strong> help <strong>of</strong> a hand-crank sewing machine. It is her hope that<br />

micro production will provide a platform for educating shoppers about <strong>the</strong><br />

labor behind <strong>the</strong>ir purchases.<br />

48 49

Jaime Guerrero<br />

Farmworker, 2013<br />

Hot-sculpted blown glass, oil paint<br />

76 x 32 x 14 inches<br />

Guerrero sculpts life-size, figurative work in glass to mirror human<br />

experience and give a voice to subject matter that would normally<br />

remain mute, <strong>of</strong>ten focusing on urban and Latino culture. For several<br />

years, in addition to his studio practice, he has helmed a glassblowing<br />

program for at-risk youth in South Central Los Angeles.<br />

My work is about intersecting experiences and <strong>the</strong> rediscovery and shaping <strong>of</strong><br />

relics into new forms as a way <strong>of</strong> self-questioning. Glass is <strong>the</strong> perfect medium<br />

to accomplish <strong>the</strong>se goals because <strong>of</strong> its e<strong>the</strong>real quality and its nature <strong>of</strong><br />

transparency.<br />

50 51

Forrest Lesch-Middelton<br />

Minaret Bottle, 2014<br />

Reduction cooled stoneware, volumetric image transfer<br />

17 x 7 inches<br />

Patterns reminiscent <strong>of</strong> ancient world cultures and traditional Islamic<br />

ornamentation form a powerful and vibrant language in <strong>the</strong> hands <strong>of</strong><br />

Middelton. Since 9/11, he has enlivened <strong>the</strong> strong silhouettes <strong>of</strong> his<br />

forms with <strong>the</strong>se decorative motifs that have <strong>the</strong>ir roots in Middle<br />

Eastern cultures.<br />

●<br />

Wendy Maruyama<br />

Tule Lake, 2014<br />

Wood, ink, steel, cloth<br />

80 x 31 inches<br />

Tule Lake was one <strong>of</strong> two Japanese American internment camps in<br />

<strong>California</strong> during World War II which had <strong>the</strong> highest level <strong>of</strong> security <strong>of</strong><br />

any <strong>of</strong> <strong>the</strong> camps. This piece is part <strong>of</strong> furniture and sculpture artist<br />

Maruyama’s Executive Order 9066 series <strong>of</strong> wall-mounted cabinets that<br />

integrate photo transfers with symbolic materials that were on hand at<br />

<strong>the</strong> camps. Maruyama, known for using furniture as a vehicle for<br />

feminist and racial commentary, retired in <strong>2015</strong> from her position<br />

heading <strong>the</strong> furniture program at San Diego <strong>State</strong> University and her<br />

work continues to move towards social practice.<br />

52 53

●<br />

Christina Y. Smith<br />

I Am The New Economy (brooch), 2011<br />

Sterling silver<br />

2 x 6 inches<br />

Smith’s tea services and wearable sculptures in thick gauge sterling silver<br />

sheet capture isolated memories and political declarations. With refined<br />

articulation, <strong>the</strong>se syn<strong>the</strong>sized narratives employ symbolism, abstraction<br />

and figurative representation.<br />

The everyday objects that surround us can be extremely curious when seen in<br />

isolation. Familiar objects such as furniture, crutches and tools can be used as<br />

potent symbols that anchor our past with our future when removed from <strong>the</strong>ir<br />

present context.<br />

54 55


OF PLACE:<br />



Evan Chambers<br />

Opium Gazer Desk Lamp, 2013<br />

Copper, cast bronze, blown glass<br />

7 x 3.5 x 3.5 inches<br />

Chambers builds imaginative, playful creatures in a steam-punk combination <strong>of</strong> metal and<br />

glass. His assembled figures operate as lighting but play more sculptural roles. This elfin lamp<br />

pays homage to <strong>California</strong> by featuring a bronze poppy atop <strong>California</strong> Cooper’s Hawk feet.<br />

56 57

Michele Burgess<br />

Book <strong>of</strong> Darkness, <strong>2015</strong><br />

Handset letterpress, paper, Gampi, cotton, gouache, ink<br />

Closed book: 11.75 x 8.5 inches<br />

Eleven etchings and paintings by Burgess are paired with eleven poems<br />

by Chard deNiord. The text is hand set in Perpetua and letterpress<br />

printed on Gampi paper. Etchings are printed on Gampi, and <strong>the</strong><br />

paintings are gouache on Twinrocker paper. The book is housed in a<br />

clamshell box covered in hand woven cotton from Guatemala.<br />

I thought about and drew shafts <strong>of</strong> moonlight and sunlight in <strong>the</strong> woods <strong>of</strong><br />

Vermont. Chard had recently and reluctantly cut down 100 trees to protect his<br />

house from falling limbs and to create a meadow on his property. This seemed<br />

a very dramatic event to me, as a woman from <strong>the</strong> arid southwest, and I was<br />

captured by <strong>the</strong> duality expressed in it. I used those trees as metaphors for his<br />

poems to explore <strong>the</strong> way darkness orients and reorients itself in nature and in<br />

<strong>the</strong> human imagination. The paintings felt necessary to add physicality to <strong>the</strong><br />

blackness and to enclose <strong>the</strong> etchings.<br />

Petra Class<br />

Gold and Lapis Brooch, 2011<br />

22-karat gold, 18-karat gold, lapis lazuli<br />

2 x 2 inches<br />

German-trained Class takes a painterly approach to forming jewelry<br />

from gems and o<strong>the</strong>r precious stones. She rhythmically arranges raw<br />

forms and creates striking color and textural contrasts between elements.<br />

Through my choice <strong>of</strong> colors and textures, { I } communicate a certain mood,<br />

an attitude towards life that in turn will be, I hope, sensed by whoever is<br />

looking at <strong>the</strong> piece...like an improvisational jazz melody, like an abstract<br />

landscape...<br />

58 59

Harry Reese and Sandra Liddell Reese<br />

Isla Vista, 2014<br />

Handset letterpress, Kitakata, cut paper, hand-painted paper<br />

Open book (pages lined up toge<strong>the</strong>r): 80 x 11.75 inches<br />

This print project, generated in response to <strong>the</strong> May 2014 tragic attacks that took place in<br />

<strong>the</strong> community near Santa Barbara where <strong>the</strong> Reeses have operated Turkey Press since<br />

1977, uses <strong>the</strong> structure and language found in <strong>the</strong> I Ching, or Book <strong>of</strong> Changes, translations<br />

by Richard Wilhelm, Cary Baynes, and Thomas Meyer. The typographic layout, using Gill<br />

Sans and Walbaum types, was influenced by <strong>the</strong> “mesostics” <strong>of</strong> John Cage, and <strong>the</strong> design<br />

<strong>of</strong> Iliazd. Cut paper images represent firm and broken lines <strong>of</strong> I Ching hexagrams. Polymer<br />

plates made from scans <strong>of</strong> cut paper were letterpress printed on Kitakata. The “changing”<br />

red lines in #2 were cut by a Roland plotter from hand-painted paper and collaged.<br />

60 61

Randy Stromsoe<br />

Desert Bloom, 2014<br />

Hand chased and carved pewter<br />

6.5 x 5 inches<br />

Stromsoe is a master silversmith who creates functional and lyrical<br />

objects that convey a sense <strong>of</strong> fluidity. He has advanced <strong>the</strong> tradition <strong>of</strong><br />

his historic craft in <strong>California</strong> and envisions each piece <strong>of</strong> flatware or<br />

hollowware as a future heirloom.<br />

Shape, form and function continue to be <strong>the</strong> centerpiece <strong>of</strong> my design focus.<br />

David Wiseman<br />

Unique Pomegranate Matchstick Holder, 2014<br />

Porcelain, bronze<br />

5 x 4 inches<br />

Wiseman’s widely successful Los Angeles-based limited production line<br />

<strong>of</strong> housewares and furnishings bring <strong>California</strong> nature indoors with a<br />

romantic, modern slant.<br />

62 63

Hiromi Takizawa<br />

The Little Things, 2014<br />

Glass, wood<br />

18 x 4.5 x 3 inches<br />

In her medium <strong>of</strong> glass, Nagano, Japan-born Takizawa creates contemplative<br />

pieces that pair high concept with fine craftsmanship. Her works <strong>of</strong>ten<br />

convey a sense <strong>of</strong> serenity and push <strong>the</strong> physical and metaphorical potential<br />

<strong>of</strong> glass into new realms. This group <strong>of</strong> glass stones mimics <strong>the</strong> variety <strong>of</strong><br />

patterns, striations and colors that can only be found in <strong>the</strong> natural world.<br />

Pamina Traylor<br />

Oakland Beeways, 2011<br />

Glass, graphite, oil paint, steel<br />

16 x 24 x 4 inches<br />

Known for powerful forms and bold use <strong>of</strong> color, this more muted poetic<br />

<strong>of</strong>fering <strong>of</strong> imagery encased in glass demonstrates Traylor’s ever-expansive<br />

interpretation <strong>of</strong> <strong>the</strong> material’s possibilities. These honeycomb shapes tell<br />

<strong>the</strong> plight <strong>of</strong> bees, whose tight yet fragile networks <strong>of</strong> interaction have<br />

been threatened by human impact on <strong>the</strong> environment.<br />

64 65



AS MOTIF<br />

●<br />

Marilyn da Silva<br />

Changing Tides, 2012<br />

Copper, brass, wood, gesso, colored pencil, found objects<br />

7 x 12 x 9 inches<br />

Since 1999, da Silva has used birds along with o<strong>the</strong>r imagery as metaphors throughout her<br />

narrative-driven sculpture, wearable art and hollowware. Her design process entails studying<br />

photographs, drawings and scientific documentation <strong>of</strong> birds. She is renowned for her<br />

unique surface treatment using gesso and colored pencil and <strong>the</strong> meticulous construction<br />

<strong>of</strong> her lyrical compositions. Da Silva has taught at <strong>California</strong> College <strong>of</strong> <strong>the</strong> <strong>Arts</strong> since 1987<br />

and she is program chair <strong>of</strong> jewelry and metal arts.<br />

66 67

John Lewis<br />

Low Glacier Vessel, 2011<br />

Polished cast glass<br />

21 x 26 x 10 inches<br />

Lewis first opened an Oakland glass blowing studio in 1969 and he has<br />

been an innovator in large-scale, site-specific architectural glass and cast<br />

glass sculpture ever since. The textural contrast between <strong>the</strong> interior<br />

and exterior <strong>of</strong> this robust vessel give <strong>the</strong> appearance <strong>of</strong> a crystallized<br />

wedge <strong>of</strong> ice. Lewis applies o<strong>the</strong>r elements such as gold or white leaf<br />

and copper foil to produce veins <strong>of</strong> color in his pieces.<br />

.<br />

Kris Patzlaff<br />

Curio #7, 2013<br />

Carved acrylic, sterling silver, lea<strong>the</strong>r<br />

18 x 2 inches<br />

In her series <strong>of</strong> “Curios” necklaces, Patzlaff creates talismanic assemblage<br />

jewelry that includes carved acrylic, resin, formed silver and found objects.<br />

The carved elements are shaped like coral and branches and <strong>the</strong>y serve to<br />

connect <strong>the</strong> wearer or viewer with <strong>the</strong> natural world. Patzlaff, who heads<br />

<strong>the</strong> metal and jewelry program at Humboldt <strong>State</strong> University, works in<br />

both small and large scale, and is interested in <strong>the</strong> associations between<br />

jewelry and personal experiences.<br />

68 69

●<br />

Carol Shaw-Sutton<br />

The White Sound, 2009<br />

Twined waxed linen<br />

19 x 11 x 8 inches<br />

The poetics <strong>of</strong> fiber art have vastly expanded through Shaw-Sutton’s<br />

eloquent and transcendent sculptures. As chair <strong>of</strong> <strong>the</strong> fiber program at<br />

<strong>California</strong> <strong>State</strong> University, Long Beach until her retirement in <strong>2015</strong>,<br />

Shaw-Sutton guided students in <strong>the</strong> advancement <strong>of</strong> labor-intensive,<br />

ancient and modern processes. As in <strong>the</strong> case <strong>of</strong> this nautilus, Shaw-Sutton<br />

manipulates <strong>the</strong> flow and interconnected nature <strong>of</strong> her medium to form<br />

statements about personal history, growth and time.<br />

As human society becomes increasingly complex, and paradoxically both<br />

alienated and interdependent, <strong>the</strong> interwoven language <strong>of</strong> textiles can stand in as<br />

a potent visual metaphor.<br />

70 71

Geri Patterson-Kutras<br />

Beach House #2, 2014<br />

Commercial and hand dyed cotton, machine appliqué, thread,<br />

machine quilted<br />

41 x 27 inches<br />

Patterson-Kutras captures evocative scenes in pieces <strong>of</strong> cut cloth and<br />

stitches <strong>of</strong> thread, materials that appeal to her for <strong>the</strong>ir fundamental<br />

familiarity and ubiquitous history. She has recently focused on <strong>the</strong> lines,<br />

patterns and visual shapes that emerge from <strong>the</strong> landscape. In this<br />

composition, a golden sun balances <strong>the</strong> rectilinear built structures and<br />

rolling grassy hills lead to distant blue waves.<br />

Steven Brixner<br />

Ruffle Bracelet, 2012<br />

Sterling silver, fine silver, 22-karat gold<br />

4 x .33 inches<br />

Brixner creates jewelry that is designed to catch and reflect light. He<br />

combines gold and silver to create a balanced contrast that is classic and<br />

timeless. This pristine bracelet ripples and sparkles on <strong>the</strong> wrist like a<br />

wave in <strong>the</strong> sun.<br />

72 73


NOW<br />

●<br />

Tanya Aguiñiga<br />

Paper Clip Lounge, 2012<br />

Steel rod, lea<strong>the</strong>r, cotton rope<br />

56 x 34 x 19.5 inches<br />

Furniture design and fiber are primary fields for Aguiñiga, who weaves messages <strong>of</strong> border<br />

identity and her Mexican heritage into functional objects for utterly modern <strong>California</strong><br />

living. The hammock pattern formed by <strong>the</strong> rope is a reference to Central American<br />

domestic traditions.<br />

74 75

●<br />

Ka<strong>the</strong>rine Gray<br />

Cold Hearth, 2012<br />

Glass<br />

18.5 x 12 x 8.5 inches<br />

The flawless clarity <strong>of</strong> Gray’s colorless, abstracted hearth <strong>of</strong>fers pr<strong>of</strong>ound<br />

commentary on <strong>California</strong> living today, extending <strong>the</strong> discussion far beyond<br />

climate concerns. The historic symbolism <strong>of</strong> hearth and home, outmoded<br />

values <strong>of</strong> <strong>the</strong> past and even a fleeting lifestyle that once existed are merely<br />

ghosts in this poetic work. Gray, who has taught at <strong>California</strong> <strong>State</strong> University,<br />

San Bernadino since 2007, has helped activate a community <strong>of</strong> glass<br />

innovators in Sou<strong>the</strong>rn <strong>California</strong>.<br />

Essentially, all <strong>of</strong> my work is about disappearance and I use glass as an embodiment<br />

<strong>of</strong> that notion, vacillating between a state <strong>of</strong> o<strong>the</strong>rworldly perfection and<br />

one <strong>of</strong> mundane familiarity.<br />

The Haas Bro<strong>the</strong>rs<br />

Unique Hex Stool, 2012<br />

Brass, wood<br />

17 x 15 x 12 inches<br />

With sass and undeniable pop-appeal, <strong>the</strong> Haas Bro<strong>the</strong>rs have received<br />

international attention for <strong>the</strong>ir bestial take on sculptural furniture. In<br />

<strong>the</strong>ir bustling Los Angeles studio, <strong>the</strong>y have generated a series <strong>of</strong><br />

furniture that is covered in a skin <strong>of</strong> brass tiles.<br />

76 77

Reuben Foat<br />

Conversation Cabinet, 2012<br />

Ash, wenge, milk paint<br />

13 x 58 x 14 inches<br />

Foat incorporates digital fabrication and traditional techniques into his<br />

furniture, accessories and sculptures. A pattern <strong>of</strong> waves, perhaps a<br />

reference to sound, or to <strong>California</strong>n beaches, or both, drifts across <strong>the</strong><br />

face <strong>of</strong> this cabinet to form a clever visual pun. Foat raises <strong>the</strong> question<br />

<strong>of</strong> whe<strong>the</strong>r or not furniture can elicit conversation and actively engage.<br />

78 79

●<br />

Laura Mays<br />

Facet Boxes, 2013<br />

Madrone<br />

Each box: 4 x 4 x 4 inches<br />

History and process are integral to <strong>the</strong> end product for Mays, whose designs<br />

assert <strong>the</strong>ir constructive elements. Each dovetailed box in this series <strong>of</strong> six has a<br />

unique arrangement <strong>of</strong> facets planed into it that add to <strong>the</strong> complexity <strong>of</strong> <strong>the</strong><br />

structure. Mays, who studied architecture and furniture design in her native<br />

Dublin, Ireland, has directed <strong>the</strong> fine woodworking program at <strong>the</strong> College <strong>of</strong> <strong>the</strong><br />

Redwoods since 2011. Workmanship, sustainable and local woods and archetypal<br />

stylistic references define her craft ethic.<br />

80 81

Christy Matson<br />

Triangles in Pink, Red, Black and Tan, 2013<br />

Cotton, linen<br />

20 x 14.5 x 1.75 inches<br />

Matson melds ethnographic tradition, modernism and abstraction toge<strong>the</strong>r<br />

in her jacquard-woven compositions. The sun-bleached palette <strong>of</strong> Sou<strong>the</strong>rn<br />

<strong>California</strong> and <strong>the</strong> urban contrasts between concrete and wood, and vibrant<br />

bougainvillea and jacaranda blossoms inform her pieces.<br />

There’s knowledge that you know with your hands, <strong>the</strong> things that are much more<br />

unquantifiable.<br />

82 83

Garry Knox Bennett<br />

Desk with Chair, 2013<br />

Honduras rosewood, mixed wood, fabric, cast bronze, patina, paint<br />

Desk: 33.33 x 34.75 x 17 inches, chair: 30 x 19.25 x 22 inches<br />

Since <strong>the</strong> 1960s, Bennett has been a revolutionary force in <strong>the</strong> <strong>California</strong><br />

studio furniture scene. He channels irreverence, subversion and<br />

playfulness into meticulously crafted furniture sculptures. Bennett’s<br />

incorporation <strong>of</strong> unconventional materials, <strong>the</strong> rejection <strong>of</strong> pretension<br />

and dialogging with historic paradigms made him a luminary in <strong>the</strong><br />

Postmodernist design scene. The diminutive scale <strong>of</strong> this desk set, an<br />

understated piece from an artist adored for his audacity, forms a<br />

personal space <strong>of</strong> retreat and reflection for its user.<br />

Darrick Rasmussen<br />

Credenza, 2013<br />

Reclaimed old growth Douglas fir, Pacific madrone, lea<strong>the</strong>r<br />

24 x 58.5 x 16 inches<br />

Clean, pure lines and mindful craftsmanship define Rasmussen’s aes<strong>the</strong>tic,<br />

which captures <strong>the</strong> essence <strong>of</strong> <strong>California</strong> modern design today.<br />

84 85





●<br />

Steven Portigal<br />

Nature Morte (Ivoire), 2013<br />

Ceramic, wood<br />

38 x 9 x 9 inches<br />

Since 2013, Portigal has focused on exploring energy-efficient ways <strong>of</strong> making ceramics<br />

sculpture. He is exploring unfired and low-fired forms and new glaze treatments in a<br />

conscious effort to minimize <strong>the</strong> environmental impact <strong>of</strong> his practice. This series is a<br />

commentary on our present crisis and <strong>the</strong> pieces were low-fired and treated with a<br />

non-fired surface.<br />

We will find a way forward that preserves both <strong>the</strong> environment and <strong>the</strong> rich ceramic tradition,<br />

which has played such a significant role in <strong>the</strong> development <strong>of</strong> humanity.<br />

86 87

Jennifer Anderson<br />

Folding Chair, 2014<br />

Mud, rebar<br />

29.25 x 18 x 19.25 inches<br />

Anderson hand-builds over rebar with mud, <strong>the</strong> utmost renewable and<br />

sustainable material, and explores how materials can change our<br />

perceptions <strong>of</strong> furniture. She creates one-<strong>of</strong>-a-kind pieces that challenge<br />

<strong>the</strong> relationship between tradition and experimentation, and she pushes<br />

us to reconsider <strong>the</strong> importance <strong>of</strong> <strong>the</strong> objects in our everyday lives.<br />

Christine Lee<br />

Truss Hanger Series for Workshop Residence, 2014<br />

Patent pending non-toxic composite material from recycled fiber<br />

8.25 x 16.5 x .25 inches<br />

Lee designed <strong>the</strong>se coat hangers featuring <strong>the</strong> core set <strong>of</strong> eight bridge<br />

truss designs that young architects and engineers must learn. As a<br />

designer, Lee focuses on <strong>the</strong> untapped potential <strong>of</strong> disregarded material.<br />

The patent-pending material <strong>of</strong> <strong>the</strong>se hangers is a non-toxic 100%<br />

recycled fiber substrate that is press-molded. Lee developed it in<br />

collaboration with John Hunt at <strong>the</strong> USDA Forest Products Laboratory.<br />

These prototypes were made with CNC routers.<br />

88 89

Barbara Holmes<br />

Curl, 2012<br />

Reclaimed lath<br />

51 x 45 x 7 inches<br />

The re-contextualization <strong>of</strong> commonplace, timeworn materials is <strong>the</strong> heart<br />

<strong>of</strong> Holmes’ work, in which she reveals <strong>the</strong> layers <strong>of</strong> meaning that <strong>the</strong>se<br />

worn materials carry through detail-oriented craftsmanship.<br />

Using reclaimed material that is <strong>of</strong>ten untidy and muddled in its appearance and<br />

redeeming it into a carefully crafted object is a pleasurable part <strong>of</strong> my process.<br />

Tina Linville<br />

Rainbow Net, 2014<br />

Salvaged materials, nylon, thread, acrylic paint, acrylic medium<br />

39 x 28 x 6 inches<br />

The ordinary and discarded are recharged with new life and significance<br />

in <strong>the</strong> hands <strong>of</strong> Linville. Her vivid, abstract wall hangings and threedimensional<br />

fiber sculptures escape categorization but play with <strong>the</strong><br />

distinction between <strong>the</strong> familiar and <strong>the</strong> mysterious.<br />

90 91

Helen Shirk<br />

Neckpiece NP8 Bib, 2014<br />

Milled steel, china paint, patina, hand-pierced, soldered, painted<br />

11 x 10 x 1 inches<br />

Made as a tribute to <strong>the</strong> resilience and infinite variation <strong>of</strong> <strong>the</strong> natural<br />

world, Shirk is acclaimed for her hand-pierced steel jewelry and metal<br />

vessels that convey strength and lightness. She commemorates nature<br />

amidst a changing climate and time <strong>of</strong> rampant industrialization. Shirk is<br />

a Pr<strong>of</strong>essor <strong>of</strong> Art Emerita at San Diego <strong>State</strong> University where she has<br />

taught since 1975.<br />

The sense <strong>of</strong> intimacy and preciousness that jewelry imparts, as well as its long<br />

history <strong>of</strong> botanical imagery, seems central to my reflection on <strong>the</strong> natural<br />

world our children will inherit, a reflection on both pleasure and loss.<br />

92 93






●<br />

Sandy Simon<br />

Lucky Teapot, <strong>2015</strong><br />

Porcelain<br />

5.5 x 8.5 x 5 inches<br />

The notion <strong>of</strong> <strong>the</strong> simple, humble pot as a pure and inspirational object is asserted by<br />

Simon’s work. This particular teapot features Simon’s signature lucky seed that introduces a<br />

spark <strong>of</strong> color and individual intrigue into <strong>the</strong> piece.<br />

94 95

Joe Cariati<br />

Venetian Group, <strong>2015</strong><br />

Blown Glass<br />

31 x 6.5 inches, 20 x 10 inches, 24 x 11 inches<br />

Cariati’s minimalist decanters syn<strong>the</strong>size calculated pragmatism and<br />

essential beauty. Their delicate necks are topped with “t-shape” lips,<br />

which characterize his elegant forms. Each one-<strong>of</strong>-a-kind vessel is made<br />

in <strong>the</strong> Los Angeles studio he opened in 2003.<br />

Doug Blechner<br />

Tea Set, 2010<br />

Glazed porcelain, unglazed stoneware base<br />

10 x 22 x 12 inches<br />

Representing <strong>the</strong> intersection <strong>of</strong> utilitarian and sculptural forms, Blechner<br />

crafts pieces that are strong, balanced and inviting. Blechner’s muted glazes<br />

and pillowy shapes elevate <strong>the</strong> everyday to artistic heights.<br />

96 97

Sunshine Cobb<br />

Rock Cup, 2014<br />

Ear<strong>the</strong>nware, sandblasted glaze<br />

3.5 x 7 inches and 2.5 x 4 inches<br />

The signature, sandblasted matte surfaces <strong>of</strong> Cobb’s versatile cups have a<br />

s<strong>of</strong>t and rich quality that highlights her range <strong>of</strong> patterns. Cobb’s functional<br />

tablewares are crafted to engage on a tactile level and embody a sense <strong>of</strong><br />

timelessness, memory and nostalgia.<br />

By creating vessels kept within arms reach, I hope to explore and communicate<br />

how an object’s significance can grow and change depending on <strong>the</strong> path <strong>of</strong> a<br />

person’s life. I’m also interested in <strong>the</strong> shift <strong>of</strong> function versus ornament during<br />

<strong>the</strong> passing <strong>of</strong> time.<br />

Mike Johnson<br />

Scott Chair, <strong>2015</strong><br />

Walnut, ebony<br />

28 x 25 x 25 inches<br />

Johnson, master craftsman at Sam Malo<strong>of</strong> Woodworker, advances <strong>the</strong><br />

legacy <strong>of</strong> studio furniture luminary Sam Malo<strong>of</strong> through exceptional<br />

execution <strong>of</strong> lyrical, elegant designs.<br />

98 99

Caleb Siemon<br />

Red Mokume Sphere, 2011<br />

Lead-free crystal<br />

8 x 8 inches<br />

Siemon apprenticed with Italian maestro Pino Signoretto before building<br />

his own Murano-modeled studio in Sou<strong>the</strong>rn <strong>California</strong>. Siemon uses<br />

traditional Muranese cane-making and finish-carving techniques for his<br />

Mokume series <strong>of</strong> one-<strong>of</strong>-a-kind vessels. The resulting dense, multi-layered<br />

patterning is reminiscent <strong>of</strong> textiles and microscopic systems.<br />

Yvonne Mouser<br />

Curb Broom, 2010<br />

Ash, broomcorn<br />

61 x 14 x 1 inches<br />

Mouser’s practice as an artist-designer is driven by her desire to give<br />

meaning to <strong>the</strong> everyday through artifacts and to tell stories through<br />

carefully crafted sculptural objects.<br />

100 101

David Wulfeck<br />

Untitled, 2014<br />

Stoneware<br />

7.5 x 5 inches<br />

Achieving a sense <strong>of</strong> naturalism, singularity and harmony has set<br />

Wulfeck’s work apart for more than forty years. He teaches students <strong>the</strong><br />

fundamental principles <strong>of</strong> ceramics at Cuesta College in San Luis Obispo<br />

and brings ceramics mastery to <strong>the</strong> Central Coast.<br />

Susan Shutt-Wulfeck<br />

Yellow Faceted Bowl, 2014<br />

Stoneware<br />

11 x 10.75 inches<br />

Wulfeck, along with her husband, is among <strong>the</strong> most masterful potters<br />

working in <strong>California</strong> today. She has perfected her craft over decades.<br />

Her innate understanding <strong>of</strong> <strong>the</strong> material and ability to achieve balanced<br />

forms result in subtle, modern classics.<br />

102 103



Arline Fisch<br />

Yellow/Green Flower Wreath, 2013<br />

Fine silver, sterling silver, coated copper wire, machine knot<br />

14 x 6 x 3 inches<br />

Fisch, who was declared a ‘“Living Treasure <strong>of</strong> <strong>California</strong>”, participated in <strong>the</strong> original<br />

<strong>California</strong> Design shows and is known as a pioneer in <strong>the</strong> development <strong>of</strong> contemporary<br />

jewelry art. Among her noteworthy contributions, Fisch explores <strong>the</strong> application <strong>of</strong> textile<br />

processes to metal, including knitting, crochet and weaving. Her three-dimensional sculptural<br />

woven forms and metal wire jewelry have been shown around <strong>the</strong> world. As Pr<strong>of</strong>essor <strong>of</strong><br />

Art Emerita at San Diego <strong>State</strong> University, where she started teaching in 1961, she has<br />

inspired generations <strong>of</strong> students in metalsmithing and jewelry making.<br />

104 105

●<br />

Marvin Lip<strong>of</strong>sky<br />

Russian Group 2006-7 #12, 2006-2007<br />

Blown glass<br />

39 x 28 x 6 inches<br />

Lip<strong>of</strong>ksy is one <strong>of</strong> <strong>the</strong> most influential leaders <strong>of</strong> <strong>the</strong> American Studio<br />

Glass movement. After studying with Harvey Littleton in <strong>the</strong> 1960s, he<br />

transported <strong>the</strong> concepts and techniques to <strong>California</strong> in 1964 where he<br />

helped <strong>the</strong>m take root by establishing a glass studio at <strong>the</strong> University <strong>of</strong><br />

<strong>California</strong>, Berkeley. In <strong>California</strong>, he was free to experiment boldly with<br />

<strong>the</strong> uncharted potential <strong>of</strong> <strong>the</strong> medium.<br />

…It’s all this pleasant discovery; <strong>the</strong>se little accidents that just happened along<br />

<strong>the</strong> way.<br />

Bill Hunter<br />

Infinity’s Allure, 2012<br />

Primavera<br />

12 x 27 x 21 inches<br />

Hunter cuts apart his la<strong>the</strong>-turned vessels to create a double helix <strong>of</strong><br />

interlocking forms. Deconstructing and transforming <strong>the</strong> vessel, <strong>the</strong> piece<br />

maintains a dynamic tension between <strong>the</strong> individual wood pieces that rest<br />

on and support each o<strong>the</strong>r. The interplay <strong>of</strong> negative space, light and mass<br />

speaks to nature’s energy and evolution.<br />

I’m always trying to develop and work through a range <strong>of</strong> abstract concepts and<br />

motives with <strong>the</strong> pieces; creating motionless movement, trying to defy gravity,<br />

using complexity <strong>of</strong> line to engage <strong>the</strong> viewer, and encourage exploration and<br />

contemplation.<br />

106 107

Lesley Nishigawara<br />

Diamond Lace Repeat, 2014<br />

Silk, organza, thread<br />

25 x 25 x 8 inches<br />

Nishigawara transforms repeated patterns from two-dimensional<br />

surfaces to three-dimensional forms. The pattern is developed as a<br />

traditional surface design <strong>the</strong>n repeated through both two and threedimensional<br />

layering, creating depth with fabric and <strong>the</strong> subsequent<br />

shadows <strong>of</strong> <strong>the</strong>se forms.<br />

Brian Newell<br />

Desk, 2012<br />

African blackwood, Brazilian rosewood, wenge<br />

70 x 30 inches<br />

Woodworker Newell is a technical virtuoso who has spent many years<br />

living and working in Japan. His constant desire to expand his expertise<br />

aids him in generating lyrical, imaginative and unprecedented examples<br />

<strong>of</strong> fine woodworking.<br />

I still explore <strong>the</strong> entire universe <strong>of</strong> woodworking, sometimes camping out on<br />

its outer borders and o<strong>the</strong>r times remaining close to <strong>the</strong> center, making simple,<br />

beautiful and functional furniture from local woods.<br />

108 109

Kay Sekimachi<br />

Homage to AM VI and Homage to AM V, 2014<br />

Linen, dye, permanent marker, plain weave<br />

12.25 x 12 inches and 12.75 x 12 inches<br />

Legendary “weaver’s weaver” and fiber visionary Sekimachi has been a<br />

fundamental innovator for generations <strong>of</strong> artists since she started<br />

experimenting with technique and materials more than sixty years ago.<br />

Integral to <strong>the</strong> fiber arts movement, she expanded <strong>the</strong> potential <strong>of</strong><br />

loom-woven work, forming three-dimensional sculptures and exploring<br />

<strong>the</strong> inherent nature <strong>of</strong> her medium. Her pure, elegant woven creations<br />

are characterized by harmonious and meditative simplicity.<br />

110 111




Clayton Bailey<br />

Exploding Clinker Bottle, 2013<br />

Clay from Port Costa, CA, porcelain, glaze, decal<br />

14 x 12 x 12 inches<br />

Bailey, regarded as <strong>California</strong>’s zany mad scientist potter, became a key figure in <strong>the</strong> late<br />

1960s and 1970s Funk movement and in conceptual and satirical approaches that emphasized<br />

process over product. For this piece, red clay from Bailey’s own property bursts<br />

through a porcelain skin, creating an explosion that is frozen in time and <strong>the</strong> anti<strong>the</strong>sis <strong>of</strong><br />

what most potters intend when firing <strong>the</strong>ir work.<br />

112 113

John Cederquist<br />

Architectural Elements – Drapery Series, 2010-2012<br />

Mixed wood, aniline dye, epoxy resin<br />

65 x 29 x 32 inches<br />

Trompe l’oeil master Cederquist paints with inlay to create furniture that<br />

floats between reality and deception. Grounded in furniture-making<br />

traditions, his philosophical pieces are perfectly crafted to challenge <strong>the</strong><br />

viewer’s perception <strong>of</strong> depth. He has explored various subject matter<br />

over <strong>the</strong> decades, ranging from American politics and popular culture to<br />

Japanese art and propaganda. Cederquist questions <strong>the</strong> fundamental<br />

nature <strong>of</strong> structure, craftsmanship and decorative arts history in his<br />

recent series <strong>of</strong> sculptural works.<br />

People pay more attention to images than real life.<br />

114 115

Nate Cotterman<br />

Some Assembly Required: Bacchus and Some Assembly Required: Tazza, 2014<br />

Blown glass, flame-worked glass<br />

Each assembly: 7 x 7 x 7 inches<br />

These goblet constructions are a re-contextualization <strong>of</strong> traditional<br />

handmade glass stemware. The interior components are suspended inside<br />

<strong>the</strong> “model” frame, allowing <strong>the</strong> viewer to visually assemble a goblet<br />

composition. Cotterman, whose work is grounded in Venetian glass blowing<br />

techniques, questions <strong>the</strong> intersection between manufacturing and<br />

handcraftsmanship in our modern culture.<br />

Jack da Silva<br />

Anniversary Braillecelet, 2012<br />

Synclastic formed sterling silver, 18-karat gold, diamonds<br />

1 x 3 inches<br />

The pattern <strong>of</strong> diamonds spells “I Love You” in Braille on this piece.<br />

Da Silva has incorporated Braille into his jewelry over <strong>the</strong> years, exploring<br />

<strong>the</strong> ways that communication occurs through various channels and<br />

formats. Da Silva was originally drawn to metalwork because <strong>of</strong> its utility<br />

and versatility. Balanced proportions and traditional craftsmanship are<br />

definitive characteristics in his jewelry, tableware and sculptural work.<br />

116 117

Sandra Enterline<br />

Diamond Web Necklace, 2012<br />

Sterling silver, 950 palladium, 14-karat white gold, stainless steel, diamonds<br />

10 x 10 x .25 inches<br />

Balancing organicism with an industrial edge, Enterline’s web is dotted with<br />

irregular diamond slices that shimmer and cast light on <strong>the</strong> wearer. Apertures<br />

and perforations are a signature design element throughout Enterline’s<br />

jewelry, as is <strong>the</strong> case with this pattern <strong>of</strong> suspended diamond encasements.<br />

Dylan Palmer<br />

Separate, 2014<br />

Blown glass, glass pedestal<br />

12 x 12 x 8 inches<br />

Breaking out <strong>of</strong> conventional perceptions <strong>of</strong> glass, Palmer’s clever<br />

sculptural statements reinvent Pop Art for <strong>the</strong> twenty-first century.<br />

118 119

Richard Shaw<br />

Still Life with Two Landscapes, 2013<br />

Porcelain, over-glaze decals<br />

29 x 13.5 x 13 inches<br />

Since <strong>the</strong> 1960s, Shaw has executed still life sculptures with unrivaled<br />

ingenuity. His trompe l’oeil reinvention <strong>of</strong> mundane objects brings<br />

humor and new meaning to <strong>the</strong> everyday. On a technical level, he has<br />

invented various techniques including perfectly cast porcelain objects<br />

and overglaze transfer decals.<br />

The human aspect <strong>of</strong> <strong>the</strong> still life or assemblage acts as a person memorializing<br />

<strong>the</strong>ir identity using <strong>the</strong> objects from <strong>the</strong>ir personal narrative. The narrative<br />

itself reveals <strong>the</strong>ir tastes, pastimes, intellectual pursuits, sins, habits good and<br />

bad, obsessions, etc.<br />

120 121

Kevin Myers<br />

Chip On My Shoulder, 2011<br />

Stoneware<br />

7 x 8 inches<br />

Bearing a shard on its shoulder, Myers uses form to make a playful pun<br />

with this vessel. The blingy, gilded piece also makes a tongue-in-cheek<br />

reference to material aspirations in this day and age.<br />

Process, tactile versatility, permanence, and significant historical value are all<br />

reasons why clay is my primary constituent. My formal concerns with <strong>the</strong><br />

postmodern vessel are beginning to lean more towards sculpture and, in some<br />

ways, architecture.<br />

Susan Stinsmuehlen-Amend<br />

<strong>Handmade</strong>, 2013<br />

Kiln-fired paint, glass, wood, metal<br />

36 x 24 x 1.5 inches<br />

An innovator in painterly approaches to flat glass, Stinsmuehlen-Amend<br />

comments on <strong>the</strong> implications <strong>of</strong> decorative cut glassware in this<br />

multilayered composition <strong>of</strong> pattern, imagery and color. Since <strong>the</strong> late<br />

1970s, Stinsmuehlen-Amend has developed <strong>the</strong> visual and intellectual<br />

potential <strong>of</strong> flat glass in her vibrant, metaphorical panels. In this piece,<br />

<strong>the</strong> panel brings <strong>the</strong> viewer inside and frames <strong>the</strong> perspective outwards.<br />

122 123




Kristin Beeler<br />

Buzz (Brooch), 2013<br />

Sterling silver, mo<strong>the</strong>r <strong>of</strong> pearl, pearls, ink<br />

2.5 x 4 inches<br />

With a nod to Classicism, Beeler sketched an image on mo<strong>the</strong>r <strong>of</strong> pearl for this<br />

neo-romantic piece in her Hortus Conclusus series. She examines how jewelry can<br />

contain visual memory and reposition definitions <strong>of</strong> beauty.<br />

As an object, jewelry is radically intimate.<br />

124 125

Arthur Gonzalez<br />

The Skeptic, <strong>2015</strong><br />

Ear<strong>the</strong>nware, glaze, pennies, gold leaf, blown glass, oil paint<br />

32 x 24 x 19 inches<br />

<strong>California</strong> College <strong>of</strong> <strong>the</strong> <strong>Arts</strong> Ceramics pr<strong>of</strong>essor Gonzalez creates<br />

sculptures that are <strong>the</strong> raw and disconcerting materialization <strong>of</strong><br />

thoughts, dreams, and o<strong>the</strong>r fantastical visions. Gonzalez switched from<br />

painting to sculpture as a graduate student in 1979 and has used objects<br />

as imagery ever since.<br />

I turned to sculpture to give my painting some breathing room. Painting on<br />

canvas necessarily means confronting a rectangle, and I was feeling stymied by<br />

that edge. Clay, I figured, would be a perfect proxy for canvas.<br />

Elizabeth Boyne<br />

The Language <strong>of</strong> Shadows, 2013<br />

Handset letterpress, Rives Lightweight paper, Cave Paper, gold endbands<br />

Closed book: 10 x 7.5 x 2.5 inches<br />

Artist book letterpress printed on Rives Lightweight paper with photopolymer<br />

plates and handset metal type. The book is bound using a<br />

modified version <strong>of</strong> simplified binding. Cave Paper covers <strong>the</strong> case <strong>of</strong> <strong>the</strong><br />

book and <strong>the</strong> book is embellished with hand-sewn gold endbands. Using<br />

quotes from <strong>the</strong> diary <strong>of</strong> Opal Whiteley, a young girl who recorded her<br />

life in Oregon’s lumber camps in <strong>the</strong> early 1900s, this artist book<br />

imagines how voices and shadows became real to a young woman and<br />

transformed her childhood memories.<br />

126 127

Jay Musler<br />

My World Is Yours, <strong>2015</strong><br />

Lamp worked glass, oil paint<br />

10.5 x 5.5 x 4 inches<br />

Since starting as a glassblower in <strong>the</strong> late 1960s, Musler has developed a<br />

distinctive and innovative approach to glass through lampworking,<br />

cutting, assembling and painting. While he riffs on <strong>the</strong> functional origins<br />

<strong>of</strong> glass forms, Musler is more interested in telling a story. The goblet is a<br />

staple in his work, standing in as a reoccurring character. He adorns his<br />

cartoon-like, petite sculpture with charms and animates it with vivid<br />

surface color.<br />

128 129

Gerardo Monterrubio<br />

El Tiradero, 2014<br />

Porcelain<br />

22 x 14 x 15 inches<br />

Monterrubio, who was born in Oaxaca, Mexico and now resides in Los<br />

Angeles, is propelled creatively by <strong>the</strong> applications <strong>of</strong> clay throughout<br />

time. In his amorphous vessel shapes, he taps into <strong>the</strong> anthropology <strong>of</strong><br />

ceramics as a universal vehicle for expressing socio-political narratives.<br />

With this trajectory in mind, he applies mural traditions to his surfaces to<br />

document aspects <strong>of</strong> today’s society.<br />

Altered by <strong>the</strong> imagination, memory, and <strong>the</strong> like, my work engages <strong>the</strong> idea <strong>of</strong><br />

recording selected aspects <strong>of</strong> contemporary society, in methods that are as old<br />

and universal as human creativity itself.<br />

130 131

Sondra Sherman<br />

Rorschach Corsage: True Happiness, 2013<br />

Steel, nail polish<br />

3 x 3 x .5 inches<br />

Sherman’s work examines <strong>the</strong> duality that is inherent to jewelry, as it is<br />

intimately positioned, yet publicly presented and continually moving<br />

about in <strong>the</strong> world. She explores how jewelry can be affective and a<br />

vehicle for instigating social exchange. In her Rorschach series, she elicits<br />

an emotional response from <strong>the</strong> wearer and viewer while commemorating<br />

<strong>the</strong> notion <strong>of</strong> a corsage in an unorthodox material.<br />

Vince Palacios<br />

Alchemy Series – Preventative Measure/Preemptive Strike, 2012<br />

Clay, glaze, porcelain tile, decals<br />

16 x 12 x 12 inches<br />

The dreamlike, surreal assemblage <strong>of</strong> imagery that Palacios draws upon<br />

to adorn his forms are intended as inferences and possibilities, yet some<br />

messages speak louder than o<strong>the</strong>rs. Palacios seamlessly combines<br />

painted imagery with decals and <strong>the</strong> shapes <strong>of</strong> his forms play with <strong>the</strong>se<br />

visual clues and codes.<br />

132 133


Abrasha pg. 27<br />

Aguiñiga, Tanya pg. 74<br />

Anciso, Natalia pg. 44-45<br />

Anderson, Jennifer pg. 88<br />

Bailey, Clayton pg. 112-113<br />

Bassler, Jim pg. 46-47<br />

Beeler, Kristin pg. 124-125<br />

Bennett, Garry Knox pg. 85<br />

Blechner, Doug pg. 97<br />

Boyadjiev, Latchezar pg. 48<br />

Boyne, Elizabeth pg. 126<br />

Brady, Robert pg. 32<br />

Brixner, Steven pg. 72<br />

Burgess, Michele pg. 58<br />

Cariati, Joe pg. 96<br />

Cederquist, John pg. 18-19, 114-115<br />

Chadwick, Macy pg. 33<br />

Chambers, Evan pg. 56-57<br />

Chen, Julie pg. 30-31<br />

Class, Petra pg. 59<br />

Clutario, Adrian pg. 24<br />

Cobb, Sunshine pg. 6-7, 98<br />

Cotterman, Nate pg. 116<br />

De La Rosa, Victor pg. 42-43<br />

da Silva, Jack pg. 117<br />

da Silva, Marilyn pg. 66-67<br />

Enterline, Sandra pg. 12-13, 118<br />

Fisch, Arline pg. 104-105<br />

Foat, Reuben pg. 78-79<br />

Gonzalez, Arthur pg.127<br />

Gray, Ka<strong>the</strong>rine pg. 76<br />

Guerrero, Jaime pg. 50-51<br />

The Haas Bro<strong>the</strong>rs pg. 14-15, 77<br />

Hebert, Mat<strong>the</strong>w pg. 20-21<br />

Holmes, Barbara pg. 91<br />

Hunter, Bill pg. 107<br />

Johnson, Mike pg. 99<br />

Kim, Sonia pg. 34-35<br />

Lee, Christine pg. 89<br />

Lesch-Middelton, Forrest pg. 52<br />

Lewis, John pg. 68<br />

Linville, Tina pg. 90<br />

Lip<strong>of</strong>sky, Marvin pg. 106<br />

Little, Mary pg. 37<br />

Lung, Carole Frances pg. 49<br />

Maruyama, Wendy pg. 53<br />

Matson, Christy pg. 16-17, 82-83<br />

May, Victoria pg. 36<br />

Mays, Laura pg. 10-11, 80-81<br />

Monterrubio, Gerardo pg. 130-131<br />

Mouser, Yvonne pg. 100<br />

Musler, Jay pg. 128-129<br />

Myers, Kevin pg. 122<br />

Newell, Brian pg. 108<br />

Nishigawara, Lesley pg. 109<br />

Oates, Christy pg. 22-23<br />

Oki, Aya pg. 8-9, 38-39<br />

Palacios, Vince pg. 132<br />

Palmer, Dylan pg. 119<br />

Patterson-Kutras, Geri pg. 73<br />

Patzlaff, Kris pg. 69<br />

Portigal, Steven pg. 86-87<br />

Rasmussen, Darrick pg. 84<br />

Reese, Harry & Sandra Liddell Reese pg. 60-61<br />

Reifsneider, Jennifer pg. 26<br />

Sekimachi, Kay pg. 110-111<br />

Shaw, Richard pg. 120-121<br />

Shaw-Sutton, Carol pg. 70-71<br />

Sherman, Sondra pg. 133<br />

Shirk, Helen pg. 92-93<br />

Shutt-Wulfeck, Susan pg. 103<br />

Siemon, Caleb pg. 101<br />

Simon, Sandy pg. 94-95<br />

Smith, Christina Y. pg. 54-55<br />

Stinsmuehlen-Amend, Susan pg. 123<br />

Stocksdale, Joy pg. 28<br />

Stromsoe, Randy pg. 62<br />

Takizawa, Hiromi pg. 64<br />

Traylor, Pamina pg. 65<br />

Turner, Julia pg. 29<br />

Underwood, Consuelo Jimenez pg. 40-41<br />

Wiseman, David pg. 63<br />

Wulfeck, David pg. 102<br />

Yule, Dorothy pg. 4-5, 25<br />

134 135


We have made every effort to contact all owners <strong>of</strong> images reproduced in this<br />

book. If proper acknowledgment has not been made, we ask owners to contact<br />

Craft in America. We regret any omissions.<br />

Madison Metro photographed all images reproduced in this catalog except<br />

where credit has been identified as belonging to image owners below.<br />

Pg. 4-5 Luz Marina Ruiz<br />

Pg. 8-9 Elizabeth Lamark, RIT Photo Production Services<br />

Pg. 15-16 Joe Kramm, courtesy <strong>of</strong> <strong>the</strong> artists and R & Company<br />

Pg. 19-20 © Gary C. Zuercher<br />

Pg. 22-23 Christy Oates<br />

Pg. 25 Luz Marina Ruiz<br />

Pg. 26 Lisa Talbot, courtesy <strong>of</strong> <strong>the</strong> artist<br />

Pg. 28 Courtesy <strong>of</strong> <strong>the</strong> artist<br />

Pg. 32 Courtesy <strong>of</strong> <strong>the</strong> artist<br />

Pg. 33 Sibila Savage<br />

Pg. 36 r.r. jones<br />

Pg. 37 Mary Little Studio<br />

Pg. 38-39 Elizabeth Lamark, RIT Photo Production Services<br />

Pg. 43 Photo © Aimee Santos<br />

Pg. 44-45 Albert Anciso<br />

Pg. 48 Courtesy <strong>of</strong> <strong>the</strong> artist<br />

Pg. 49 Sebastian Duncan-Portuondo<br />

Pg. 51 Keay Edwards<br />

Pg. 58 Miya Hannan<br />

Pg. 60-61 Courtesy <strong>of</strong> <strong>the</strong> artists<br />

Pg. 62 Ron Bez<br />

Pg. 63 Joe Kramm, courtesy <strong>of</strong> <strong>the</strong> artist and R & Company<br />

Pg. 64 Hiromi Takizawa<br />

Pg. 65 Photo by Hans-Jurgen Bergmann<br />

Pg. 68 Image by Lawrence Huff<br />

Pg. 73 Courtesy <strong>of</strong> <strong>the</strong> artist<br />

Pg. 76 Fredrik Nilsen<br />

Pg. 77 Joe Kramm, courtesy <strong>of</strong> <strong>the</strong> artists and R & Company<br />

Pg. 79 Rizzhel Mae Javier<br />

Pg. 84 Courtesy <strong>of</strong> <strong>the</strong> artist<br />

Pg. 85 Tom and Toni Bostick<br />

Pg. 88 Hea<strong>the</strong>r McCalla<br />

Pg. 93 Photo by artist<br />

Pg. 106 M. Lee Fa<strong>the</strong>rree<br />

Pg. 107 Alan Shaffer<br />

Pg. 108 Tom and Toni Bostick<br />

Pg. 115 © Gary C. Zuercher<br />

Pg. 116 Daniel Fox, Lumina Studio<br />

Pg. 117 Hap Sakwa<br />

Pg. 121 Alice Shaw<br />

Pg. 123 Courtesy <strong>of</strong> <strong>the</strong> artist<br />

Pg. 126 Elizabeth Boyne<br />

Pg. 127 John Wilson White<br />

Pg. 129 Tom and Toni Bostick<br />

136 137

Craft in America and <strong>the</strong> Sam and Alfreda Malo<strong>of</strong> Foundation<br />

for <strong>Arts</strong> and Crafts wish to thank <strong>the</strong>ir Boards <strong>of</strong> Directors for<br />

<strong>the</strong>ir support.<br />

Sam and Alfreda Malo<strong>of</strong> Foundation for <strong>Arts</strong> and Crafts<br />

Nick Brown<br />

Charles Field<br />

An<strong>the</strong>a Hartig<br />

Larry Henderson<br />

Ann Joslin<br />

Beverly Malo<strong>of</strong><br />

Lindell Marsh<br />

Carolyn Owen-Towle<br />

Richard Pace<br />

Connie Ransom<br />

Janice Ru<strong>the</strong>rford<br />

John Scott<br />

David Spencer<br />

Fritz Weis<br />

Diane Williams<br />

Todd Wingate<br />

Emeritus Board Members:<br />

Slimen Malo<strong>of</strong><br />

Ted Malo<strong>of</strong><br />

William Knox Mellon<br />

Craft in America<br />

Susan A. Grode, President<br />

Corinna L. Cotsen, Secretary<br />

Susan K. Schear, Treasurer<br />

Carolyn L. E. Benesh<br />

Lloyd E. Herman<br />

Lois Jecklin<br />

Jane C. Milosch<br />

Steven Poster

C<br />




CALIFORNIA HANDMADE: STATE OF THE ARTS <strong>2015</strong><br />



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