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CONVERSATION | What Remains Rachel Meginnes + Kelly O’Briant October 3 – November 19, 2017

Penland Gallery & Visitors Center Penland School of Crafts Penland, NC

Packing my things into boxes, displaced and out of order, I think I will remember when I get there.

Uprooted and in motion, I carry things with me.

Unpacking some, forgetting others, I remake my home with objects collected along the way. Boxes of graters and mixers, And kettles, And whisks, And pots, And bottles, And cups, And spoons give me a familiar context to which I return each day.

When the duration of the unsettlement begins to weigh heavy, so do the objects. I find, discard and collect as I look for order while reconstructing the home.

I rely on new relationships for a new foundation. With generosity and gratitude, I am rooted.

KELLY Oâ&#x20AC;&#x2122;BRIANT

The abandoned quilt reveals a rich history in its worn and tattered state. With faded colors alluding to the passage of time and a life long-lived, torn edges suggest a utility and the past ability to keep us warm. The lines of stitching which still remain hold together the dissolving pieces of patchwork and interior cotton battings.

Stripped of both family and function, the forgotten quilt now speaks to past cares and proficiencies.

This notion of the quilt, as a signifier of past experience, has become my metaphor for loss and persistence. Through the stitchby-stitch deconstruction of each piece, I remove a quiltâ&#x20AC;&#x2122;s central layer to expose the wear and tear found within. Sometimes gaping, sometimes minor, the holes in the batting depict an inner damage and a profound and honest beauty.

Using thread and paint, I turn these thin, leftover webs of fiber into paintings for the wall. Color and pattern mark each surface, highlighting old channels of stitching and all previous indications of making. My objective is not one of preservation or conservation, but rather an honorific act aiming to appreciate our human ability to persevere.

RACHEL MEGINNES

Cloth stains, tears, fades, and wears out, absorbing and recording our use over time.

Layered into the folds are our own life experiences.

Discarded and auctioned off, my work begins when the function for these textiles ends.

I find the holes, the mends, and draw attention to them, peeling all layers back so others can see, how beauty develops in loss and destruction.

RACHEL MEGINNES

KELLY O’BRIANT | BIO

Kelly O’Briant was a full time potter in North Carolina for almost a decade before earning an MFA (2014) from Arizona State University. She has been a resident artist at the Archie Bray Foundation, Helena, MT, the International Ceramics Studio, Kecskemet, Hungary and the pottery Workshop, Jingdezhen, China.

The National Council for Education on the Ceramic Arts (NCECA) named her an Emerging Artist in 2015.

O'Briant's work has been included in exhibitions internationally, including solo exhibitions at the Houston Center for Contemporary Craft, Houston, TX, the Myers Gallery, Grand Forks, ND, the Mesaros Gallery, Morgantown, WV, the Windows Gallery, Jingdezhen, China and Penland School of Craft.

O’Briant recently completed a post-doctoral research fellowship at West Virginia University (Morgantown, WV) in ceramic production methods and ceramic digital technology. O’Briant joined the faculty as an Assistant Professor of Art in Ceramics at the University of Dallas in the fall of 2017.

EXHIBITION ESSAY PETER HELD Former Curator of Ceramics Arizona State University Art Museum Ceramics Research Center

STILLED LIFE: THE CERAMICS OF KELLY O’BRIANT With contemporary society awash in current unease and migration, artists are becoming increasingly reflective of displacement on individual and collective psychologies.

Particularly urgent and timely has been the examination of a “sense of place,” exploring an aggregate of geographical, cultural, and familial histories past and present, rooted and uprooted in our current times.

Kelly O’Briant has ranged far from her North Carolinian roots, exploring and expanding her craft, while meditating on issues of universal concern. Recently she has been in residence in Jingdezhen, China, the porcelain capital of the world, known for its centuries-old ceramic production and skilled craftsmen who facilitate working processes for international artists.

Migration, rootlessness, and the quest for home has become a compelling theme in contemporary art. The Museum of Modern Art exhibited Jacob Lawrence’s Migration Series in 2015, followed a year later by Insecurities: Tracing Displacement and Shelter. In the summer of 2017, the Los Angeles County Museum of Art mounted the work of fortytwo Latino and Latin-American artists in the exhibition Home-So Different, So Appealing of which Peter Schjeldahl wrote in The New Yorker (June 26, 2017), “…a primordial idea: home, where you hang your hat, if you have one, and where the heart is or, for some grim reason, fails to be.”

During her residency at Jingdezhen, O’Briant completed the work All the Good Things, consisting of a meditative assemblage of 150 gold-lustered bowls containing porcelain

seeds.

Not unlike Ai Wei Wei’s Sunflower Seeds project, which argued for human

compassion during a period of uncertainty, All the Good Things embraces optimism in the face of impermanence. While the significance of gold is an important part of the Chinese culture, associated with abundance and high status, O’Briant explains that the seeds represent her migratory travel and work experiences marked by the generosity and gestures of gratitude of those encountered along the way.

The Things We Carry, also completed in China, is composed of twelve porcelain rooftop homes, embedded with household objects impressed on the exterior surface. O’Briant has remarked that, “reminiscent of the traditional still life, these installations capture a moment of intimacy between everyday objects and their users; illustrating patterns of communication habits, story-telling, and community.” Such rumination was accelerated by her observations of China’s historic neighborhoods undergoing demolition and rebuilding, resulting, sometimes in the blink of the eye, in individual displacement resulting in a society unhinged from its history.

Impenetrable without entrance, they act as a collective memory bank, traces of utensils and textile designs formed in the walls of an illusionary dwelling are a distillation of the artist’s untethered nomadic journeys and her desire for secure anchorage. The use of repetitive forms, monochromatic glazing, and familiar objects place O’Briant’s installations in both the concrete and metaphorical realms.

Balancing the qualms of recent moves, the artist finds reaffirmation of belonging with her passion for her chosen material and the closely-knit community of clay workers worldwide. Like all good art, deeply felt conviction is buoyed by well-honed craftsmanship, resulting in shared experience for fellow travelers.

2017

RACHEL MEGINNES | BIO

Trained as a weaver, Rachel Meginnes’s fascination with textiles began in high school. After receiving her Bachelor of Arts degree from Earlham College in 1999, Rachel followed her interest in textiles by travelling to Northern Japan to study the traditional crafts of saki-ori, ikat, and indigo dyeing. Upon returning to the States, she apprenticed as a rug weaver and continued her study of art and textiles by moving to Seattle to earn her Master of Fine Arts degree in Fibers at the University of Washington in 2005.

From 2005-2011, Rachel co-owned and operated Dorjé Contemporary, LLC a custom rug design company producing hand-knotted, Tibetan carpets for the interiors trade. 2012 marked a significant shift in Rachel’s career when she dedicated herself to being a studio artist full time. This past August, she completed a three-year residency at Penland School of Crafts in North Carolina.

Although no longer working directly at the loom, Rachel has kept many of her weaving processes alive in her current studio practice. Integrating textiles with painting, Rachel accepts and encourages her need to work hands-on with her materials and enjoys the solitude that comes along with producing such methodical work. Her original love for the plain weave structure has never ceased and she continues to believe that there is infinite possibility in the most basic of methods.

EXHIBITION ESSAY MARILYN ZAPF Assistant Director and Curator, The Center for Craft, Creativity & Design RACHEL MEGINNES: THE BATTING SERIES Loss is one of the most profound and universal experiences we share. It can be devastating in its definitive nature. And yet, stripped bare by grief, we often find an unexpected beauty in sorrow. It can allow us to confront truths about others and ourselves that weren’t previously possible to understand. Rachel Meginnes’s new series is a meditation on the sweet and terrible beauty of loss.

Meginnes begins each work by meticulously deconstructing a “cutter quilt,” or a quilt so ragged and worn that its only function is to be cut up and turned into something else.

The batting provides a rich and authentic texture upon which the artist applies stains and pigments to create rhythmic fields of color, depth, and pattern. Her interest in preserving the history of the object, its rips, tears, holes, and tatters speaks to the importance of the quilt as an artifact—a relic that reflects the marks of a previous maker and the passage of time.

The process of deconstructing and reconstructing each quilt becomes a metaphor for dealing with loss. With each work the artist is forced to confront a ubiquitous set of questions: What do I hold onto? What do I cover up? And, do I trust myself not to mess it up? Grief, figuring out how to move on, navigating the weight of history without becoming frozen by fear—these are just some of the questions bound up in the structure of Meginnes’s new series.

The final wall hanging is no longer a quilt, an object with distinct layers. Instead the color, surface, and pattern of the cover merge with the batting into a new object, one that is surface and structure, image and form at the same time. Through this transformational artistic process, Meginnes confronts the feelings of loss, grief, and fear, turning old and worn out quilts into artworks of great contemplation, beauty, and grandeur.

2017

KELLY Oâ&#x20AC;&#x2122;BRIANT Irving, TX

EDUCATION 2014

Arizona State University, MFA, Ceramics

2000

University of North Carolina at Greensboro, BFA Design; second major, Cultural Anthropology

1997-1998

University of Oulu, Oulu, Finland

PROFESSIONAL EXPERIENCE 2017

Assistant Professor of Art, University of Dallas, Irving TX

2015-2017

Postdoctoral Research Fellow, West Virginia University, Morgantown, WV

2016

Lecturer, Ceramics Production Methods, West Virginia University, Morgantown, WV Lecturer, 3D Modeling and Printing, West Virginia University, Morgantown, WV

2015

Lecturer, Ceramics Production Methods, West Virginia University, Morgantown, WV Lecturer, Ceramics, University of North Dakota, Grand Forks, ND

2014

Lecturer, Ceramics, University of North Dakota, Grand Forks, ND Instructor of Record, Color Theory, Arizona State University, Tempe, AZ Color Theory Coordinator for Graduate Instructors of Record, Arizona State University, Tempe, AZ

2013

Color Theory Coordinator for Graduate Instructors of Record, Arizona State University, Tempe, AZ Instructor of Record, Color Theory, Arizona State University, Tempe, AZ Instructor of Record, Three-Dimensional Art, Arizona State University, Tempe, AZ

1

2012

Instructor of Record, Ceramic Survey, Arizona State University, Tempe, AZ

2005-2011

Studio Potter, Sole Proprietor of Kelly O’Briant Pottery, Julian, North Carolina

2006-2011

Founding Member and Organizer, Artist’s Touch Studio Tour and Sale, Greensboro, NC

SELECTED SOLO EXHIBITIONS 2017

Conversation: What Remains, double exhibition with Rachel Meginnes, Penland Gallery, Penland, NC All the Good Things, Windows Gallery, Jingdezhen, China Atmosphere: Material and Echoes, McGlothlin Center for the Arts, Emory and Henry, College, Emory, VA Objects that Were, Echoes that Are, Shemer Art Museum, Phoenix, AZ

2016

Dark Matter…and all the space between, Denison Art Space, Newark, OH Dark Matter…and all the space between, Meseros Gallery, West Virginia University, Morgantown, WV

2015

Life, Still, Myers Gallery, University of North Dakota, Grand Forks, ND one day, late in the afternoon…, Houston Center for Contemporary Craft, Houston, TX

2014

one day, late in the afternoon… Harry Wood Gallery, Arizona State University, Tempe, AZ

2009

Kelly O’Briant and L.T. Hoisington, double exhibition, Claymakers, Durham, NC

2008

Pots and Prints, double exhibition with Matthew Thomason, Pullen Arts Center, Raleigh, NC

2007

Garden to Table, Horace Williams House, Chapel Hill, NC

2006

The Decorated Dinner, NC Crafts Gallery, Carrboro, NC

2

SELECTED EXHIBITIONS 2018

Cups of Conversation, Concurrent exhibition during NCECA conference, Pittsburgh, PA.

2017

Small Favors: Think Inside the Box, NCECA Future Flux, Portland, OR

2016

Best of West Virginia, David L. Dickerson Fine Arts Gallery, Tamarack Center, Beckley, WV Small Favors, The Clay Studio, Philadelphia, PA 65th Anniversary of the Archie Bray Foundation, Belgar Crane Yard Gallery, Red Star Studios, Kansas City, KS

2015

Winter Show, Green Hill Center for Creative Art, Greensboro, NC The Archie Bray Foundation in Spokane, Kolva Sullivan Gallery, Spokane, WA Scratching the Surface, Red Lodge Clay Center, Red Lodge, MT Resident Artist Exhibition, Warehouse Gallery, Archie Bray Foundation, Helena, MT Shelter, Conrad Wilde Gallery, Tucson, AZ Small Favors, The Clay Studio, Philadelphia, PA Faculty Exhibition, Myers Gallery, University of North Dakota, Grand Forks, ND

2015

NCECA Emerging Artists Exhibition, NCECA Conference, Providence, RI

2014

Reclaimed: Installation, Performance and Site-Specific Works, One Wall Gallery, online platform: onewallgallery.com, Catalogue, Art Axis Drink This! The Workhouse International Ceramic Cup Show, Workhouse Arts Center, Lorton, VA

2013

Steinfest, Claymakers Gallery, Durham, NC Show Us Your Mugs - Medalta International Cup Show, Yuill Family Gallery, Alberta, Canada Art of the Cup, Ogden Museum of Southern Art, Center for Craft and Design, New Orleans, LA Drawing Expanded, Gallery 11-14, Phoenix, AZ New Art in Arizona, Shemer Art Center and Museum, Phoenix, AZ

3

Red Lodge Clay Center Juried National II, Red Lodge Clay Center, Red Lodge, MT 99 Bottles, Crimson Laurel Gallery, Bakersville, NC Nathan Cummings Travel Fellowship Exhibition, Harry Wood Gallery, Tempe, AZ In the Mix, Crimson Laurel Gallery, Bakersville, NC In the Mix II, Amaco/Brent Gallery, Indianapolis, IN 2012

Source-Material: An Exhibition on Water and the Ceramic Cup, Crimson Laurel Gallery, Bakersville, NC Art of the Cup: Functional Comfort, Ogden Museum of Southern Art, Center for Craft and Design, New Orleans, LA

By Example: NC Potters and Their Mentors, Green Hill Center for NC Art, Greensboro, NC A Process of Becoming, GPSA Gallery, Arizona State University, Tempe, AZ Generosity of Spirit: The Gifts of Penland Artists, Signature Shop, Atlanta, GA

2011

New Graduate Student Exhibition, Harry Wood Gallery, Tempe, AZ National Teapot Show VIII, Cedar Creek Gallery, Creedmoor, NC

2010

Art of the Cup: Functional Comfort, Ogden Museum of Southern Art, Center for Craft and Design, New Orleans, LA Table Manners, Lark and Key Gallery, Charlotte, NC Outside the Box, The Collectorâ&#x20AC;&#x2122;s Gallery, Raleigh, NC

2009

Delhom Service League Potters Market Invitational, Mint Museum, Charlotte, NC Winter Show, Green Hill Center for Creative Art, Greensboro, NC Winterfest, Baltimore Clay Works, Baltimore, MD Artistry 2008, Guilford Art Center, Guilford, CT National Teapot Invitational VII, Cedar Creek Gallery, Creedmoor, NC Cups! Cone 10 Studios, Charleston, SC Back to Nature: An Exhibition of Contemporary Botanical Pottery and Art, Hambidge Center, Raben Gap, GA

4

2007

Ladies in White, Goodall Gallery, Louisville, KY Cup of Tea, Penland Gallery, Penland, NC Emerging Clay of the South, Blue Spiral 1, Asheville, NC

2006

Connections, Southside Gallery, Oxford, MS

2005

Winter Show, Green Hill Center for North Carolina Art, Greensboro, NC Winterfest, Baltimore Clay Works, Baltimore, MD Refraction and Flux: 8 Rising Young Potters, JC Self Research Institute, Greenwood Genetic Center, Greenwood, SC The Art of the Mug, Ogden Museum of Southern Art, New Orleans, LA

2003

Forms and Shapes: Cup, AKAR Architecture and Design Gallery, Iowa City, IA Via Penland, Rebus Works, Raleigh, NC

2002

CORE Show, Penland School of Crafts, Penland, NC

2001

Viewpoint: Ceramics 2001, Hyde Gallery, Grossmont Collage, El Cajon, CA National Cup Show, Gallery 138, Kent State University, Kent, OH CORE Show, Penland School of Crafts, Penland, NC

LECTURES, PANELS, AND WORKSHOPS 2018

Workshop, Penland School of Crafts, Penland, NC

2017

Artist Lecture, Wichita Falls Museum of Art, Midwestern State University, Wichita Falls, TX Artist Lecture, Clay Fab Lab, Future Flux NCECA Conference, Portland, OR Artist Lecture, Ceramic Research Center, Arizona State University Art Museum, Tempe, AZ Workshop, Artist Lecture, Undergraduate Critiques, Phoenix Community College, Phoenix, AZ

2016

Artist Lecture, Undergraduate Critiques, Denison University, Granville, OH Panelist, Knocking on All the Doors: The Craft Campaign, Denison Art Space, Newark, OH

5

Panelist, “Digital Prototyping: Translating Craftsmanship and Aesthetics in Ceramics,” No Hands? Digital Fabrication and Craftsmanship, South Eastern College Art Conference, Roanoke, VA Artist Lecture, West Virginia University, Morgantown, WV Laser Cutting Faculty Workshop, West Virginia University, Morgantown, WV 2015

NCECA Emerging Artist Lecture, “One day, late in the afternoon…”

NCECA conference, Providence, RI Panelist, “Maintaining an Authentic Voice,” NCECA Conference, Providence, RI Workshop and Artist Lecture, Muddy Waters Clay Center, Grand Forks, ND Artist Lecture, Glassell School of Art, Museum of Fine Arts Houston, Houston, TX

2014

Artist Lecture, “one day, late in the afternoon…” Ceramics Research Center, ASU Art Museum, Arizona State University, Tempe, AZ Artist Lecture, “Professional Practices,” Arizona State University, Tempe, AZ

2013

Artist Lecture, Nathan Cummings Travel Fellowship Research, Arizona State University, Tempe, AZ Artist Lecture, Arizona Artist Guild, Phoenix, AZ Coordinator and Presenter, Alternative Studio Experiences Forum, Tempe Center, Arizona State University, Tempe, AZ Artist Lecture, “Making a Living as an Artist,” Arizona State University, Tempe, AZ

2012

Teaching Assistant, Holly Walker, Haystack School of Crafts, Bangor, ME

2011

Artist Lecture, “Art Basel,” Arizona State University, Tempe, AZ

2009

Visiting Artist, Clay Guild, Chapel Hill, NC

2008

Workshop Instructor, “Surface and Form,” Art Alliance, Greensboro, NC

2005

Visiting Artist, for John Britt’s class “Glaze,” Energy Xchange, Burnsville, NC

6

2004

Teaching Assistant, Stanley Anderson, Penland School of Crafts, Penland, NC

GRANTS, FELLOWSHIPS, AWARDS 2016

Faculty Travel Grant, West Virginia University, Morgantown, WV

2015

Meyer Scholar, Archie Bray Foundation, Helena, MTEmerging Artist Award, NCECA (National Council on Education for the Ceramic Arts), 49th Annual Conference, Providence, RI

2014

Teaching Excellence Award, Graduate and Professional Student Association, Arizona State University, Tempe, AZ

2013

Teaching Excellence Award, Graduate and Professional Student Association, ASU, Tempe, AZ ASU Jump Start Research Grant, Graduate and Professional Student Association, Arizona State University, Tempe, AZ GPSA Graduate Research Grant, Graduate and Professional Student Association, Arizona State University, Tempe, AZ GPSA Travel Grant 2013â&#x20AC;&#x201C;14, Graduate and Professional Student Association, ASU, Tempe, AZ Martin Wong Foundation Scholarship in Ceramics, first place, Arizona State University, Tempe, AZ School of Art Special Talent Scholarship, Arizona State University, Tempe, AZ Nathan Cummings Summer Travel Fellowship, first place, Arizona State University, Tempe, AZ (funding research in Hungary, France, Belgium, Denmark, Sweden and Finland) Diane Maxey Scholarship Award, Arizona Artists Guild, Phoenix, AZ GPSA Travel Grant 2012â&#x20AC;&#x201C;13, Graduate and Professional Student Association, Arizona State University, Tempe, AZ

2012

Lincoln-Herberger Professional Opportunity Travel Grant, Lincoln Family Foundation and Katherine K. Herberger Endowment Initiative, Arizona State University, Tempe, AZ

7

GPSA Travel Grant 2011–12, Graduate and Professional Student Association, Arizona State University, Tempe, AZ Work-Study Scholarship, Penland School of Crafts, Penland, NC Student Enrichment Grant, Herberger Institute for Design and the Arts, Arizona State University, Tempe, AZ School of Art Special Talent Scholarship, Arizona State University, Tempe, AZ 2011

Lincoln-Herberger Professional Opportunity Travel Grant, Lincoln Family Foundation and Katherine K. Herberger Endowment Initiative, Arizona State University, Tempe, AZ School of Art Special Talent Scholarship, Arizona State University, Tempe, AZ

2010

Central Piedmont Regional Artists Hub 2010 Grant, United Arts Council of Greater Greensboro, Greensboro, NC Work-Study Scholarship, Penland School of Crafts, Penland, NC

2005

Mason Scholarship, Penland School of Crafts, Penland, NC

2004

Atalaya Arts and Crafts Festival, third place in ceramics, Murrel’s Inlet, SC

RESIDENCIES / INTERNSHIPS 2017

Pottery Workshop, Jingdezhen, China

2015

West Virginia University, Morgantown, WV

2015

Archie Bray Foundation, summer resident, Helena, MT

2014–15

University of North Dakota, Grand Forks, ND

2013

International Ceramics Studio, Kecskemét, Hungary

2012

ASU Art Museum Ceramics Research Center, Intern, Arizona State University, Tempe, AZ

8

2003–2005

Energy Xchange Studio, Burnsville, NC

2001–2003

Penland School of Crafts, CORE Fellowship Student, Penland, NC

2000

Cedar Mountain Pottery, Intern with Judith Duff, Cedar Mountain, NC

RELATED PROFESSIONAL EXPERIENCE 2017

Juror, Empty Bowls 2017 Ceramic Show and Sale, Wichita Falls Museum of Art, Midwestern State University, Wichita Falls, TX Study Abroad Expedition Leader, West Virginia University, Jingdezhen,China Co-Coordinator, Clay Fab Lab, Future Flux, NCECA Conference, Portland, OR

2016

Juror, 16th Annual Ceramic Studio Tour, Arizona State University Art Museum, Tempe, AZ

2014

Interim Assistant Director, Programs Coordinator, Shemer Art Center, Phoenix, AZ.

2013

Annual Ceramic Surface Forum, Arrowmont School of Arts and Crafts, Gatlinburg, TN

2011–2014

Ceramics Graduate Representative, Graduate Student Support Team, Herberger Institute for Design and the Arts, Arizona State University, Tempe, AZ Board Member, Artists Advisory Committee, Arizona State University Art Museum Ceramics Research Center Ceramic Studio Tour, Phoenix, AZ Peer Reviewer, Graduate Research Support Program, Jumpstart and Travel, Arizona State University, Tempe, AZ

2009

Juror, Central Piedmont Regional Artists Hub Grant, Greensboro, NC

9

RELATED CONTINUING EDUCATION 2015

“Fusion 360,” AutoDesk Workshop, Launch Lab, Morgantown, WV Full Color Decal Printer Training, Enduring Images, WVU Production, Morgantown, WV “Glaze Calculation,” online course taught by Matthew Katz, Alfred University “3D Technologies Workshop,” Tethon 3D, Omaha, NE

2010

“Ceramic Form with Plaster Molds,” Penland School of Crafts concentration, Tom Spleth, Penland, NC

PULICATIONS AS AUTHOR “Digital Prototyping,” Makers, Mentors and Milestones, NCECA Journal, Rachel Kristy, ed.

(Hanover, PA: Sheridan Press, 2017) vol. 38: TBA, upcoming.

“One day, late in the afternoon…” Lively Experiments, NCECA Journal, Rachel Kristy, ed.

(Hanover, PA: Sheridan Press, 2015) vol. 36: 28-29.

BIBLIOGRAPHY Houston Chronicle, “…Sculptor’s show reveals personal side,” March 29, 2015.

Crafts Report, “Ceramic Artist Explores Value of Everyday Objects,” February 2015, p. 8.

Sue Wasserman, “99 Bottles,” Niche Magazine, photo John Warner, Winter 2014, p. 61.

Ceramics Monthly, “Exposure,” April 2013, p. 16.

500 Teapots, Volume 2, ed. Jim Lawton, Lark Books, Sterling Publishing, New York, NY, 2013, p. 270.

500 Vases: Contemporary Explorations of a Timeless Form, ed. Ray Hemachandra and Julie Hale, Lark Books, Sterling Publishing, New York, NY, 2010, p. 149.

Emily Reason, Wheel Throwing: Ceramics for Beginners, Lark Books, Sterling Publishing, New York, NY, 2009, pp. 78, 100.

500 Plates and Chargers: Innovative Expressions of Function and Style, ed. Suzanne J. E. Tourtillott, Lark Books, Sterling Publishing, New York, NY, 2008, p. 239.

Clay Times, “Three Guys* and Some Pottery,” September/October 2007, pp. 8, 38 Ronan Peterson, Clay Times, “Refraction and Flux: 8 Rising Young Potters,” July/August 2005, p. 23

10

500 Cups: Ceramic Explorations of Utility and Grace, ed. Suzanne J. E. Tourtillott, Lark Books, New York, NY, 2004, pp. 29, 368 The Glaze Book, John Britt, Lark Books, Sterling Publishing, New York, NY, 2004, p. 60, 69

ONLINE PERIODICALS CFile.Daily, “NCECA: The Ceramic Clan Gathers in Providence,” April 2015, image

PROFESSIONAL JURIED MEMBERSHIPS ArtAxis, www.ArtAxis.org ASU Art Museum Ceramic Research Center Ceramics Studio Tour, Tempe, AZ, 2012–2014 Piedmont Craftsmen’s Guild, Winston-Salem, NC, juried and exhibiting member, 2007– 2011 Carolina Designer Craftsmen’s Guild, Raleigh, NC, juried and exhibiting member 2007– 2011 Paradise City, juried, Northampton, MA, 2007 Artist’s Touch Studio Tour, Guilford County, NC, founding and exhibiting member 2005– 2011 American Craft Council, member and juried exhibitor in Charlotte, Baltimore, and Atlanta 2004–2011 Providence Craft Show, Providence, RI, juried and exhibiting member, 2005 Southern Highlands Craft Guild, Asheville, NC, juried member, 2004 Toe River Arts Council, Burnsville, NC, juried member, 2003–2011

COLLECTIONS Archie Bray Foundation Permanent Collection

11

RACHEL MEGINNES Penland, NC

EDUCATION University of Washington 2003 - 2005 Master of Fine Arts, Fibers EARLHAM COLLEGE 1995 - 1999 Bachelor of Arts, Studio Art

EXHIBITIONS CONVERSATION|WHAT REMAINS Penland Gallery, Penland, NC

2017

VOLUME Eckert Art Gallery, Millersville, PA Innovative Fibers: A Survey of Contemporary Textiles The Bascom Center, Highlands, NC Forging Futures Blue Spiral 1, Asheville, NC VOLUME Light, Art + Design, Chapel Hill, NC

Between: Layering Context & Perception in Patchwork Jelinek, Savannah, GA

2016

VOLUME Quirk Gallery, Richmond, VA Impact Foundry Art Centre, Saint Charles, MO Contemporary Southern Fiber Blue Spiral 1, Asheville, NC Fiberart International 2016 Pittsburgh Center for the Arts, Pittsburgh, PA Maximum Craft Signature Contemporary Craft, Atlanta, GA The Scent of Rain on Dry Earth Detroit Artists Market, Detroit, MI The Penland School of Craft Series Central Piedmont Community College, Levine, Charlotte, NC

Threads Merzbau Gallery, Miami, FL

2015

G|R|A|Y|S|C|A|L|E 5 & J Gallery, Lubbock, TX I Come to You in Pieces The Alice Gallery, Seattle, WA Summer Show Light, Art + Design, Chapel Hill, NC PanXiu Virginia Commonwealth University, Richmond, VA 2015 Instructor Exhibition Arrowmont School of Arts and Crafts, Gatlinburg, TN Structure Blue Spiral 1, Asheville, NC Rachel Meginnes/Susan Harbage Page: Recent Work Light, Art + Design, Chapel Hill, NC Intertwined: Contemporary Southeastern Fiber Art Fiber Arts Alliance, Atlanta, GA

Calibrate Camp re Gallery, San Francisco, CA

2014

Penland Resident Artist Exhibition S. Tucker Cooke Gallery, UNC, Asheville, NC Fail-Safe: Discomforts at Home Hap Gallery, Portland, OR Re-Imagining Paper and Fiber - International Invitational Wailoa Arts & Cultural Center, Hilo, HI Grow Light, Art + Design, Chapel Hill, NC Mnēmonikos: Art of Memory in Contemporary Textiles Fashion Gallery, Hong Kong, China Legacy, Tradition, Reinvention: Penland Resident Artists Turchin Center for the Arts, Boone, NC Fail-Safe: Discomforts at Home Craft Alliance, St. Louis, MO New X3 Blue Spiral 1, Asheville, NC Heuristic The Brink Gallery, Missoula, MT

The Barns Studios: 2013 Asheville Area Arts Council, Asheville, NC

2013

Stitch Light, Art + Design, Chapel Hill, NC Mnēmonikos: Art of Memory in Contemporary Textiles Jim Thompson Art Center, Bangkok, Thailand Penland Artists II Light, Art + Design, Chapel Hill, NC Flour & Feed The Mill, San Francisco, CA In the Mind’s Eye The Marietta/Cobb Museum of Art, Marietta, GA Fiberart International 2013 Fiberarts Guild, Pittsburgh, PA Breaking Ground: Innovative Craft Handmade in America, Asheville, NC Pulled Thread Leeds Gallery, Richmond, IN

BAM Biennial 2012: High Fiber Diet Bellevue Arts Museum, Bellevue, WA

2012

Seeing Stars Camp re Gallery, San Francisco, CA

The Art of Fiber Exhibition Workhouse Arts Center, Lorton Arts Foundation, Lorton, VA

2011

The Art of Saeggan Swanson, Anne Scallon & Rachel Meginnes Flipp Interiors, San Francisco, CA

CURATED EXHIBITIONS At Work: Penland School of Crafts Leeds Gallery, Earlham College, IN

2016

Excite - An Exhibit of Contemporary Textile Art Mary Cornwall Gallery, HCC, Clyde, NC

2014

COLLECTIONS Joseph L. Brady Collection Denver, NC Fidelity Bank Raleigh, NC Cameron Art Museum Wilmington, NC Capitol Broadcasting Company Durham, NC

ARTIST LECTURES Artistic Pursuit Haywood Community College, Clyde, NC

2016

Artistic Process Earlham College, Richmond, IN Excite Haywood Community College, Clyde, NC

2015

Evolution of Process The Textile Society, Asheville, NC Penland Visiting Artist Kenan Institute for the Arts, UNCSA, Winston - Salem, NC

2014

The Plainweave Thread Maiwa, Vancouver, BC Canada

2013

Pulled Thread Earlham College, Richmond, IN Excite, Haywood Community College, Clyde, NC

RESIDENCIES Penland Winter Writing Residency 1 - Week, Penland School of Crafts, Penland, NC Penland Resident Artist Three years, Penland School of Crafts, Penland, NC

2017 2012-2015

Pentaculum Residency 1 - Week, Arrowmont School of Arts and Crafts, Gatlinburg, TN

2015

Artist Residency 2 - Weeks, Glen Arbor Art Association, Glen Arbor, MI

2011

Artist Residency 1 - Month, Jentel Foundation, Banner, WY Teaching Experience

TEACHING EXPERIENCE Workshop Instructor Earlham College, Richmond, IN • Artistic Pursuit 1-Wk Workshop

2017

Workshop Instructor Penland School of Crafts, Penland, NC

2016

• The Thread Between 8 - Week Fiber and Drawing Workshop Workshop Instructor Haywood Community College, Clyde, NC • Studio Practice Weekend Workshop Workshop Instructor Penland School of Crafts, Penland, NC • Core Fellow Seminar 1 - Week Interdisciplinary Workshop

Visiting Assistant Professor Department of Art, Earlham College, Richmond, IN

2015-2016

• Weaving I, Art Cloth I, Drawing I Fall Semester Courses • History of Craft, Art & Entrepreneurship Spring Semester Courses

Workshop Instructor Haystack Mountain School of Crafts, Deer Isle, ME • Triple Knot 2 - Week Embroidery Workshop Workshop Instructor Arrowmont School of Arts and Crafts, Gatlinburg, TN • Artistic Practice 1 - Week Interdisciplinary Workshop

2015

Workshop Instructor Heart of Los Angeles, Los Angeles, CA

2014

• Art After School 1 - Week Fibers, Drawing, and Design Workshop Workshop Instructor Kenan Institute for the Arts, Winston - Salem, NC • High School Arts Two 3 - Hour Fibers and Drawing Workshops

Workshop Instructor Penland School of Crafts, Penland, NC

2013

• Core Fellow Seminar 8 - Week Professional Practices Class Workshop Instructor Maiwa, Vancouver, BC Canada • Creative Fabrication 4 - Day Fibers and Drawing Workshop Workshop Instructor Penland School of Crafts, Penland, NC • Altered Structures 1 - Week Fibers Workshop

ARTICLES A Tradition of Innovation WNC Magazine, Brian Barth

2015

• http://www.wncmagazine.com/feature/a_tradition_of_innovation Evolving the Cloth Surface Design Journal, Kathryn Gremley

2014

• www.plainweavestudios.com/about/ Rachel Meginnes’ Captivating, Transformed Textiles American Craft Council, Daniele Maestretti • http://craftcouncil.org/post/rachel-meginnes-captivating-transformed-textiles

2013

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CONVERSATION | What Remains Rachel Meginnes + Kelly Oâ&#x20AC;&#x2122;Briant October 3 â&#x20AC;&#x201C; November 19, 2017

For more information, availability, and price list contact Kathryn Gremley Director, Penland Gallery & Visitors Center 828.765.6211 gallery@penland.org Photo credits | Dana Moore, Rachel Meginnes, and Kathryn Gremley

Penland School of Crafts is supported by the N.C Arts Council, a division of the Department of Natural & Cultural Resources, with funding from the National Endowment for the Arts. www.penland.org www.penland.org/gallery