Surface Design Journal - Summer 2013 - Sample Issue by Surface Design Association

Surface Design Journal

features 22 06

Utopia Now: Saya Woolfalkâ&#x20AC;&#x2122;s Magical World by Patricia Malarcher

Michael Cepress: Menswear with Meaning by Elissa Auther

Patterns of Power: John Westmark by Lesli Robertson

Codes of Conduct by Stefano Catalani

Body Gazing Through the Eye of a Needle by Lois Martin

Aaron McIntosh: Queer Country Quilting by Gabriel Craig

Stories Preserved: Kelsey Viola Wiskirchen by Joetta Maue

Traditions Rooted in the World of Women by A.M. Weaver

Gender Bending with Linda Stein by Joyce Beckenstein

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Surface Design Journal

Summer 2013 Volume 37 Number 4

departments 52

First Person L.J. Roberts

Exposure A gallery of recent work by SDA members

In Review 4 Weavers: Contemporary Expressions of an Ancient Craft Petaluma, California Lenore Tawney: Wholly Unlooked For Baltimore, Maryland Philadelphia, Pennsylvania Michael Brennand-Wood: Forever Changes Denbighshire, Wales BAM Biennial 2012: High Fiber Diet Bellevue, Washington Bridge 12: Betty Vera Pittsburgh, Pennsylvania Jan Myers-Newbury: Unwrapped Pittsburgh, Pennsylvania

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Spotlight on Education Eastern Michigan University Ypsilanti, Michigan

In Print Textiles: The Art of Mankind

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w h o ’ s

w h o

Surface Design Association

P.O. Box 360 Sebastopol, CA 95473-0360 info@surfacedesign.org www.surfacedesign.org Executive Director

Diane Sandlin 512.394.5477 executivedirector@surfacedesign.org Assistant Executive Director

Susannah Fedorowich 707.829.3110 administration@surfacedesign.org Advertising Manager

Karen Crisp 909.939.0289 advertising@surfacedesign.org Surface Design Journal Editor

Marci Rae McDade 503.477.7015 journaleditor@surfacedesign.org SDA Digital Publications Editor (Website, NewsBlog, eNews)

Leesa Hubbell newslettereditor@surfacedesign.org Surface Design Journal Art Director

Dale E. Moyer dale@moyerdesign.com Web Site Manager

LM Wood lmnopwood@gmail.com Printed in Hanover, Pennsylvania

The Sheridan Press www.sheridan.com Executive Board:

President . . . . . . . . . . . . . . . . . . . . . . . . . .Jane Dunnewold Vice President . . . . . . . . . . . . . . . . . . .Jeanne Raffer Beck Secretary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Ann Graham Treasurer . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Melinda Lowy Board:

Representative of Representatives . . . . . Astrid Bennett Member . . . . . . . . . . . . . . . . . . . . . . . . . .Susan Taber Avila Member . . . . . . . . . . . . . . . . . . . . . . . . . . . .Karen Hampton Member . . . . . . . . . . . . . . . . . . . . . . . . . . . .Deborah Kruger Member . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Vivian Mahlab Member . . . . . . . . . . . . . . . . . . . . . . . .Jeanette Thompson President Emeritus . . . . . . . . . . . . . . . . . . . . .Jason Pollen

Surface Design Journal is a quarterly publication

of the Surface Design Association, a non-profit educational organization. SURFACE DESIGN ASSOCIATION Our Vision: To inspire creativity, encourage innovation

and advocate for artistic excellence as the global leader in textile-inspired art and design. Our Mission: To promote awareness and appreciation of

textile-inspired art and design through member-supported benefits, including publications, exhibitions and conferences. Our Objectives:

• To provide opportunities for learning, collaboration and meaningful affiliations • To mentor and support emerging artists, designers, and students • To inform members about the latest developments and innovations in the field • To recognize the accomplishments of our members • To encourage critical dialogue about our field • To inspire new directions in fiber and textiles • To raise the visibility of textiles in the contemporary art world SUBSCRIPTION / MEMBERSHIP The Surface Design Association membership: $60 a year ($35 for student with ID). $30 ($20 student) of each member’s dues shall be for a year’s subscription to Surface Design Journal. Subscriptions are available only to members. Outside USA: add $12 for Canada and $20 for all other countries. US funds only. Send Subscription/Membership correspondence to:

Surface Design Association, P.O. Box 360, Sebastopol, CA 95473-0360. Visa/Mastercard accepted. ©2013 Surface Design Association, Inc. All rights reserved. Reproduction without permission is strictly prohibited. Surface Design Journal (ISSN: 0197-4483) is published quarterly by the Surface Design Association, Inc., a non-profit educational organization. Publications Office: 919 Midpine Way, Sebastopol, CA 95472-5583. Periodicals Postage Paid at Sebastopol, CA, and additional mailing offices. POSTMASTER: Send address changes to Surface Design Journal: Subscriptions, P.O. Box 360, Sebastopol, CA 95473-0360.

Surface Design Journal

Creating Connections Print and digital media do a fine job of informing us about the art world, but most readers would agree: nothing compares to seeing a work of art in person and hearing artists talk about the creative process. Attending in•ter•face, the 17th International Surface Design Association Conference last month in San Antonio, Texas, I enjoyed an abundance of these meaningful real-world experiences. My Southwest adventure began with a visit to Civic Space Park in Phoenix, Arizona, to see Her Secret is Patience, the netted and knotted outdoor sculpture by conference keynote speaker Janet Echelman. Intrigued by the Q&A article featured in the Spring 2013 issue of the Journal, I wanted to witness how this cloud-sized creation changes appearance from day to night. The urban landscape and 108 degree heat set the stage to admire it swaying in the breeze. Stretched out on the grass, lulled by the voices of nearby strangers, it was clear to me that the artist achieved her intent “to transform hard-edged cities with soft, organic forms—to create spaces that foster calm and contemplation.” Days later, I hung on every word during Janet’s superb keynote address as she described overcoming personal and technical challenges to achieve such aweinspiring results. Although she rarely has time for speaking engagements, Janet enthusiastically accepted SDA’s invitation because she loves the textile-arts focus and educational mission of our organization. The standing ovation she received from a packed house launched a wonderful array of energizing conference events. Around every corner, pages from the Journal came to life in exciting talks by Otto von Busch and Nathalie Miebach, along with innovative exhibitions by Kathryn Clark and Kelsey Viola Wiskirchen, to name just a few. My heartfelt thanks goes out to all the staff, board, and member volunteers who contributed to the success of the conference! Invigorated, I returned home to wrap up the Summer 2013 issue, which features the work of over a dozen artists new to the Journal. Each one tackles the timely but often touchy theme of Gender from a different perspective: utopian idealism, personal empowerment, communal engagement, feminist theory, and queer pride. I hope you enjoy the challenges and triumphs each story has to offer.

Marci Rae McDade journaleditor@surfacedesign.org

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ABOVE: JANET ECHELMAN’S Her Secret is Patience (2009) on permanent display at Civic Space Park in Phoenix, Arizona. June 1, 2013. Photo: Marci Rae McDade. BELOW: (L to R) Marci with Janet Echelman and Leesa Hubbell (SDA Digital Publications Editor) at the SDA Conference in San Antonio, Texas. June 7, 2013.

P.S. To read the unabridged interview with Janet Echelman, visit the SDA Newsblog at www.surfacedesign.org/newsblog. To learn more about her work, visit www.echelman.com. New Journal themes for 2014 will be announced in the August edition of SDA eNews. Be sure to check your email inbox and remember that I welcome all suggestions of article ideas and artists to profile!

COVER CREDIT: JOHN WESTMARK Jig and Reel Detail, acrylic paint, ink, paper sewing patterns on canvas, collage, painting, 40" x 40", 2012. Photo by the artist.

Patterns of Power J o h n

b y

L e s l i

W e s t m a r k

R o b e r t s o n

The work of Austin, Texas-based artist John Westmark pursues the intersection of material and gender in his newest series Double Bind. Large-scale figurative works of female subjects are created through the combination of paper sewing patterns and paint, garnering a variety of reactions from viewers who are often surprised by the gender of the artist. Male artists working with materials long associated with women’s work is not new to art. Over the past decade, artists such as Mark Newport have increasingly worked with textilebased media and processes to tackle issues dealing with gender. Many have paired these materials with overtly masculine themes, subject matter, or handling. Westmark, however, is unconcerned with forcing feminine materials into masculine roles. The “gender signature” of his work becomes deliberately ambiguous through a conscious balance of paint to paper and careful application of delicate pattern pieces to each canvas. While creating work for his MFA exhibition at the University of Florida, Westmark moved from self-proclaimed painting purist to mixedmedia artist. This shift occurred while his wife Carrie was in labor with their second child. Looking down at the pattern pieces for garments she was working on, he noticed a distinct similarity to schematics and flight mechanisms for model planes he built as a child. This awakened a new perspective on his paintings. His fledgling Flight Series focuses on mimicking aircraft diagrams in direct combination with the pattern pieces, drawing connections between the construction of garments and the engineering of aircraft. Westmark began to consider the influence his work might have on his two young daughters as they grew into adolescence. Trying to understand how to raise and empower them in our current society, he describes his world as being “rocked” when he made the conscious choice to turn his focus from self-interest to their interest. This shift opened a new translation of the pattern pieces to reflect their relationship to clothing as identity, ideas of domesticity, and the roles of women. The Double Bind series began to take shape as Westmark studied the history of 18

women’s rights and various movements of feminism, focusing on eras defined by the strengths of women struggling for equality. In his artist statement, Westmark writes “[I] present the female figure as an agent of revolt in the form of resolute warriors or stoic martyrs. . . . The denial of a specific identity suggests an ambiguity of viewpoint, an anonymous ‘everywoman,’ not invisible but fractious.” By creating strong, faceless, female figures that reference this history through clothing, Westmark’s intent is to present these figures not as single characters, but as representations of the many women who were a part of defining new gender roles. His work challenges viewers to form their own narrative, while simultaneously encouraging them to reconsider their assumptions about the material, content, and gender of the artist. Formally, Westmark’s works are masterful in their use of such a delicate and fugitive material. He has collected hundreds of patterns from Vogue, Burda, McCall’s, Simplicity, and others throughout the years. The variety of pattern makers and years produced provide subtleties in color and translucence that allow him to achieve different results as he layers and integrates the media. Through his process of underpainting each composition, he blocks out the area of the figure, at times adding shifting tones of color that show through the paper. Westmark creates an interesting play between the present and the past by using garment patterns from the last several decades to create imagery of historical clothing. This interaction underlies his formal approach to materials, allowing for interpretations that go beyond the painted subject matter. The painted linework in Shush mimics the geometry and graphic designs present on the pattern pieces, formally bridging the two materials. Our only reference to a specific place and time is the style of garment and the patterned tile floor. The figure is depicted in a vulnerable pose, bent at the waist, yet she demonstrates her power through the gesture of a finger pressed to the lips, suggesting that she is aware of the situation and is in complete control.

Surface Design Journal

JOHN WESTMARK Hold the Line 60" x 72", 2010-2011. All works are made with acrylic paint, ink, and paper sewing patterns on canvas, painting, collage. All photos by the artist.

The single matriarch gives way to an army in Hold the Line. The movement of running figures is achieved by the careful folding and layering of the paper as one would construct a garment with cloth. The painted surface differentiates the women while creating a sense of depth within the composition. The subtlety of the struggle is replaced with an active assault, complete with weapons, flags, and flying bonnet strings. Throughout the Double Bind series, the pattern paper accentuates each turn of the figures portrayed sitting, bending, running, and falling. The assembly instructions printed on each pattern become a tool for Westmark to visually describe this movement in more detail. Each piece of paper is thoughtfully chosen to allow the lines, text, and symbols to emphasize the figure while obscuring the face to a greater degree. Through his experimentation with pattern paper,

Westmark strives to validate its potential as more than a superficial instructional material. Westmark is an avid researcher, navigating his way through a long history of political activism. Each work in Double Bind references this research to some degree, citing an archive of books and manifestos from Girls to the Front: The Riot Grrrl Story by Sara Marcus to The Second Sex by Simone de Beauvoir. By adding his own text and iconography to the pattern pieces, Westmark seamlessly integrates excerpts from these feminist writings with existing directions. Examples of the text from Hold the Line include “Cut1 – seam line – sew here for a strong seam that resists masculine values” and “Seam line for regarding the current state of affairs as something not fixed.” Despite their ambiguity, these texts add strength to the action the figure is taking, at times directly referencing her struggle. In She Crab, small black scissors are strategically placed

Summer2013

JOHN WESTMARK Shush 41" x 46", 2010.

over the mouth of the figure while a four-pointed arrow can be seen on the neck; these symbols juxtapose to infer a narrative of the woman as the center of her family yet bound by her role. Westmark adds to the idea of constraint with additional text, “Gather for lining against hard and bitter work” and “Continued pattern of economic privilege and access (center 1.5cm).” Rather than convey a story about the past, these excerpts seem to draw connections to the present and ongoing struggles of women. With all of the works in Double Bind, Westmark approaches his gender-codified content as one who thoughtfully reads, understands, and presents the information without forcing a specific feminist agenda. In the recent piece Monarchy, he moves beyond depicting women in the midst of a struggle or battle. A butterfly is seen at the top of the composition, with a pyramid of women supporting each other to reach for this symbol of growth and freedom. Wrapping the entire composition are long curving arrows 20

that press the women upward. In the background, a bank of dark storm clouds lightens to a clear and beautiful sky as they move closer to their goal. The play on words in the title Monarchy gives the best sense of Westmark’s view of the women he depicts throughout this series—independent and sovereign. His intent is to create powerful expressions of feminine strength and courage that inspire the women in his life, and all viewers of his work, to create their own stories of empowerment. John Westmark’s website is www.johnwestmark.com. His solo show will be on view this summer at Manifest Gallery in Cincinnati, OH (August 16–September 13, 2013), www.manifestgallery.org.

—Lesli Robertson is an artist, researcher, and professor of fibers at the University of North Texas. She is cofounder of the collaborative art project The Mother Load (www.themotherload.org). www.leslirobertson.com Surface Design Journal

JOHN WESTMARK Monarchy 72" x 60", 2013.

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E POSURE LEA MCCOMAS Superior, Colorado Turkish Bread Boys Cotton fabrics, tulle, thread, beads, fusing, raw-edge appliqué, thread painting, beading, 58" x 36", 2012. Photo: Ken Sanville. www.leamccomas.com

GARY SCHMITT Indianapolis, Indiana Five Tools Wool batting (with background of wool over polyester base), beedle felting, 17.5" x 15.5" x 3", 2012. Photo by the artist.

ROBERT CHAPMAN Champaign, Illinois The Doll King Mixed media and assemblage on handmade cast paper mosaic, 24" x 20", 2012. Photo by the artist. www.chapmanfineart.com

Surface Design Journal

LOIS RUSSELL Boston, Massachusetts Magic Bus Waxed linen thread, twining, about 13" x 13", 2012. Photo: Kay Lyon. www.loisrussell.com

MEREDITH RE’ GRIMSLEY Bloomsburg, Pennsylvania Imprinted (My Baby Sons’ Ears) Muslin, hand-dyed silk organza, thread, fusible web, machine and hand embroidery, digital printing, 39" x 25.5", 2011. departments.bloomu.edu/art/grimsley.html

GEORGE-ANN BOWERS Berkeley, California Over the Edge Cotton, wool, rayon, silk, textile paint, double-weave pickup with warp painting and stuffed areas; 56" x 53", 2012. www.gabowers.com Artists represented on the “Exposure” pages are members of the Surface Design Association (SDA). This issue features the work of members who have populated their SDA profile pages with images and information about themselves and their work. This free and easy online service adds to the SDA Image Library and Member Directory; both are valuable research tools for curators, writers, collectors, and artists from all over the world. To learn more, log into your member account and follow the prompts, or visit the gallery at www.surfacedesign.org. Summer2013

i nr eview Petaluma, California Reviewed by Jo Ann C. Stabb

4 Weavers: Contemporary Expressions of an Ancient Craft Petaluma Arts Center Rarely does the work of four artists create a harmonious, integrated exhibition while still defining individualistic statements. Yet this installation of more than 70 exceptional hand-dyed, handconstructed textiles achieved that goal. The four artists—Barbara Shapiro, Candace Crockett, Ulla de Larios, and Suki Russack—each employ unique interpretations of classic structural and surface design processes. The aggregate effect of their approaches, ranging from restrained to sensuous, transcended mere variations of technical virtuosity while playing off one another’s aesthetics. The placement of works at the Petaluma Arts Center (January 11–March 10, 2013), curated by Kathleen Hanna, contributed greatly to creating this synergy. Entering the gallery, the viewer was surrounded by a labyrinth of five 8-foot vertical columns of delicate, ombred weavings entitled Transparency? by Ulla de Larios. Suspended like gossamer webs, each tubular piece evolved from translucent to opaque as the weft changed from silk to wool in subtle, neutral colorations. Metaphorically commenting on the opacity of governmental politics, they are simple forms with complex meanings. They also set the stage for Crossings, another series of 8-foot panels that symbolize de Larios’s immigrant journey from Sweden to America. Tiny jacquard-woven figures, inspired by ancient petroglyphs in her native land, are barely visible at mid-point, expressing the states

of transition and limbo created in between the artist’s new and old lives. Featuring indigo dye are the explorations by Barbara Shapiro that celebrate liminal wicking, which she describes as “that wonderful area of controlled seepage between the indigo and the undyed cloth.” Brilliant divisions of blue and white ikat are featured in the bold color-block composition Four Square. The more subtle pictorial piece, Flotsam, combines indigo ikat with red/orange shibori motifs and gold leaf to represent a disintegrating wharf at water’s edge. Shapiro’s focus on the creative potential of dyeing includes using the nuanced shades generated by the indigo process. In Testing Testing, a series of five textured roundels incorporate the paler blues of recycled test strips saved from years of maintaining indigo dye vats. Shapiro’s richly varied and experimental installation was also punctuated by groupings of elegant containers and small basketry sculptures playfully executed using indigo-dyed cane elements. Candace Crockett is well known for her use of card weaving to produce narrow, linear bands up to 12 feet in length. This ancient technique, originally used for creating functional ties, edgings, and embellishment, has existed since

ABOVE, RIGHT: ULLA DE LARIOS Transparency? Silk warp, Silk and wool wefts, handwoven tabby, fulled in washing-machine, 28" diam x 72" and 100" each, 2007-2009. Photo by the artist. LEFT: Installation view of 4 Weavers at the Petaluma Arts Center in California. CENTER: CANDACE CROCKETT Awakening Linen, cotton, wool, silk, card woven, 66" x 53", 2012. Detail ABOVE, LEFT.

Surface Design Journal

early Egyptian times. In Crockett’s hands, the bands become expressive elements. Eight lush, free-hanging tapestries, each composed using multiple bands with painted and dyed warps to create masses of linear patterning, suggest natural phenomena: landscapes, sheaves of wheat, bundles of branches, hair, sunsets, and waterfalls. Water #3 radiates shimmering silver surfaces amidst graduated tonalities of aquas and blues. Any gentle air current activates this multitude of independent elements, their luminous surfaces simulating rippling water and reflections. The effect is richly abundant and energetic, yet also contemplative. As the only artist creating figurative imagery, Suki Russack’s series Woven from Memory consists of seven medium-scale, doublewoven tapestries of torsos, which created a striking tableau along one entire wall. Suggesting powerful female forms, this suite recalls the Shroud of Turin and was, in fact, inspired by the death of the artist’s mother. But unlike the stillness implied in burial shrouds, these weavings convey a lively quality of movement through the poses and the painterly quality generated by her complex mixed-media, double-weave pick-up technique. The base layer, composed of painted and discharged linen threads, is interwoven with an upper semi-transparent layer of fine silk or metallic thread to create a 3-D relief effect. Gallery lighting highlighted the sculptural definition and rich colorations of these complex surfaces.

Moving away from wall and pedestal pieces, Crockett and Russack each created several wearable-art garments. Their visionary skills were brought to life on live models during the opening reception, further reflecting the versatility and creative spirit that pervaded this exhibition. www.petalumaartscenter.org —Jo Ann C. Stabb is a producing artist, lecturer, and author who served on the Design faculty of the University of California Davis for over 30 years.

ABOVE: SUKI RUSSACK Passage Linen, silk, cotton, fiber reactive dyes, double weave pick up, 60" x 36", 2009. LEFT: BARBARA SHAPIRO Un Homme et Une Femme Indigo-dyed raffia, coiling, 12" x 10" x 5" and 10" x 10" x 9", 2008. Photo: Sharon Risedorph.

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i np rint Reviewed by Jo Ann C. Stabb Textiles: The Art of Mankind by Mary Schoeser Thames & Hudson, New York, 2012 ISBN: 978-0500516454 One may be daunted by the sheer weight of this volume (nearly 5 pounds) or its 568 pages in length or by the 1058 color illustrations featured between the elegant cover that reproduces a 19th century brocaded silk fabric. But one will be enchanted by author Mary Schoeser’s insightful revelations and relationships connecting textiles and humankind throughout time among all the world’s cultures. Her years as Archivist for Warner Textiles in England, plus her research for the more than 20 books and numerous articles she has written, have honed her eye and developed her vast expertise. This is not your typical formalist approach. Embracing all techniques, categories, and cultures, it is the author’s deep knowledge and appreciation of the fundamental role that textiles have played throughout human civilization that correlates these examples. Her encyclopedic world view—ranging from early fiber manipulations that evolved into basketry (containers), architectural structures (shelter), and protection (clothing)—

ROBERT HILLESTAD Textile Study #52 threads, machine stitching, couching, 2004.

points to the fundamental role that hand-produced textiles have played in sustaining human beings. She contends that these processes enabled the human brain to develop a sense of organization and systematic thinking rather than the other way around. Basic textile structural devices (the grid, the net, the knit, the knot) played pivotal roles in the development of the human brain, rather than as a result of it. The need for—and fascination with— these textile fundamentals has continued to challenge the brain and underpin the development of the modern computer. Undoubtedly inspired by examples from the natural world, such as weaver birds’ nests, elegant spider webs, and other solutions created by animals, humans established their own methods of building shelters and body protection in systematic ways. Artfulness was inherent in these solutions, inspired by nature’s patterns and colorations. Beyond the basic functional aspect of textiles, Schoeser highlights the universal role of textiles in celebrating beauty, feelings, and life cycles. Expressing the relationship of people to their environments, human civilization is recorded in textiles both humble and profound. Universal and timeless themes emerge through the broad groupings and unexpected juxtapositions explained through her informative text. The clear organization of the book enables these overarching concepts and the massive

Surface Design Journal

FELIX AUBERT Iris d'Eau Roller-printed velveteen by Scheuer Lauth & Cie, 1897–1898. LEFT: MARIANA MINKE AND SARA FORZANO In context - Woven Tubes Cotton, elastane, silk, copper thread, pvc tubes, handwoven double weave ikat, 2009

supporting evidence to be fully digestible. The first chapter, “Impact,” discusses the cultural and creative continuums in sections devoted to context, language, legacies and learning, color, and the global vision. The second chapter, “Ingredients,” includes inventions, intentions, and alchemy, focusing on the transformation of materials. The third chapter, “Structure,” includes the classic construction techniques of both non-tensioned and loom weaving, as well as looping, knotting, lacing, and twisting methods practiced worldwide. “Surface,” the fourth chapter, discusses yarns, stitches, painting, and printing. Included is the work of visionaries such as Junichi Arai, whose chemical discharge experiments led to the contemporary renaissance of devoré patterning. A split-bamboo basket encased in a luminescent image of an Egyptian mummy exemplifies Ed Rossbach’s ground-breaking work that reinvigorated basketry to become a late-20th-century art form. The fifth chapter, “Added Dimensions,” includes patchwork, quilting, and textiles parkour (the art of displacement), revealing oblique relationships and contemporary developments.

Chapter six, “Imagery,” suggests that textiles offer a complex sensory experience beyond just a visual art. Mass-produced commercial textiles juxtaposed side-by-side with singular pieces reveal the love of color, pattern, texture, and technique shared among designers and artisans. Swatches, garments, yardage, and art installations pose further fascinating comparisons. Examples selected from numerous artists, collectors, and museums create an enlightening synergy. Schoeser’s eye for parallel impulses, purposes, and techniques has creatively shaped this rich visual presentation as well as the contextual discussion. She celebrates their interconnectivity and their relevance. This book can be picked up often as a reference, an inspiration, or for personal refreshment. Most of all, this volume serves as a reminder that textiles have been around a long, long time and will continue to be central to human life. Textiles: the Art of Mankind is an extraordinary accomplishment that pays tribute to this field and its practitioners. www.thamesandhudsonusa.com —Jo Ann C. Stabb is a producing artist, lecturer, and author who served on the Design faculty of the University of California Davis for over 30 years.

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Surface Design Association History Founded in 1977, the Surface Design Association is an international not-for-profit organization with an office in Sebastopol, California. SDA seeks to raise the level of excellence in textile surface design by inspiring creativity and encouraging innovation through all its undertakings. Our current membership of nearly 4000 national and international members includes independent artists, designers, educators, curators and gallery directors, scientists, industrial technicians, entrepreneurs, and students.

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