Craft Forms 2016 Artist Statement Book

CRAFTFORMS2016 22nd International Juried Exhibition of Contemporary Fine Craft

DECEMBER 2, 2016 - JANUARY 28, 2017

ARTIST STATEMENT BOOK presented by

Wayne Art Center

December 2, 2016 - January 28, 2017

Wayne Art Center Executive Director:

Nancy Campbell

Wayne Art Center Director of Special Projects:

Karen Louise Fay

Wayne Art Center Graphic Designer: Abby Ober Catalog Editor/Art Director and Program and Exhibitions Associate: AnnaO’Neill Cover Art: Floral Backing, Rachel E. Meginnes

Wayne Art Center © 2016 Wayne Art Center All images courtesy of the artists All Rights Reserved

Craft Forms 2016 Artists Liz Alpert Fay, CT JoAnn Axford, NY Sam Bateman, WA John Beaver, CA Marilyn Belford, NJ Lisa Belsky, OH Lucrezia Bieler, FL Beth Blankenship, AK Eva Camacho-Sanchez, MA Al Canner, CO Jocelyn Châteauvert, SC Xin Chen, IA Kate Cusack, NY Christopher Darway, PA Jeffrey Dever, MD Ellen Dickinson, NY Andrea Donnelly, VA Teresa Faris, Wisconsin David Ferro with Carly Van Anglen, PA Tracy Fiegl, NY Holly Fischer, NC Raymond Gonzalez, KY Jill Baker Gower, NJ Carrie Gustafson, MA Carol Hall with Michael Kehs and Dan Greer, PA Michelle Hayden, KY Holland Houdek, IA Daniell Hudson, New York Jacqueline Johnson, NY Jess Jones, GA Ben Jordan, MT Elizabeth Keller, SC Elaine Kinnaird, AL Lisa Klakulak, NC David Knopp, MD Liz Kuny, NJ Wen-Dan Lin, MO Mimi Logothetis, NC Kari Lonning, CT John Conver Lutz, PA Jennifer Martin, PA Lydia Martin, NY Dylan Martinez, IN Cameron Anne Mason, WA Helen Mason, DE

Stephen Maurer, MA Jennifer McCurdy, MA Dorothy McGuinness, WA Rachel Meginnes, NC Joe Muench, IA Dominie Nash, MD Richard Nolan, NY Dani Ortman, Canada So Young Park, NY Inni Pärnänen, Finland Leslie Pontz, PA Mira Ramchandani, PA Denise Roberts, WV Stephen Robison with Kathleen Guss, WA Michael Rohde, CA Seth Rolland, WA Judith Rosenthal, NJ Rea Rossi, PA David Rozek, PA Shana Salaff, CO Dinah Sargeant, CA Michael Scarborough, NY Mark Sfirri, PA Chuck Sharbaugh, MI Diane Siebels, VA Bounkhong Signavong, NJ Denyse Simair, Canada Paul Sirofchuck, PA Nancy Slagle, TX Lindsey Snell, OR Gerri Spilka, PA Joy Stember, PA William Sulit, PA Peeta Tinay, WA John Utgaard, KY Jenny Walker, MA Gizella K Warburton, England Daniel Widolff, PA Cheryl Wilson Smith, Canada Catherine Winkler Rayroud, TX Bethany Wood, IA E. Douglas Wunder, PA Yuan Yi, Taiwan Cheryl Zamulinsky, MA Mary Zicafoose, NE

Liz Alpert Fay Sandy Hook, CT

White Knight Wool, linen, mirror, cotton, pom poms.

Hand hooked, reverse appliqued, stitched.

67” x 47” x .5” $5,000

This piece is about healing, and the premise that each of us has the power within to heal ourselves. The challenge is finding the right means of accomplishing this.

JoAnn F. Axford Glenmont, NY

Quenched Porcelain.

Wheel thrown, hand carved, oxidation fired, hand polished.

9.75” x 8.25” x 8.25” $2,500

The beauty of the forms and textures in the plant world initially seduced me to carve botanical images into the surface of my pots. Botany of Desire by Michael Pollan inspired me to explore botanical imagery beyond its beauty, to the reciprocal relationship between man and plants, and its effects on the delicate balances in nature.

Quenched celebrates plants that satisfy man’s thirst, as hops, tea, grapes and honeybees represent man’s most ancient beverages. The intimate gardens on my pots speak to the importance of maintaining the delicate balances in nature for its preservation.

Sam Bateman Everett, WA

Branching Out Sabah ebony.

Bandsawn, carved, filed, sanded, oil finished.

12.75” x 1.13” x 4.25” $1,850

As a wood artist specializing in making sculptural spoons, I am motivated by the creative possibilities of transforming this mundane object - giving it a purpose beyond the original intent of simple practical utility - through artistic expression.

Some of my spoons serve as vehicles for reimagining entities, real or not, from the realm of nature. Others dish up a touch of humor or whimsy. All involve an exploration of form while still retaining the semblance of a spoon.

The common expression “Branching Out” seemed an apt title for this spoon with two offset bowls - like seed pods - one on each of the forked handle extensions.

John Beaver Pacific Palisades, CA

3D Blocks Walnut, zebrawood, maple.

Segmented woodturned, layered.

11” x 9” x 9” $2,800

3D Blocks takes segmented woodturning to a new dimension. The blocks are random lengths and layered.

Marilyn Belford Caldwell, NJ

The Minotaur Commercial fabric.

Machine appliqued, quilted.

49” x 39” $14,000

The Minotaur was the offspring from the coupling of Queen Pasiphae with a bull.

Due to the Minotaur’s monstrous form he was compelled to live in a huge cavelike labyrinth, where he received offerings of youths and maidens to eat. Here I have tried to show him as old, tired, and sad about his plight... but still with a spark of his original ferocity.

Lisa Belsky Columbus, OH

Crochet Rib Stitch Vessel Clay, cotton, porcelain slip.

Crocheted, dipped in slip, fired to cone 6.

5� x 5� x 4.5� $375

Each piece begins as hand knit or crocheted fabric. The fabric is manipulated, shaped and then dipped into porcelain slip. During the firing process the original fabric burns away, leaving behind a ceramic remnant or record of what was once there. The stitches, now preserved as clay, have become the structure and texture for these vessel forms. I view this process as a metaphor for preserving memories and traditions. Knitting and crocheting was passed down through the women in my family and has been an important part of my life since childhood.

This work is my way of carrying on these traditions by pushing forward and allowing it to transform into something new.

Lucrezia Bieler Tallahassee, FL

Heidi Paper.

Cut with scissors from a single sheet of paper.

21� x 11� x .25" $7,500

My work is focused on themes that discuss the balance of nature and how it touches our souls. Nature is always complex: for example, a forest is not simply an assembly of trees, but of trees, grass, birds, foxes, snakes, insects, snails, and many more living things. My work tries to catch some of this complexity and beauty and set into context with the viewer.

Many of my works contain opposites. I show that without these strong contrasts, our life and environment is not whole. I express the yin and yang of being. My medium of choice for this work is paper cut with scissors because to me the material and the production process reflects the delicacy and fragility of nature.

The title Heidi evokes the well-known story by the Swiss author Johanna Spyri, which is a comparison of living in a city to the countryside. Not only that, it tells us about compassion and the interaction between humans and the relationship between humans and nature.

Beth Blankenship Anchorage, AK

Oiled Elder Wire, beads.

Peyote stitched.

10” x 6” x 13” $12,000

In 1989 the Exxon Valdez tanker spilled 38 million gallons of crude oil into the Prince William Sound. It is only a matter of time before another spill occurs. Many Alaskans rely on nature’s bounty to survive, so what happens in the natural world is essential to us. My intent is to talk about these things through my work.

Eva Camacho-Sanchez Florence, MA

Eclipse I (Composition of 3 Pieces) Merino wool, thread, dye.

Felted, dyed, stitched.

11” x 11” each $840

e· clipse: an obscuring of the light from one celestial body by the passage of another between it and the observer or between it and its source of illumination.

These three pieces have been wet felted with merino wool and textured with thousands of stitches using rust-dyed cotton and linen thread. As a natural dyer, the golden color of rust has always meant to me much more than any other color in the spectrum. It wasn’t an easy color to achieve until I started to experiment with a few pieces of rusted metal that I found on the street. This then led me to a creative journey on different media such as silk, wool, cotton, and, later, on paper. The stitches allowed to create that eclipse effect on the felt.

Al Canner Boulder, CO

Mesa Country (A Cubist View) Fiber.

Macrame knotted.

32” x 30” x 3” $5,000

This knotted landscape explores the interplay of stark, cubist forms and the undulating movement of the knotted lines that circumscribe and ground those forms.

None of my prior pieces have relied as heavily on transitions between a cord’s function as warp or weft, allowing for sharp delineations between colors.

The double half-hitch is used exclusively in this work. Over the years, I’ve come to hold great respect for and confidence in the power of the knot. The complexity of this work presented many opportunities to be instructed by the cord.

Jocelyn ChÂteauvert Charleston, SC

Burnished Lily

Handmade abaca paper, pigment.

Wet worked, dried, formed.

5" x 12" x 14" $3,200

I build sculpture from the most common and least known material: paper. The ritual of hand papermaking is ancient, scientific, and rhythmic. I merge this science with engineering to make structures using the paper's inherent strength and capacity to be self-supporting. Air-drying these pieces adds the unexpected: the paper shrinks, twists and cockles, forming three-dimensional shapes of subtle design. Stretching and burnishing each surface by hand flowers the piece to its final expression.

Xin Chen Ames, IA

Squares or Circles?

Wood, fiber, metal.

Cut, glued, drilled, jigsawed, routed.

45" x 17" x 21" $3,500

My chair is held together by tension; it can be disassembled into individual pieces, which can then be arranged and transformed into a representation of a traditional Chinese instrument, the huqin. The process of disassembling and rearranging is not only about playing with furniture, but also inheriting and carrying forward Chinese cultural traditions to make deeper meaning with my work, and hopefully inspire audiences to think about furniture differently.

Kate Cusack Jackson Heights, NY

Lace - Gust - Red/Gold

Nexus - Red/Black/Silver

Metal zipper, wire.

Wired.

Metal zipper, wire.

Wired.

10" x 7.5" x .13"

9" x 55" x 1.5"

$985

$900

My Zipper Jewelry is made from a seemingly mundane material that comes to life when it is worn. I remind viewers about the power of imagination and the joy of discovering a new view of something that would have otherwise been overlooked. There is an exciting "a-ha" moment when someone realizes that there is more to my design than they initially expected.

Because the metal teeth are attached to a fabric edge, the zipper is a material that is both rigid and flexible. I enjoy the contrast between the zipper's harsh metal teeth and the fluid, whimsical shapes that I create.

Christopher C. Darway Feasterville, PA

Chunky Necklace Wood, lacquer, metallic gilders paste wax, recycled precious metal clay, copper.

Traditional metalworking techniques.

2" x 1" x 24" $500

I like using unorthodox finishes and/or materials in my work. The chunky forms are wood coated with framers finishing paste. It has the sense of mass with no weight.

Jeffrey Lloyd Dever Laurel, MD

Jardin Nouveau Polymer clay, wire.

Hand sculpted, layered, oven cured, wired.

30" x 9" x 7" $4,200

Nature is my muse. She instills in me a visual vocabulary of endless possibilities that inform my aesthetics whatever form they take. All my pieces are sculptural studies - explorations of the structures, colors, patterns, and textures I encounter at the point where the material world intersects my naturalistic musings. Basketry, and my wall installations in particular, are an opportunity to explore the hybridization of several of my signature techniques. The sinuous skeletal nature of the tinkered wire basketry conjoined with the voluptuous polymer forms echoes the very cycle of life, death, decomposition and rebirth. That redemptive quality of nature is the poetic essence of my work.

Ellen Dickinson Roslyn Heights, NY

Undulation Linen, poly cord.

Coiled.

12" x 8" x 10" $900

I explore the symbiotic nature of the natural world, flowers and coral, with the inherent spiral of the coiling technique to create forms between reality and fantasy.

Andrea Donnelly Richmond, VA

A Labyrinth of Symbols Cotton thread, pigment.

Woven, painted, unwoven, rewoven.

108" x 96" $8,000

A Little Garden for Borges Cotton thread, pigment.

Woven, painted, unwoven, rewoven.

36" x 36" $2,000

I am enchanted by words and stories, both as content and visual pattern. I see a direct connection between language and weaving, between a woven work and a text.

These works are created by handweaving cloth, painting the cloth, unweaving, then reweaving it to create two mirrored images from one. By altering words through this extensive process of making/unmaking/mirroring, where tools, skill, and chance must collaborate, I literally open them up and pick them apart, to return them less defined. The message remains like a whisper within the cloth.

Teresa F. Faris Madison, WI

Collaboration with a Bird IV, #4 Sterling silver, wood altered by a bird, 18 karat gold.

Fabricated, pierced.

4" x 4.5" x .75" $3,000

CWaB V #4 Sterling silver, wood altered by a bird, stainless steel.

Fabricated.

4" x 6" x 1.5" $3,000

Humans inhale and exhale approximately 22,000 times a day. The hummingbird averages 250 breaths per minute.

Through process, material, and design, my work explores the notion of advantage and disadvantage that resides within all beings. Privilege comes in many forms ranging from skin or eye color, physical or mental ability to class, status and power. The most obvious, and seemingly basic, privilege one could possess is the ability to forget that air is entering and exiting the body. To perform this one critical natural act without any mental consideration frees the mind to explore endless arenas of fantasy, invention and day-to-day tasks.

When removed from what is intended or natural and stripped of privilege, one must find ways of soothing the mind. A caged non-human may pace or repeatedly chew wood, and a dis-eased human may pace or saw metal. Rhythmic and repetitive movements encourage introspective or creative thinking. As a maker I have adopted this practice and find that I am able to forget about the process in the same way that some individuals may forget about the breath.

David Ferro with Carly Van Anglen Glenside, PA

Cloud Jar Clay, majolica glaze.

Terra cotta fired to cone 03.

12.5" x 4" x 4" $300

Carly Van Anglen and David Ferro work collaboratively on hand built and wheel thrown pottery and sculpture in their Glenside, Pennsylvania studio. Their interest in form and painting on the ceramic surface evolved through a shared admiration of Iznik pottery, Italian majolica and Mexican talavera. Their current work explores movements in stylized form and color from nature and quotes from the rich history of their tin-glazed influences.

Tracy A. Fiegl Fillmore, NY

Temporal Effervescence Ebony, curly English sycamore, walnut, maple.

Inlaid veneer, carved, joined.

66" x 18" x 12" $6,000

Through my work I create new natural forms; that is, I don't represent nature, but I try to imbue my work with a similar gracefulness and elegance as that found in nature. Temporal Effervescence is the result of musings on the multi-verse: the idea that our universe is one among many, appearing from the ether like bubbles appearing from nothing at the bottom of a glass of soda to rise and expand, then disappear back into nothingness as new bubbles appear.

Holly Fisher Raleigh, NC

Kiss White earthenware.

Slab constructed, electric fired to cone 04.

14" x 12" x 4" $1,400

I'm inspired by sensual organic forms and strive to create work that is visually seductive and psychologically provocative. I hope the undulating fluidity of my sculptures creates a rhythmic, sensory experience and a desire to engage tactically with the forms. The pop of shiny red glaze peeking out from the underside of a fold is at once salaciously appealing and slightly vulgar. This contradictory response mirrors emotions commonly associated with flagrant displays of sexuality.

Raymond W. Gonzalez Berea, KY

Click Earthenware, glaze, grommets, googly eyes.

Cast.

10" x 10" x 10" $1,200

The exploration of the overlap and interrelation between child play, desire, adult play, and sensuality informs the basis of my art. Many of our toys were handed down from generation to generation, including Lincoln Logs, Lego's, and wooden blocks. I capture the appeal of those toys that endured time and technology.

In some way, my art is a conceptualization of my lifelong pursuit of play. At the same time references to adult play inform my work through color, texture, and material. Therefore, the audience is able to enjoy the work for its quality of design, stimulating surfaces, suggested interactivity, and references to sensuality.

This work confronts ideas of beauty in the surfaces and ornamentation of the toys. Alternative materials including flocking, automotive urethane, rhinestones, and monofilament serve to accentuate the forms and flaunt their tactile nature. The most recent series, Fetishes, references both the historical of a ritualistic object as well as the contemporary interpretation of an object of intense sensual desire. The aesthetic value of these pieces transcends its value as a plaything.

The unification of these series lays in the formal and conceptual pursuit to evoke memories of play.

Jill Baker Gower Mullica Hill, NJ

Fleshgem #3 Silver, silicone rubber, garnet, pearls.

Fabricated, cast.

12" x 8" x 4.5" $2,900

The female experience is a reoccurring theme in my work. My jewelry and sculpture is informed by everyday interactions and observations of gender-based expectations or generalizations. Within advertisements, popular culture, and the media; similar colors, patterns, shapes, beautification techniques, and pastimes intended for women are apparent. My material choices, surfaces, and forms are developed in one way through my exposure and interest in this experience.

The shapes and forms of my pieces come from disparate inspirations including the female form, faceted gems, historic jewelry and metalwork, and tools or implements for beautification or medical procedures. The surfaces of my work are often ornate, etched with lace patterns, and at times are paired with actual crocheted elements. I choose to incorporate skin, red, and pink toned colors in my work primarily to reference human flesh, cosmetics, the body, and blood.

Carrie Gustafson Arlington, MA

Seedum Mbola Glass.

Handblown, sandblasted.

15" x 14" $16,000

My work is largely influenced by the natural world - plants, flowers, seeds, and most recently crystals - and I have come to view working in my studio akin to cultivating a garden. A daily routine has become a critical component to my personal sense of balance, as well as an outlet for creative discovery. There is an organic rhythm to my creative process. Like an inhale and an exhale - inhaling my surroundings and exhaling life into new pieces. With each new piece another door for exploration opens. And I have found that each work uniquely informs the next; as much as anything external or pre-meditative.

The act of cutting open the vessels has presented me with a vast expanse of new possibilities and challenges, both technical and aesthetic. It has been fascinating to witness just how differently an "open" form reacts to light; this is an exciting new journey and potent metaphor for this stage in my life. Based on African currency bracelets, this new format seemingly serves a dual purpose - for me, a new way to see color and texture and light; and for the viewer, a fresh perspective. Perhaps due to the nature of the forms - which are reminiscent of artifacts and more easily identifiable with the pace of a museum - are seemingly more deserving of close observation - where as a vessel, which we identify as utilitarian, might more easily be overlooked.

Carol V. Hall with Michael Kehs and Dan Greer Downingtown, PA

Dragon Vessel: When Fire Dries a Tear Box elder.

Turned, pyrographed, carved, pierced, painted.

10" x 6" x 10" $5,000

Carol Hall, Michael Kehs and Dan Greer are a collaborative team, making award-winning wood vessels that raise the bar for surface design. In 2015, this team won the Niche Award - the most coveted honor in the crafts world. Their pieces combine the best skills of each artist, with a "no elbows out" philosophy that elevates the finished product to new heights. Carol specializes in color and pyrography. Michael is a master turner, pyrographer and carver. Dan has a dexterous hand for woodburning, creating delicate toasted edges on his wonderful drawings. Carol, Michael and Dan are all Pennsylvania artists.

Michelle M. Hayden Richmond, KY

Ascension from the Ocean Floor Photograph, kozo paper, encaustic, pigment.

Photographed, printed, layered, cut, carved, colored, sewn.

4" x 16" x 5.5" $660

Nestled between the hills and sky, the vital life force grounds and nourishes me with its many gifts. It is here that I find immense joy in making art, most profoundly in the intersection between macro photography and encaustic sculpture. There is a sense of awe that I feel when something hidden in the depths is brought to the surface for new interpretation. Drawn to the endless possibilities that call out from the imagery and wax, I discover forms needing release from their twodimensional planes—a transformation enabling them to become more fully alive.

Holland Houdek Iowa City, IA

Extended Articular Component (Knee Replacement) Copper, Swarovski crystals, patina.

Hand fabricated, pierced, bead-blasted, patinated.

2" x 3.5" x 3.5" $5,250

This series focuses on medical implants, the body, and embodied experience.

These hand-fabricated objects glorify the highly individual and personal nature of prosthesis and surgeries, while evoking notions of memento mori and the fragile nature of the human form. Using real medical implants as inspiration, I have reinvented and exaggerated these devices for imagined bodies. The intention is for viewers to consider their own physicality and to visualize the absent anatomies implied by the work.

Daniell C. Hudson Brooklyn, NY

Pair of Sterling Silver Spoons Sterling silver.

Cast, hand fabricated.

5.25" x 1" x .87" $1,100

Exploring the notion of a shared history through a singular object, I make adornments and utensils that can be sentimentalized by someone other than myself.

Any object can carry significance through use much beyond the maker's initial expression, and I make my work with an awareness of the shift in meaning of an object over time.

As I work, I examine my place in time, my relationship to my surroundings, and how the object I create as a part of myself connects to the world, the environment, and the passage of time in which they will all inevitably change.

Jacqueline Johnson Yonkers, NY

Fern Necklace Glass beads, jade, carnelian, 24 karat gold plated delicas, button.

Right-angle woven, peyote stitched, single-needle beadwoven.

19" x 1.5" x .38" $1,350

Using only a needle, thread, and tiny beads, I explore the characteristics and push the possibilities of basic stitch structures. Each new pieces leads to new "what if...?"s. I just love seeing how ideas develop and fit together. My reward is in capturing space and light in a three-dimensional, textural form that is innovative, yet eminently wearable.

Jess Jones Decatur, GA

Topoquilt: Atlanta Prison Farm Found quilt, silk organza.

Hand dyed, appliqued, machine quilted.

80" x 68" $5,000

Quilts often reveal the circumstances of their makers. While quilts can display access to technology, materials, and leisure time, they also can expose extreme resourcefulness and need.

These original quilts, hand sewn by anonymous makers and discarded to local thrift stores, inspire me to consider those with whom I share the city landscape.

I layer these original pieces with geographic data, creating a digitally derived stitched drawing of the topography of a specific location in the city. I hope for these playful combinations to be slightly more accessible to quilters emphasizing our potentially shared locations and experiences.

Textiles have topography and they naturally lend themselves to work involving landscape. The socioeconomic landscape in Atlanta is changing dramatically and sections of the city shift to include some people and exclude others.

Through spoiling these original quilts I preserve them, and my work is a way of feeling connected in a city that does more to separate than connect us.

Ben T. Jordan Belgrade, MT

The Cowboy and His Cow Clay, encaustic.

Press molded, sgraffito.

26" x 11" x 13" $3,000

My work explores the complex social geography of modern society and the intricate relationship between mankind and the environment. My ceramic sculpture serves as a metaphor for a wider global panorama of political power and industrial production. I am currently exploring the lineage of manifest destiny, from its beginnings in Europe to westward expansion in America, to forms it has taken in modern America. These ceramic forms serve as the conceptual grounds upon which to explore industry and culture. In these works I simultaneously celebrate the history of the pastoral life while questioning the ideologies of modern society.

Through hand-labor, contemplative making, and a reverence for tradition, I aim to explore both interrelated and divergent human perceptions using clay as my primary medium.

Elizabeth F. Keller Conway, SC

Heartwood Tea #1 with 3 Cups Clay, glaze, metallic oxides, enamel.

Slab constructed, glazed, electric fired to cone 5.

14" x 16" x 7.5" $2,500

For a number of years I have focused strongly on building teapot sets within a sculptural tableau, a container within a container. The teapot form alone naturally invites continuous exploration of form and expression.

Particular influences on my work are Chinese Yixing pottery and penjing (Chinese bonsai) cultivation. Forms such as my Heartwood Tea or Summer Bole feature highly tactile surfaces fashioned to simulate aged tree bark or seed pod characteristics while the forms are modeled to resemble the convoluted shapes seen in penjing tree forms.

These works are a means for me to combine my multiple interests in containment-related sculpture, functional pottery, and horticulture. They address my love of trees and other organic forms, highly textured clay surfaces, and the spatial dynamics of assembling multiple parts to fit within a larger, composite whole – all while still being fully functional.

Elaine F. Kinnaird Birmingham, AL

Touch Fabric, lily stems.

Sewn.

36" x 8" x 6" $700

Art History was my major as an undergraduate and my senior thesis was on the topic of Mesoamerican sacred bundles. This idea of the bundle as object and the act of bundling as an act that elevates the mundane into something sacred started to filter out through my work in grad school and it has now become a central theme. I bundle space and memory.

Lisa Klakulak Asheville, NC

Capped Accumulation Wool, silk and cotton thread, stainless steel, dye.

Wet felted, dyed, hand and free-motion machine stitched.

11" x 8.5" x 3" $1,600

The wet felting of countless filaments of wool fiber into a dense mass is analogous with the compaction of snow into airless glacial ice. Both exhibit time consuming processes commencing with the delicacy of accumulation in contrast to the increased vigor of temperature variance and pressure. Enveloping stainless steel angular structures in a seamless, high shrinkage wool felt skin achieves the crisp, geometric forms that result from glacial ablation fracturing during the altitude decent through uneven terrain.

David L. Knopp Baltimore, MD

Body and Soul Plywood.

Stack laminated, carved.

36" x 60" x 40" $5,000

Tides Plywood.

Stack laminated, carved.

18" x 52" x 24" $3,500

I have explored the aesthetic qualities of line for many years, first with life drawings, then with sculpture. A single line can express gesture and movement, direction and depth on a flat surface. With my first sculptures using plywood, I was surprised to discover the linear strata inherent in the medium. Carving laminated blocks of plywood, I create flowing, liquid lines that engage the senses as the eye travels over the contours of my objects.

I prefer an intuitive process, viewing collaboration between ideas and materials as central to my creative output. My creations start with a vision and a rudimentary sketch. There are no defined templates or 3D models or software used. My pieces are functional, but I tend to focus on the aesthetic qualities rather than design principles. Every finished piece is one of a kind. The constant changes that occur as I work keep the work alive as it morphs into my interpretation. The process is paramount.

Liz Kuny

Morristown, NJ

10,000 Cotton fabric.

Machine pieced, hand quilted.

42" x 65" $3,500

The title of this piece refers to the 10,000-hour rule that Malcolm Gladwell writes about in his book, Outliers. He states that this is the number of hours of correct practice required to achieve expertise in any skill. As a struggling music student working to improve and as someone who wanted a way to understand that kind of time commitment, I decided to construct a quilt composed of exactly 10,000 pieces. In the process, I also learned a little bit about the determination, will, and love that go along with those 10,000 hours.

Wen-Dan Lin Kansas City, MO

Untitled II Clay.

Extruded, slab constructed.

7" x 19.5" x 6" $1,200

I am intrigued by the mystery of the human anatomy and its intricate mechanisms that bind us together. This body of work is an effort to combine architecture and the anatomy, with emphasis on contrast and layers.

Mimi L. Logothetis Cedar Grove, NC Block Clay, slip.

Slab constructed, printed, slip assembled, propane reduction fired to cone 10.

14" x 11" x 4" $1,500

Limb Clay, slip.

Slab constructed, printed, slip assembled, propane reduction fired to cone 10.

10" x 26" x 10" $2,500

My work focuses on the relationships between man and the natural world: how humans interrelate and wreak havoc upon themselves and their surroundings.

Kari Lonning Ridgefield, CT

Paint Box Colors Rattan reed, encaustic.

Multi-element twined, woven, coated.

10.25" x 14.5" $6,000

As the viewer turns the basket, colors transition from one color into another, creating an ever changing "painting." The inner rim suggests a thicker wall, and more weight, as it would had it been made of clay.

Although many of my vessel forms still reflect my love of ceramics, I chose basketry as the natural union of two passions. My interest in architecture and gardening, with all of the color variations and textures, are my major sources of inspiration.

John Conver Lutz Doylestown, PA

Turning Point Hall Table Wood, milk paint, linseed oil, wax.

Off-set lathe turned, table saw cove cut, mortise and tenon joined, hand shaped, painted, oiled, waxed.

35" x 37.5" x 18" $6,800

In the Hall Table, I worked to explore furniture concepts and the process of making traditional forms. My aim is to reflect the making process, in hopes that the mark of the craftsperson and material will be celebrated.

The top sections were created by table saw cove cutting technique, allowing for a unique pattern and shape on each cove. The use of the extreme off-set turning technique allowed for the creation of each leg form with its own individual pattern. I looked to explore the contrast of painted sculptural forms the fine machined upper and lower styles and rails.

Jennifer D. Martin Wayne, PA

The White Series Porcelain.

Wheel thrown, altered.

24" x 30" x 10" $825

On one's physical body, scars and imperfections mark moments in our lives, working as visual reminders of our own history. I am interested in celebrating human experience through my work, while embracing both the positive and negative memories it may reveal.

My work often acts as a metaphor for the physical body, and I consider function secondary to fluidity and gesture in the form. The marks on the surface of the pots and repetitive lines record a history of growth, symbolize an individual's experience, and create a vocabulary able to describe gender, personal journey or simply one's personality.

Lydia E. Martin New Paltz, NY

Quiet Moments Sterling silver, fabric.

Raised, heated, riveted.

2.5" x 4.5" $400

My work explores the simplicity of texture and form. Through this simplicity, formal elements that investigate the boundary between thinking and feeling are combined. This non-verbal space, often classified as embodied meaning, forms the basis of my current studio practice. Through the intuitive process of repetition, arrangement, and the application of heat, I reveal pieces that explore the liminal space between experience and comprehension.

Dylan Martinez Anderson, IN

Untitled Glass.

Hot solid sculpted, blown.

16" x 18" x 12" $4,500

Too often, we look but do not see, we hear but we do not listen. Through my work I attempt to celebrate those hidden moments in life that evoke a sense of wonder. I invite the viewer to see by challenging their perception while stepping into a moment of playful curiosity. I like to work with glass because it has such a wide range of properties to investigate and manipulate. This work celebrates the purity and simplicity of the material while playfully engaging the audience and positing that things might not always be as they seem.

Cameron Anne Mason Seattle, WA

Quinault

Moclips

Rayon, silk, velvet, linen, cotton, dye.

Hand dyed, hand and machine stitched, breakdown printed, immersion dyed.

Rayon, silk, velvet, linen, cotton, dye.

Hand dyed, hand and machine stitched, breakdown printed, immersion dyed.

37.5" x 11.75" x 4.5"

30.25" x 11.75" x 4.25"

$950

$875

Nature closely observed and recorded, and the evidence of human hands upon it, are the themes of my artwork. Time is the inexorable subtext. My work shows the challenges of a changing environment by looking closely at its emblematic natural forms.

Fabric is fundamental to my process. It protects us from the elements, giving us comfort and a means to express ourselves. It is intimate, sensual and essential. I am drawn to fabric because of its changeability and its constancy. I hand-dye fabrics using many techniques of mark-making. Fabric is the skin that clothes my work.

Helen Mason Hockessin, DE

Tactile Reverberations Rubber, textile, metal.

Woven, embellished.

8" x 64" x 4" $12,000

I have tried to manipulate rubber tires into a fluid material, creating a variety of effects, exploiting everything from its color and malleability, to the texture of tread patterns. The bending, folding, draping, knotting and bundling of materials links to my study of the Japanese aesthetic of everyday objects, a topic that I have pursued for much of my career. Small and sometimes monumental compositions are born through the layering and the careful assembly of these elements.

Stephen L. Maurer Malden, MA

Ogee Bone Bowl Cherry burl.

Turned, bleached.

6" x 12" x 12" $2,000

My current work is inspired by ancient vessels, those from the American Southwest as well as those from ancient Greece and Rome and Southeast Asia. As this body of work started to appear, the voids and "flaws" seemed to refer to vessels recovered from archaeological digs. I started to highlight this characteristic by bleaching the cherry almost white, inspiring the name Bone for the series. The graceful ogee curve of this vessel could be Greek or piece of Paul Revere silver.

Jennifer McCurdy Vineyard Haven, MA

Torch Vessel Porcelain, 23 karat gold leaf.

Wheel thrown, altered, carved, incised, fired to cone 10.

17" x 9" x 9" $3,800

Emotion fills me when I see perfect forms in nature, from the cracked conch shell on the beach revealing its perfect spiral, to the milkweed pod burst in the field, its brilliant airborne seeds streaming into the sunlight. The ordered symmetry and asymmetry of nature's forms reveal the growth of life, the movement of life.

Living on Martha's Vineyard, island time, especially in the winter, seems to conform to nature's cycles. As a potter, I strive to make my work reflect the balance of life around me. It is important that the patterns I see around me are integrated into my forms.

I use a translucent porcelain body because it has a beautiful surface, and it conveys the qualities of light and shadow that I wish to express. After throwing my vessel on the potter's wheel, I alter the form to set up a movement of soft shadow. When the porcelain is leather hard, I carve patterns to add energy and counterpoint. Some of the finished pieces hold elusive glimpses of the balance between the convex and the concave, and light absorbed and reflected. In further exploration, I marry the fine porcelain with the ancient art of gilding. The 23 carat gold leaf illumines the interior of the vessel, to reveal new curves and patterns.

Dorothy McGuinness Everett, WA

Zig Zag 3 Watercolor paper.

Diagonal twill woven.

9" x 16" x 11" $970

After twenty nine years of exploring the woven form, I have mastered the art of diagonal twill, with which I create forms and structures not normally found in the basketry world. My medium for this unique work is watercolor paper, which I have painted and cut into narrow uniform strips to achieve the precision I seek.

I am very much interested in the math and geometric constraints of the work.

Using hundreds of strips of paper at a time, I explore new structural forms: it is an on-going meditation on improvisation, a continual experiment through which I progress and develop.

Rachel E. Meginnes Penland, NC

Floral Backing Vintage quilt, thread, acrylic, ink.

Deconstructed, sewn, sanded.

75" x 69" $4,800

In my most recent body of work, The Deconstructed Quilt, I collected a number of cutter quilts which were, given their deteriorating quilt tops and tattered cotton battings, destined for the trash. Purchased online and received as donations, I carefully un-quilted the layers with the intent of breathing new life into these worn and battered heirlooms. My objective was not one of preservation or conservation but rather an honorific act aiming to appreciate the stillness, the beauty, and the essence of the abandoned quilt. The pieces created in the series became independent works highlighting key aspects of the entire collection.

Joe L. Muench Ames, IA

Pinch Steel, paint.

Hand formed, fabricated, patinated, painted.

17" x 8" x 9" $8,500

This sculpture is part of an ongoing series addressing themes of "testing". Most contain voluminous metallic forms that appear to transform in response to an engagement with a mechanical device or unseen phenomena. In this case, a massive steel block appears to compress a colorful steel body, causing it to wedge and plastically deform to take on the anatomy of the central cavity. The viewer is invited to contemplate this dynamic intersection, and share in a select moment of transition, stopped motion, stopped time.

Dominie M. Nash Bethesda, MD

Grandfather's Garden Fiber, dye.

Dyed, screen printed, monoprinted, machine appliqued, quilted.

54" x 54" $4,000

Whether a particular piece is representational or abstract in nature, I work in a collage-like manner. The layers which result from overlapping of forms, lines, and fabrics are of particular concern to me, creating a sense of mystery and depth.

I hope that the viewer will return, and see more and different things at each viewing. The coloring and patterning of the fabric is an essential element in my attempt to achieve this goal; the uneven and serendipitous results contribute to the spontaneity and expressiveness of the work, though the composition may be planned in advance.

Richard G. Nolan Johnson City, NY

Bengal Cherry, black walnut, tung oil.

Hand shaped, oiled.

12" x 9" x 3.5" $1,250

Whether a particular piece is representational or abstract in nature, I work in a collage-like manner. The layers which result from overlapping of forms, lines, and fabrics are of particular concern to me, creating a sense of mystery and depth.

I hope that the viewer will return, and see more and different things at each viewing. The coloring and patterning of the fabric is an essential element in my attempt to achieve this goal; the uneven and serendipitous results contribute to the spontaneity and expressiveness of the work, though the composition may be planned in advance.

Dani Ortman Ontario, Canada

Pins and Needles Fiber.

Shadow woven.

80" x 20" $600

Seven years ago I sat down to a loom for the first time, it was love at first pass of the shuttle.

The textiles I craft are hand woven on a 4-shaft floor loom and honor slow movements, while bringing a precious value back to the commodity of cloth.

Classic weave structures are studied and influence a contemporary woven aesthetic with traditional design. Algorithms and arithmetic are used to determine equations of harmonious order, calculating threading sequences and provoking patterns that appear more pleasing to the eye. Color is developed and arranged to complement design and give rise to visual effects.

So Young Park Vestal, NY

Nativity Silver, freshwater pearls.

Hammered, formed, chased, tapered, soldered, oxidized.

2.5" x 7" x 2.5" $6,400

As So Young Park grew, she had several tragic experiences involving the death of her friends. She suffered a long time and her view of life and death dramatically grew differently from many other people. Through nature, she found that human life and plant life have similar growth and life characteristics. From an atheistic point view, nature reveals the beauty of the eternal cycles of life, like how rebirth transcends the tragedy of death. Her pieces express changing from anger, sorrow to desire, hope, and the power of life through human figures and mixing organic plant forms.

Inni PÄrnÄnen Helsinki, Finland

Summer Birch plywood.

Laser cut, bent, pressed.

39.37" x 39.37" x 1.57" $2,500

It makes the long, dark, Nordic winter period easier to bear when the themes of your work serve as a reminder of a warmer light filled period to return. In my work Summer, I have studied the stack-ability and the strength and flexibility of anticlastic and cell-like structures. The little spaces created within these structures and the shadows reflected by the light play an important part in the piece.

Leslie L. Pontz Philadelphia, PA

Natural Drape Monofilament, cotton.

Crocheted.

22" x 12" x 6" $2,500

All of my work is crocheted using a very detailed pattern, created by me, with a finished form in mind. However, Natural Drape was begun by following a very detailed pattern, and then the forms were allowed to "speak" as they developed.

As they "spoke" I listened, and they were not only allowed, but encouraged, to find their own natural drapes and movements as I continued to crochet. Control of the finished sculpture was given over to the inanimate object and the materials with which it was made.

The use of the cotton results in a very different kind of movement than one finds when using softer, finer threads. The drape becomes more defined and more concrete. The weight of the cotton pulls the form down, hanging like the soft skin of an older neck. The cotton is juxtaposed to the harder texture of the basic round monofilament form of the sculpture. The contrast of hard and soft is an element that I always find adds interest to the dynamics of my sculpture.

Mira Ramchandi Narberth, PA

Brooch Metal, plastic.

3D printed, hand painted.

3.5" x 2" x 1" $200

Mira Ramchandani was born in India and raised outside Philadelphia. She graduated from Pratt Institute with a BFA in Jewelry Design and went on to study at the Tyler School of Art where she received her Master's in Metals/Jewelry/CAD-CAM. Her latest collection is about mixing the past with the present. She as been developing a collection inspired by the Rococo Period. Using gilded frames as inspiration she created a collection titled My Family History.

Denise L. Roberts Albright, WV

MITOTE #6 (left) Cotton.

Hand dyed, machine pieced, machine quilted.

85.5" x 40.25" $10,000

MITOTE #8 (right) Cotton.

Hand dyed, machine pieced, machine quilted.

85.5" x 37.5" $10,000

The Toltec speak of the Mitote of the mind. The Mitote is the symphony of voices that seem to clamor for your attention - the preconceived notions, opinions, thoughts, ideas, that constantly whirl in your mind. This series represents my mind at various times. The use of individual curvilinear shapes represent thoughts. As new thoughts come to mind they have a direct interaction with the previous thoughts. Some cut straight through, disturbing and interrupting thoughts.

Stephen S. Robison with Kathleen Guss Ellensburg, WA

Pasta Box Clay.

Hand built, wood fired.

17" x 6" x 7" $450

Pasta Box is a collaborative utilitarian work based on virus studies.

Michael F. Rohde Westlake Village, CA

Golden

Reality

Fiber.

Hand woven.

Fiber.

Hand woven.

47" x 37" x 1"

44" x 33" x 1"

$4,000

$4,000

On Golden: The link between text and textiles is often discussed. Golden is part of a series of tapestries that began with images of printed Tibetan prayers. The 'text' almost appears legible, but is in reality only dashes of contrasting colors. The source image for this version was a gold and red thangka of a Medicine Buddha.

On Reality: Handwoven tapestry has often been pushed to the limits of the capabilities of the medium, in an effort to approach photo realism. My approach is to recognize the grid imposed by the loom. For me, this leads to an examination of what are the minimum bits of information that can suggest a recognizable image. For this group of tapestries, I have used photos of faces, some recognizable, some not, and reduced the image to 20 pixels wide. This produces the weaving plan, from which I again approximate the colors for each pixel and weave, row by row a set of squares, to generate an abstracted face.

Seth Rolland Port Townsend, WA

Starfish Hanging Lamp Cherry wood, LED bulb.

Kerf cut, bent, carved.

7" x 31" x 31" $3,200

This pendant lamp is radially expanded from a single piece of solid cherry wood creating a floating outer form that complements the sculptural internal space.

The light draws you in to this warm space, lightly defined by its spokes, while simultaneously projecting shadows beyond. It contains a dimmable LED bulb so the light can be adjusted for any setting.

Judith Rosenthal Cherry Hill, NJ

Poppy Clay.

Hand built.

12" x 10" x 2" $800

For as long as I can remember I have been drawn to the spirit in nature's beauty.

As a child, I loved to explore in the woods. It was the beginning of my quest to experience, understand and observe the natural world.

I delight in working with clay. I love the pull and the pinch. My pieces are hand built using porcelain paper clay. The use of paper clay presents opportunities for creating pieces that are impossible in other clay bodies. I work with very thin clay that gives my work an atmospheric effect of elegance and poetry.

The organic forms I use are reminiscent of the sea, the earth, plants, trees, and wind. Natural forms - their size, texture, patterns, repetition, symmetry and asymmetry surprise and enchant me. The core inspiration of my body of work celebrates the immense beauty and fragility of the natural world As an artist, my goal is to visually capture the essence of the environment and communicate my vision of the natural world. I hope that viewers of my work will come to appreciate the wonderful complexities of this planet and work to preserve it.

Rea Rossi Wynnewood, PA

Celia (Ear cuff)

Reverberate

Nylon.

Virtually modeled, 3D printed.

Nylon.

Virtually modeled, 3D printed.

3.75" x 2.5" x .5"

5.25" x 7.8" x 1.6"

$525

$1,200

Sound waves inspire my jewelry. This idea stems from my experience with deafness. I was born with a genetic hearing loss and rely on hearing aids to amplify and clarify sounds which are otherwise subdued or incomprehensible. My work explores overlapping elements, missing segments, distortion and repetition. All of these concepts relate to how I perceive language and sounds.

I multiply a single element ad infinitum. I flow them all along a curve that twists and turns. The pieces entwine and interlace with each other; producing a complex network of parts throughout each form.

My large scale wearable pieces are virtually modeled in Rhinoceros and 3D printed in nylon, a lightweight, strong and flexible plastic. I design bold, fashionable pieces to visually conceptualize sound. As a Deaf artist I hope to bring awareness to an invisible "disability" and challenge the widespread misconception that deafness is a limitation.

David Rozek Chesterbrook, PA

Morphic End Tables Baltic birch plywood, paint, lacquer.

Modeled in clay, Rhino and AutoCAD, CNC routed, hand finished.

27" x 22" x 20" each $12,000 each

The aesthetic of The Morphic Collection is organic and amorphous but its purpose is to "destroy the box" in furniture that is almost always associated with a rigid and simple shape by dematerializing the sharp edges and sheer faces. The undulating lines, flowing waves, and tranquil curves designed for The Morphic Collection are seamlessly integrated into the original purpose of the piece without compromising function. Incorporation of carefully thought out hidden details and inconspicuous construction methods solidify the illusion of being one, single, sculptural form that conceals a function and is unobstructed by handles, knobs, or nonfunctional ornament.

Visually soothing lines undulate by shrinking and expanding in a fluid sequence to create the movement and curves which lead the eye on an effortless visual adventure. The sharp contrast between the flat black and the dark walnut stained end grain emphasizes this movement as the glossy dark walnut edges are visually dominant over the receding black. Not until one of the four drawers is pulled open by its fin, is it possible to determine what function this sculptural form is hiding.

Shana A. Salaff Fort Collins, CO

Sushi Set Porcelain.

Thrown, altered, oxidation fired to cone 5.

2.5" x 8.5" x 8.5" $225

My work runs the gamut between traditional or historically significant inspirations and a more postmodern pastiche of styles and decorative patterns. Each piece is part of a conscious process of experimentation and elimination. The particular shape, relative softness or surface quality of the wet clay sections that I am working with continually demand a response and tend to derail any too-specific planning. I see the items that I make as being useful "jewels" - shiny, small in stature, and made with as much care as possible. Decoration versus content, beauty versus pragmatism; these are the dialectics that inform my work.

Dinah Sargeant Newhall, CA

Eyes in the Back of My Head Cotton, glass beads, wire, paint.

Painted, hand and machine stitched.

18" x 13.5" x 5.5" $2,000

Special power.

Michael Scarborough Sunnyside, NY

Songen Naru Ikari (Majestic Fury) Spalted London plane, cypress, white oak.

Salvaged, Jin di Sugi technique.

8" x 10" $3,250

The dichotomy that exists within nature is staggering. Oftentimes, the most horrifically destructive natural disasters can, nevertheless, reveal pockets of unfathomable beauty. Similarly, these cataclysmic events, which demolish so much, can also raise people to their highest levels of courage. This piece was inspired by the bravery of my niece, a nurse who chose to stay with her patients as an F4 tornado bore down on the hospital where she worked. The hospital was destroyed, but Maggie's strength saw her and her patients through the ordeal.

Mark S. Sfirri New Hope, PA

It's the Little Things Holly, poplar, paint.

Lathed turned, manipulated.

5.5" x 9.5" x 3.75" $650

I work at many different scales - recently, furniture-sized or bigger. Often times I make maquettes that are small and are made of a plain wood like poplar in order to create a form that I have conceptualized, three dimensional sketching if you will. In the case of the series It's the Little Things, I have kept to that same small scale. Each piece has been grouped with two others that seem to fit. These are all lathe turned objects that have been additionally manipulated in some way by either by changing of the axes, carving, or some combination of the two.

The positioning of the bone white, virtually grainless holly objects against the textured and painted poplar environment was to create a strong graphic contrast between the two.

Diane Siebels Charlottesville, VA

Black/White Landscape Wool, cotton, pearl cotton thread.

Hand stitched, direct appliqued.

58" x 42.5" $5,000

This landscape appeared as I was experimenting with a repeated shape and limited color palette.

Bounkhong Signavong Secaucus, NJ

RĂŞves Indigo Silk, cotton.

Hand woven.

110" x 25" $4,500

Indigo is much more than a color! It is fashion, it is art, it represents various cultures, it has long traditions, it is style! The ancient blue-dye tradition still lives in many places of the world. The indigo textile art designed by me and handcrafted in my workshop is centered in the customs of the hill tribes living in Laos.

RĂŞves Indigo is made entirely from naturally dyed silk and cotton and handwoven on traditional loom. The contemporary design, almost three-dimensional, has been inspired by natural formation I admired during hikes in Yosemite National Park.

Denyse and Rod Simair Saskatchewan, Canada

Free Flow Crystalline porcelain.

Wheel thrown, hand sculpted, crystalline fired.

25" x 9.5" x 9" $15,000

No longer is there need to limit crystalline glazes to the early vision of isolated crystals floating on a clear background, nor confine the form to small teardrop or bulbous vases. Although undeniably beautiful, there is so much... more. The genre of crystalline is yet perched on the tip of the iceberg; and the Crystalline Renaissance has only just begun.

Free Flow is a subtle celebration of this belief.

Paul R. Sirofchuck Ligonier, PA

Emergence Jewelry Armoire Mahogany, elm burl, maple, lacquer, aluminum.

Ribbon cut, dovetail joined, sculpted, veneered.

72" x 26" x 16" $9,900

Working with wood, for me, is not an occupation but a way of life. As an architect, I have a passion for the exploration of design and construction, finding inspiration in the beauty of nature that surrounds my studio in the woods of Western Pennsylvania, where I have lived and worked for twenty two years. I continually experiment with organic shapes in a sculptural approach, often using figured slabs and burls as "jewels," creating a setting for them, much as a jeweler does with a diamond or ruby. I allow the spirit of each piece of this living material to be recreated through my artistic vision.

I select and work each piece of wood myself, starting with harvesting trees down to the final sanding and hand-rubbed oil finish. My work reflects the elegant union of rawness and refinement, crafted using traditional joinery techniques including hand-cut dovetails, mortise and tenon and frame and panel construction. The uniqueness of each piece of wood is integral to my work. I strive not to obscure the essence of the material - the fact that it is wood - giving it and the patterns and quirks that define it, prominence in the design.

Nancy A. Slagle Lubbock, TX

Binary Bracelet Leather, rivets, silver, moonstones.

Laser cut, riveted.

5" x 5" x .5" $500

The mundane can reveal symbolic forms and metaphors in our daily lives. A decorative device such as a bracelet can be emblematic of current cultural values. Binary code, a symbol of our digital age, becomes a visual statement.

This evolution of application might focus our attention on the magnitude of the common place. The visual dialog finds a means of creating modern ritual in the information age.

Lindsey Snell Portland, OR

Three Prong Earrings Carbon steel, sterling silver.

Hand fabricated, formed with married metal technique.

2" x 3" x 1" $1,200

Each piece is inspired by objects I have owned and the industrial sights I pass by everyday. Silver, brass, and steel are brought together despite the natural contrast between industrial and fine material. Using flat, blackened silhouettes constructed from sheet and flat bar, I reflect on how we recall these traces of places and things with a strength of an impression, but perhaps without every last detail.

Merging materials using the traditional metalsmithing technique of married metal, I bind the fine and industrial. This hint of fine material or an added simple hand stitch of fiber softens the hard lines and defined silhouettes of the work, emphasizing my reverence for each form. The bright and dark, industrial and fine, negative and positive, and dimensional and flat are all paired forming new relationships in each piece. The contrasts are evident, but just as much as the connections between these disparate forms and materials.

Gerri J. Spilka Philadelphia, PA

Interactions #24: Arterials and Recesses Fiber.

Machine pieced, quilted.

98" x 80" x .5" $8,000

The Interactions series reflects a fascination with a recurrent set of themes that have reappeared in all my life's work: the interactions and ambiguities inherent among people, place, and human-made and biological forces. In my artwork, these are expressed through two dimensional shapes, negative spaces, lines, colors, and subtle texture. This is not surprising, as I am trained in this order: as an artist, social scientist, and architect and urban planner.

Joy Stember Abington, PA

Deco Menorah Pewter, brass.

Roll printed, scored, folded.

4" x 2" x 13" $250

I am a metal artist that specializes in contemporary pewter Judaica and objects for the home. I create heirlooms for a new generation of collectors by reinventing the idea of traditional pieces to appeal to a modern family.

After returning from a trip to Israel, which focused on creativity, spirituality and the history of Israel, I found myself profoundly changed. I realized that the impact of this journey had led me to discover my true passion.

My art is inspired by the long lines and repetitive nature in urban landscapes with inspiration from mid-century design. I use a variety of metals such as pewter, brass, bronze, silver and copper to produce my designs. Each piece is fabricated using a method of scoring and folding sheets of pewter to make three dimensional forms. The pieces are then folded and soldered together using a low-temperature solder. The textures are created using an embossing method.

William R. Sulit Devon, PA

Untitled Stoneware.

Slab built.

7" x 19" x 8.5" $2,000

As an El Salvador-born artist and architect, I've always been inspired by rugged landscapes and ancient artifacts. Not only by the beauty of eroded surfaces, textured by time and nature, but also by the fact that the original layers of function and meaning have long been stripped away to reveal their innermost secrets.

I like to think of the pieces I make in a similar way - as things that are found rather than made. I imagine them having their own logic and history as objects from a different time and place that I can't fully understand or, much less, explain.

However, I would like these objects not to stand still, but to have the flexibility to live in a different context than what was imagined for them, arranged in different ways to tell a different kind of story, perhaps to be a part of a more complex conversation.

I work with clay. I am attracted to its humble origins, to its history, to its response to the hand, to its ability to hold the imprints left behind by the process of making.

Peeta Tinay Tacoma, WA

Ring Border Basket with Lattice in Black and Brown Round reed, cane, varnish, wax.

Twined, varnished, waxed.

10" x 42" x 42" $5,000

My baskets are a culmination of twenty six years of experience in working with weaving materials, finishes and the technical aspects involved in antique wicker restoration. I could not have made these baskets ten years ago; my sense of form and design had not yet fully developed. It feels as if these designs, patterns and textural combinations have been waiting until now to emerge. My baskets represent the intersection of passion, competency and skill. Those valuable years of restoration have provided a strong love for quality design and structure that I bring to life through hard work, patience and a deep appreciation for the craft.

John D. Utgaard Murray, KY

Reaction Earthenware, engobes, underglaze, glaze.

Thrown, hand built, glazed.

4" x 14" x 14" $1,000

In many of my works, I seek to make physical manifestations of unfiltered, primitive, unconscious thought. My attempt at understanding the work comes after the fact, and often changes and grows over time. I am not interested in self-analysis, but rather with the hidden, unconscious substrate we all share. One might expect such work to show a Surrealistic bent, but I see the elemental structures of our psyches as more like mineral or geologic formations; self-organized, ancient, and not subject to quick change.

Jenny Walker Salem, MA

Local Flatness Cotton, steel.

Woven.

5.5" x 12" x 20" $1,200

Red Curve Cotton, aluminum.

Woven.

5.5" x 12" x 20" $1,000

This story is a story of history. This story is a story of family. This story yearns for connection and searches for its lines in the passages of the sea. A Norwegian ship captain, a New England childhood, and a deep love for the ocean all play a role in my own story. This body of work is influenced by lineage and ocean travel that brought not only goods, but also my family to distant shores.

Gizella K. Warburton Leicestershire, England

Morphus II Cloth, fiber.

Wrapped, abraded, pierced, painted, stained, stitched.

15" x 7" x 5" $850

My work has a raw and simple materiality, with layers of detail that are revealed or hidden as light and shadow pass across and through the surfaces, echoing the transience of emotional and physical landscape. Abstract compositions evolve through the tactile and contemplative process of drawing with paper, cloth and thread. I continue to work in series, exploring the relationship of "one to other", be it through material qualities, spatial balance, depth of tone, surface detail. These wrapped and sculpted vessel forms are quietly resonant of internal and external skins, of scarred and fissured surfaces, of abrasions, bindings and sutures.

Daniel J. Widolff Philadelphia, PA

Runner Metal.

Forged, fabricated, electroplated.

28" x 116" x 10" $2,000

Through my works, I seek to give form to the intangible. I am inspired by the unseen forces within grand acts and great emotion. These forces are made visible through the fluid use of lines and forms, twisting, curving, and intensifying. I employ these formal elements within a composition to narrate the speed, power and emotional journey felt, yet unseen.

Cheryl Wilson Smith Ontario, Canada

Balance?

Glass frit.

Layered through silk screen.

8" x 4" x 4" $750

I live in the far north, surrounded by the manifestations of nature relatively untouched by humans. I am constantly made aware of our transience. The rocks and trees and lakes around me are a daily reminder that I am only passing by briefly. They were here long before me and will be here long after.

I strive to reflect their graceful strength in my work. Through this work I contemplate the passage of time and the evanescence of life as it relates to the natural world that surrounds me. At the same time examining the central irony, the contradiction in this which connects to the nature of legacy we leave as humans.

Catherine Winkler Rayroud Richmond, TX

Art for Peace Paper.

Cut with scissors from single piece of paper.

27" x 35" x 1" $13,500

Catherine Winkler Rayroud is an award-winning artist who for the past 35 years has been practicing the aged art of paper cutting (Scherenschnitt). Catherine uses a tiny pair of curved nail scissors to produce intricate and detailed paper cuttings that are the expression of a searching soul finding endless inspiration in the world around her. Each paper cutting is meticulously created out of a single sheet of paper to convey a message often underlined by a subtle and witty sense of humor. It is not unusual for Catherine to spend several months on a single piece.

Bethany L. Wood Iowa City, IA

I Used to Sketch Things Metal.

Pierced, formed, soldered.

7" x 7" x 2" $14,000

My work is conceived as a representation of an on-going process of self-discovery, and manifests as a response to my interaction with natural objects, places, and human-made materials. It is a discussion about the relationship of these elements, the artist, and the wearer or viewer. I am fascinated by the process of making wherein one creates their own detritus through documenting, sketching, or construction, resulting in castoffs that come with a unique potential for reuse or inspiration. I use often-overlooked materials to convey deeply personal moments in my life and the potential for those moments to impact experiences to come.

E. Douglas Wunder Kutztown, PA

Orchid Neck Piece Titanium, silver, 22 karat gold bi-metal.

Cold connected, layered with spacers, soldered.

10" x 7" x 1" $5,000

My jewelry features abstract geometric images. Inspiration comes from the combination of natural and technological objects. The manner in which balance, contrast and shape flow together compose the feel of my work.

The creative process begins with a sketched conceptual image. The object of interest is transformed into a technical drawing incorporating engineering and aesthetic concerns. The parts are then cut from sheet metal specifically following the demands of the intended design.

Each jewelry item is constructed with titanium and other mixed metals such as gold and silver. The components of each piece are refined and textured. The parts are then arranged in multiple layers and separated by cut pieces of tubing (spacers). Cold connecting with rivets completes the design.

My goal is to make jewelry that is unique, well made and pleasing to the eye.

The work is challenging although fun to make. I try to express each piece in a clean, detailed and dramatic manner.

Yuan Yi

Taipei City, Taiwan

Sun-Moon-Ball (left) Trick-or-Treat (above) Wood, lacquer, shell.

Carved, sanded, lacquered, inlaid, polished.

Wood, lacquer, shell.

Carved, sanded, lacquered, inlaid, polished.

9.8" x 7" x 7"

6.1" x 15.7" x 6.2"

$1,800

$1,950

On Sun-Moon-Ball: I was inspired by the traditional children's toy, Sun-Moon-Ball. For children, a simple ball creates a world of great fun. In Chinese culture, roundness symbolizes harmony and happiness while the color red means joy and prosperity. The sun and the moon together represent both time and divinity. The inside of the red ball, inlaid with tiny shell pieces look like the galaxy. Thus, my Sun-Moon-Ball not only evokes happy childhood memories but also embodies an eternally blessed universe.

On Trick-or-Treat: I have always been fascinated by the sight of kids going trick-or-treating on Halloween. My Trick-or-Treat works are horned goblin-like containers, ready to keep safe any happy memories. In Taiwan, we also have a festival to honor the deceased and pray for good luck, with floating water lanterns at night as one of the celebration activities. The inlaid shell pieces on the outside reveal the mysterious traces of the agile goblins as well as signify the glittering water lanterns floating on the mystic river.

Cheryl Zamulinsky Mendon, MA

Cavity Merino wool.

Wet felted 4" x 9" x 7" $350

Scientific Abstractions: Felted Biological Forms seeks to externalize the internal while balancing between ideas of attraction and repulsion and representation and abstraction. The material of felted wool juxtaposed with the physical properties of gross anatomy heightens the tension between seductive and revolting forms.

Mary Zicafoose Omaha, NE

Mountain for the Buddha: Wine Wool, linen.

Wrapped, dyed, weftfaced ikat woven.

57" x 63" $15,000

For three decades I have been experimenting with the extremely complex ethnic weft ikat technique as a powerful agent of design and storytelling in contemporary tapestry. I have spent the last two years working on a series of thirteen tapestries entitled Mountain for the Buddha. This body of work explores the allegory of the archetypal symbol of the trinity, visually represented in the familiar shape of a triangle or mountain. The pieces are large scale woven diptychs, approx 6' x 6', rendered as weft-faced ikats.

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