Craft Forms 2017

CRAFTFORMS

2017

23rd International Juried Exhibition of Contemporary Fine Craft

DECEMBER 8, 2017 - JANUARY 27, 2018

ARTIST STATEMENT BOOK presented by

Wayne Art Center

December 8, 2017 - January 27, 2018

Wayne Art Center Executive Director:

Nancy Campbell

Wayne Art Center Director of Special Projects:

Karen Louise Fay

Wayne Art Center Graphic Designer: Abby Ober Cover Art: Pamela E. Becker Evening

Wayne Art Center Š 2017 Wayne Art Center All images courtesy of the artists All Rights Reserved

Craft Forms 2017 Artists

Jessica Andersen, CA Wendelyn Anderson, PA Adam Atkinson, NC Barbara Baur, PA Brett Beasley, IA Pamela Becker, NJ Lucrezia Bieler, FL Nisa Blackmon, IL Beth Blankenship, AK Jessica Blaustein, Singapore Elizabeth Brandt, MI Christian Burchard, OR Jessica Calderwood, IN Chang Chin-Hsiu, Taiwan Adriane Dalton, VA Mark Del Guidice, MA Pearl Dick, IL Steven Dolbin, PA Steven Donegan, PA Sharon Donovan, MI Sara Drower, IL Maria Eife, PA Mari Emori, CA Penelope Fleming, PA Kate Furman, SC John Gargano, LA Ovidio Giberga, TX Robly Glover, TX Caitria Gunter, PA Noga Harel, Israel Andrew Hayes, NC Mark Heatwole, VA Mindy Horn, CT Holland Houdek, NY Stanton Hunter, CA Benjamin Johnson, IN Allison Jones, PA Jean Judd, WI Brian Kakas, MI Danny Kamerath, TX Floor Kaspers, Netherlands Mo Kelman, RI Patricia Kennedy-Zafred, PA Heesu Kim, NY Lisa Klakulak, NC Terrence Lavin, CT Deborah Lecce, NY

Janice Lessman-Moss, OH Mimi Logothetis, NC John Lutz, PA Pamela MacGregor, OH Wence Martinez, WI Valerie Maser-Flanagan, MA Mary Mattingly, NY Stephen Maurer, MA Karine & Matthew Maynard, KY Richard McVetis, United Kingdom Tricia Powles Ocock, MA Beth Ozarow, CA Vince Palacios, CA Sophia Park, PA Mathew Paskiet, OH Kit Paulson, IL Sarah Perkins, MO Emilie Pritchard, FL Emily Reason, NC Michael Rohde, CA Michael Romanik, OH Judith Rosenthal, NJ Peter Saenger, DE Mary Ellen Salmon, NY Carrie Santiago, MA Karl Schwiesow, CA Mirjam Seegerm, PA Rob Sigafoos, PA Bradford Smith, PA Helge Speth, NJ Gerri Spilka, PA Jason Stein, NC Peeta Tinay, WA Joan Ulrich, VA Joyce Utting Schutter, MA Aleksandra Vali, IL Carly Van Anglen & David Ferro, PA Anneke van Bommel, Canada Hanna Vogel, PA Thomas Ward, IL Merle Weismer, PA Mallory Weston, PA Candone Wharton, FL Bethany Wood, IA Matt Wren, PA Sheryl Zacharia, NM

Jessica Andersen Poway, CA

Knotted (brooch) Electroformed plastic shopping bags, copper, zinc, steel.

Electroformed, soldered, zinc plated.

6” x 5” x 1.5” $400

A plastic bag is valued as an item of convenience. Overlooked and disregarded, it exists as a transient object. With this series of work, I want to capture the movement and form of the bag. The way its shape puckers and wrinkles is reminiscent of our own bodies. I create large jewelry pieces using the process of electroforming to reveal the grotesque and bodily forms of the plastic bag.

Wendelyn W. Anderson Philadelphia, PA

As AboveSo Below Polyester velvet.

Photographed, CAD, dye sublimation printed (digital), machine and hand sewn.

11� x 68� $250

Much of my work is about surfaces and the ideas they contain both visually and conceptually. Surfaces tell stories of exposure and vulnerability; however, they can conceal as well as reveal. At play in my work is also the question of what constitutes surface. Are surfaces only what we see on top? More broadly, perhaps, is a desire to also question how we value what we see on the outside versus what we perceive to exist underneath.

My general process involves combining hand and digital technologies; from drawing, painting and screen printing to photography and digital textile printing.

Adam Atkinson Greenville, NC

Touching Me Copper, sterling silver, antique bear fur.

Chasing, repousse.

3.25” x 2.25” x 2” $1,000

Drawing upon the gay subculture of bears and otters, this series explores the use of animals as symbols of identity. Bear fur pendants placed in juxtaposition to bear imagery reference both the real and imagined animal, hunting trophies and historical cameos. The tactile qualities of the bear fur act as an enticement to engage the viewer into an intimate space with the wearer, resulting in a more erotic experience. I am interested in mapping the relationship between animal and queer symbols, and how that might lead to a greater understanding of the self.

Barbara J. Baur Philadelphia, PA

Viking Ship Neckpiece 3D printed glass filled polyamide, sterling silver.

Modeled in Rhinocerous software, assembled using lost wax casting fabricated components.

11.6� x 13� x 8.1� $1,300

Since early civilization, humanity has traveled on the water by harnessing the wind. In my work, I have created jewelry using abstracted forms of sailing vessels.

These forms interact with the wearer's body with the suggestion of how a vessel interacts with a body of water and the wind.

I make this work using computer design software to create virtual forms that are independent of material considerations. The forms are then refined for 3D printing technology, mold making and traditional techniques such as lost wax casting. Color is applied before the final assembly of metal and 3D printed components into a piece of jewelry.

Having spent more than a decade living on a sailboat, I feel a personal connection to life on the water and the way in which it surrounds our planet. I see beauty in the many forms of sailing vessels from ancient times to the present and seek to honor the history of our ancestors' journey by water.

Brett Beasley Ames, IA

Abnormal Nerve Reflex Mid-range stoneware, manganese bronze glaze, crawl glaze, underglaze.

Hand built, wheel thrown, altered.

16� x 18� x 10� $2,500

An alarming percentage of the human race live with a medically diagnosed chronic disease. Many times, people put up a facade of normality and hide behind this mask of denial. Regardless of healthy lifestyle choices, a chronic debilitating illness can affect day-to-day activities. Multiple Sclerosis (MS), for example, is an autoimmune disease that causes damage to the nervous system through demyelination of nerves in the brain. While an MS flare-up may not be apparent to others, the destructive internal effects occur regardless. My sculptures reference the damage a disease causes internally, while exhibiting a rigid exterior structure. The coil built framework is cloaked in a metallic bronze glaze to imply strength and integrity. Conversely, the interior geometric shapes erupt with a volcanic and reactive glaze suggestive of illness. The vulnerability of a structure, whether it be the human body or a work of art can be an opportunity to express empathy and communication.

Pamela E. Becker Flemington, NJ

Dusk

Evening

Linen and rayon threads, reed.

Closed coil basketry.

Linen and rayon threads, reed.

Closed coil basketry.

26.5” x 14” x 14”

27.5” x 10” x 10”

$11,500

$12,000

This ongoing series of container-like forms reflects my continued exploration of pattern and color. The forms are classic and simple in contrast to the patterns which are constructed into them. Stitch by stitch and row by row the form slowly grows. Each completed form stands as a record of the particular event or thought that I was trying to convey and also of the large amounts of time that went into its construction. Color and pattern always have a source. For me the landscape is both the source and the inspiration. Colors and shapes seen when walking in the woods, tending my gardens, or just being outdoors have provided me an unending flow of ideas. To aid my memory, I frequently carry a camera to record things I find of particular interest.

Lucrezia B. Bieler Tallahassee, FL

Hummingbird Single sheet of black paper and white mat board.

Cut with scissors from single sheet, mounted over white mat board with distance to cast shadows.

33” x 15.5” x 0.5” $3,500

With my work I like to catch some of natures beauty and complexity. My medium of choice for this work is paper cut with scissors because to me the material and the production process reflect the delicacy and also the fragility of nature. Plants and animals are interconnected, existing in a delicate balance. All my paper cuttings are made from a single sheet of paper. The remaining image is still one sheet of paper. This allows me to glue the image only on selected places. While I was traveling last year through Arizona and Texas in Spring I was lucky to see the flowering ocotillo and hummingbirds visiting the plant. I was taken by the beautiful and matching appearance.

Nisa Blackmon Normal, IL

Evening Copper, vitreous enamels, stainless steel.

Pierced, folded, painted and sifted enameling.

3” x 4” x 3” $750

When Things Come Apart Copper, vitreous enamels, stainless steel.

Pierced, folded, painted and sifted enameling.

3” x 4” x 3” $850

Line: a minimalist enclosure of space and volume, creating frameworks on which to hang shifting perspectives, honed narratives and weathered memories.

Silhouette: a tool employed to interpose ideas between the viewer and the work. Silhouettes, negative or positive, define and frame an avenue into the work or cast its subjects against the larger space and context of the work.

Together, they enable narrative that does not confine or constrain, suggests rather than declares, and allows for ease of entry and the proposition that the viewer bring something of their own to the story and, perhaps, leave something along the way.

Beth Blankenship Anchorage, AK

Salmon Lifecycle Thread, water-soluble stabilizer.

Machine embroidered on water-soluble fiber.

7” x 6” x 6” $5,000

For me, the lifecycle of a salmon is a symbol of sacrifice and renewal. When their time comes, adult salmon return to the streams of their birth to create the next generation. As they move from salt water to fresh, they stop eating and change their appearance. Swimming upstream is a long hard struggle and, after spawning, they are spent and die. Their decomposing bodies release essential nutrients into the river, thereby creating a healthy environment for a new generation of fish. In spring, when the eggs hatch, the cycle begins again.

This vessel honors Alaska's most important natural resource.

Jessica B. Blaustein Singapore

Remembering 1209 Discarded men’s white cotton shirt, worn rayon/cotton curtain panel, organic cotton, cotton batting, thread.

GPS track recordings, drawn, machine pieced, free-motion stitched.

24” x 37” x 0.25” $3,500

Remembering 1209 traces my everyday routes around an American suburb that I both loved and loathed. To cope with the shock of an automobile-dominated existence outside the city, I used my phone to generate GPS drawings of my daily tracks. The stitched patterns are at once abstract and deeply personal.

They make something beautiful out of the seemingly banal, but they also reveal the thickness of place as they carry my memories of being there.

Elizabeth Brandt Holland, MI

Rearrangement Cotton fabric, batting, thread.

Improvisationally sewn, quilted construction.

79.5” x 84” x 0.25” $7,500

Karma means "action" or "cause and effect." Everything we do, say or even think leads to something else. It is a core teaching of Buddhism, but for me it is a basic law of nature that goes beyond religion. This concept reminds me to live mindfully, to work mindfully. I create improvisationally, which requires me to stay focused completely on the piece as it evolves. If I'm paying close enough attention, I have a chance to catch the unexpected as it happens.

Christian Burchard Ashland, OR

A Slow Unfolding #2 Pacific Madrone burl.

Bandsaw cut green Madrone burl, microwaved and wedged open, dried, sandblasted, bleached edge sanded.

15” x 16” x 24” $6,800

I am using blocks of green Madrone, often in book form, and I open them up by cutting parts into thin slices, leaving other parts attached and, with the help of its own drying process, some heating and a lot of wedging, I slowly open them up and release the pent up energy in the wood. The thicker parts stay stable, the rest is allowed to move as it must, according to it's inner structure. I remove most of the color to focus on this inner structure and surface texture that results from the drying of the wood. And I love pairs for their interactions and the negative space between them.

Jessica Calderwood Yorktown, IN

Violet (brooch) Enamel, china paint, ceramic decals, copper, sterling silver, nickel.

Enameled, fabricated, cast.

2� x 3� x 1� $1,500

My most recent series combines flower/botanical forms with fragments of the human body in order to address the narrative of human life cycles: growth, metamorphosis, aging, death. The choice to use flower and plant forms is multilayered. Flowers have been used throughout history as symbols of the feminine: 'She is as delicate as a flower.' It can be found in mythology, literature, folklore and visual art. Western culture has an intricate system of flower symbolism that has been a way for humans to express and communicate complex emotions. I am interested in using these symbolic references in order to talk about issues of gender and identity.

Chin-Hsiu Chang Taiwan, ROC

Topple Mountains and Overturn Seas Ceramics, natural glaze.

Handmade tea bowl intertwined in blue and black glaze with oxidation furms to 1280º C. 2.95” x 6” $10,000

The pressure of life can be overwhelming as a tsunami wave sweeps and smashes everything in its path.

In this chaotic world, one must learn to stay calm. Reliving distress troubles one's heart and soul.

The best attitude towards life includes accepting what can't be changed and letting go of painful feelings from the past, as life begins and ends in the dust (earth to earth, ashes to ashes, and dust to dust).

Adriane Dalton Richmond, VA

Pectoral Cross of the Circular Economy Recycled plastic, waxed cotton thread.

Knotted, woven.

15” x 2” x 2” $325

The spirit of creative reuse I employ in my practice is rooted in the desire to address the economic and environmental impact perceived preciousness has within the field of jewelry. My process is less about searching than it is about serendipitous finding. It necessitates willingness to live with my eyes cast to the ground in a state of passive observation. Whether spotted on the street, culled from a dusty shelf in an industrial seconds store or a thrift shop, or rescued from wastebaskets and recycling bins, the potential for a material to be deemed as precious is purely subjective. My role as an artist is to transform materials such that the question of intrinsic preciousness is obsolete, and replaced by a sense of curiosity and wonder.

Mark Del Guidice Concord, MA

Times Two Curly maple, white oak, mahogany, milk paint, varnish.

Lathe, inlays, incise carving, milk paint fill.

75” x 14” x 11” $6,149

Sculptural interpretation of a case clock with a reference to transit, or hallway clocks, with two faces.

Steven M. Dolbin Shippensburg, PA

Reliquary Oiled, carbonized sycamore wood, oxidized iron, anthracite coal.

Carved, cut, bound, patination.

17� x 32� x 32� $8,000

In the making of my work I seek to understand my life experience and creative compulsion. I have found much insight from my exploration of humanities bond with the land. The breadth of my work deals with the spiritual dialogue humans once had with the physical landscape and the more economic/ resource oriented relationship that has come to dominate the present. Through my work over the past two decades, I have tried to reveal some of the more enigmatic properties that exist in our kinship with our environment. I strive to connect my viewers with universal and intuitive feelings that are often dismissed. I try to accomplish this with works that recall ancient monuments and relics, yet are directly tied to the technology that has changed our planet's surface and helped to form our present culture. Material gleaned from our present day surroundings has played an important role in my work. The incorporation of mortal, synthetic and natural materials into my work has proven essential to my expression. For me these elements not only reflect our intrusion into geologic time but also hearken to our present urban existence.

Steven Donegan Philadelphia, PA

Orange Hosta Cotton thread.

Digital file from hand drawn and photographic images, Jacquard weaving.

53” x 39” $1,500

The images represented in my tapestries begin with observations of my garden.

I combine my photographs with drawings to create dreamlike images. The image of the hand in each tapestry represents the presence of the viewer. The tapestries emphasize the textures, colors, patterns and light found at different times of day in the garden. The tapestry as a textile object has for centuries been used functionally and decoratively, creating a sense of beauty, warmth and story telling. Whether hung on the wall or draped across the bed, the effect is evocative of an intimate connection to nature

Sharon M. Donovan Ann Arbor, MI

Jazz Ensemble Sterling silver, antique and contemporary glass and metal beads, freshwater pearls, South Sea perls, silk and nylon thread, silver, gold, stainless steel wire.

Hand fabricated, pierced, forged, soldered, woven, coerced.

22” x 8” x 1” $7,000

After studying fiber techniques in metal, I invented my own technique: hand-built silver and gold frames, serving as both jewelry and permanent loom in which to weave.

Ever evolving, now a minimized metal frame, wire and thread installations, and swooping bead work, I stretch materials and boundaries, reaching past my obsession with square and bringing lyrical movement and graceful shapes to my weaving.

Antique and contemporary beads, precious and semi precious stones, silver, gold and stainless steel wire, silk and nylon beading thread, are orchestrated in a symphony of color, texture and contrast.

Sara R. Drower Wilmette, IL

Well Framed Disorder and Chaos Digitzed photo printed on cotton, polyester batting, cotton backing. Machine quilted.

8� x 10� x 1� $250

I photograph the Urban Landscape, and then I digitize the photos. This emphasizes the line and exaggerates the color, turning a realistic image into a work of art. I print the digitized photo on cotton and then quilt it to further enhance the linear aspect of the work. Quilting threads are both meant to blend with the design and contrast with it.

Maria Eife Philadelphia, PA

Cage Brooch Sterling silver, mother of pearl, stainless steel.

CAD, 3D printed, cast, laser engraved, fabricated.

2.5” x 2.4” x 0.7” $1,200

My forms are inspired by structures in both the natural and built worlds, from fabrics to botanical specimens. My work is equally driven by the exploration of the processes and materials I use in the creation of form. I build virtual objects with CAD software that are materialized using a combination of 3D printing technologies and hand craft.

Mari Emori Hayward, CA

Homage to the Pima II Ceramic.

Coil-built stoneware, sgraffito, fired cone 6 reduction.

13” x 19” x 19” $2,000

This piece was inspired by handwoven baskets of the Pima tribe in Arizona.

The patterns woven into their basketry are very spiritual and imply a deep connection to nature and life. As such, they have a timeless appeal. My intent was to capture this in a more permanent clay form. I used the Sgraffito technique to emulate the appearance of woven fiber. The bottom portion was left untextured to provide a dramatic contrast and to focus attention on the pattern.

Penelope Fleming Perkasie, PA

Intrinsic Moon Clay. Thrown forms and slabs, saggar fired in wood kiln.

16” x 16” x 4” $1,100

If surface was enough I would paint... but it is not. My vessels are the three dimensional canvases for my intricate surfaces. The integration of form and surface drives my thought process. The edges of each piece transition and contract the interior space to the exterior form. The surface imagery acts as the physical and emotional vehicle to carry the colors. I invite the viewer to pick up this vessel and to explore the under lying form and surface. The contrasting lip is framing the darker interior space just as we hide (protect) our inner thoughts from others.

Kate Furman Greenville, SC

Hive Wood, suede, brass.

Fabricated.

24” x 7” x 4” $500

My jewelry, objects and drawings tell stories. They tell of storms weathered and turbulent whitewater navigated. I collect things while I am wandering in wilderness, seduced by the cast off flora generously littering the ground beneath my feet. They are scored with lines and scars depicting their histories and hinting to aspects of the primitive environment we deprive ourselves of. They are a part of the natural cycle, undisturbed and unprotected, and I aim to highlight their undulations and ornate subtleties. Each piece in my series evokes the place where it was found and what I was doing there. Their presence alone serves as a sketchbook, or journal, of where I have been and what I have seen.

John Gargano Lafayette, LA

Ashetu Mind Stoneware, rubber gaskets, fasteners.

Hand-built, glazed, oxidation fired.

22.5� x 22� x 9� $1,500

The ideas behind my artwork stem from a fascination with mechanisms and forms of the human body, artifacts and objects from the industrial world. These elements are intuitively mixed to generate universal forms that have familiarity and feel new, yet retain a link to a past existence or function. That mystery captures my interest and creates a platform for dialogue.

The work often utilizes parts, arms, or appendages that connect with pins, ball joints, or fasteners. Nestling and connecting these ceramic parts to one another is of great concern and requires engineering. The use of clay in this manner not only satisfies my artistic sensibilities, it also fulfills a need to express the importance of mechanics and working with tools.

Growing up in a suburb of Detroit, Michigan, the exposure to steel and automotive industries coupled with the decay of "Downtown Detroit" impressed on me the effects of industrial weathering and age. The family trips to Northern Michigan exposed me to the weathering of the natural world through lichen, mosses, dramatic season changes, and the mixes of birch and conifers. These memories and experiences are vital to my sensibilities concerning surface and color. The glaze colors and surfaces I have developed allow my work to transcend time and place by existing in the present while feeling weathered and antiquated, referencing a previous existence.

Ovidio C. Giberga San Antonio, TX

Run Rabbit Run Soda-fired porcelain, black slip.

Wheel thrown and altered forms.

25” x 13” x 13” $4,000

This piece represents a new series of sculptural vessels I am currently developing, a confluence of eastern and western aesthetic sensibilities.

Robly A. Glover Lubbock, TX

Stop Nickel silver, found objects.

Contructed.

18” x 18” x 3” $1,000

This current body of work is steeped with current interpretations of ancient themes. Some of man's earliest icons can be found in the caves of Lascaux and this desire to visually define our culture continues. I have chosen to use objects that are readily available in our society as my materials. When placed in multiples, they transcend their original purpose and are elevated into the realm of thoughtful objects. The massing of single units to create my forms has been an exploration in formal and conceptual practice that leads to a plethora of possibilities.

Caitria Gunter Philadelphia, PA

Cellular Form Cotton fabric, adhesive, beeswax.

Cut fabric, adhered, dipped in wax.

7” x 10” x 5.5” $700

Whether fleeting or lingering, everything is impermanent. I am drawn to ideas of the infinite and the inconsequential, often wondering about the tangibility of our existence and the passing moments within it. The constant growth and decay that occurs in the environment over time captivates me, as well as the beauty in the deterioration of matter.

I manipulate natural materials into subtle forms and landscapes, often constructing pieces through the accumulation of cell-like units and creating volume within membranes that may be porous or intact. I enjoy the quiet intimacy of small-scale work and the meditative nature of the processes.

Noga R. Harel Rehovot, Israel

An Anatomy of Melancholy Copper, paper, egg shells.

Sawed, constructed, oxidized.

3” x 2.35” x 2” $300

The series of works is one of the latest works I have created recently. All the works were inspired by poems written by Charles Baudelaire and Arthur Rimbaud. An alchemy of words and wide range of materials shaped the dark aesthetic of the works, which meant to represent a thin balance between the earthly and the ethereal, the mundane materials and the spiritual ideas. The whole series of works were created using a combination of traditional Silversmithing techniques and contemporary approach, a combination that has been a part of my work for many years by now.

Andrew Hayes Penland, NC

Strand Steel, book paper.

Drilled, riveted, formed, fabricated, painted.

8� x 16� x 7� $2,800

Book paper and steel are placed in different contexts in our lives. The book is appreciated as an object of education, growth and escape. Whereas steel is often invisible, even though it is a primary structure of our constructed environment. I strive to level the playing field between these disparate perceptions and materials.

I search for harmony between paper and steel that in so many ways possess similar attributes: flexibility, history, mass and density.

Unbound blocks of text lose their original meaning when I cut the pages from their bindings. This allows me to respond to the shape and texture of the paper and give new meaning. Introducing metal to the process gives structure and support to the loose pages, and elevates the steel - a familiar material in industry and architecture - to the level of the book - an object for contemplation.

Alongside the paper, the steel becomes graceful, its subtle colors and surface heightened. Bound together, the pages and steel become something new and unified. No longer a book on a shelf, but a unique object with its own strength and story.

Mark E. Heatwole Annandale, VA

Natural Edge Hollow Form Vessel Burled maple, ebony.

Hand turned.

13.5� x 5� x 5� $3,000

Special consideration was given to the vessel's shape and color to give it a sense of lightness and freedom and enhance its unique burled design. The finial was turned from ebony and maple and contains a spiral pattern on its base. The entire piece was finished with Danish oil and three types of wax.

Mindy Horn Weston, CT

Chorus Porcelain, painted MDF board mount. Hand built, tailored slabs, assembled, adhered, cone 6 oxidation fired.

41” x 41” x 3” $10,000

I work in porcelain. Ideas about perfection and transformation affect the way that I physically manipulate the clay. I am interested in what it means to grow.

Works of art and living things are both born with an untested plan. As they evolve, they are nurtured and buffeted by forces and ideas that threaten the limits of their initial capacity. The struggle to accommodate these challenges often requires departing from the blueprint, through which, both works of art and living things become richer in history and visual complexity. The perfect is transformed to a more significant imperfect.

Holland Houdek Rochester, NY

Spinal Axis Deviation (Scoliosis Implant) Copper, Swarovski crystals, patina.

Hand fabricated, raised, pierced, patina, bead-blasting.

6� x 14� x 6� $700

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 re-invented 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.

Stanton Hunter Sierra Madre, CA

Intimate Corners 2 (yellow) Clay, colored slip.

Hardslab construction, colored slip, incising.

7� x 4� $800

This series of small-scale ceramic wall sculptures are based on these connections - making abstract models inspired by contemporary architecture at the intimate handheld scale of the vessel.

Benjamin Johnson Cicero, IN

Impression Wandering Glass.

Blown, engraved, sandblasted.

8.5� x 20� x 7.5� $6,000

I wish for the viewer to consider their own presence and relation to intangible micro and macroscopic realities. Impressions from living organisms are left behind from all their interactions, leaving a visual history. All organisms are frail to the environmental pressures and pathological conditions that we do not always understand. I want this idea to come through in the unfamiliar objects I create, allowing the viewer to leave with the idea that they are part of the frail world we live in. As an artist I have the ability to challenge the way people perceive organisms from our environment, to make the invisible visible and to visualize the unknown into reality.

Allison Jones Pittsburgh, PA

3 Lines 2 Balls Pin Sterling silver, concrete, felt.

Fabricated by hand.

3” x 3.5” x 0.75” $580

Bob Bangle Sterling silver, concrete, felt.

Fabricated by hand.

7” x 7” x 0.75” $1,700

The word I use most often to describe my work is graphic. The simplicity of clean shapes combine to create small sculptures that you happen to be able to wear.

I read once that texture and color are a pair like salt and pepper – they add spice. Concrete and felt are my spice, giving each piece a unique combination of sleek shape and form with an organic, tactile quality. The finished product has substance and boldness, much like the envisioned wearer.

Jean M. Judd Cushing, WI

Contaminated Water #9: Through the Ice Hand dyed textile, unbleached muslin, polyester batting, thread.

Hand dyed, hand stitched, hand bound.

33.25” x 42.25” x 0.375” $6,500

Continuation of the Contaminated Water series explores the changes to our water ecosystem. This piece explores the changes seen to our water through the ice that forms on lakes and rivers during the winter in northern climates. Dense hand stitching adds shadowing and visual texture to the artwork.

Brian Kakas Marquette, MI

Architectonics: Hull Improv Stoneware.

Hand built slabs, soda fired oxidation.

16” x 17” x 35” $2,000

Applying the methodologies of art, architecture, science and technology to ceramic design, Kakas seeks to create a "new nature" in the structural design of ceramic objects. Poetic forms with a mathematical foundation; my ceramic sculptures reference structural architectural design and mathematical theories including systems of growth, pattern and dimension. Combined with my interest in cultural identity, history and space, my sculptures embody the constantly evolving world we live in, shedding light on the relationships between tradition and the modern identities rapidly evolving around the world.

Danny Kamerath Mason, TX

Box Elder Box elder.

Hand carved.

8” x 8” x 6” $2,500

I make stuff from wood. Furniture mostly, cabinets, tables and lots of chairs. I carve vessels and make some sculpture too.

My goals: Make beautiful stuff. Make it elegant. Make it interesting. Make it smart. Make it sturdy. Make it strong. Do the design. Don't follow trends but don't ignore tradition. Learn every day. Ignore the hours. Use the best materials. Work hard but don't burn out. Don't keep score. Keep working. Make good stuff.

Floor Kaspers

South Holland, Netherlands

Flower Fields Glass beads, nylon thread.

Beads woven with peyote stitch into ribbons, ribbons woven.

16” x 16” x 2” $2,500

Every springtime, in certain regions in the Netherlands, the entire landscape turns into stripes of bright colors. These flower fields were the inspiration for an elaborate piece of woven beadwork.

Mo Kelman Providence, RI

Smoke Ring Silk, bamboo, wire, cord, nails.

Shibori dyed, 3D shaped, lashed construction.

49.5� x 42� x 17.5� $3,500

The artworks in this series are inspired by ephemeral phenomena, such as clouds, steam and smoke rings. I enjoy the irony of anchoring these forms in place.

I take cues from the architectural world, building tensile structures with bamboo, wire and silk. Using the shaped-resist dyeing technique, mokume shibori, I transform white silk organza into an elastic, translucent, patterned membrane.

This skin responds to the tensions of stretching and tethering, and only takes its three-dimensional form when these forces are imposed.

Patricia Kennedy-Zafred Murrysville, PA

American Portraits: The Family Farm Vintage feed sacks, textile inks, image transfer materials, cotton batting, cotton threads.

Hand silkscreened, image transfer, machine pieced, quilted.

44� x 77� x 0.25� $4,000

The agricultural landscape of rural America has changed dramatically since 1900, when half of the population lived and worked on farms. That number now rests at two percent, and more than one-third of American farmers are over the age of 65. Every week, faced with economic hardship, long hours, and corporate competition, hundreds of farmers leave their land for good. The independent family farm is an essential part of our diverse American fabric, representing strength, tenacity, patience and perseverance. Inspired by photographs taken during the 1930's, this is my tribute to the American farmer.

(Original images courtesy Library of Congress.)

Heesu Kim New York, NY

Wistereriai Ceramic, silver, paper, cotton cordage.

Wax carved, casted, hand built.

4.5” x 3” x 3” $700

I fantasized about living in nature more and more, knowing that I wanted to get out from my limited environment; daily routine, school and work. Possessing natural plants and animals everywhere was not pleasing. I wanted to make my own jewelry to carry on my body freely without worrying about having them die.

That is the reason I started to form my own jewelry work.

Lisa M. Klakulak Asheville, NC

Disheveled by a Perm Merino wool fiber, cotton thread, vintage hot roller pins.

Dyed, needle and wet felted, hand stitched, free-motion machine stitched.

12” x 6” x 1.5” $1,525

From the series Hair is Adornment, wool fiber is sculpted through the wet felting process using soap and water to encase vintage hot roller pins in pieces of body adornment. Fine, draping felt cords transition into crimped entanglements that bring into question forced transformation and our lack of self-acceptance.

Terrence Lavin Meriden, CT

Core Fragment II Brass, bronze, copper, vitreous enamel.

Welded, enameled, forged, fabricated.

7� x 24� x 5� $4,400

In the midst of this temporal ambiguity and enigmatic utility, there exists an anomalous zone; a contextual space in which form contradicts function, and necessity is not necessarily an essential component of invention. This is the space that intrigues me - where machines are no longer derivative to their function, and tools assume a life of their own.

Deborah R. Lecce Carmel, NY

Jacob Stoneware clay.

Slab and coils paddled, fired in Anagama kiln for seven days.

20” x 40” x 17” $6,500

Was it a dream or was I asleep? As a child I had vivid recurring dreams of animals all living in peace.

I begin each piece with the belly of the animal, from there I add coils and continue to stretch and paddle the clay into form. It can be a slow and contemplative process while I find the gestures and expressions from these companion-like animals. They are fired in an anagama Kiln (Japanese wood Kiln) for seven days.

It is my hope that they create an air of calm, curiosity.

I see them as Guardians of the Land.

Janice Lessman-Moss Kent, OH

453, Local Journey: Dry Air Silk, linen, cotton.

Digital Jacquard, hand woven TC2 loom, painted warp, shifted weft ikat.

57.5” x 57.5” x 1” $5,000

In my weavings a complex topography of pattern rooted in an underlying order of circles and squares creates an immersive space for contemplation.

Networks of motifs resonate, or visually reverberate, with a sense of expansion and contraction. These oscillating rhythms emanating from, through and within a center are embedded in a textural textile plane; establishing a contrasting experience of perceptual illusion and the corporeal. The weavings both contain and convey energy, while generating focus and a reinforcement of real time and space.

Mimi L. Logothetis Cedar Grove, NC

Lamenting the Loss of Precious Antiquities to War I Porcelain.

Hand built, paper printed slabs, fired to cone 10, reduction.

20” x 6” x 4” $1,500

Lamenting the Loss of Precious Antiquities to War II Porcelain.

Hand built, paper printed slabs, stained, glazed, iron oxidized.

20” x 6” x 4” $1,500

I work in porcelain because of its starkness, purity, strength and translucence, all depending on its manipulation. I use symbolic images and decorate the wet clay with a proprietary printing process with which I assemble and layer in order to create a story, a joke, or a surreal visual landscape. The hand built work is constructed to show process: seams, glue, rivets, etc. or to resemble paper, speaking to the nature of preciousness and permanence versus fragility and disposability.

John C. Lutz Doylestown, PA

Journey American black walnut, American black cherry, milk paint, tung oil.

Hand carved, formed, turned, hand shaped, hand rubbed, painted, rubbed.

67” x 44” x 12” $3,400

This folding, three-panel screen was inspired by primitive tribal carvings. The panels are reflective of carved shields with a series of spear-like legs. The goal was to create a balance between a functional divider screen and free-standing art form. I wanted to create a piece that combined art, form and function. The focus was to combine forms as interesting elements and the negative space they create. My work continues my creative growth in celebrating the mark of the craftsman in creating a balance between the hand-carved elements and the finely finished surface of the shield panels.

Pamela A. MacGregor McClure, OH

Charlotte Finnish wool, Icelandic wool, broom sweeps, glass beads, plexiglass.

Felted, hand sewn, hand stitched.

21” x 24” x 11” $2,000

I am inspired daily by the nature around me. This work is a convergence of two inspirations, land and sea

Wence Martinez & Sandra Martinez-Flora Sturgeon Bay, WI

Buffalo Robe Quinto Hand spun Churro wool, indigo.

Flatweave, hand dyed.

75” x 28” x 0.25” $6,800

Wence and Sandra Martinez blend their unique visions through drawing, painting and weaving. Spanning thirty years, their collaboration points to textile's history of preserving symbol and myth while integrating both indigenous and contemporary aesthetics and processes.

Informed by extensive studies in Gobelins and dyeing techniques, Wence remains committed to traditional methods and materials of his birthplace, Teotitlan del Valle, Oaxaca, Mexico. They live, work and sell directly from Martinez Studio in Door County, Wisconsin.

Museum collections include National Museum of Mexican Art (Chicago), Museum of Wisconsin Art (West Bend, WI) and Smithsonian National Museum of the American Indian (Washington D.C.).

Valerie Maser-Flanagan Carlisle, MA

The Energy Between the Spaces Hand dyed cotton, commercial black cotton.

Freely cut, improvisationally machine pieced, machine quilted.

62� x 63� $4,800

The Energy Between the Spaces is part of a series that focuses on a growing awareness of my own internal process.

Mary A. Mattingly New York, NY

Paperclip People Necklace Silver plate metal, sterling silver.

CAD, 3D printed, cast.

17� x 0.65� $1,700

As a mixed media artist, I am constantly creating and exploring new materials and techniques. Deciding to interpret my sculptures and art into jewelry was a natural transition to my artistic style - a style characterized by humorous antics, ranging from a dynamic rolling woman and symbol people poses, to the comedically expressive faces of cartoons. Most of my sculptures are metal so they translated easily into 3D printed black steel, nickel and sterling silver.

Stepehn L. Maurer Malden, MA

Revealed Cherry burl.

Lathe turned.

7” x 12” x 12” $4,000

My current work is inspired by ancient vessels, those from the American Southwest, as well as those from ancient Greece, Rome and Southeast Asia. As I work these course and gnarly burls (those lumps that grow on the sides of trees), vessels appear that couldn't be seen in the rough. It's always exciting to discover what gem is hidden inside. As this body of work started to appear, the voids and "flaws" seemed to refer to vessels recovered from archeological digs. That and "discovery" are at the forefront of my consciousness as I'm standing at the lathe.

Karine Maynard & Matthew Maynard Lawrenceburg, KY

Ginkgo Candelabra Set Mild steel, silicon bronze, walnut, enamel, microcrystalline wax.

Hand forged.

41” x 58.5” x 2.2” $12,000

The Ginkgo tree has survived since the time of the dinosaurs and its leave are beautiful in their grace and shape. This piece celebrates light and time by using the Ginkgo as a design motif and as a symbol of life.

Richard McVetis London, United Kingdom

In Pursuit of Time Wool, cotton, styrofoam.

Hand embroidered.

2” x 7” x 7” $2,150

My work reflects a preoccupation with the repetitive nature of process, exploring the subtle differences that emerge through ritualistic and habitual making. In addition, the mapping of space and marking time and form are central themes.

'Units of Time' is an enquiry into the way time and place are felt, experienced and constructed. Ideas are often developed in response to, or created specifically to, a moment; visualising and making time a tactile and tangible object. The pieces created explore how objects, materials and places, through the action of hands, bare witness to the passing of time.

The objects, the compositions, constellations and arrangements I create directly reference the urban grid and our transient relationship to the built environment, with abstraction derived from the simple process of hand embroidery.

As a series I wish the cubes to show time, an ever-present invisible force, through form as both logical and playful. Defined by materials and created through the random process of embroidery and the action of the hand, generating variations with self-imposed restrictions imply and manifest the passage of time.

Tricia P. Ocock Peabody, MA

For the Wandering Spirit Porcelain, glass, glaze, plywood.

Slab-rolled, tiled, wax resist, fired at cone 6.

24” x 54” x 1” $3,600

This tile piece represents an ongoing series of ceramic work dealing with the concepts of loneliness and belonging. It speaks to these issues using surface decoration resembling topographic maps. They are maps of unknown territories, of places that may not even exist. I make them in search of a place to belong, where we are embraced as we are without condemnation. This piece displays the potential topography of a land that the lonely and desperate might one day find, a place where they can find rest from their ceaseless wandering — a place they will finally be able to call home.

Beth Ozarow San Francisco, CA

Arm Cross (white) Stoneware, acrylic.

Hand built ceramic, painted.

24” x 10” x 6.5” $1,100

This piece is one of a series exploring subtle gesture, the line between the interior/ exterior personal landscapes and family of origin memory.

Vince G. Palacios Long Beach, CA

Rabbit Vase Terra cotta, glaze, decals.

Wheel thrown, slip and decals, fired.

10� x 6� x 6� $350

In this recent work I have been exploring different ways of drawing on ceramic forms. Instead of drawing with my own hand, I have been employing decal images of different line qualities from different time periods and different artists to compose and collage my drawings. In a way it is like drawing with someone else's hands or like conducting a piece of music. In the same manner that musical artists are sampling sounds and music of other artists to reconstruct into their own compositions, I am sampling images to reconstruct into intense, layered, mythological narratives, which have a very different rhythm than flat drawings. Some of the themes that are emerging are Biblical, Mythological and Scientific in nature. I have been exploring the origins of our species, the moral dilemma of good and evil, the role of man in nature, and the interface of science, technology and mythology.

Sophia Park Macungie, PA

Breath of Spring (neckpiece) Silver, copper, brass mesh, patina.

Forged, soldered, patina.

12� x 8� x 4� $3,500

Flora seem to have the ability to survive the adverse effects of nature and man by mutating into abnormal shapes. In this adaptation, plants appear to confront their circumstance with practicality and economy: Their task is to survive. I am drawn to this aspect of nature as a metaphor for human patterns of adaptation to difficulties in life.

Matthew J. Paskiet Holland, OH

Reactive Web Glass.

Glass blown, high polished.

18” x 6” x 3” $1,400

My creative style is generally vivacious yet impulsive. It tends to lean towards the abstract and decorative, utilizing shape and color to generate a reaction.

Often, new ideas are formed through the internalization of my daily experiences.

These seeds take root through experimentation, research and planning, resulting in variations which are loosely tied to the initial idea. Various series, like my Spiderweb, involve the chaos of movement and the creation of something out of nothing, all using gravity as the main force.

Kit Paulson Murphysboro, IL

Carapace II Borosilicate glass.

Flameworked.

20” x 18” x 18” $3,800

In this series I am concerned with the way that objects mediate the world, markers of time and the significance of ornament and decoration. I have chosen to construct devices that can change perception of the world (lorgnette, the visor of a helmet, ear trumpets, opera glasses, etc.) but also change how the user is viewed when using them. It is as though world view of an individual has become a physical object. The pieces mediate reality through anachronistic devices. They address the question of how the world sees us when we look through devices to see the world.

Sarah E. Perkins Springfield, MO

Frilled Bowl Copper, enamel.

Hand raised, enameled.

4.5� x 7� x 7� $1,900

As a maker of hollowware, I use properties of the metal: the plasticity, the permanence and the dimensionality. As an enameler, I use properties of the glass: the preciousness, the texture and the color. In my work these properties function together to make a whole, with the two materials complementing and completing each other, rather than one being visually more important than the other. My current work is primarily bowls and ceremonial vessels, because I am interested in the social implications and uses of these forms. Subtle differences in shape affect the meaning of the piece dramatically: an open form is generous and a tighter one more austere and self-sufficient.

In a world of laser cutters and 3D printers, I am insistent on the value of the hand.

Bowls are slightly asymmetrical, piercings have obvious drill holes and the enamel generally has a non-glossy surface. All these things contribute to the warmth and enticement of the pieces.

Emilie Pritchard Panama City, FL

Scaffold with Gold Sterling silver tubes, 14k gold tubes, sterling silver wire, thread.

Oxidized, joined, formed.

9� x 6.5� x 1.25� $1,800

My work is about geometric form. I use tubes of sterling silver and 14kt gold as beads. I cut these to the lengths I need to make the geometry work, and I oxidize the silver ones. I join the tubes together with a needle and thread, to build complex geometric structures. No soldering is used. As a result, the pieces have more movement than similar soldered pieces.

My goal is to create pieces that are large and volumetric while at the same time minimalist and open.

Emily Reason Canton, NC

Farmer's Friend Stoneware, wood ash glaze.

Wheel thrown, sculpted, reduction fired.

18” x 22” x 16” $4,000

Icons of nature and culture in this work play a metaphoric role and serve to ignite memories. My work is a memorial to beauty, craft, culture and nature. I capture what is fleeting, make it tangible and endow it with longevity. Graceful movement paired with an element of danger reveals the complicated nature of beauty, waning culture is depicted with meticulous stability to conjure nostalgia, and form and surface celebrate craft and beauty.

Michael F. Rohde Westlake Village, CA

Grace Undyed alpaca.

Handwoven.

42” x 32” x 1” $4,000

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. This tapestry started with a photo of a face, then the image was reduced to 20 pixels wide. This was the weaving plan, from which I again approximated the colors for each pixel and wove, row by row, a set of squares to generate an abstracted face.

Michael Romanik East Cleveland, OH

Aviarium: Cedar Waxwing Vitreous enamel, fine silver, sterling silver, carnelian, glass, wood, felt, paint.

Cloisonné, designstamped, constructed, soldered, bezel-set.

7.5” x 5” x 5” $4,200

Becoming familiar with the relative immediateness of enamel, I wanted to use it in a functional manner. Making jewelry was a natural step in my early process of mastering the medium. I enjoy the intimate scale and proportion of jewelry and the satisfaction of seeing objects that I've made being worn and appreciated by those who wear them.

Some early inspiration for my work was derived from my interest in the objects and images of ancient cultures: the grandeur of ancient Egypt, the colorful painted relief carvings on Mayan architecture, the symbols of the Celts. Recent inspiration comes from nature: the vibrant plumage of a songbird, the delicate markings of a butterfly wing, the gentle curve of a small branch. A new interest is the repetitive geometric patterns and motifs of Asian and Indian textiles. The challenge of creating the intricate designs from gold and silver wire fascinates me and tests my technical abilities.

Judith Rosenthal Cherry Hill, NJ

Hellebores Porcelain, stoneware.

Handbuilt, fired to cone 6.

11” x 9” x 6” $950

Hellebores are winter's jewel, a reawakening. A sign of hope for a year of peace.

Peter Saenger Newark, DE

Double Walled Vessel Porcelain, white, unglazed.

Slip trailed, formed, scribbled threads.

8” x 11” x 11” $900

I am slip trailing as a forming technique, scribbling delicate threads of porcelain into a form - turning the linear into the voluminous - amazed by the dazzle of the light when it is reflecting within the white interiors, which is best seen when in direct sunlight.

Mary Ellen Salmon Trumansburg, NY

Asparagus and Pasta of the Lake Stoneware.

Wheel thrown, trimmed, burnished, textured, glazed, fired to cone 6.

6” x 7” x 7” $450

I texture my pots by pressing into the clay when it is leather hard, which leaves a mark on the inside, connecting the inside to the outside. There is meditation in the making, not perfection; my own internal rhythm guides me. I try to trust my instincts when I am working - to let my inner voice and unconscious learning lead me.

Carrie Santiago Arlington, MA

Stingray Mbola Glass.

Hand blown, sandblasted, wheel cut.

13.5” x 12” x 4” $13,000

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. There is an organic rhythm to my creative process. 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 premeditative.

For over a decade I worked with traditional vessels and I was captivated by the interplay that light, color, pattern and texture have with these closed forms.

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 different 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.

Karl Y. Schwiesow Sonoma, CA

Unconscious Fiction Clay, glaze.

Hand built, fired.

30” x 28” x 32” $750

My work is a breakdown and synthesis of a variety of hand built clay forms. I take note of the original function and concept of things, which become unfamiliar through processes. I deconstruct and reconstruct objects that exist with equal measure of industrial and structural association with an overlay of organic touch. I layer, attach, perforate, bind, pinch, twist, tension, and cut, until the form becomes only a starting point of shared experience and assumptions. The work is then formal and object based, dependent upon the viewer's cultural understanding in order to appreciate them as art-objects.

Mirjam Seeger Elkins Park, PA

Queen Butterfly Glass, metal, glass paint.

Painted on fused glass.

12� x 23� x 0.25� $1,200

My work combines the ancient art of glass painting, as it is used for stained glass windows, with glass fusion.

My latest glass paintings are backlit with ultra thin LED lights, which enhance every detail of the painting and at the same time allow for the glass painting to be displayed on a wall like a regular piece of art. Alternatively, the painted glass panels can be fitted into a stand and placed in a window for natural lighting or before any other light source.

I paint impressions of birds, fish and butterflies from imagination. They are creatures of fantasy and they float on the glass as they float in the water and in the air.

Rob Sigafoos Kennet Square, PA

Planting Time Forged steel, stone, wood.

Forged, welded, patina.

48” x 38” x 20” $5,300

My ideas come primarily from emotions elicited by the people around me. Most of the people I meet bring light and joy, an excitement for life. Occasionally I meet people who bring out the darkest of emotion: heartbreak, anguish, despair.

Both of these types of people bring inspiration to my work, from compassion to catharsis; to celebrate the joy of true friendship or to exorcise the demons of betrayal. On my early morning walks through the woods, I am always fascinated by the timeless life-or-death struggle between the invasive and indigenous species that populate the woodland. Bittersweet vines wrap themselves around majestic oaks and maple, investing nothing in their own structure and strangling the life from their hosts in a parasitic effort to gain prominence in the highest segments of the canopy. Sometimes the vine wins and the defeated tree withers away, leaving no support for the vine. Sometimes the tree wins, throwing off the invader and filling the canopy with color and beauty, albeit often permanently affected in its morphology by the once devastating encounter.

Bradford Smith Worcester, PA

A Lifetime of Sweeping 164 used broom sticks, glass, steel.

Cut, welded.

18” x 40” x 20” $1,600

I enjoy salvaging interesting materials and using them in unusual ways.

Helge Speth Wenonah, NJ

Crescendo Clay, found rusty iron.

Hand built, Raku fired.

12” x 24” x 8” $425

All my pieces are hand built, mostly pinched. I treasure the intimate spontaneity of this technique and like to observe the clay to see what it might suggest when I take a chunk into my hands. Much of my work resembles forms from nature with a close connectedness to the earth. Organic shapes often spark ideas which lead to pleasing forms with an expression of their own. During the process of making, I try to remain receptive to the coincidental changes of the developing piece, so that I might preserve a sense of spontaneous, free-form gesture that captures the essence of my inspiration. The Raku method, with its unpredictable effects of flame and smoke, can create magical results. Recently, I have begun combining pieces of found rusty iron and wood in my work. These are a perfect juxtaposition to the shimmering Raku glazes. It is a primeval aesthetic that I strive to achieve, a sense of raw and unadulterated beauty without frills.

Gerri Spilka Philadelphia, PA

Flow Interrupted Hand dyed and commercial cottons, cotton and wool batting.

Machine pieced, quilted.

90” x 84” x 0.5” $6,000

This piece is part of my Interactions Series 2 which explores people and place through shattered and repetitive shapes.

Jason Stein Matthews, NC

Techno-Lithic Remnants Bronze, sterling silver, bead-set cognac diamonds.

Cast, fabricated, stone-setting.

9” x 1.5” x 1” $2,750

The central theme I explore in my creative process and highlight in my works is the idea of control, both in the physical world around us and within our own consciousness. Through the creation of my sculptural forms and objects, I seek to explore the nature of the unconscious mind, and create physical representations and reinterpretations of the structures of my internal mental landscape. These pieces represent a reconstructed reality that conforms to my understanding of my interior thought processes as sub-system infrastructures and networks of support systems. By taking one's innermost fears, insecurities, and neuroses and creating physical representations that can be worn or displayed, one is able to identify and establish control over the subconscious forces at play within one's internal mental landscape.

Peeta Tinay Tacoma, WA

Roped Handle Basket with Low Curve Red and Black Round reed, cane, whole rattan, cellulose fiber dyes, UV archival varnish, wax.

Twining, lashing.

16” x 30” x 30” $3,400

I love the challenge involved in creating large, well balanced, beautiful baskets; functional and artistic. My projects flow from a variety of twining, plaiting and lashing techniques. Round reed, flat reed, cane and whole rattan are treated with cellulose fiber dyes before the weaving process begins. A multiple step finishing process brings additional highlights and depth to the weaving. A UV archival varnish is applied, then a lustrous hand-rubbed wax finish brings the piece to completion. My baskets are a culmination of 27 years of experience in working with weaving materials, finishes and the technical aspects involved.

These baskets represent the intersection of passion, competency and skill.

Joan Ulrich Alexandria, VA

Collared Oval Box Stoneware.

Thrown, altered, composed, fired.

4” x 8.5” x 5” $300

I consider my vessels to be compositions, with the process itself as inspiration. At the forefront is the continual practice of experimentation with the aim of making works that are executed in an unpredictable fashion, with a subtle balance between precision and chance.

Joyce Utting Schutter Sandwich, MA

What Goes Around Abaca paper pulp, organic found objects, walnut hull stain, dry pigments, steel.

Layered, embedded, applied pigments.

35” x 17” x 14” $2,940

This piece plays with the undulating, cyclical nature of everything.

Aleksandra Vali Chicago, IL

Anatomy of Time (brooch) Sterling silver, druzy agate, 24k gold plated.

Carved, cast, forged, fabricated, stone setting.

5.25” x 2” x 0.38” $1,700

Aleksandra Vali is a recognized contemporary studio Jeweler and Silversmith who has a Master's degree in Fine Arts from Russia. Her work has been distinguished with national awards and featured in international publications and exhibits, including most recently NICHE awards in multiple categories. Aleksandra is also known as an international art teacher with over 20 years of professional art and teaching experience. She is currently based in Chicago, Illinois.

Carly S. Van Anglen & David Ferro Glanside, PA

Cloud Pop Majolica glazed terra cotta.

Wheel thrown, altered, hand painted, fired.

10� x 8� x 3� $400

We initially began working collaboratively in clay about 15 years ago. With both of us coming from a background in drawing and painting, we wanted to work in Majolica because of our mutual attraction to the hand-painted quality of Iznik pottery, Italian renaissance majolica and Mexican talavera.

From textile designs to tattooing, we were very interested in how 2D patterns change when placed on a 3D, curvilinear surface. For example, when a body is stretched into a patterned article of clothing, the design is forced to conform to it's wearer.

The soft, rounded contours necessitated by the majolica medium create the perfect canvas for drawing in the round. We use a graphic line and vibrant color palette to move across the surface of each piece.

Alternating between organic and geometric designs on wheel-thrown forms, our current work explores the use of converging patterns that fully envelop the surface.

Anneke van Bommel Nova Scotia, Canada

Dark Oleander Neckpiece Black onyx, walnut, nickel, silver.

Hand fabricated, pierced, assembled.

22” x 8” x 0.25” $300

The "Enchanting Deadlies" is a project that includes a series of necklaces, brooches and small sculptural objects that feature silhouettes of poisonous florals and explores the intersections between femininity, memory, mourning and ritual.

Incorporating silhouettes of poisonous flowers such as Angels trumpet, and exaggerated Victorian lace work patterns; this work explores the contradictions of femininity, mourning and floral metaphor, as well as creating a contemporary collection of wearable mourning jewelry and installation objects.

The tension and intersecting themes of femininity, transience and early 19th century mourning symbols serves as the inspiration of this new body of work.

These invite quiet contemplation and become contemporary symbols of mourning, growth and change.

Hanna C. Vogel Philadelphia, PA

Was, Might Be Steel wire, artist-made abaca and cotton paper, pigment, rust.

Basketry, beaten, poured.

60” x 14” x 15” $500

In "Was, Might Be," I use traditional basketry and hand-papermaking techniques to create a cocoon-like form. At first glance, it appears voluminously full and heavy, but upon closer inspection it reveals itself to be an empty shell. It is a remnant, or perhaps anticipatory vessel of an unspecified transformation. The full, open shape speaks of growth and metamorphosis while the emptiness and rusting decay imply a haunting absence.

Thomas O. Ward Carbondale, IL

Persian Bowie Patterned welded steel, stainless steel, curly maple, bronze.

Welded, filed, shaped, ground, finished, machined.

17” x 4” x 1” $3,000

As a blacksmith I am able to channel what most view as destructive forces— heat and pressure—into constructive service. It is a primal exercise, to work materials with these forces and bring forth objects of beauty and utility, offering a direct connection to five thousand years or more of human ingenuity. There is no doubt in my mind that these processes, even in our modern understanding, could be understood by any artisan since mankind's earliest forays into metalsmithing, because the language of craft that we speak requires virtually no audible speech.

Historically, the blacksmith has almost always been a revered member of society.

The work that I create can be broadly categorized as an attempt to revive that air of respect for both the craft and the object. The tools I make transcend the core of their functionality to give the viewer or user an instinctive, manual reverence. The simple axe or knife, while beautiful to its maker who knows what work has gone into it, is lost on the average person in this era of mass production.

My goal is to bring an understanding of beauty and process back to the handmade tool.

Merle H. Weismer Lititz, PA

Visual Rhythm 1 (neckpiece) Cotton shirring tape, wire, magnets, scotchguard.

Shirred, knotted.

18” x 7” x 2” $350

As a weaver and fiber artist, BFA Moore College of Art, I have a deep reverence for the visual rhythms created in nature, such as a chambered nautilus or a spider web. Each component builds a unifying shape.

Musical notes are components of sound that are created with pauses to amplify these sounds. My work is a series of linear components that create shapes and are further amplified by the negative spaces.

With visual silence and harmony of these linear components, I hope to create a lyricism both on and off the human form.

Mallory Weston Philadelphia, PA

Skin Shed #1 Gold-filled bronze, nickel, copper, leather, cotton, thread.

Drilled, pierced, oxidized, embroidered, sewn.

24� x 9� x 0.25� $3,800

I create seductive wearable snake skins from precious metals. Using the painstaking technique of stitching metal scaled individually onto fabric, I create a hybrid textile that gives the appearance of a solid metal surface but moves with the fluidity of fabric. These pieces come alive on the body, transforming with every movement and giving life to the constructed skin. I channel the connection between snakes and their powerful ability to seduce and captivate.

In pieces that strive to illuminate a lexicon of desire, alluring materials, rich pattern, and hypnotizing movement call out to the viewer to touch, wear and covet.

Candone Wharton Lake Mary, FL

Cuenco Abierto Black stoneware clay.

Carved, layered, folded, bisque fired, unglazed medium range stone.

11” x 15” x 15” $2,400

After 45 years of working with Raku, I got my hands into some black stoneware clay, which opened me up to a new world. I love working without glazes, just trusting the clay body and textures.

Bethany L. Wood Iowa City, IA

(Don't) Let Go Brass, copper, enamel.

Sketched, pierced, formed, soldered, enameled, oxidized.

4� x 5� x 8� $14,000

As a metalsmith, printmaker and book artist, I enjoy exploring the cross-sections of 2D aesthetics and 3D forms. As artists, we create our own detritus through the process of making, and these castoffs also come with a unique potential for reuse. One way this actively manifests within my work is through an exploration of the unique nature of mark-making within sketches. Hastily gestural lines of sketches provide selective and sometimes abstracted information by describing notable or emphasized qualities of the subject. They are also used as an informal and generally unseen part of a planning or documenting process. I am interested in how these selectively descriptive styles of mark-making can be translated or interpreted from one form or medium to another, as from drawing to metal, metal to object. In this translation, these marks relay specific information that not only describe the subject, but also transform into a medium that embraces the abstraction of line and imagery.

Matt Wren Phoenixville, PA

Community Jar Wood-Salt fired stoneware, slip, glaze.

Coiled, thrown, sgraffito.

23� x 13� x 13� $1,200

I've always been one to listen first and talk second, to take observation of the world around me with an eye of skepticism, avoid myth, and hopefully contribute to the honest conversation. When I stare down the blank pots and wiggle my pencil through soft clay, I think about how the space will be divided and what sort of conversation will be contained within the imagery. I draw through a personal lens; but the lines, symbols and faces become something universal. I employ this visual language to simplify a complex world, boiling it down to the most essential qualities. Each pot is a community with its own order and personality. And success depends on choosing a proper course through love, hate, beauty and nature.

Sheryl Zacharia Santa Fe, NM

Triangular Conversation Sculpture clay.

Coil and slab built, fired, oxidized glaze and underglaze.

13.5” x 22.5” x 6” $5,000

My works are influenced by the material itself, this is why my surfaces reveal the process; and the process becomes the surface. The intention of my art is not to tell a story, but to create objects that enhance the space around them. The abstract shapes and painted surfaces are influenced by my music and painting backgrounds. Pattern and form are rhythm, palette is harmony, lines and shapes are lyrical. When I see beauty in life or art I want to repeat it somehow in a unique and meaningful way. I'm striving to make visual poetry.

The Wayne Art Center is a non-profit organization dedicated to enriching our community through the arts...

413 maplewood avenue • wayne, pa 19087 610-688-3553 • www.wayneart.org