amirthaarassu@gmail.com

amirthaarassu.wixsite.com

Metamorphosis, 2023

36” x 10-12” x 6

Linen, Weaving

Amirtha Arasu is a textile designer and artist based in New York. She expresses her reality and vision through textiles as her medium, drawing inspiration from culture, philosophy, crafts, and forms. She experiments with weaving, surface design, prints, and materiality to create textiles. Her expertise lies in creating three-dimensional weavings using traditional weaving tools.

Metamorphosis is an octuple cloth, crafted on a 16-shaft dobby loom. This fabric sculpture has eight harmonious layers, each responding to the call of gravity and space. They twist and turn, undulating like waves on the sea, creating an ever-changing weave of form and texture.Made with precise mathematical calculations and weaving techniques to ensure that it is structurally sound, starting from the sketching stage through to the lifting of each thread for weaving. To explore the complex relationship between humanity and the natural world, both natural and man-made materials are combined. The aim of these sculptures is to create a dialogue between the two and to explore the tension and harmony that can exist between them.

vickiaspenberg@gmail.com

The Elegant Flight of the Female Northern Cardinal, 2023

Cotton, Warp and Weft, Traditional Tapestry

22” x 16” x 1”

My first go with weaving in the 1970’s lasted about seven years and focused on cloth weaving with one course in tapestry. But that course planted a seed, and after an interruption in my weaving life to take care of children and pursue a career in education, I began taking tapestry classes when I retired in 2012. I have attended workshops and conferences and have studied with many master tapestry artists. In my tapestry work, I am drawn to exploring ideas that resonate with me on an experiential and emotional level. I am a member of the New York Guild of Handweavers, the American Tapestry Alliance and the Textile Study Group of New York.

I am an avid birder and am often struck by how the subtle coloring of many female birds, as compared to their male counterparts, provides good camouflage and protection. I particularly love observing the colors and feather patterns of the female northern cardinal which is the inspiration for this piece. While the female northern cardinal may be less noticed in the field, the warm tones of browns and grays and contrasting splashes of reds and oranges provide an extraordinary color palette and one I aimed to capture in this tapestry as a way to portray the beauty, elegance and endurance of the female northern cardinal.

pblack1953@gmail.com

www.peggyblackquilts.com

Forgotten, 2025

Pigments, Inks, Oil Sticks, Linen and Cotton
Soya Pigment Surface Design, Ruling Pen

17” x 17” x 0.5”

Cloth calms my spirit. As it surrounds me with tactile warmth, an intimate dialog begins between the cloth and me. The application of earth pigments, the addition of marks are an intuitive and meditative process. I become one with the cloth and the cloth develops its own narrative. The result is a product of my conscious and unconscious thoughts, feelings, memories and connections that are somewhat difficult to put into words.

The shadows, mysteries, and memories of abandoned towns and villages are depicted through the application of earth pigments, charcoal markings and ink. There is an eeriness, no sound, only emptiness--the indifference, the neglect leaves me with a longing to wonder of the history of this place.

sbogdonoff@gmail.com

stacybogdonoff.com

Shelter 20, 2021

24"tall (not including base) x 12"W

Paper, wire, cotton, lacquer,

I am a mixed-media artist working primarily with fiber and textiles, sometimes industrial wire and paper. My studio practice has me balancing this media, process exploration ("What can I do with this textile and wire?"), and exploring my thoughts about "Home, Safety, and Shelter".

Shelter20 came about during a hike in the bleakest months of March.  The brown, brittle, tangled underbrush in the forest seemed lifeless, dormant, and forbidding.  But, unseen to us, it held minute buds, hidden roots, and all the green energy that spring would bring forth just one month later.  

Every winter, life seems to retreat and leave no trace of verdant growth, no sign that there's hope ahead.  But every spring, new growth pushes through and declares itself, insistent and inevitable, year after year.  All traces of the dark and cold winter disappear, a testament to the resilience of nature and our lives.  

susan@susanbyrnes.com

susanbyrnes.com

Write Rewrite, 2024
28" x 28" x 1"

cotton fabric and thread, machine pieced

My work comes from a deep unconscious ...memory or the real and imagined of visual observation and translated into a image that the viewer is welcome to create their own story

Talking the same language in opposite.

peterchao@gmail.com

peterchao.art

Winter Waves No. 15, 2023

30" x 20" x 1 3/8"

Wool and Acrylic Yarn, Needle Punching

Peter Chao is a Taiwanese-American artist and art director working from Provincetown, Massachusetts, and New York, New York. He studied fine art and graphic design at Art Center College of Design in Pasadena, California.
The work explores what it means to hold multiple homelands, navigating the space between Taiwanese and American identity. Each piece is an act of memory-making, where water becomes the language for loss, connection, and the quiet persistence of remembering.
Using three different types of stitches in a monochromatic off-white palette, I've embroidered yarn freely onto monk's cloth, creating multiple fields within the frame. Horizontal bands of varied texture—from tightly packed areas to loosely stitched sections—result in organic, undulating topographies, never two the same. The repetitive act of stitching, each line leading to another, produces a meditative rhythm that mirrors the patterns of water.
This piece draws on memories of two fishing towns: Peace Island, Taiwan, where I grew up, and Provincetown, Massachusetts, where I live today. The gentle undulations reflect quiet moments by the shore—the foam of retreating waves, the stillness between tides. The combination of familiar materials and intuitive technique helps create a piece that connects personal history, geography and art.

barbaradanzi@gmail.com

www.barbaradanzi.com

Rolling Hills, 2025

38" x 38" x .5"

Cotton fabric, cotton batting, thread, improvisationally cut, machine pieced, matchstick quilted

I am an artist making large-scale abstract quilts for the wall. My art is inspired by trees, plant life and bodies of water, and the dichotomy of nature with buildings and bridges. While walking I photograph these natural shapes and man-made structures and colors and incorporate them into my textile compositions.
My medium is cotton fabric and I appreciate its history as plant-grown and harvested, woven and dyed by people. I cut fabric freehand and sew the pieces together so the hand of the maker is evident with the seams appearing as hand-drawn lines. Each quilt is layered with wool or cotton batting and I stitch through the layers to add texture.
My professional and educational background in engineering, technology, and cybersecurity trained my brain to be curious, absorb information through diffuse awareness, and assimilate disparate facts and images into a cohesive vision. Combined with my art education using scale, value, and figure/ground tension, my goal is to make beautiful art following good design principles. I often incorporate a deeper meaning from social justice or environmental concerns.

Inspired by verdant rolling hills.

rachael_dorr@yahoo.com
www.rachaeldorr.com

Painting, 2021

20” x 20” x 2”

polyester, velvet, embroidery floss, thread, silk chiffon, applique, machine stitched

My work is a study of shape, line and texture within the confines of a limited palette. I take ordinary discarded textiles and transform them using highly skilled, mediative and rhythmic machine quilting which is at the core of my practice. I enjoy the past clinging to these fabrics and the process of metamorphosing them into new, beautiful and highly detailed textural pieces.

Made in response to Barnett Newman's zips - this work meditates on lines on different surfaces, — how tone, texture, and touch can leave different traces across surfaces.

cghalladay@gmail.com

www.carolynhalliday.com

Life Flow 2, 2025

25" x 22"

Silk mawata, silk thread, stitching, handmade substrate

Materiality, textile tradition stretched to the non-traditional, and ecological/evolutionary/biological concerns form the triad that drives my work.I use the vocabulary of textiles to create 2 and 3D l forms that reflect my experiences with nature. I choose textiles in part because of the implicit references to domesticity and binary gender that informed my upbringing. The quiet repetition of a stitch is essential to my existence.

My art practice involves daily walks in my urban environment where I document on Instagram my observations of nature’s fluctuation and its persistent patterns. I respond to the visual changes I encounter, ponder the events of this familiar habitat, and mull over words and ideas as I am immersed in the city’s flora and fauna. These lines and patterns flow into my visual language.

Life Flow 1 & 2 were created on silk “felt” substrates that I made. The stitching in silk threads reference the lines and shape that i repeatedly notice in my connections with the natural world.

Life Flow 2 was created on a silk “felt” substrates that I made. The stitching in silk threads reference the lines and shape that I repeatedly notice in my connections with the natural world.

susanhensel@yahoo.com

www.susanhenselprojects.com

Solar Tide, 2022

64" x 24" x 8"

I create innovative sculptural textile works that merge digital embroidery with mixed-media construction to investigate the physics of light, color, and perception. My practice transforms industrial embroidery—typically used for uniforms and novelty goods—into a medium of visual complexity and contemplative depth. The embroidery may be flat or sculptural, pictorial or abstract; it can stand alone or combine with other media to create a colorful, challenging visual experience.

Inspired by John O’Donahue’s and others' writing on beauty, I situate this work within what I call a theory of radical beauty.

In an era defined by climate crisis, political division, and cultural fatigue, I believe that beauty, true, disarming beauty, can still act as a catalyst—not in the decorative sense, but as an aesthetic encounter that invites presence, openness, and empathy. My artworks function as a quiet counterpoint to chaos, offering moments of stillness and sensory richness that can remind us of what is possible.

Commercial fishing net recovered from Ha’Penny Beach St Croix USVI, crochet Locs saved from previous hairstyles worn by the artist between 2019-2021.

jimbosetsuko@gmail.com

Soliloquy of the Spiral – 2025

4" x 8"x 8”

wool yarn, commercial silk thread, natural plant dyed, hand-woven, Japanese kumihimo (cord braiding).

My artistic practice began with a formative encounter with plant-based dyeing forty years ago. Moved by the quiet colors of nature, I have continued working with plant-dyed threads and hand-weaving ever since. Twenty years ago, I discovered fiber art and began exploring how weaving—a traditionally two-dimensional medium—might express three-dimensional form. Nature remains central to my work. In recent years, I have incorporated kozo fibers, the raw material of traditional Japanese paper, as well as discarded fabric selvages, embracing materials that speak of renewal. Techniques such as shibori, felting, twisting, and braiding allow my practice to evolve, giving shape to transformation and memory.

I studied Design through the distance learning program at Musashino Art Junior College and earned an M.F.A. from Kyoto University of the Arts, also via distance learning. Based in Kobe, Hyogo Prefecture, Japan, I am a member of the Modern Art Association and have exhibited my work throughout the country. I have also participated in international open exhibitions and been selected.

This fiber sculpture evokes the quiet presence of a spiral shell, its coiled form handwoven from plant-dyed yarns. Both protective and fragile, the spiral holds memory in every thread. Inside, kumihimo cords—braided by the artist as obi-jime for kimono—suggest the creature’s foot and viscera, gently tucked within the shell’s hollow. Tassels extend like whispers or antennae, reaching beyond the edge. The shell seems to murmur: clean the sea, protect nature. Through traditional techniques and tactile materials, the sculpture becomes a vessel for reflection—a soft protest, a gentle plea for environmental care. It invites viewers to attune themselves to the voices that linger in stillness, to the stories woven into form. In its silence, the shell speaks—not loudly, but insistently—of connection, of resilience, and of the delicate beauty we are called to protect.

judy@grafik.com
judykirpich.com

Conversations with my husband/No. 23, 2-25

18" x 10.5" x 1”

Cotton, linen, embroidery floss, dye, hand stitching

“Conversations with my late husband”, is, in a sense, a collaborative effort as I am stitching on top of years of my late husband’s doodles. David was a Middle East scholar and was fluent in many different language. His scribbles, in Hebrew, Arabic, and his own shorthand, took place over a 20 year period as he sat in seminars and conferences. It is a window into the mind of a brilliant but goofy man.

I stitch on top of Dave’s doodles but in place of ink, I am drawing with thread and fiber. The black or blue ink of a pen is transformed into color and the result is a continuing conversation.

nancykoenigsberg@gmail.com

www.nancykoenigsberg.com

Edges, 2023

25.5" x 26" x 6"

Coated copper wire, woven wire

My work is a synthesis of the urban environment and the natural world. The materials are those of technology and industrialization, while the woven looped techniques are those of ancient civilizations. The resulting polynylon coated copper wire squares are sewn together into large architectural shapes. In this case, this high-tech material is be made into rigid, precise forms, and gravity is given to take its course, with the pieces gently folding and leaning in upon themselves to further the dichotomy of technical accuracy versus instinctive form. This results in the fusing of the natural and technological world in which we live.

For the past twenty years my work has been concerned with interlocking lines and the spaces they form. I create a sense of weightlessness and luminescence by the manipulation of narrow gauge industrial wire. I am exploring the contradiction between metal elements known for their strength and durability and the delicacy of the textiles created. In some works lace-like layers of nets allow for transparency, the passage of light and the formation of shadows. In other works the nets are thickly layered and become almost opaque. Lines cross and re-cross to create a complex fabric and tangle of shadows. The objects appear fragile, but I seek to maintain their strength through the use of these materials.

dhricko27@gmail.com

www.dkoppisch.com

Vortex, 2021

35" x 23" x .5”

Hand dyed flour paste resist cotton, dyed and painted silk, netting, sheer silks, acrylic paint felt backing, flourpaste resist MX Dyed cotton Dyed and painted silk, acrylic paint stitched and collaged

Dianne Koppisch Hricko is a printmaker and painter currently working with dyes on fabrics and paper. She employs deconstructed silk screening, direct painting, discharge and shibori to produce both yardage and images. She exploits the layered transparency possible in this medium building rich and ambiguous surface. Color has always been a driving force in her work. Dianne maintains a studio in the Crane Arts building, lives in Philadelphia with the printmaker Richard Hricko and has taught at the University of the Arts, Tyler School of Art and Fleisher Art Memorial. She is delighted to being putting her thirty-five plus years of teaching art in the public schools into her own work.

Vortex began as a very gestural flour paste resist. This spiral gesture became the springboard for the composition. All other marks concur or resist this dominance. My challenge was to allow the viewer stopping places as they move throughout the composition. The range of surface texture available in both found and created textiles build the layers both visually and actually.

ckunstadt@gmail.com
www.carolekunstadt.com

Pressing On No. 134, 2025

6.25" x 3.75" x 9”

antique sad iron, textile, scorched linen thread, paper: fragments from a book by Hannah More published 1791

PRESSING ON Series combines artifact, word* and fiber – the hardness of iron, the softness of fibers, and the wisdom of words, as a testament to generations of women, the multi-layered heritage, domesticity and female domains. Antique sad (solid) irons evoke the tactile, experiential memory - the personal 'herstories'.

Utilizing: *text from writings by pro-feminist, abolitionist, writer Hannah More, published in 1791. More's life-long overriding cause was galvanizing women to act not as domestic ornaments, but as thinking, engaged and responsible beings. Hannah gave the abolitionist movement a public voice with her writings. Dying in September of 1833, she lived just long enough to see slavery abolished in the British Empire.

Awareness of the dedicated work of Hannah More in the 18th C. illustrates the depth and density of deep seated issues within our culture and inspires us to raise one's voice to inequality and injustice.

marylane53@mac.com

www.marylanetapestry.com

CS Diptych, 2022

14" each x 12" x 1” each

wool, cotton, handwoven tapestry

Mary Lane is an artist and art historian. She began weaving tapestry in 1976 and in 1982 became a founding member of the Scheuer Tapestry Studio in New York City. Her tapestries have been exhibited internationally and have been collected by both private and corporate art collections. Her teaching experience includes Parsons School of Design, the University of Maine and The Evergreen State College. Lane’s writing on contemporary textiles has been published widely. She is retired from her position as Executive Director of the American Tapestry Alliance.

In 2022 I decided to take time to simply play with color. My goal was to think and work quickly, so I turned to watercolor paints. I looked to both the natural and constructed world for inspiration. As the sketches accumulated, some of them spoke to me in a way that I thought warranted the time of weaving them into a tapestry. One piece led to another and the tapestries soon became the CS series.

judylangille7@gmail.com

www.judylangille.com

Log Cabin Watercolor 1, 2024

48" x 38" x .5”

Silk organza, natural dyes, hand dyed threads, hand pieced and hand stitched

I have always been drawn to fabric and have used it as my palette for design. Natural dyes and indigo have encouraged me to work in a new direction. Painting on transparent silk organza with thickened natural dyes create a new color palette. These fabrics along with hand stitching are part of a new body painterly work.

Log Cabin Watercolor 1 references a traditional quilt that has been recreated in a contemporary style. Although this piece is big enough to sleep under, it wouldn’t be practical because it lacks the strength and warmth that a quilt would provide. The transparent colors create a feeling of a watercolor painting.

flee689@gmail.com

Yellow Window, 2025

39" x 22" x .5”

Hand woven tapestry using cotton seine warp and wool weft, incorporating plain weave, pick and pick, and slit tapestry

I am a first-generation Chinese American woman. My work reflects the differences as well as the commonality of two cultures. I am a descendant of women who sew, repair and make garments. Fabric and fiber are part of every culture and are of particular importance to mine . My work reflects the narrative and interpretation of my place in the world.

"Yellow Window" is a self portrait. It is a reflection of a person of color, embracing cultural differences and acknowledging transparent barriers.

qiqinglam@gmail.com

www.linqiqing.com

Prospect Park, 2025

12" x 16" x .5”

Linen, cotton, paper yarn, abaca, weaving, papermaking

As a former award-winning journalist from China, I tell stories about migration, memory, and identity by weaving on a hand-loom, dyeing with plants, and hand-spinning. Through these labor-intensive processes, I explore hidden emotions, struggles, and perseverance using distinctive figurative weaving.

In my woven paintings, I incorporate natural fibers such as linen, paper-fabric collage, and hand-spun paper yarn made from calligraphy paper and book pages. Through experiments with materials and composition, I aim to make visible the internal human struggle for existence.

Combining weaving and papermaking, this piece captures a moment of connection inspired by time spent with friends picnicking in parks.

janemacdesign@mac.com

Skye, 2023

12" x 12" x .75”

cotton batik fabric/ cotton and rayon threads, machine quilted

My art practice uses fabric and thread to create abstract imagery.

This piece is made from batik off-cuts from a clothing shop in Skye, Scotland; embellished with hand embroidery.

malarcher@earthlink.net

patriciamalarcher.com

Little Red Schoolhouse, 2023

24" x 24" x 1”

Fabric, mylar, wood mount, machine and hand stitching, discharge, Gocco printing

My studio work includes fabric collages that distill impressions of places, times, events, or situations. A pattern of white on black, achieved through a discharging process, is often the catalyst for a visual idea.

Including suggestions of certain subjects, Little Read Schoolhouse alludes to restrictions on what can be taught in schools.

hmsaberah@gmail.com

www.saberahmalik.com

Three Generations Later, 2025

22" x 21" x 8”

Polyester organza, steel wire, wood beads, faux leather cord, machine stitched

Mining ancient to recent traditions, my textile passion derives from histories of every day and festive family usage, reusage, respect for cloth, and its makers. My curiosity is informed by the exquisitely crafted trefoil patterned drape on the Priest King’s statue from Mohenjo Daro (2100- 1750 BCE), mirror encrusted embellishments of Banjara and Rabri nomads, ikat silks from Central Asia, and rich weavings and brocades from Mughal India.
Bandini textiles from South Asia led me to study Japanese shibori techniques to understand cloth manipulation beyond creating surface pattern for shaping cloth into new dimensional iterations. Employing shibori tenets of stitching, binding, thermal manipulation, I engineer flat fabric into biomorphic, manufactured or geometric free standing sculptural forms.
My practice confronts questions of relativity and relationships in linear and dimensional time, interpreting relationships amongst past and present, relevancy and redundancy, singular and plural relationships amongst people and the natural world.
My work is defined by its relationship to transparency, luminosity and reflectivity to create choreographies of light through surface embellishment or filtering multi-hued reflections through transparent fabric forms. Small units in geometric relationships create larger works and installations that then create safe spaces of calm and quietude, places for reflection and meditation.

Wearing a strand of black beads symbolized a woman’s marital status in Muslim South India. In par with a family’s socio-economic status, intricate gold beads were strung in-between. Responding to such inherited tiny gold beads, this work is an oversized textile iteration exploring possibilities of an alternate body adornment to symbolize marital status. The arrangement illustrates family continuity and interconnections trough linear and dimensional time. It honors my great-grandmother’s gift of both gold beads and a legacy of empowerment through higher learning, and 22versatility of the humble needle, a testimonial to my own education and practice.

ruth.marchese@yahoo.com

Life Under a Dark Cloud, 2023

51" x 41"

Polyester organza, beads, seed, pieced bojagi style

Although “life” seems to have resumed after the “pandemic”, other world events have taken over and keep us on edge. But life does continue, in all its colors, albeit often overshadowed by what I feel are dark clouds hovering above us all.

The Textures and colors of textiles have always fascinated me. When I was introduced to quilting I liked the fact that scraps of cloth could be reused to create something useful and beautiful or just beautiful.

In my pieces I use the full range of textiles to tell a story or express my feelings. My preferred technique at the moment is the Korean bojagi method , using transparent fabrics – mostly polyester – which permits me to create the effect of stain glass windows.

dominienash1@gmail.com

dominienash.com

Transformation No. 10, 2025

31" x 34” x .5”

repurposed quilt,cotton,silk organza, machine applique

Dominie Nash is a textile artist working in a studio in Washington DC. Her work is part of these collections: Renwick Gallery,Int.l Monetary Fund, Kaiser Permanente ,DC Art Bank. Awards include 2 Individual Artist Awards from MSAC and a Creative Projects grant from Arts and AHCMC and numerous awards in juried exhibitions. She has exhibited locally and nationally, and in Europe ,Japan,China,Korea and Canada. She had a solo exhibitiobn in 2025 at Glen Echo Park. In 2026 she will have a solo exhibition at the Delaplaine Art Cebter in Frederick MD. Her work is published in Art Quilt Portfolio, Quilting Art, Surface Design, American Craft,Embroidery, Quilt Art, The Art Quilt, and Fiberarts Design Books .

The Transformation series is built on previously completed work.I may paint over the original work and/or add other fabrics, stitching, or printing to the surface. It becomes a canvas for the new work. Some are cut & reassembled or two or more pieces are combined to make one new one.I’ve used this process a number of times in different ways over the years&am always fascinated by the alchemy of turning old into new, reflecting my current concerns.

dneagley@gmail.com

davidneagley.com

Funky, 2025

33.5" x 39.5"

Cloth, thread, batting, digital printing, illustration, quilting, hand and machine stitching

I explore the layers of human identity and perception through fiber arts and printmaking. Using motifs like grids, circles, and crosses, I investigate the tension between what is seen and what is hidden.

You wake up. You try to do all the things you should: you meditate, you stretch, you pray, you visualize, you intention set. Then you realize it works, but only partially. You’re plastered between what everyone thinks you should do and what you want to do. You funky.

gabinirino.com

gabinirino@gmail.com

Earth, 2025

36.5" x 28"

I am a weaver. The first thing I think about when I find something new is whether it can become a yarn or be woven. Weaving opens up the possibility of building a small world almost out of nothing, making order out of chaos. Weaving is all about to interrelate and connect: materials, people, ideas, disciplines.
I am interested in what happens in those zones of exchange.
I find inspiration in literature and stories. Language and images were always together for me.

The piece evokes the earth as both a literal and symbolic common ground — a space that holds the imprints of human presence while sustaining the possibility of collective renewal. It speaks to the need for mutual understanding and care — for each other and for the land that sustains us. It stands as both a testimony and a call: to remember that our stories, like the soil itself, are layered, fragile, and shared.

ok.yasuko@gmail.com

yasukoomumura.com

Ancient Castle in Sahara, 2025

56" x 35"

Pigment ink on silk organza, wool fiber, threads, hand-leno woven, aluminum bar, weaving, felting, printing

Yasuko Okumura is a New York-based artist from Yokohama, Japan, known for creating mixed-media fiber art, paper art, and book art. She creates three-dimensional works, often depicting landscapes from her travels. Her work explores the hidden dimensions of spaces and is primarily inspired by nature and history she has encountered during her travels. In her fiber art, she uses techniques like felting and weaving with materials such as wool webbing and organic threads. For her book and paper arts, she utilizes pop-up and cutout techniques to create layered, three-dimensional scenes. She has exhibited her work in numerous shows in US, Korea and Japan.

Every time Yasuko Okumura travels, she is struck by the power of her surroundings. They are mountains, deserts and old villages. Each place has a unique history spanning thousands of years, sharing a view that is both timeless and of the moment as they continue to exist. She has focused on creating visuals of these historical landscapes. The thin rolled objects represent old memories. Weaving them together shows accumulated history, and proof of our time on this land.

chery@cherylpattonwu.com

cherypattonwu.com

In Step, 2024

17.5" x 17.5" x 1.5"

Cotton and silk fabrics; assorted yarn, embroidery floss, thread; gouache. Heat bonded fabric collage on muslin; machine sewn with straight and satin stitching; hand embroidery.

Cheryl Patton Wu is a fiber artist living and working in Cape May, NJ. She creates fabric works based on personal stories of memory and place, especially as it pertains to the South Jersey landscape.

From October 2024 into January 2025, Patton Wu had a solo exhibition at The Noyes Museum of Art titled A View From Home which resulted in the purchase of three works for the Museum’s permanent collection. In 2023, Patton Wu was selected as a Grand Jury Award Finalist for Manifest Gallery, and was published in 2022 in Manifest Exhibition Annual Season 17. In the fall of 2023, she presented a solo exhibition, Grounded: The Here and Where of Being, at Perkins Center for the Arts, Collingswood, NJ. The artist has shown in group exhibitions at the Stockton University Art Gallery, Invitational, Galloway, NJ; the Arts & Innovation Center of Rowan College South Jersey, Invitational, Millville, NJ; the Kay Daugherty Gallery at Annmarie Sculpture Garden and Arts Center (affiliate of the Smithsonian), Juried, Solomons, MD; Marlin Gallery Camden County College (in conjunction with South Jersey Cultural Alliance), Invitational, Blackwood, NJ; among others. You can find more of her work on Instagram @cherylpattonwu.

writebon@gmail.com

bonniepeterson.com

Anthropocene, 2021

23”x 27” x 1”

Embroidery on silk & velvet, stitching, embroidery

The urgency of climate change motivates my artwork. I use embroidery to examine geophysical climate issues with the goal of promoting a fresh opportunity to consider climate and ethical questions. I stitch numerical graphs and text on silk and velvet fabrics. I annotate topographic maps with a labyrinth of climate variables at various future temperature and emission scenarios. I hope to communicate the importance of the consequences of warming and an understanding of the dynamic nature of warming.

Embroidery on silk & velvet explores CO2 in earth's atmosphere over the past 400,000 years.. The Anthropocene Epoch is a unit of geologic time used to describe the most recent period in Earth's history when human activity started to have a significant impact on the planet's climate and ecosystems.

ramseyellen@gmail.com

ellenramseytapestry.art

DALL-E 07.51.35, 2024

32" x 32" x 1”

cotton, wool, silk, rayon, polyester, acrylic, retro reflective glass ribbon, hand woven, tapestry technique and flossa

My current body of work foregrounds the hidden beauty in microelectronics, the power of Big Tech, and my ambivalence toward rapid technological change. My geometric weavings combine the characteristic lines and shapes found on circuit board assemblies with text, digital art aesthetics, and the design language of traditional rugs and tapestries. The work begins with a design I create using drawing, Photoshop, and generative software. I weave an interpretation of the design on a loom using a wide range of materials, capitalizing on the binary system of the grid to interpret the digital original. This work sits where the analog confronts the digital, where textile practice serves as a bridge between our technological obsessions our desire for warmth and materiality in our surroundings.

DALL-E 07.51.35 is an interpretation of an AI generated image – a true collaboration between an artisan and an algorithm. The weaving process transforms and humanizes the digital image, creating a dimensional, tactile object that references past, present, and future.

mfrohde@mac.com

www.michaelrohde.com

Trans, 2024

54" x 29.5" x .5”

wool, natural dyes, handwoven tapestry

My handwoven tapestry work honors the grid nature of weaving, and uses blocks of color to reflect shapes of objects that already exist, or to convey concepts by the choice of colors and their placement. These rather simple approaches often appear abstract, but contain deeper references to traditions or changes of existing standards.

”Trans” is a graphical representation of how in the evolution and everyday use of languages, words and meanings evolve with time. Words that used to mean one thing become adapted, as needed, for other current concerns. This is how we change and grow though language changes.

starccny@aol.com

estarweaver.com

Sonoran Colors, 2023

24" x 29" x 1"

Wool, cotton, flat weave

Elizabeth Starcevic has worked as a professor of Spanish literature and language at City College of New York for more than forty years. She has woven in Mexico for more than thirty years and has also curated exhibitions of textiles there. Her themes include Social Justice, Nature, Education, War and Peace and Family History. Her work has been in eight solo exhibits, numerous group exhibits and has appeared in international shows in Mexico, Canada and Spain. Her weavings can also be seen as cover art for PEN and in publications by The Textile Study Group.

Visiting Arizona for the first time, I was so struck by the landscape--the variety of browns in the land and the lack of water, which everyone talked about. I show in a very thin line, what was once a river, which has now almost disappeared. The destruction done by mining has left a slash in the mountainside that appears to be almost white against the varied colors of the terrain. And, above it all there was a glorious blue sky.

hillary.steel@gmail.com

hillarysteel.com

Balancing, 2025

24.75" x 17.5" x .25”

Cotton, dye, Ikat, handweaving, shibori resist-dyeing, Sewing

Material and process are what drives me to create art. The slow labor of preparing and dyeing materials, dressing looms and weaving, affords me time to think and physically transform a simple linear element into whole cloth. I have inherited a wealth of knowledge about textile processes from both known and unknown artisans. I have practiced my craft for over forty years and continually discover new ways to think about my work.

"Balancing" is a hand-woven ikat and shibori resist-dyed wall hanging, that contemplates the challenges of balancing one’s external life and responsibilities with time for internal dialogue and contemplation through the work of the hands.
Technically it reflects my ongoing interest in resist-dye processes such as double ikat, complex loom-controlled woven structures, and shibori dye processes that add depth to my flat textiles.

e.weisbord@gmail.com

ellenweisbord.com

WISDOM FROM THE ATTIC: Blanketed IV, 2022

13" x 10" x 10”

Wool blankets, wool batting, silk, needle felting

My fiber and mixed-media art represent an interpretation of the world around me, as well as an expression of my interior life. I am influenced by nature from the minutiae of tidepools and bird nests to the majesty of the aurora borealis. I am inspired by materials from family heirloom textiles which I have allowed myself to repurpose and offer new life to, while connecting to generations before and after me.

In difficult times, I have found comfort in working with textiles that have been stored away in my attic for decades. As a fiber artist, these heirlooms speak to me of the past, connecting one generation to another. Giving myself permission to alter and repurpose these precious items is the first difficult, but liberating step in the creation of each work. The blankets used for this series represent memories and the blanketed comforts of childhood. I stacked, and needle-felted blanket pieces with circular cut-outs to form vessels referencing layers of sedimentary rock, the passage of time, and an excavation of the past. The question posed is whether we bury ourselves in the imperfect comfort of the past, or dig and explore, in order to understand the present, and work towards a better future?

lyndawilliamson@mac.com

backroads766.ca

Currents of Change, 2024

34" x 24" x 4”

Linen, cotton, earth pigments, cotton and linen thread and beeswax wax, painting and stitching

Lynda Williamson is a mixed Media textile artist who splits her time between Bergen and Calgary, Alberta.Currently, her practice focuses on exploring her relationship with nature and society and the tension found between the endless skies she finds in the wilds and the rigid and constraining rules imposed by man. Recent pieces have mediated this conflict in her subject matter and questioned whether our limitations come from within us or are impressed upon us.

Her art has recently shown at Quilt Canada, Ontario, Canada, Southeastern Quilt Museum, GA, the Art Council of Moore County, NC and Bloomingdale Park District Museum, IL. Works can also be found in private collections in Canada,United States and the United Kingdom. Several more of her pieces are currently on tour across numerous venues in the United States.

Currents of Change, examines the fragility of dreams when faced with the harsh currents of the human experience. Leaves, ever on a cyclic journey of transformation speak simultaneously of what has been and what could be, are juxtaposed with canoes, protecting us as we navigate life’s fluidity. The viewer is invited to contemplate their evolving journey and the enduring impact of change.

jning.wong@gmail.com

jowoho.com

Descendents, 2025

39" x 15" x .5”

Ink on cotton, fabric printing and free motion quilting

My work centers around identity, memory, migration, and belonging. Using family photographs and personal photography, I print and transfer these images onto fabric and create textile-based collages through patchwork and free-motion quilting. Spending hours of time in the slow art of stitching with reoccurring imagery of the fragmented faces of family members, some of whom I do not know, and handwritten Chinese characters, most of which I cannot read, allows me to reconnect with my hands, my history, and a sense of self that has always felt partially out of reach.

As the only branch of my family to immigrate to the United States, much of my lineage is scattered or lost. Along with the faces forgotten is the language that I can speak but cannot read or write. By embedding these images onto soft materials, I make space for grief, gratitude, and reflection. My work explores the complexities of cultural inheritance and what it means to be born into a people and place that I am only partially integrated into.

adawhy@gmail.com

Indigo Trellis, 2024

52" x 29" x .25

linen, organic indigo, stitched shibori

I'm a textile artist working primarily in shibori and natural indigo.

I folded a piece of checkerboard linen and stitched through the tightly woven squares to create areas that would stay white when I dipped it in indigo.