Sefea exhibition (inside panel)
March 16, 2014. Barton College Exhibition. "Continued Conversations"
Jeanne Brady, a professor of bers at Tennessee Tech University’s Appalachian Center for Craft, has been a professional artist for more than 34 years. She received a Bachelor of Fine Arts degree in Printmaking & Drawing, and a Master of Fine Arts degree in Surface & Textile design. She is represented in numerous collections and has been published in various books and craft magazines. Brady’s style encompasses her favorite techniques of painting, printing, and drawing, which creates a unique style and originality of design. She approaches her fabric designs much as a painter approaches a canvas, a surface upon which to build the ideas, very process-oriented. She takes an initial thought and explores it, responding to the medium of dye, pigments, resists, etc. as she works. Miyuki Akai Cook, an instructor at Marshall University, was born and raised in Japan. She earned a Bachelor of Fine Arts degree in Interior Design from Osaka University of Arts in Japan. In 2000, Cook took a journey to the U.S. to explore a di erent culture. In 2006, she received a Master of Fine Arts degree in Fiber/Artisanry from the University of Massachusetts-Dartmouth. In her artwork, she tries to express the coexistence and dilemma between human society and nature’s gift of life, and works to nd and visualize cohesiveness between the two. Jeana Klein Thirty-Five Hundred French Knots Jeana Eve Klein earned a Bachelor of Art and Design degree from the School of Design at North Carolina State University and a Master of Fine Arts degree from Arizona State University. She currently works in Boone, where she serves as associate professor of bers in the Art Department at Appalachian State University. The majority of Klein’s studio practice is devoted to mixed media quilts. The work straddles the line between textiles and painting, realism and abstraction, fact and ction. Her technique is often obsessive, with layer-upon-layer of tedious hand processes. Susan Iverson, Boundaries I Susan Iverson is a professor at Virginia Commonwealth University in Richmond. She earned a Bachelor of Fine Arts degree from Colorado State University and a Master of Fine Arts degree from Tyler School of Art, Temple University. Her work has been exhibited widely throughout the United States and is included in many collections including the Art in Embassies Program and the Renwick Gallery, Smithsonian American Art Museum in Washington, D.C. Iverson attributes a move from the city to the country as the impetus for her altered way of viewing and interacting with the natural world. She is intensely interested in the physical layering of visual information that leads to an abstract or altered reaction to this environment. In her recent tapestries, there are re ections of her observations and ruminations. A sense of place and her attachment to the environment are major aspects of this work. Robin Haller, Red Reservoir Robin Haller, assistant professor in the School of Art and Design at East Carolina University, teaches weaving and feltmaking within the Textiles Program. She earned a Bachelor of Arts degree and a Master of Fine Arts degree from Kent State University.In her weavings, the strong inherent grid of the medium is used in tandem with the matrix of digital design. The mathematics involved in all aspects of the process provides a foundation of logic and order that in uences her design choices. A network of pattern is created in response to the grid through the layering of motifs that exist both on the surface and within the structure. The layers of pattern are generated by her interest in the relationships and dualities of systems of pattern. For Haller, these systems of pattern are metaphors for time and memory. Jeanne Brady, Learning Curves Miyuki Akai Cook, Plastic Series 4 Susan Brandeis is distinguished professor of Art & Design at North Carolina State University, where she coordinates the Fibers and Surface Design Program. For nearly three decades, Brandeis has combined a lifelong love of ber with a fascination for natural places and forms. Brandeis has chosen to work in textiles because they provide a breadth and exibility of expression, which makes all other materials seem limited by comparison. For her, textiles combine the texture and relief qualities of sculpture or pottery, the color range of paint, and the literal expressive potential of photography. Her work is an attempt to describe with fabric her intense visual experience of the Earth: everyday experiences elevated and intensi ed. Brandeis uses color, layers, juxtaposition of patterns, exaggeration of detail, and complex textures to re-create the dichotomy of what she sees in nature. Susan Brandeis, Lost Language II: Ancient Teachings Edwina Bringle has enjoyed being a studio artist and living in the Penland community near Spruce Pine, moving there after 24 years of teaching at the University of North Carolina at Charlotte. As a ber artist, she has focused on the use of color and design in the creation of woven textiles and mixed media stitched pieces. In 1964, she was introduced to weaving while in a class at the Penland School of Crafts. Later, she became a resident artist and rst taught there in 1969. Bringle’s work is in the collections at the North Carolina Museum of History, Greenville County Museum of Art in South Carolina, Gregg Museum of Art in Raleigh, the Mint Museum of Art in Charlotte, and in numerous private collections. Candace Edgerley teaches at the Corcoran College of Art + Design in Washington, D.C., and at the Art League School in Old Town Alexandria, Va. Edgerley’s work has been exhibited nationally and internationally in Korea, Japan, Germany, and France. She has served as President of the International Surface Design Association and is a member of New Image, a local group of artists that exhibit nationally. Edgerley has a Bachelor of Science degree in Business Education from Northern Illinois University, with additional studies at the Corcoran College of Art + Design. Edgerley enjoys exploring a variety of textile techniques. One of those techniques is deconstructed screen-printing. Using various textured materials, thickened dye, and a silk screen, an image is created and screened onto fabric. After processing, the fabric is layered with a thin batting and free motion machine quilted. Catharine Ellis has been a weaver and dyer for more than 35 years. After many years of teaching the Professional Craft Fiber Program at Haywood Community College, she now divides her time between studio work, research, and specialized teaching. Ellis is the author of “Woven Shibori,” and her work has been featured in “Fiberarts” magazine and “Surface Design Journal.” She teaches workshops and exhibits nationally and internationally. She received a Bachelor of Fine Arts degree from Marymount College and continued her education at Penland School of Crafts. After many years, Ellis decided to return to the roots of her rst dye experience and work with natural plant dyes. The challenge of using these dyes e ectively on cotton fabrics compelled her to travel and study with masters, who have helped her develop an e ective process for mordanting, dyeing, and discharging. Jess Jones is an assistant professor of textiles at Georgia State University in Atlanta. She holds a Master of Fine Arts degree in Fibers from East Tennessee State University. Her undergraduate work was in painting, drawing, and printmaking, and she often combines all of these media in her textile work. Her work can be seen in exhibitions and publications such as “Quilt National.” Her Jess Jones, Tunnel 2 imagery contains information that is both retrieved and created, using visual and physical textures, like the enjoyable confusion of an image of concrete and the structure of lace. Jones is interested in how the form of mapmaking has a dual nature; isolation as well as connection, communication and miscommunication, orientation and disorientation. She enjoys softening the aggressive territorial language of the city by recreating it in the structure of a quilt, which signi es comfort and familiarity. These sewn structures become an album, an atlas, an emotional archive, simultaneously recording and rede ning her thoughts and experiences. Kate Kretz’s work has appeared in more than 95 international newspapers and has been featured repeatedly in the “New York Times,”“ArtPapers,”“Surface Design Journal,” as well as “Vanity Fair Italy,”“ELLE Japon,” and “Pasajes Diseño” magazines. Her controversial painting “Blessed Art Thou” appeared in hundreds of international news sources and continues to be published in university textbooks worldwide. After working as an associate professor and as the BFA director at Florida International University for 10 years, she relocated to Washington, D.C. Kretz currently works in her studio while giving workshops and lectures at various universities. She believes that one of the functions of art is to strip us bare, reminding us of the fragility common to every human being across continents and centuries. Often, she will meet someone, and the visible weight of his or her life becomes almost unbearable to her. She feels as though this visible weight emotionally rips her open. The objects that she makes are an attempt to articulate this feeling. Candace Edgerley Moonscape Edwina Bringle, Woven Throw Jennifer Crenshaw, Four Leaf Metallic Jennifer Crenshaw is a visiting assistant professor in the Fabric Department of the University of Georgia’s Lamar Dodd School of Art, and is the owner of Constance Crenshaw Designs. Her ber interests include weaving, screen-printing on fabric, surface design, and material manipulation utilizing a sewing machine. She has a Bachelor of Business Administration degree in Marketing from the University of Georgia, and a Master of Fine Arts degree in Textile Design from Rhode Island School of Design. In her work, Crenshaw believes that beauty is in the layers of stitches and in the decorative embellishments and forms they create. She feels compelled to free the stitches from the fabric so one can experience the embroidery as an independent textile. Susan Fecho, professor and chair of the Department of Art and Design at Barton College, trained as a printmaker and surface designer. She is intrigued by the richness and diversity inherent in varied techniques. Fecho has exhibited regionally, nationally, and internationally and has received numerous awards, grants, and residencies. In her recent work, Fecho interprets the past as a personal, cultural, and archetypal artifact. Through her work, the familiar reappears in unfamiliar con gurations; a new sense of signi cance is imparted to an otherwise everyday object. In Fecho’s work, there are varied layers of material and multiple facets of meaning. Jo-Marie Karst teaches textile design, weaving, and color theory at North Georgia College and State University, where she also earned a Bachelor of Science degree in Art Marketing and a Master in Education degree. Her work has been exhibited throughout the Southeast. In her artwork, she seeks to develop a uniqueness that can be found in the common and “ordinary” weave structure of plain weave. By applying outside pressures to the woven cloth, patterns emerge and the at landscape of plain weave is transformed. Karst’s weavings are not meant to make social or political statements. Instead, they are merely the language from internal places that ows from within and nds voice through the cloth. Kate Kretz, Threat Magni ed Susan Fecho Folded and Stitched Catharine Ellis Weld + Woad = Green Jo-Marie Karst, War Lisa L. Kriner is an associate professor and director of visual arts at Berea College in Kentucky. She earned a Bachelor of Science degree in Textile Technology at North Carolina State University and a Master of Fine Arts degree in Fibers at the University of Kansas. Kriner’s ber art explores the formation of identity through tensions between being rooted in community and the desire for personal movement and freedom. She portrays this con ict to be challenging as she is equally moved by strong roots—the big white oak in her yard and the deep-rooted grasses of the western planes—as by the constant movement of migrating birds, ocean tides, and wind and water currents. Lisa Kriner, Deeply Rooted