Transformation 10: Contemporary Works in Found Materials

T RA N S F O R M AT I O N

Contemporary Works in Found Materials

The Elizabeth R. Raphael Founder’s Prize Exhibition

TRANSFORMATION

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Contemporary Works in Found Materials The Elizabeth R. Raphael Founder’s Prize Exhibition

September 14, 2018 – March 23, 2019

Contemporary Craft 2100 Smallman Street Pittsburgh, Pennsylvania 15222

Our mother’s passion for art influenced everything she did in her life.

She was committed to bringing art to her community. She was particularly interested in supporting emerging artists. Contemporary Craft reflects this commitment.

Our mother passed her interest and enthusiasm for the arts along to us and impacted our life choices significantly.

This award allows us to honor her and share her legacy.

Alexandra Raphael Cathy Raphael

Transformation 10: Contemporary Works in Found Materials and the Elizabeth R. Raphael Founder’s Prize are made possible by Alexandra and Catherine Raphael, and The Fine Foundation. Additional support is provided by the Allegheny Regional Asset District, The Heinz Endowments, the Pennsylvania Council on the Arts, The Elizabeth R. Raphael Fund of The Pittsburgh Foundation and Cohen & Grigsby, P.C. Media Sponsored by NEXTpittsburgh.

ACKNOWLEDGEMENTS

Since 1997, when we launched the Elizabeth R. Raphael Founder’s Prize exhibition series to recognize excellence in contemporary craft, the series has focused on transformation — a theme that has remained relevant over time, open to interpretation across different media.

Our initial hope for the Raphael Prize was that it would make a significant impact on the career of each prize winner, whether an emerging artist entering the field or an established artist moving in a new direction. The benefits of the series have far exceeded our expectations, touching not only the individual artists but changing our organization and significantly informing our artistic direction.

Through the subsequent shows, including this year’s tenth edition, the Raphael Prize series has produced a series of snapshots of important conversations, new directions, and current concerns that have taken place within the craft field over two decades. Innovative works by 305 finalists representing excellence and innovation in contemporary craft have been showcased since 1997. We have been honored to work with 20 guest jurors (exemplary artists, curators, directors, and other thought leaders in the field) who shared their expertise, their passion, and their rigorous standards through lively debates that pushed us to reach consensus on deciding whose work was exceptional enough to merit designation as a prize winner. Finally, the many international artists selected as Raphael Prize finalists have taken us beyond the boundaries of the American craft movement to participate increasingly in global conversations about craft.

I want to recognize the exceptional dedication and professionalism of Director of Exhibitions Kate Lydon for her leadership, fine installation, and unflagging commitment to excellence on this show, well supported this year by interns Abigail Sites and Janna Arnold. We were also fortunate to work once again with Paul Schifino, who has created yet another beautiful book for our series of Raphael Prize publications. Our guest jurors Fabio J. Fernández and Susie Ganch should also be acknowledged for their generous commitment of time and effort, and for their catalogue essays that provide insight into this year’s selection process and exhibition.

Finally, we remain deeply grateful to the Raphael sisters — Alexandra Raphael, Cathy Raphael and their late sister, Margaret Raphael — for suggesting this biennial prize and so generously funding it over the years. What they have made possible has truly honored their mother’s legacy in the field of craft and has brought about transformation beyond measure.

Janet L. McCall Executive Director

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TRANSFORMATION

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Thoughts on the Topic: Contemporary Works in Found Materials A quick google search for the definition of transformation reveals: a thorough or dramatic change in form or appearance. This poignantly reflects the work in Transformation 10. The artists featured in this exhibition have a natural intimacy, and deep knowledge of the materials they use to make work. They find metaphor and meaning in their material selections and are able to investigate complex themes that mirror back contemporary issues and conversations happening in our culture today. This relevancy is an essential point that I look for in work and am gratified by seeing in these pieces.

This year’s call asked artists to explore the boundaries of found materials.

Artists have been “finding” and reusing materials since we picked up the first bead and strung it around our necks thousands and thousands of years ago so this is not a new topic. What is new is perhaps the way that artists are able to reinvent the possibilities for what a material can do and say while also discovering new ways of working and innovating techniques in order to reuse materials with relevance in relation to contemporary society. Tin and aluminum cans and plastic containers become a vehicle to discuss gun violence, and a cascade of blue jeans becomes a waterfall reminding us of our right to clean water. Craft along with the materials selected, become potent tools accessible, relatable and understandable by many. These artists, through their material choices connect us to the topics at hand, invoking empathy and response on both emotional and philosophical levels. On another level these pieces become a call to action or awareness while on their surfaces they remain true to craft values of mastery and material understanding.

It was an honor to participate in the review of work for Transformation 10.

I appreciated working alongside Fabio Fernández and the other jurors.

The range of pieces reveals vibrancy and health in the field of craft. Artists continue to explore the edges, finding fresh connections and pathways that meander into new realms of possibility. It is exciting to watch this evolution that is demonstrated in this exhibition of work by talented artists across our field. Congratulations to this year’s Elizabeth R. Raphael Founder’s Prize recipient, Melissa Cameron, Honorable Mention artist, Fumi Amano, and Award of Merit winner, James Arendt. Each artist brought a unique vision to this year’s competition and exhibition. Thank you.

Susie Ganch

Susie Ganch is an artist living in Richmond, VA. Ganch is Interim Chair and Associate Professor of the Department of Craft and Material Studies at Virginia Commonwealth University (VCU). She is also Director of Radical Jewelry Makeover, an international jewelry mining and recycling project that continues to travel across the country and abroad. Her work has been included in museum exhibitions around the world including the Design Museum, London, the National Gallery of Victoria, Melbourne, Australia, Ueno Royal Museum, Tokyo, Japan, MFA Boston, and the Milwaukee Art Museum. Public collections include Los Angeles County Museum of Art, CA.

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The process of selecting this year’s Raphael Prize recipient was a long and well conceived one. It began with a review of all 155 applicants from which our jury selected 26 finalists who were moved to the next round and whose work is included in the exhibition.

As we assessed the work we agreed that contemporary craft is well positioned to address critical socio-political issues, a characteristic that is especially important in this current climate of polarized views. The issue of gun violence and developing more sensible gun legislation, is a topic that the field has tackled in the past through both the exhibition and catalogue format. There was the ENOUGH Violence: Artists Speak Out exhibition at Contemporary Craft in 2014 and most recently the I.M.A.G.I.N.E. Peace Now exhibition, organized by Boris Bally. Both exhibitions traveled to different parts of the country, a sign that their messages were valued. The work of Melissa Cameron taps into this power of craft to comment on important topics. It adds to the discussion by offering cold hard statistics on the deaths from gun violence that occurred on one specific day in the United States, January 1, 2017. The work points to the urgency of the matter while conveying the ugly truths in a poetic manner.

Likewise the piece titled Adrian: Lies by James Arendt makes a powerful statement about access to clean drinking water in our, supposedly, first world country. On a different track, the elegant architectonic piece titled Bassinet by Fumi Amano deals with communication in its broadest sense. It presents a performative element as a path that contemporary craft has yet to fully explore.

The performative muscle is one that our field needs to flex more in order that it may develop. Taken together the work in Transformation 10 offers a provocative snapshot into the minds and studios of contemporary makers. The exhibition will pose questions and present challenges that will no doubt lead to communication and the forming of relationships — and that is the point.

It was an honor to serve as a juror and to learn both from the work and from my fellow jurors. My fellow juror Susie Ganch and I applaud Contemporary Craft and the Raphael Family for their continued investment in the Raphael Prize.

Fabio J. Fernández

Fabio J. Fernández is a Boston-based artist, arts advocate, connector, instigator, and dealer. He is the former Executive Director of the Society of Arts + Crafts in Boston where he led the organization through a pivotal time in its long and venerable history. He also served as the Exhibitions Director at the Society and as Associate Curator at Cranbrook Art Museum in Bloomfield Hills, Michigan. Fernández has planned and executed national exhibitions that presented fresh explorations into the conceptual, technical and material approaches of contemporary makers.

Fernández is a notable advocate in the craft community. He serves as a Trustee of the Haystack Mountain School of Crafts in Maine and has been a visiting critic at universities around the world. He has served as a juror on numerous grant panels including the United States Artists Fellowship. He holds a Master of Fine Arts degree from Cranbrook Academy of Art in Michigan and a Bachelor of Science degree in business from Seton Hall University in New Jersey.

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A RT I S T S 10 12 14 16 18 20 22 24 26 28 30 32 34 36 38 40 42 44 46 48 50 52 54 56 58 60

AHMADIZADEH Fumi AMANO James ARENDT Undine BROD Jeremy R. BROOKS Melissa CAMERON Adriane DALTON Hillary Waters FAYLE Maggy Rozycki HILTNER Everett HOFFMAN Judith HOYT Katie HUDNALL Kathleen W. KENNEDY Joshua KOSKER Kate KRETZ Diane KW Ted LOTT Archana PATHAK Ellie RICHARDS Arturo Alonzo SANDOVAL Jina SEO Carina SHOSHTARY Michelle STITZLEIN Jess TOLBERT MJ TYSON Robert VILLAMAGNA Victoria

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AHMADIZADEH Victoria

selective memory My work is an inquiry into the visually evocative nature of text. I often begin by sorting through poetry that I’ve written over the years. The objects I make are physical manifestations of these texts. Through the transition from experience to words, and then words to images, I am able to complete a cycle of personal alchemy. In this way, I can relive, redeem, or reimagine past events. Glass is an anchoring element, signifying this transformation and resulting synthesis. Conducive to creating and translating poetic metaphor, glass can articulate moments on the precipice.

S O U R C E : Poetry, written

by the artist, that serves as the basis for the work Photo: Victoria Ahmadizadeh

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selective memory, 2018 Artist’s denim jacket, glass 24" × 24" × 14" Photo: Victoria Ahmadizadeh

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AMANO Fumi

Honorable Mention

Bassinet Since English is not my first language I struggle with communication. This leads to my interest in communication and intimacy. Through my performance work, I become a sculpture and connect directly with my audience, talking with others beyond, above, and below language’s normal spectrum. I utilize glass to connect because you can see but cannot touch directly, like a thin sheer membrane of a skin that protects us all from our surroundings... and each other. Through performance with glass, I express the unsuccessful attempts made at developing true bonds that bridge the gaps between people.

S O U R C E : 3D stained glass concept model

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Photo: Fumi Amano

Bassinet, 2018 Old window frames, old furniture 72" Ă— 72" Ă— 36" Photo: Fumi Amano

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ARENDT James

Award of Merit

Adrian: Lies Growing up outside Flint, Michigan I learned how to make do, a concept that dictates you work with materials at hand. Denim seems to be created to be abused, worn out, patched, stained, and burnt through. Its characteristics are mirrored in the people I choose to represent. Adrian: Lies examines the transforming effect of the Flint Water Crisis, which is indicative of the racism and government mismanagement that resulted in the toxic lead poisoning of drinking water for a city of 100,000 people. Flint’s transformation from a booming industrial center into a town where basic services are unreliable is an ongoing tragedy.

S O U R C E : Concept sketch for Adrian: Lies Photo: James Arendt

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Adrian: Lies, 2018 Reclaimed denim, discarded inner tubes 84" Ă— 144" Ă— 48" Photo: James Arendt

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BROD Undine

Adrift I use animal imagery in visual metaphor to examine human conditions.

The nonspecific hybrid creatures I create cannot be categorized, rather they are inclusive and universal. The animals are tender, innocent survivors of exploitation and alteration. I omit or conceal the eyes to silence the animals, to evoke introspection, and to enhance their ambiguity. The sculptures exist on the lines between joy and sorrow, pride and humiliation, fear and security, hope and despair, and love and neglect. My work suggests that violence and vulnerability are ubiquitous and exist at the heart of our emotional lives’ chaos and disorder.

S O U R C E : Seidensticker

Wildlife Collection at the University of Montana Western Gallery Photo: Undine Brod

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Adrift, 2018 Clay, pattern paper, antlers, wax 18" × 17" × 16" Photo: Undine Brod

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BROOKS Jeremy R.

Seeing Red Norman Rockwell’s iconic illustrations, reinterpreted as collector plates, figurines, and related memorabilia, serve as the starting point in my current research. I make work to celebrate gay male sexuality and culture through pastiches assembled from Rockwellian sources. My aim is to subvert Rockwell’s heteronormative narratives and depict some semblance of a queer experience. By altering the figures and scenarios portrayed through Rockwellian memorabilia, I invite the viewer to consider the narratives of gay Americana in an era that remains at odds with such identified otherness.

S O U R C E : hanky code, red (fisting) Photo: Jeremy R. Brooks

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Seeing Red, 2017 Found and altered objects, ceramics 12" × 14" × 6" Photo: Jeremy R. Brooks

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CAMERON Melissa

The Elizabeth R. Raphael Founder’s Prize Winner

1.1.2017 This work catalogues one day of gun violence in the USA. After finding January 1st 2017 on the Gun Violence Archive (an independent data collection and research group), I researched each of that day’s 62 incidents to find the weapons used, and the details of the 73 deaths. When no gun details were reported, I alternated between two default pistols. After collecting 73 containers from the places where the guns were used, I matched weapons to containers, and cut the outline of each gun into its corresponding object. The cutouts became pendants, while each altered container was fitted with an identification tag.

S O U R C E : Concept sketch

for 1.1.2017 Photo: Melissa Cameron

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1.1.

2017 2018 1.1.2017, (Installation), 2018 Sourced and found Sourced and found objects, stainless steel, objects, stainless steel, card, string card, string 6" × 2" × 1" 72" × 24" × 12" Photo: Melissa Cameron Photo: Melissa Cameron

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DALTON

Baleen A fishing net is an imprecise tool; at once permeable yet impassable, it captures

Adriane

undiscerningly and what is undesirable, dead, or broken has to be culled. This work contemplates transformation not as a deliberate trajectory toward renewal, but a meandering course set in motion by chance or indifference, like ghost nets lingering at sea. The form in its construction is an abstraction and homage.

S O U R C E : Rescuers untangle a gray whale from a ghost net off the coast of California Photo: Adriane Dalton

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Baleen, 2018 Recycled mesh plastic, waxed linen thread, beading cement 17½" × 13" × 3" Photo: Adriane Dalton

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FAYLE Hillary Waters

Return, Recoil A shed snakeskin represents growth, renewal, physical transition and a fresh start. To find one of these skins is a gift; a message of growth and change.

Transformation is at the heart of this conception and the physical process.

When the snakeskins find their way into my hands, metamorphosis has already begun. I pull each scale individually, and lay it down on paper, allowing for a new arrangement to emerge. This new composition often takes the form of a circle, a simple but powerful line connecting endlessly, bringing to mind a snake eating its own tail; symbol of the eternal return and continual flow of life and death.

S O U R C E : Process shot of the piece being made with snakeskin and tweezers Photo: Hillary Waters Fayle

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Return, Recoil, 2018 Shed snakes scales on paper 14" × 14" × 1" Photo: Taylor Dabney

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HILTNER Maggy Rozycki

Perennial I have tasked myself with questioning the artifacts of my culture by changing their context and content.

Working with handmade remnants of the past, I repurpose them to comment on the present. The history of a quilt pattern (this one “Grandmother’s Flower Garden”) as well as its geometric pattern is contrasted with the wild color and billowing abundance of found embroidery, and the solemn beauty of the skeleton in linen. Working in found materials, I employ a multitude of anonymous assistants. I try to celebrate and elevate their abandoned handwork, making it precious once more.

S O U R C E : Jack Burman’s photographic book The Dead (Vol.1 & 2) Photo: Katatonic c.1800

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Perennial, 2018 Found quilt (hexagon or grandmother’s flower garden pattern), linen, found embroidery 57" × 57" Photo: Gene Rodman

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HOFFMAN Everett

Bro-tank Found objects reconfigured can shape scenes of everyday life, questioning the structural histories that go into defining an identity. Engaging in a multidisciplinary approach of making, my work reimagines the function of ornamentation and its relationship to the body. I approach new materials and found objects with a jeweler’s eye, highlighting and exploiting the subtle often invisible links between material histories and their connection to identity.

Material debris patinated with age like chandelier crystals, beads, and furniture are used to penetrate normative structures around identity, gender, and sexual desire.

S O U R C E : West End Antique Mall, Richmond, VA Photo: Everett Hoffman

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Bro-tank, 2018 Tank top made from 1,223 chandelier crystals, silver, stainless steel wire, glass beads (worn once), vintage chair painted white found in Richmond, VA, chandelier crystals, brass parts from chandelier from a home in Berkeley, CA 36" Ă— 20" Ă— 20" Photo: Terry Brown

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HOYT Judith

Reclaiming In my work I use found metal that is in the process of being corroded by the elements. As the tree grows through the house I am representing how nature will reclaim her place when left alone. It seems we spend so much energy fighting to control the natural world. The idea that we could be transformed by the natural world to a place of balance is what I am trying to convey in this piece.

S O U R C E : Found metal and paper concept pieces Photo: Judith Hoyt

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Reclaiming, 2018 Found metal, oil paint, on ¾” plywood 14" × 16" × 1" Photo: James Fossett

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HUDNALL Katie

The Seeing Machine In the Seeing Machine, two people work together to see each other through the large magnifying lenses set in the backs of conjoined cabinets. The process of opening and operating the cabinets literally takes two people, and it is designed so that conversation back and forth between the users is necessary.

Because the task of seeing eye to eye is set up in this odd, playful manner, it relieves any pressure that might normally be associated with the act. This piece came from thinking about how we engage with and learn to trust others.

It starts a dialogue about how working toward a common goal can do as much to build trust in a relationship as direct conversation.

S O U R C E : Concept sketch for The Seeing Machine Photo: Katie Hudnall

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The Seeing Machine, 2018 Found wood, hardware, lens, string, paint 63" Ă— 35" Ă— 26" Photo: Jake Sneath

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KENNEDY Kathleen W.

Thread of Memory My work deals with finding meaning in the objects around me, currently focusing on the power of jewelry and its ability to act as a signifier. My late grandmother’s charm bracelet is overly filled with charms and trinkets. Each charm holds an important memory for something in her life, though most of their meanings were lost when she died. This piece uses the charm bracelet as a thread to articulate a life’s worth of memories. Over 500 found and donated charms, whose specific meanings were lost when they were separated from their owner, act as souvenirs along this lifeline.

S O U R C E : Grandmother’s charm bracelet Photo: Kathleen W. Kennedy

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Thread of Memory, 2018 (detail) Over 500 found and donated charms, 20 feet of charm bracelet chain 36" × 84" × ½" Photo: David Hunter Hale

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KOSKER

Give and Take How do objects shape experiences and, in turn, how can actions imprint

Joshua

meaning on the material world? Separated from or existing without the body, soap serves no purpose and is generally discarded once it reaches a certain state of reduction. Transformed through the daily ritual of bathing, these momentary, mutable forms convey a tactile, intimate relationship between owner and object. By reconnecting this material to the body as jewelry, I evoke a sensual experience — one that connects viewers and wearers alike to their personal and collective experiences — with intentions of a more private dialogue.

S O U R C E : Soap Photo: Joshua Kosker

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Give and Take (Brooch), 2018 Soap, 24k gold plated brass, 18k gold

2¾" × 2½" × ¾" Photo: Joshua Kosker

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KRETZ Kate

Rupture Like rings of a tree, hair records extreme conditions affecting the human body over a lifetime. Rupture is embroidered with the crowd sourced hair of those who have experienced profound loss: the seismic shift, the “before” and “after” break in the survivors’ lives, is literally embedded in the threads of hair.

This piece gains potency from the accumulated depth of loss, evolving into a silent, unified scream against senseless violence.

S O U R C E : A selection of hair crowd sourced by the artist Photo: Kate Kretz

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Rupture, 2018 (detail) Hand embroidered crowdsourced hair of people who have experienced profound loss on cotton, acrylic

37" Ă— 27" Ă— 2" Photo: Greg Staley

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KW Diane

Tempest in a Teacup Teacups are recognized symbols of hospitality and communication for business and for pleasure. Tempest in a Teacup is a series of paired teacups and saucers with applied ceramic transfers. Vintage Japanese Satsuma porcelain cups, pair Emperor Hirohito’s declaration of war with President Harry Truman’s announcement of the dropping of the atom bomb. The second pair of Korean celedon porcelain cups and saucers presents recent exchanges between Kim Jong Un and Donald Trump.

Imagine if world leaders sat down with cups of tea and talked things over before taking actions that affected the world.

S O U R C E : Thrift store finds Photo: Diane KW

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Tempest in a Teacup, 2018 Porcelain

2" Ă— 5" Ă— 5" Photo: Judith Monteferrante

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LOTT Ted

Carpenter Gothic, #1 Architecture is the environment inside which we spend much of our lives. Like architecture, the objects we use daily are designed around the space of the human body, the difference is one of scale. This work celebrates the logic of stick-frame construction. Echoing the architectural motifs of found furniture to create new, functional works of art. This method of construction; ubiquitous but hidden, simple, yet requiring its own set of skills and knowledge to execute successfully, is representative of the human condition.

S O U R C E : Hepplewhite Settee, after removal of upholstery, before execution Photo: Ted Lott

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Carpenter Gothic, #1, 2018 Wood

85" × 58" × 24" Photo: Ted Lott

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PATHAK Archana

Tree of Life The question of belonging has found crafty ways to stay at the centre of my life — be it as a child, moving from city to city with my parents, or when life chose London as a new home, leaving a mesh of footprints behind in India.

The Tree of Life explores the interplay between memory, place, and identity by mapping green spaces of London, and embellishing them with blossom stitches made from laces cut out of an old colonial map of India. It also attempts to bring forth the transient nature of identity that transforms into new forms before settling into formlessness.

S O U R C E : Old found map of London (1902) Photo: Archana Pathak

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Tree of Life, 2018 Textiles

22¾" × 15 " × 1½" Photo: Archana Pathak

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RICHARDS Ellie

Triangulating Street Brooms Often work and play are perceived as opposites but in my own art practice I have found them to be inseparable. It is my position to showcase this relationship as congruous through sculpture that combines found elements with painted and fabricated wood forms. As a way to draw in the disparity, the resulting work seeks to interweave themes of labor and vocational skill with early childhood pedagogy and open-ended play. My free-form expression of these themes through craft and studio life may seem irreverent and light, but I also seriously consider the material, memory, and collective experience I’m able to access across these platforms.

S O U R C E : Ellie’s growing found broom collection Photo: Ellie Richards

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Triangulating Street Brooms, 2018 Found street brooms, wood rod, spray paint

38" × 86" × 35" Photo: Luke Gnadinger

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SANDOVAL Arturo Alonzo

Pattern Fusion No. 18: Motherboard Inspired by the design of a computer motherboard, I bring together salvaged materials and processes into a visual high-tech fusion. The reflective surfaces and metallic colors make light and movement essential. The materials and composition relay a message that speaks of our place in the twentieth-first century. The graphic imagery for the Motherboard series is introduced through layering. Materials and machine stitching combine to create the locations of motherboard elements. My constructions have a visual intensity that transform repurposed materials into the message that I want to portray.

S O U R C E : Concept sketch for ‘vibrance’ enhanced motherboard Photo: Arturo Alonzo Sandoval

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Pattern Fusion No.18: Motherboard, 2018 Machine stitched; digital specialty perforation tape, recycled auto industry Mylar, recycled UK library 35mm microfilm, monofilament and cotton polyester threads, Holographic and diachroic tapes, 70mm leader film, Pellon, polymer medium, fabric backed

84" Ă— 97" Photo: Walz Photography

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SEO Jina

Yoen-Gi (Dependent Co-arising) I utilize vintage garments to investigate my personal interpretations on the relationship between multiple subject matters, such as desire, the human body, and space. Throughout the history of mankind, clothing has formed a significant connection with desire as an effective device to either empower or to hide desire of beauty, power, and wealth, creating social and cultural phenomena. By uncovering the hidden intimate and sensual power of the human body under clothing, I allow the viewer to have an uncanny experience to redeem social expectations, race, and gender.

S O U R C E : Inside of vintage leather glove Photo: Jina Seo

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Yoen-Gi (Dependent Co-arising), 2018 Vintage leather glove, thread, sterling silver

23" × 8" × 1½" Photo: Jina Seo

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SHOSHTARY Carina

Symbiosis 5 A freshly cut tree stump is a pitiful sight — a brutal memory of the majestic tree that once was. After a while though, the stump slowly transforms: glowing moss covers its outer layer and the flat surface on top takes on an organic shape again. Insects of all kinds claim the cut tree as their new home, busily building holes and tunnels, which soon give the stump the appearance of a mysterious city. Mushrooms stand like guards on top, daring you to approach the gates.

S O U R C E : Tree stump in the forest near artist’s village Photo: Carina Shoshtary

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Symbiosis 5, 2018 Stump wood, graffiti, almond shells, glass, silver, lacquer

17½" × 8½" × 1¾" Photo: Mirei Takeuchi

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STITZLEIN Michelle

Horizon Fringe The Boucherouite Series explores the beauty of one-of-a-kind textiles through the utilization and manipulation of mass-produced products. I admire the uniqueness of hooked rugs, afghans, and folk embroideries and find the anomalies of slubs, dye color changes, and yarns pulled too taut, to be authentic, refreshing examples of character. Frowned upon in a manufacturing atmosphere, these “flaws� are rare in our increasingly homogenized world.

So in a twist of circumstance and fate, I utilize landfill-bound, man-made wares to create handmade works that attempt to challenge the perception of material value as well as contradict the typical ideal of visual perfection.

S O U R C E : Small handmade afghan Photo: Michelle Stitzlein

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Horizon Fringe, 2018 Old garden hose, electrical wire, computer cable, phone cord, coaxial cable, air hose, etc.

102" Ă— 144" Ă— 12" Photo: Michelle Stitzlein

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TOLBERT Jess

Staplewear Series A humble staple is often overlooked, simply used to bind a few pages together, or to post a flyer to a lamp post; its purpose does not often extend beyond what it was intended for. I am drawn to its recognizable form and to the rhythm of its use. Through repetitive actions of layering, patterning, and systemically constructing, I replicate the pace of mass production, but not its protocols. With infinite possibilities, I reflect upon the unknown makers and their process to create a product that is now my raw material, capturing labor in the form of jewelry.

S O U R C E : Found layers, Portland, OR Photo: Jess Tolbert

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Staplewear Series (necklace), 2018 Staples

13" × 1" × ½" Photo: Jess Tolbert

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TYSON

30 Old Farms Road

MJ

All material carries a past, whether we acknowledge this lineage or not, it exists. It may be to our advantage — as a way of orienting ourselves in our world — to consider the cycles of creation and destruction intrinsic to the objects and materials that surround us. In this series of vessels, Homes, I explore the reincarnation of personal objects. These are extensions of, and memorials to, the lives that brought them together. Each vessel is made from objects left behind by the deceased residents of one home, and is named for the address of that home.

S O U R C E : Boxes of objects left behind by my grandparents were an early source of inspiration and material for this work Photo: MJ Tyson

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30 Old Farms Road, 2018 Personal objects from the deceased residents of 30 Old Farms Road

13½" × 7" × 5" Photo: MJ Tyson

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VILLAMAGNA Robert

Shrine for a Mill Rat As I work with repurposed metal, there is a period of chaos during the creating process where I think that nothing good will come about. Eventually, however, a transformation takes place and these bits and pieces of lithographed metal come together to form a totally new image. Upon close inspection of my work, the viewer can discover the history of the material and some insight into its former life. My piece also represents the transformation of myself, a former “mill rat,� a derogatory term that was sometimes used to label those of us who worked in the steel mill.

S O U R C E : Concept sketch for Shrine for a Mill Rat Photo: Robert Villamagna

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Shrine for a Mill Rat, 2018 Repurposed lithographed metal, found objects, nails on panel

60" Ă— 42" Ă— 2" Photo: Neal Warren

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ARTIST

BIOGRAPHIES

VICTORIA AHMADIZADEH Born: Allentown, PA, 1988 Lives: Philadelphia, PA Education M.F.A., Craft/Material Studies, Virginia Commonwealth University, Richmond, VA, 2016 B.F.A., Glass, Tyler School of Art, Temple University, Philadelphia, PA, 2010 Selected Exhibitions 2018 why did you look up to me? i only ever looked across at you, UrbanGlass, Brooklyn, NY

2017 Voice, solo exhibition, Cohen Gallery, Reading, PA Momentum, The Arts Commission, Toledo, OH Out of the Box, Jule Collins Smith Museum of Fine Art, Auburn, AL

UNDINE BROD Born: Los Angeles, CA, 1974 Lives: Rhinebeck, NY Education

2016 Glass National, Workhouse Arts Center, Lorton, VA

M.F.A., The Ohio State University, Columbus, OH, 2011

2013 Solo exhibition, Gallery APA, Aichi, Japan

Special Student, New York State College of Ceramics, Alfred University, Alfred, NY, 2009

Selected Performances

B.F.A., Ceramics, University of Washington, Seattle, WA, 1998

2017 Torpedo Factory Art Center, Alexandria,VA 2017 Pittsburgh Performance Art Festival, Pittsburgh, PA

B.A., Interdisciplinary Art, University of Washington, Seattle, WA, 1998 Selected Exhibitions

Daybook, Beefhaus, Dallas, TX

2017 Voice, Cohen Gallery, Reading, PA

2017 Young Glass, Glasmuseet Ebeltoft, Ebeltoft, Denmark (traveling)

2017 Bacon Friday, Present Company, Brooklyn, NY 2017 Bacon Thursday, Fab Gallery, Richmond, VA

2017 Undine Brod: Clay, solo exhibition, Joan Derryberry Gallery, Tennessee Tech University, Cookeville, TN

New Work, UrbanGlass M.F.A. Exhibition, Brooklyn, NY

fumiamano.com

Reflections on the Natural & Man Made, Landmark Gallery, Texas Tech University, Lubbock, TX

2016 Stanislav Libenský Award, DOX Centre for Contemporary Art, Prague, Czech Republic

JAMES ARENDT

2016 Animals Amongst Us, solo exhibition, Hall Gallery, Woodlands Academy, Lake Forest, IL

free & content, VCUarts Depot Gallery, Richmond, VA

Born: Flint, MI, 1978

Epics, Myths and Fables, The Meyer Gallery, Park City, UT

2014 Unexpected Imagery, Gallery r, Rochester Institute of Technology, Rochester, NY

Lives: Conway, SC Education

2015 On the Edge, solo exhibition, Women’s Studio Workshop Gallery, Rosendale, NY

Selected Grants and Awards

M.F.A., Art Studio, University of South Carolina, Columbia, SC, 2005

Trophies and Prey: A Contemporary Bestiary, Peters Project, Santa Fe, NM

2018 Emerging Artist in Residence, Pilchuck Glass School, Stanwood, WA

B.F.A., Kendall College of Art and Design, Grand Rapids, MI, 2001

Selected Awards and Grants

2017 Fellowship, Creative Glass Center of America, Wheaton Arts, NJ

Selected Exhibitions

2017 Finalist, Zanesville Prize for Contemporary Ceramics, Seilers’ Studio, Zanesville, OH

Selected Collections The Museum of American Glass, Millville, NJ

2018 The Art of Labor, San Jose Museum of Quilts and Textiles, San Jose, CA

STARworks Center for Creative Enterprise, Star, NC

2017 Innovative Fibers, The Bascom, Highlands, NC

vahmadizadeh.com

2016 Fiberart International, Society for Contemporary Craft, Pittsburgh, PA

FUMI AMANO

2015 Everyday is Ordinary, Blue Star Contemporary Art Museum, San Antonio, TX

Born: Aichi, Japan, 1985 Lives: Seattle, WA Education M.F.A., Virginia Commonwealth University, Richmond, VA, 2017 Research Student, Aichi University of Education, Aichi, Japan, 2011 Toyama City Institute of Glass, Toyama, Japan, 2010 B.F.A., Aichi University of Education, Aichi, Japan, 2008 Selected Exhibitions 2018 Antenna: Open Call, solo exhibition, Antenna Gallery, New Orleans, LA Bellevue Arts Museum Biennial, Bellevue Arts Museum, Bellevue, WA

2013 Rijswijk Textile Biennial 2013, Museum Rijswijk, Rijswijk, Netherlands Selected Grants and Awards 2017 Artist-in-Residence, From Waste to Art, Baku, Azerbaijan 2014 Finalist, The 1858 Prize for Contemporary Southern Art, The Gibbes Museum of Art, Charleston, SC 2014 Visual Artist Fellowship, South Carolina Arts Commission, Columbia, SC 2013 People’s Choice, Fiberart International, Fiber Arts Guild of Pittsburgh, Pittsburgh, PA 2013 Top Prize, Artfields 2013, Lake City, SC Selected Collections The Arkansas Art Center, Little Rock, AR South Carolina State Art Collection, Columbia, SC jimarendt.com

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2016 Artist-in-Residence, Arts/Industry, John Michael Kohler Arts Center, Sheboygan, WI 2016 Artist-in-Residence, Yingge Ceramics Museum, New Taipei City, Taiwan 2015 Ora Schneider Residency Grant for Regional Artists, Women’s Studio Workshop, Rosendale, NY Selected Public Art Totemic Disbelief II, Kohler Company, Kohler, WI, 2016 Vulnerable Assets, Lillstreet Rooftop Project Space, Chicago, IL, 2015 undinebrod.com

JEREMY R. BROOKS

Selected Collections

3 x 3, 1708 Gallery, Richmond, VA

Born: Detroit, MI, 1979

University of Iowa Museum of Art, Iowa City, IA

Stitched, Paradigm Gallery + Studio, Philadelphia, PA

Lives: Conway, SC

National Gallery of Australia, Canberra, Australia

19th Annual Textile Exhibition, 1 Galeria X, Bratislava, Slovakia

Cheongju City Collection, Cheongju, South Korea Education

The Arts Centre, Melbourne, Australia

Selected Grants and Awards

M.F.A., New York State College of Ceramics at Alfred University, Alfred, NY, 2007

melissacameron.net

2018 Visiting Artist, Yasar University Annual Design Symposium, Izmir, Turkey

ADRIANE DALTON

hillarywfayle.com

B.F.A, Grand Valley State University, Allendale, MI, 2001 Selected Exhibitions

Born: Richmond, VA, 1982

2018 The Incongruous Body, American Museum of Ceramic Art, Pomona, CA

Lives: Richmond, VA

MAGGY ROZYCKI HILTNER

Education

Born: Vineland, NJ, 1975

Threadbare, Eutectic Gallery, Portland, OR

M.A., History of Decorative Arts and Design, The New School for Design, Parsons, New York, NY, 2014

Lives: Red Lodge, MT

B.F.A., Craft and Material Studies, The University of the Arts, Philadelphia, PA, 2004

Education

2017 Within the Margins | Contemporary Ceramics, Penland Gallery, Penland, NC

B.F.A., Syracuse University, 1997

Gendered: An Inclusive Art Show, Mint Museum Uptown, Charlotte, NC

Selected Exhibitions

Selected Exhibitions

2016 This is the living vessel: person. This is what matters.

This is our universe, Pewabic, Detroit, MI

2018 (work), The Visual Arts Center of Richmond, Richmond, VA

2018 Not Quite Sew, solo exhibition, Ruth Funk Center for Textile Arts, Melbourne, FL

2015 Trophies and Prey: A Contemporary Bestiary, Peters Projects, Santa Fe, NM

2017 Craft Forms 2017, The Wayne Art Center, Wayne, PA

2017 What Lies Beneath, solo exhibition, Missoula Art Museum, Missoula, MT

Sexual Politics, Northern Clay Center, Minneapolis, MN Zanesville Prize for Contemporary Ceramics, Zanesville Museum of Art, Zanesville, OH 2011 National Council on Education for the Ceramic Arts (NCECA) Biennial Exhibition, Tampa Museum of Art, Tampa, FL

2014 Reliquary Redux, Burroughs Wellcome Gallery, Eastern Carolina University, Greenville, NC 2012 The Chain Project, A CASA museu de objecto brasileiro, Sao Paulo, Brazil

2015 Vantage Point, solo exhibition, Mesa Contemporary Art Museum, Mesa, AZ (traveling) Extreme Fibers: Textile Icons and New Edge, Muskegon Museum of Art, Muskegon, MI

2011 Sculptural Objects Functional Art Exposition, Snyderman/Works Gallery, Navy Pier, Chicago, IL

2014 Quilt Visions 2014: The Sky’s the Limit, Visions Art Museum, San Diego, CA

Fresh Figurines, Fuller Craft Museum, Brockton, MA

FRESH: Metalsmith Exhibition in Print 2011, National Ornamental Metal Museum, Memphis, TN

Selected Grants and Awards

2009 Works on Paper 2009, Snyderman/Works Gallery, Philadelphia, PA

2012 BAM Biennial 2012: High Fiber Diet, Bellevue Arts Museum, Bellevue, WA

2011 Emerging Artist Award, 45th Annual National Council on Education for the Ceramic Arts (NCECA) Conference, Tampa, FL klai-body.com

MELISSA CAMERON Born: Perth, Australia, 1978

2004 Birds of Prey, Space 1026, Philadelphia, PA Identifying Now, Nexus Gallery, Philadelphia, PA 2003 Ornament and Armament, Wayne Art Center, Wayne, PA

2011 Green: the Color and the Cause, The Textile Museum, Washington, DC Play, The Textile Center, Brooklyn, NY 2006 New Embroidery, Contemporary Craft Museum and Gallery, Portland, OR Selected Grants and Awards

spitandwishes.com

2015 Artist’s Innovation Award, Montana Arts Council, Helena, MT

Education

HILLARY WATERS FAYLE

2015 Artist-in-Residence, Yellowstone Art Museum, Billings, MT

M.F.A., Jewelry and Metalsmithing, Monash University, Melbourne, Australia, 2009

Born: Buffalo, NY, 1987

Lives: Seattle, WA

Postgraduate Diploma of Jewelry Production, Curtin University, Perth, Australia, 2006 B.A., Interior Architecture, Curtin University, Perth Australia, 2001 Selected Exhibitions 2011 Materials Hard + Soft, Greater Denton Arts Council, Denton, TX 2017 Schmuck 2017, 69th International Trade Fair, Munich, Germany 2016 Body Politic, solo exhibition, Bilk Gallery, Canberra, Australia 2015 Object Evolution, solo exhibition, Bini Gallery, Melbourne, Australia 2012 Melissa Cameron, solo exhibition, Gallery CAJ, Kyoto, Japan Selected Grants and Awards 2017 Judges Choice Award, Itami International Craft Exhibition, Itami Museum of Arts and Crafts, Itami Japan 2015 Merit Award, Taiwan International Metal Craft Competition, Gold Museum, New Taipei City, Taiwan 2014 Fellowship, Craft, Artist Trust, Seattle, WA

Lives, Richmond, VA

maggyrhiltner.com

Education M.F.A., Craft and Material Studies, Virginia Commonwealth University, Richmond, VA, 2015

EVERETT HOFFMAN Born: Boise, ID, 1989

B.F.A., Fiber Design, State University of New York College at Buffalo, Buffalo, NY, 2010

Lives: Gatlinburg, TN

Selected Exhibitions

Education

2018 Organic Form, Blue Spiral Gallery, Asheville, NC

M.F.A., Craft and Material Studies, Virginia Commonwealth University, Richmond, VA, 2016

True/False, Sager Braudis Gallery, Columbia, MO

B.F.A., Studio Art, Art Metals, Boise State University, Boise, ID, 2013

Cut Up/Cut Out, Pensacola Museum of Art, Pensacola, FL (traveling) 2017 Volume, Light Art +Design, Chapel Hill, NC (traveling) form(force), Virginia Commonwealth University— Qatar Gallery, Doha, Qatar Art in Craft Media 2017, Burchfield Penney Art Center, Buffalo, NY Back & Around, solo exhibition, Quirk Gallery, Richmond, VA Natural Connections, Knitting and Stitching Show, Harrogate International Centre, Harrogate, UK

Selected Exhibitions 2018 Athens Jewelry Week, Art+Jewelry: Intersecting Spaces, Benaki Museum, Athens, Greece New Waves, Virginia Museum of Contemporary Art, Virginia Beach, VA Ripple Effect 169, Wellington B. Gray Gallery, East Carolina University, Greenville, NC Adorned Spaces, Society of North American Goldsmiths Conference, Portland, OR 2017 National Juried Exhibition, Rawls Museum, Franklin, VA Artifact and Interpretation, North Seattle College Art Gallery, Seattle, WA

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2016 59th National Juried Art Show, Maria V. Howard Arts Center, Rocky Mount, NC

2013 Crafting a Continuum: Rethinking Contemporary Craft, Arizona State University Museum, Tempe, AZ

Heptadecagon: Soil Invites 17, Soil Art Gallery, Seattle, WA

Selected Grants and Awards

2015 International Chasing and Repoussé Exhibition: Survey 2000- 2015, Outnumbered Gallery, Littleton, CO Selected Grants and Awards 2018 Artist-in-Residence, Arrowmont School of Arts and Crafts, Gatlinburg, TN

JOSHUA KOSKER Born: Takoma Park, MD, 1980 Lives: Bloomington, IN

2016 Windgate ITE Artist Residency, Center for Art in Wood, Philadelphia, PA

Education

2014 Research Grant, IUPUI Arts and Humanities Institute, Indianapolis, IN

M.F.A., 3D Studies: Jewelry Design and Metalsmithing, Bowling Green State University, Bowling Green, OH, 2015

2013 Fellowship, The Peter S. Reed Foundation, New York, NY

B.F.A., Jewelry and Metals, Indiana University of Pennsylvania, Indiana, PA, 2011

2010 Artist-in-Residence, Anderson Ranch Art Center, Snowmass Village, CO

Selected Exhibitions

2017 Covington Scholarship, Virginia Commonwealth University, Richmond, VA

Selected Collections

2017 Duality of Presence, Super+CENTERCOURT, Munich Jewellery Week 2017, Munich, Germany

2016 Graduate Fellowship, Virginia Commonwealth University, Richmond, VA

Center for Art in Wood, Philadelphia, PA

2017 Haystack Summer Conference Scholarship, Haystack Mountain School of Crafts, Deer Isle, ME

everetthoffman.net

JUDITH HOYT Born: Hunter, NY, 1958 Lives: Rosendale, NY Education B.F.A., Printmaking, State University of New York at New Paltz, New Paltz, NY, 1980

Arizona State University Museum, Tempe, AZ

Eskenazi Health Hospital, Indianapolis, IN katiehudnall.com

KATHLEEN W. KENNEDY Born: Richmond, VA, 1985

2008 Artist-in-Residence, Jentel Foundation, Banner, WY 2007 Artist-in-Residence, The Ballinglen Arts Foundation, Ballycastle, Ireland 2005 Best in Show, Craft Boston, Boston, MA 2003 Artist Fellowship Grant in Crafts, New York Foundation for the Arts, New York, NY 1993 Artist-in-Residence, The Macdowell Colony, Peterborough, NH Selected Collections Guggenheim Museum, New York, NY The Smithsonian American Art Museum, Renwick Gallery, Washington, DC Racine Art Museum, Racine, WI Pennsylvania Academy of Fine Arts, Philadelphia, PA Selected Publications Ramljak, Suzanne. On Body and Soul: Contemporary Armor to Amulets, Schiffer Publishing, 2014.

Cozzolino, Robert. The Female Gaze, Pennsylvania Academy of Fine Arts, 2012.

Beijing International Jewelry Exhibition, Beijing Institute of Fashion Technology, Beijing, China WEAR | Contemporary Jewelry, Penland Gallery, Penland School of Crafts, Penland, NC 2016 The Box v.2, Platforma, The Center for Craft, Creativity & Design, Asheville, NC

Lives: Richmond, VA

#ThisIsABrooch, Craft Alliance Center of Art + Design, St. Louis, MO

Education

WE ARE SNAG: Contemporary Smiths, online exhibition, Society of North American Goldsmiths

M.F.A., University of Wisconsin, Madison, WI, 2014 M.A., University of Wisconsin, Madison, WI, 2013

Selected Grants and Awards

Ajavahe, 7th Tallinn Applied Art Triennial, Estonian Museum of Applied Art and Design, Tallinn, Estonia

Materials: Hard & Soft, Greater Denton Arts Council, Denton, TX

B.F.A., Virginia Commonwealth University, Richmond, VA, 2008

Selected Grants and Awards

Selected Exhibitions

2017 Artist Opportunity Grant, Greater Pittsburgh Arts Council, Pittsburgh, PA

2018 Compounds Not Required, 29, 41, 13, Vulcan Gallery, Workhouse Arts Center, Lorton, VA

2016 Open Studio Residency, Haystack Mountain School of Crafts, Deer Isle, ME

2017 Shelter, Jodee Harris Gallery, Seton Hill University, Greensburg, PA Volume, Eckert Art Gallery, Millersville University of Pennsylvania, Millersville, PA

2015 Juror’s Award, Craft Forms 2015, Wayne Art Center, Wayne, PA 2014 Ethical Metalsmiths Emerging Artist Award, College Corner, OH joshuakosker.com

Dream House Remix, Peninsula Fine Art Center, Newport News, VA Radical Jewelry Makeover: Artist Project, Baltimore Jewelry Center, Baltimore, MD

KATE KRETZ

Homeward Bound Triennial, Taubman Museum of Art, Roanoke, VA

Born: Grove City, PA, 1963

2016 Material as Medium, Target Gallery, Torpedo Factory, Alexandria, VA Radical Jewelry Makeover: Artist Project, Form and Concept Gallery, Santa Fe, NM

judithhoyt.net

2015 Beijing International Jewelry Biennial, Beijing Institute of Fashion Technology, Beijing, China

KATIE HUDNALL

2014 Protective Ornament: Contemporary Amulets to Amor, Tacoma Art Museum, Tacoma, WA

Lives: Silver Spring, MD Education M.F.A., Painting, University of Georgia, Athens, GA, 1995 B.F.A., Drawing and Painting, Binghamton University, Binghamton, NY, 1987 Certificat, Cours De La Civilization Française, Sorbonne, Paris, 1982 Selected Exhibitions

Born: Alexandria, VA, 1979

Selected Grants and Awards

2018 Common Denominator, solo exhibition, York College of Pennsylvania, York, PA

Lives: Indianapolis, IN

2017 Open Studio residency, Haystack Mountain School of Craft, Deer Isle, ME

2016 Go For Baroque, Racine Art Museum, Racine, WI

Selected Collections

Fiberart International, Pittsburgh Center for the Arts, Pittsburgh, PA

Education M.F.A., Virginia Commonwealth University, Richmond VA, 2005

Frances and Sydney Lewis, Richmond, VA

B.F.A., Corcoran College of Art & Design, Washington DC, 2001

kathleenwkennedy.com

Selected Exhibitions 2017 Tools for Problems Real and Imagined, solo exhibition, South Bend Museum of Art, South Bend, IN 2015 Bits and Pieces, solo exhibition, Indianapolis Art Center, Indianapolis, IN 2014 Beyond Boundaries, Collectors of Wood Art, Sculptural Objects Functional Art Exposition, Chicago, IL Bartram’s Boxes Remix, Center for Art in Wood, Philadelphia, PA

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2013 Milestones: Textiles of Transition, San Jose Museum of Quilts and Textiles, San Jose, CA Fiberart International, Society for Contemporary Craft, Pittsburgh, PA 2012 From Lausanne to Beijing International Biennial Fiber Exhibition, Academy of Arts & Design, Tsinghua University, Beijing, China 2011 Beyond Re/Production: MOTHERING, Kunstraum Kreuzberg/Bethanien, Berlin, Germany 2008 Pricked: Extreme Embroidery, Museum of Arts and Design, New York, NY

Selected Grants and Awards

TED LOTT

Selected Grants and Awards

2018 Individual Artist Award, Maryland State Arts Council, Baltimore, MD

Born: Milwaukee, WI, 1979

2017 First Runner-up, Marshwood Arts Award for Applied Arts, Devon, United Kingdom

2016 Award for Outstanding Artistic Achievement, Southeastern College Art Conference, Roanoke, VA

Lives: Cooperstown, NY Education

2015 Individual Artist Award, Maryland State Arts Council, Baltimore, MD

M.F.A., University of Wisconsin, Madison, WI, 2011

2008 Grant, North Carolina Arts Council, Raleigh, NC

M.A., University of Wisconsin, Madison, WI, 2010

1998 Fellowship, South Florida Cultural Consortium, Miami, FL

B.F.A., Maine College of Art, Portland, ME, 2006

DIANE KW Born: Chicago, IL, 1951 Lives: Honolulu, HI Education Graduate Studies Art, University of Hawaii, Honolulu, HI, 2011-2015 School of the Honolulu Museum of Art, multidisciplinary studies, 2002-present M.P.H., Epidemiology, Columbia University, New York, NY, 1985

2016 The Measure of All Things, solo exhibition, Haystack School of Crafts, Center for Community Programs, Deer Isle, ME Home Away From Home, two person exhibitition, Walton Art Center, Fayetteville, AR 2015 Architectonic, solo exhibition, List Gallery, Swarthmore College, Swarthmore, PA 2014 False Front, solo exhibition, Storrs Gallery, University of North Carolina College of Art and Architecture, Charlotte, NC 2012 Anomalous, solo exhibition, List Gallery, Caestecker Gallery, Ripon College, Ripon, WI

M.D., New York University, New York, NY, 1974 B.S., Chemistry, University of South California, Los Angeles, CA, 1970

Selected Grants and Awards 2018 The Elizabeth Greenshields Foundation Grant

Selected Exhibitions

2017 Emerging Voices Award, Shortlisted Artist, American Craft Council, Minneapolis, MN

2018 Making Waves, Honolulu Museum of Art, Honolulu, HI

2014 Artist-in-Residence, Kohler Arts and Industry, John Michael Kohler Arts Center, Sheboygan, WI

2016 Chen Chan Chen, Honolulu Museum of Art, Honolulu, HI 2015 Brekkber (Breakable), solo exhibition, Princessehof Museum, Leeuwarden, Netherlands 2014 Strong Breezes and Passing Clouds, installation, Cape Ann Museum, Gloucester, MA Together Under One Roof, installation, Honolulu Museum of Art, Honolulu, HI 2013 At World’s End, solo exhibition, Groninger Museum, Groningen, Netherlands (traveling) 2010 Incheon 10th Contemporary Ceramic Exposition, Incheon, South Korea The Scarab Vase Exhibition, Everson Museum of Art, Syracuse, NY 2007 Lavaflow Ceramics, solo exhibition, Mercury Gallery, Boston, MA

archanapathak.com

ELLIE RICHARDS Selected Exhibitions

katekretz.com

2017 Best New Business, Contemporary Craft Festival, Devon, United Kingdom

2013 Artist-in-Residence, Vermont Studio Center, Johnson, VT 2011 Artist-in-Residence, Anderson Ranch Art Center, Snowmass Village, CO Selected Collections John Michael Kohler Art Center, Sheboygan, WI

Born: Greenbelt, MD, 1985 Lives: Penland, NC Education M.F.A., Arizona State University, Tempe, AZ, 2011 B.F.A., University of Dayton, Dayton, OH, 2007 Selected Exhibitions 2017 At Play, Hodges Taylor Art Consultancy, Charlotte, NC MoreLand, Simone DeSousa Gallery, Detroit, MI Materials Hard & Soft, Greater Denton Arts Council, Denton, TX Time + Materials, Turchin Center for the Arts, Boone, NC 2016 Collectors of Wood Art, Sculptural Objects Functional Art Exposition, Navy Pier, Chicago, IL 80x80, The Mint Museum, Charlotte, NC Interlude, Black Mountain College Museum and Gallery, Asheville, NC 2015 Dining and Discourse: A Discussion in Three Courses, Houston Center for Contemporary Craft, Houston, TX Selected Grants and Awards 2017 Research Grant, World Wood Day Foundation, Newport Beach, CA

Karen and Robert Duncan, Lincoln, NE

2015 Regional Artist Project Grant, North Carolina Arts Council, Raleigh, NC

tedlott.com

2015 Vermont Studio Center Full Fellowship, Vermont Studio Center, Johnson, VT 2011 Completion Fellowship, Herberger Institute of Design and the Arts, Tempe, AZ

ARCHANA PATHAK Born: Lucknow, India, 1978

ellie-richards.com

Lives: London, United Kingdom Education

ARTURO ALONZO SANDOVAL

M.A., Sustainable Textile Design, Chelsea College of Arts and Design, London, United Kingdom, 2014

Born: Espanola, NM, 1942

M.A., Apparel and Textile Design, National Institute of Design, Ahmedabad, India, 2003

Lives: Lexington, KY Education

Selected Collections

Selected Exhibitions

M.F.A., Fiber, Cranbrook Academy of Art, Bloomfield Hills, MI, 1971

Honolulu Museum of Art, Honolulu, HI

2018 Kingsgate Workshops Open Studios, Textile Hub, London, United Kingdom

M.A., Fiber, California State University, Los Angeles, CA, 1969

Groninger Museum, Groningen, Netherlands Cape Ann Museum, Gloucester, MA Florida Holocaust Museum, St. Petersburg, FL Museum of Fine Arts, St. Petersburg, FL

Select Trail, Gallery 2, Museum in the Park, Stratford Park, Stroud, United Kingdom

Phil and Leigh Creighton Collection, Pacific University, OR

2017 Selvedge Fair, Mayward House, Kings Cross, London, United Kingdom

dianekw.com

Marshwood Arts, Bridport Arts Centre, Dorset, United Kingdom Kingsgate Workshops Open Studios, Textile Hub, London, United Kingdom The Contemporary Craft Festival, Devon, United Kingdom 2016 Kingsgate Workshops Open Studios, Textile Hub, London, United Kingdom 2015 Kingsgate Workshops Open Studios, Textile Hub, London, United Kingdom

B.A., California State University, Los Angeles, CA, 1964 Selected Exhibitions 2017 Mastery: Sustaining Momentum, British International Quilt Festival, Birmingham, United Kingdom 2016 The Faces of Political: In/Tolerance, Fuller Craft Museum, Brockton, MA 2015 Extreme Fibers, Muskegon Museum of Art, Muskegon, MI 2013 Masters: Art Quilts, Volume 2, Studio Art Quilt Associates, New England Quilt Museum, Lowell, MA

2014 Chelsea College Postgraduate Summer Show, Chelsea College of Arts and Design, London, United Kingdom

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Selected Grants and Awards

CARINA SHOSHTARY

Selected Grants and Awards

2009 Museum Purchase Award, 41st Mid-States Craft, Evansville Museum of Arts, History, and Science, Evansville, IN

Born: Augsburg, Germany, 1979

2017, 2008 Individual Artist’s Excellence Grant, Ohio Arts Council, Columbus, OH

Lives: Althegnenberg, Germany

2003 Artist-in-Residence, Millay Colony for the Arts, Austerlitz, NY

2007 Fellowship, American Craft Council, New York, NY

Education

2003 Artist Award, Governor’s Awards in the Arts, Kentucky Arts Council, Frankfort, KY

Diploma, Academy of Fine Arts, Munich, Germany, 2012

1992 Visual Arts Fellowship—Crafts: Fiber, National Endowment of the Arts, Washington, DC

Apprenticeship, Goldsmith, State College for Glass and Jewelry, Neugablonz, Germany, 2004

Selected Collections

Selected Exhibitions

COSI—Center for Science & Industry, Columbus, OH

Columbus Museum of Art, Columbus, OH

2017 In the Beginning There Was Red, solo exhibition, Sienna Gallery, Lenox, MA

artgrange.com

Museum of Art & Design, New York, NY The Smithsonian American Art Museum, Renwick Gallery, Washington, DC Museum of Modern Art, Architecture & Design Collection, New York, NY

The Octopus Has Three Hearts, Galerie Noel Guyomarc’h, Montréal, Canada

arturoart.com

JINA SEO

2014 Danner-Preis 2014, Schloss Johannisburg, Aschaffenburg, Germany

Lives: Springfield, MO Education M.F.A., Metal, University of Illinois, UrbanaChampaign, IL, 2016

2013 Förderpreise der Landeshauptstadt München, Lothringer 13, Munich, Germany 2011 Materials Revisited-10. Triennale für Form und Inhalte, Museum of Applied Arts, Frankfurt, Germany

B.F.A., Metalwork and Jewelry Design, Kookmin University, Seoul, South Korea, 2012

2008 The Fat Booty of Madness, Pinakothek der Moderne, Munich, Germany

Selected Exhibitions

Selected Grants and Awards

2018 CHAOS, Alliages, Munich Jewelry Week, Munich, Germany

2017 Award design for La Monachia, Economy Prize for Women, Munich, Germany

2017 Touch Freely, Baltimore Jewelry Center, Baltimore, MD

Erie Insurance, Corporate Headquarters, Erie, PA

Trésor, Contemporary Craft Fair, Basel, Switzerland

2016 Not Too Precious, National Craft Gallery, Kilkenny, Ireland

Born: Seoul, South Korea, 1987

Selected Collections Domino’s Pizza, Corporate Headquarters, Ann Arbor, MI

2017 Stipendien für Bildende Kunst, City of Munich, Munich, Germany

JESS TOLBERT Born: Ft. Collins, CO, 1985 Lives: El Paso, TX Education M.F.A., Jewelry/Metals, University of Illinois, Urbana-Champaign, IL, 2013 B.F.A., Jewelry/Metals, Texas State University, San Marcos, TX, 2009 Selected Exhibitions 2018 CraftTexas 2018, Houston Center for Contemporary Craft, Houston, TX Here & Now, Las Cruces Museum of Art, Las Cruces, NM Reliant Objects, Oregon College of Art & Craft, Portland, OR 2017 Beijing International Jewelry Exhibition, Beijing Institute of Fashion Technology, Beijing, China Duality of Presence, super+CENTERCOURT, Munich, Germany

The Room of Desires, Raumwerk, Munich Jewelry Week, Munich, Germany

2012 Bavarian State Prize for Emerging Designers, Bayerisches Staatsministerium für Wirtschaft, Infrastruktur, Verkehr und Technologie, Munich, Germany

Duality of Presence, Super+CENTERCOURT, Munich Jewelry Week, Munich, Germany (traveling)

Selected Collections

2016 Spirit & Matter, The Jung Center of Houston, Houston, TX

The Victoria and Albert Museum, London, United Kingdom

CraftTexas 2016, The Houston Center for Contemporary Craft, Houston, TX

2016 UNEXPECTED, Craft Council of British Columbia Gallery, Vancouver, Canada

Materials: Hard & Soft, Greater Denton Arts Council, Denton, TX

The International Design Museum, Munich, Germany

Touch: Interactive Craft, Gallery, Arrowmont School of Arts and Crafts, Gatlinburg, TN

2015 Adorn, Woman Made Gallery, Chicago, IL

carinashoshtary.com

2014 METALLOphone: Personally, (AV17) Gallery, Vilnius, Lithuania

9th Cheongju International, Cheongju International Craft Biennale, Cheongju, South Korea

MICHELLE STITZLEIN

Selected Grants and Awards

Selected Grants and Awards

Born: Coshocton, OH, 1967

2017 Artist Incubator Grant, El Paso Museum & Cultural Affairs Department, El Paso, TX

2016 SNAG Emerging Artist, Sculptural Objects Functional Art Exposition, Navy Pier, Chicago, IL

Lives: Baltimore, OH

2016 Fountainhead Fellowship in Craft and Material Studies, Virginia Commonwealth University, Richmond, VA

Education B.F.A., Columbus College of Art and Design, Columbus, OH, 1989

Selected Public Lectures

Selected Exhibitions

“Reconstruct/Deconstruct Transportation” Material Topics Symposium, East Carolina University, Greenville, SC, 2018

2018 Industrial Nature, solo exhibition, Saugatuck Center for the Arts, Saugatuck, MI

Artist Lecture Series, SNAG Emerging Artist, Sculptural Objects Functional Art Exposition, Navy Pier, Chicago, IL, 2016

2017 Industrial Nature, solo exhibition, Springfield Museum of Art, Springfield, OH

Selected Publications

Future Fabrication: SDA International Exhibition in Print, Surface Design Journal

AUTOR Contemporary Jewelry Magazine, 5th Issue, The RECIPROCITY, 2018 jinaseo.com

2015 Industrial Nature, solo exhibition, Schweinfurth Memorial Art Center, Auburn, NY 2014 Industrial Nature, solo exhibition, Appleton Museum of Art, College of Central Florida, Ocala, FL 2013 Industrial Nature, solo exhibition, Cedarhurst Center for the Arts, Mt. Vernon, IL 2012 Industrial Nature, solo exhibition, Mulvane Art Museum, Washburn University, Topeka, KS

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2017 The Rachelle Thiewes Endowment, University of Texas, El Paso, TX jesstolbert.com

MJ TYSON

ROBERT VILLAMAGNA

Born: Morristown, NJ, 1986

Born: Oakland, CA, 1948

Lives: Hoboken, NJ

Lives: Wheeling, WV

Education

Education

M.F.A., Jewelry and Metalsmithing, Rhode Island School of Design, Providence, RI, 2017

M.A.T., Art Therapy, Wright State University, Dayton, OH, 1991

B.F.A., Jewelry and Metalsmithing, Rhode Island School of Design, Providence, RI, 2008

B.S., Mental Health, Franciscan University of Steubenville, Steubenville, OH, 1989

University of Applied Arts, Pforzheim, Germany, 2007 Selected Exhibitions Selected Exhibitions: 2018 The Last Objects, solo exhibition, Brooklyn Metal Works, Brooklyn, NY Juried Craft, Delaware Art Museum, Wilmington, DE Talente, Munich and Upper Bavarian Chamber of Skilled Trades, Munich, Germany RE:FORMATION, Gallery Madison Park, New York, NY Tiny Acts Topple Empires, The Woskob Family Gallery at Pennsylvania State University, State College, PA Rhode Island School of Design Faculty Exhibition, RISD Museum, Providence, RI 2017 International Graduate Show, Galerie Marzee, Nijmegen, Netherlands String Theories, Field Projects, New York, NY

2018 Three Rivers Arts Festival Juried Visual Arts Exhibition, Pittsburgh, PA Tin is the New Black, Stifel Fine Arts Center, Wheeling, WV 2017 The History of Rust in America, solo exhibition, Dickerson Gallery, Tamarack, Beckley, WV 2016 My Latest Attempt to Be Somebody, solo exhibition, Loft Gallery, Wheeling Artisan Center, Wheeling, WV The Gift of Art: 100 Years of Art from the Pittsburgh Public Schools’ Collection, Senator John Heinz History Center, Pittsburgh, PA 2015 Life in the Belly of a Dinosaur, solo exhibition, Northern Kentucky University, Highlands Heights, KY

Duality: Glimpses of the Other Side, Islip Art Museum, East Islip, NY

Selected Grants and Awards

Mutual Encounters, Gelman Gallery, Providence, RI

2017 Inductee in Fine Arts, Wheeling Hall of Fame, Wheeling, WV

Selected Grants and Awards

2016 West Virginia Artist of the Year, West Virginia Division of Culture and History, Charleston, WV

2018 Artist-in-Residence, The Studios at MASS MoCA, North Adams, MA 2018 Artist-in-Residence, Vermont Studio Center, Johnson, VT

2015 Governor’s Award, West Virginia Juried Exhibition, The Culture Center, Charleston, WV Selected Collections

mjtyson.com

The State of West Virginia, Charleston, WV Pittsburgh Public Schools, Pittsburgh, PA Betye Saar, Los Angeles, CA robertvillamagna.com

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Board of Directors

Heart of Craft Circle Donors ($5,000+)

Susan Yohe Chair

Annette and John Atwood

Susan Golomb Vice Chair Emma Wallis Jones Secretary

We acknowledge with appreciation the following staff and volunteers for their contributions to Transformation 10:

Emily and Ronald Bianchini

Contemporary Works in Found Materials

Marianne Bokan-Blair and David J. Blair

Janet McCall Executive Director

Tracy and Nick Certo

Kate Lydon Director of Exhibitions

Kimberly Griffith Treasurer

Judy and Michael Cheteyan

Annette Atwood

Lucine A. Folgueras

Christine Bethea

Susan Golomb

Tracy Certo

Carolyn and Paul Hrach

Albert Donnenberg Mark Flaherty

Mary Ellen Johnson and Edward F. Rockman

Susan Gromis Kaplan

Judy Kelly

Peter Mars

Elsa Limbach

Alexander Neal

Kate Lydon

Clark R. Nicklas

Lois M. Madden

Rita Resick

Wendy and Peter F. Mars

Edward F. Rockman

Janet L. McCall

Jhenny Adams Acting Education Program Coordinator

Janice Faller Schermer

Margaret McDonald and Russell Schuh

Liz Lenthe Development Coordinator

Mary McKinney and Mark F. Flaherty

Tessa McArdle Customer Service/ Administrative Assistant

Patty Silberstein Ernie Sota

Vera S. and Albert Donnenberg

William Stein

Diane Mohr

Hilary Tyson

Amy B. Morgan

Lorene Drake Vinski

Janice L. Myers-Newbury

Randall Vollen

Clark R. Nicklas Michele and David O’Leary

Crafting Our Future Donors ($5,000+)

Marianne Bokan-Blair and David J. Blair Mary Ellen Johnson and Edward F. Rockman

Kathe and Demetrios Patrinos Alexandra Raphael Catherine Raphael Rita Resick and Rick Stafford

Aaron Martin Director of Development Stephanie Huei-Hsuan Sun Marketing Manager Yu-San Cheng Finance Director Rebecca McNeil CFO — Art Finance Cohort Susan Hillman Retail Sales Manager James Ebbert Retail Sales Manager

Abigail Sites Fine Fellow 2018 Janna Arnold Cheteyan Scholar 2018 Alyssa Rodibaugh Studio Apprentice Daniel Baxter Artist-in-Residence Kristin Karsh Volunteer

Elsa Limbach

Sandra and Larry Rosen

Pam Morrison Volunteer

The Mars Family Foundation

Janice Faller Schermer and Leland Schermer

Georgie Nix Volunteer

Patty and David J. Silberstein

Tammy Schweinhagen Volunteer

Janet L. McCall Clark R. Nicklas Catherine Raphael Sandra and Larry Rosen Janice Faller Schermer and Leland Schermer William Stein PJ Dick & Trumbull (Clifford R. Rowe, Jr.)

Susan Harris Smith and Philip E. Smith James Turnbull Lorene and Denis Vinski Beth Wainwright and Russ Kemerer

Measurements are in inches height preceding width preceding depth.

Susan A. Yohe ISBN 978-0-9960989-3-9

Lorene and Denis Vinski

Legacy Circle (Bequests)

Beth Wainwright and Russ Kemerer

Anne Bokan Charitable Remainder Trust*

Susan A. Yohe

Biographical information has been selectively compiled and is not meant to be exhaustive.

Donna Hollen-Bolmgren*

Design: Paul Schifino, schifinodesign.com

Gerri Kay*

Printing: Print Tech, printtechofwpa.com

Elizabeth Rockwell Raphael* *deceased

Front Cover Maggy Rozycki Hiltner Perennial, 2018 (detail) Inside Front Cover Michelle Stitzlein Horizon Fringe, 2018 (detail) Back Cover Melissa Cameron 1.1.2017, 2018 (detail) Page 3 Joshua Kosker Give and Take (Brooch), 2018 Page 6 & 7 James Arendt Adrian: Lies, 2018 (detail) Page 8 Arturo Alonzo Sandoval Pattern Fusion No. 18: Motherboard, 2018 (detail) Page 67 Ted Lott Carpenter Gothic, #1, 2018 Inside Back Cover Katie Hudnall The Seeing Machine, 2018

Contemporary Craft 2100 Smallman Street Pittsburgh, Pennsylvania 15222 www.contemporarycraft.org 412.261.7003