Lilah Ward

Dandelion grid quilt, 2021

Cotton fabric, thread, batting, dandelion dye [50" X 50"]

Quilt tiles that are individually stuffed with batting and backed connected at corners with knotted thread, dandelion dyed fabric is the pale yellow fabric, when folded diagonally the squares hanging to the back can be seen through the negative space between the squares in front.

Ayelet Lindenstrauss Larsen

Embroidered Scribbles on a Page from My Notebook, 2009

Silk, cotton, and archival marker on linen [Two panels 16" x 12"]

In the early grades of elementary school, my friends and I considered decorating the margins of our notebooks a way of showing that we were dedicated students. I have kept at it, scribbling in the margins when I needed to focus, or when I needed to take a break. I got some good visual ideas while scribbling with pen. And I learned a lot about embroidery by making samplers. Samplers were originally just cloths for trying patterns on---spaces for scribbling with needle and thread.

Blair Cahill

The Marquis, 2025

Embroidery on Silk [ 21" W X 16" H]

In the late 1600s, a notorious figure known simply as "The Marquis" held sway over the high seas and noble courts alike. Born to both the nobility and the ocean’s depths, he possessed a glistening fish tail below his waist, a gift—or perhaps a curse—of his sea-bound ancestry. His life was a scandalous blend of decadence and debauchery, filled with high-stakes gambling, raucous champagne-fueled gatherings, and bawdy limericks that had a way of leaving his audiences both shocked and charmed. This eccentric Marquis was a regular at every dimly lit tavern and opulent salon, always spinning tales of exploits about his beloved ship, the HMS Piscaria. Manned by fish-like sailors of fierce loyalty and stranger origins, the Piscaria roamed the seas in pursuit of treasure and revelry. Together, this strange, seaworthy crew painted the coasts in hues of salt and scandal, leaving legends of their daring escapades whispered in every port.

Judy Langille

Log Cabin Watercolor, 2025

Silk organza painted with natural dyes, hand stitched [48" x 38"]

Log Cabin Watercolor 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.

Laurel Izard

Tanks and Teddy Bears, 2024

Vintage baby blanket, cotton thread, fabric paint, and batting [40" x 28"]

American Childhood is the term I use for this series of quilts which start with Mid Century baby blankets collected on the internet. I’m looking at several things here and one is the huge contrast between the cute and sweet images we insulate infants with and the violent reality we are surrounded with as adults. Many show a cute and fuzzy world of baby animals that can insulate us from the from the harsher realities of the wild. Some tourists have learned the hard way that those are not teddy bears out there. Other baby blankets show babies and children engaged in idealized, sex role appropriate activities in an idealized picture of childhood that was completely unattainable for many.

Teal Fitzpatrick

‘you keep me on the line’, 2024

wools + raw linen + custom pine frame [40" x 64" x 2.75"]

Ann Morton

Voluntary Protective Action, 2021-2022

US Flag, hand-knit wool yarn [53" x 76"]

During the course of the Violet Protest* exhibition at Phoenix Art Museum in 2021, Ann knitted the front panel of this flag’s sweater - combining red and blue yarn in an intertwined cable stitch. The knitted pattern represents the interdependence of red and blue - familiar symbols of our nation’s political parties - to maintain the integrity of the cloth of our democracy. Traditionally, we make sweaters or blankets for those that we care about to protect them and keep them warm and safe, hence this out-sized sweater for the American Flag, the visible symbol of our American unity.

Kate Kretz

One Day In America, 2018

hand embroidery on found deconstructed cross stitch, gold thread, 96 beads & star sequins (one for every gun death per day in the U.S.), blue cotton velvet [28" x 16"]

Carlyn Yandle

Scaffolds, 2020

Found Tyvek spun polyester building wrap, construction-site detritus, rebar [120"W x 120"H x 8"D]

A single sheet of paper that was made at the Morgan Paper Conservatory holds stitched text and, hidden on first glance, a selection of small bones extracted from owl pellets stitched in place. Housed in a bespoke box that forms part of the artwork.I recently realized that I haven't had any owl sightings in far too long, nor have I been able to add to my collection of owl pellets. The distinctive late night or early morning hoots of owls is only rarely heard. Such realizations can send me down a road of dismay and disconnect with the state of the world and my place in it. With the likelihood of being able to go to a previously abundant owl pellet collecting site diminishing, even disappearing, I'm compelled to share some of the tiny bits that so captivate me with others. This was a time consuming book to make. A wish to use materials that enhanced both the look and feel of the paper I started with turned me towards weaving and felting, so I had to learn about both of those techniques for working with fiber. The decision to use woven and felted fiber on the book case necessitated more experimentation, trial and error.

Emmanuelle Rapin

Genealogie, 2024

Plaster, rose branch and thorn, cotton thread embroidery on copper wire. [90 × 28 × 11 cm]

I embroidered the word GENEALOGIE with white cotton thread onto two copper wires. It unfolds vertically, resembling a fragile spine. Connected to a dried rose branch, this structure highlights a genealogy that extends beyond the human sphere to root itself in nature. The rose branch, fragile yet persistent, embodies the biological and symbolic roots that link humanity to its environment. A "vegetal memory" is inscribed within humanity – a silent yet omnipresent memory. From foundational myths to everyday practices, plants nourish, heal, and inspire, becoming vectors for the transmission of knowledge. The cotton thread, of plant origin, becomes the material support for a textile writing that narrates this continuity between humanity and nature, with each sewn stitch preserving a fragment of this shared memory.

Lorraine Glessner

The Sensuous Magnolia & the Great Salt Lake, 2024

Encaustic, collage, mixed media on stained silk on wood [30" x 40"]

Rowen Schussheim-Anderson

Hues from the Edge, 2022

Wool, cotton, rayon, silk [36" x 40"]

Coloring Outside the Lines was part of a series of pieces inspired by the color field painters of the 1960's. Using analagous colors of a varied range in value, I wanted to create movement and depth.

April DeConick

The Shores, 2024

Wool, ceramic, acrylic [36" x 40" x 5"]

I up-cycled two ceramic sculpture pieces intended for another project by refiring with a new glaze application. I created a new fiber tapestry using wool scraps from earlier projects.

Nancy Eastman

Sand Creek Trail, 2023

Handmade paper and thread [31"W x 24"H]

Charlotte Schmid-Maybach

Big Forest, 2020

Archival pigment prints on kozo paper, thread, paper maps, iridescent water color [62" x 50"]

“Balance in Blue” is an homage to the strength and fragility that balance in nature's diversity. The hard ceramic structure evokes impressions of rock, shell, coral or wood, while the translucent fabric suggests petals, mushrooms, seaweed, rushing water or a flowing breeze. The interpretation is in the mind of the beholder. It's a simple study of natural contrasts...hard and soft, light and dark, translucent and opaque, fluid and rigid. Nature presents these amazing contrasts everyday. It's the balance of these elements that makes the magic of our natural world.

Jessie McClanahan

Till Death Do Us Part, 2024

American Chestnut paper, pigment & dye, coal pigment, copper [7' x 7']

When moving to Syracuse from west Virginia I learned the history of the American Chestnut, in their story and my transplantation outside of Appalachia ; I found kinship with them. With their leaves I created dyes and inks that I adorned the fabric with and used what was left to make paper. I made us a double wedding ring "quilt" of this paper, coal dust, and fabric that tied us together. The quilt was broken up into its individual blocks and has been shared across the globe telling the story of this tree and Appalachia.

Sue Weil

The Sands of Time , 2024

cotton, wool, Tencel, hemp, flax, copper wire [46" x 35"]

We often view the passing of time with nostalgia; glorifying a prior period with a yearning for what was. Some say this tapestry resembles an archeological dig, lost civilizations, or even a nameless community of today. May the passing of time also hearken to the promise of a better tomorrow.

Therese Zemlin

Realms of the Soil, 2025

Inkjet prints on Japanese and western papers hand-cut into strips, hand weaving [7 3/4" x 7 3/4"]

Weaving Draft: Page 166, Figure 1, Orimono soshiki hen [Textile System], Yoshida, Kiju, Japan, 1903, Handweaving.net #50013 Text is from Rachel Carson, Silent Spring, Realms of the Soil. Photos taken by the artist in Brimson, MN

Leisa Rich

Catch and Release, 2025

Yarn, vintage needlepoint, wood, dye [48"H x 32" W x 6"D]

I was a weaver first. Although it is not my regular practice now, I wanted to nod to my historical background, as well as the background of this art, itself. Punch cards gave birth to the technology today that allows me to use alternative materials and methods. The wooden cameo and band that the weaving hangs from are made of wood and engraved on a Glowforge laser cutter. I really enjoy melding the old with the new. And here, nature melds with human; we must love and value our world, but be ready to let it fly on its own, too.

Danielle Shelley

Modern Chair Sampler, 2018

Thread, cotton/rayon/linen Aida fabric [18" H x 18" W]

More than anything else, classic modern chairs evoke for me my childhood home, which was filled with Mexican Bauhaus furniture collected by my parents, an architect and a weaver. My favorite was the loveseat, in which I spent hundreds of hours reading. “Modern Chair Sampler” includes chairs I grew up with, chairs from my own home, and others whose shapes I love. Some of the hours I spent in the Bauhaus loveseat were probably taken up by cross stitching, which I taught myself from the Girl Scout Handbook. Now I use cross stitch to play with traditional sampler forms, express myself politically, and bring concepts of modern abstract art into the world of needle and thread.

Boisali Biswas

Asemic Letter to Myself, 2024

Cotton, rayon yarns, dyes [21" X 28"]

As an immigrant fiber artist from India, my work is constantly informed by my existence between the two cultures, woven by the threads of transcending memories, nostalgia, and cultural identity. Most often, I find myself drawn to my roots, exploring the complexity of migration, belonging, and emotions that emerge from those feelings. Lot of times the interpretations remain deeply personal and ambiguous. This piece felt like weaving a page from one of my most intimate journals.

Susan Clark

National Park Service employee loses his job, 2025

Tea Towel: screen printing on reclaimed cotton with hand painting [25" x 18"]

"I am absolutely devastated to have lost my dream job on Valentine's Day [2025]. I am a work evaluation that reads "exceeds expectations." I am the "fat on the bone." I am a college kid's dream job...

Judith Martin

You are a single star, 2024

vintage quilt patches (dresden plates) some of them mended with velvet, wool fabric dyed with plant dyes, cotton and wool threads, wool batt, vintage damask back cloth [227cm x 227 cm]

When I was a bride, I made a dresden plate quilt from sewing scraps. It became worn out after years of use, and in 2019, I began mending it by unpicking the plates and re-applying them to new wool cloth that I've coloured with local plants. Some of the original patches were worn and so I replaced those ones with silk velvet. My sensuous youth is held in these stitches.

Michelle Lougee

Souvenirs-Sand Dollar, 2023

plastic and natural objects [8" x 12" x 2"]

"Souvenirs" are made from post-consumer blister packaging which encapsulates natural objects to examine our relationship to nature in the face of a changing climate. These fetish-like objects, reminiscent of a Victorian collection, honor what may soon be a memory and emphasize the absurdity of our casual approach to preserving nature.

Rachel Mayer

And I Thought of You, 2021

Hand-painted cotton, thread [7ft x 7ft x 5in]

Deidre Scherer

Sisters, Sitting, 2004

Thread on layered fabric, free-cut and free-stitched by machine [29" x 29"]

Now in the collection at the Rhode Island School of Design Museum.

Evelyn Politzer

Past, Present and Future Connections, 2020

Free-form weaving with hand-dyed yarn and threads. Wire wrapped frame. [60" x 45" x 7"]

This piece was free-form woven to celebrate the 100th anniversary of women's right to vote. It is see-through, as transparent as our relationships should be, and purposely shaped like a flag moving with the wind. There are 36 stars abstractly woven to represent the 36 states needed to ratify the 19th Amendment to the US Constitution in 1920.

Laura Elmore

March Madness, 2023

Paint, cotton embroidery floss, beads [3"x5"]

This is my response to the traditional reclining female figure in art. The male subject is oblivious to the female gaze, and quite engrossed in his basketball games.

Jeana Klein

Main Square in Marigot, 2023

Plastic beads and acrylic yarn [36" x 50"]

I am recreating my late grandparents’ travel photographs from the 1990s. The original pictures represent a different era of documentation, when photos were taken with the preciousness of film and shared through the intimacy of tangible albums. When I look at these pictures, I ponder what it was about that exact moment that my grandparents wanted to preserve and remember. I get a sense of their joy and awe at the world and all its wonders. By reinventing/ resurrecting these images, I am reflecting on the dramatic evolution of vernacular photography and the impact thereon of digital and social media. Rather than the preciousness and privacy represented in my grandparents’ photo albums, we now have an unlimited capacity for documentation which can be carefully curated and shared instantly with the masses. I am pixelizing the images through beads and making them larger than life for public display, essentially making physical versions of the typical social media sharing of today.

Jayne Gaskins

Reflections of Home, 2022

Assorted fabrics and thread [24" x 24"]

My son’s vibrant personality is captured here as he gazes at the bridge leading to his former home in Brooklyn. He now lives in London, but has very fond memories of NY.