May Kytonen
I’m Just Trying to Get Home, 2016
newspaper, red party streamers, gold thread (22" x 34" x 1")
My process began with a longing for connection. I initially became curious how Chinese and English, the languages of my family, might interact in a joined, physical form. Taking newspaper, I spun together yarn and began knitting. As the tapestry started taking shape, new questions and curiosities arose for me. What did it mean for paper to break, disintegrate, or be left undone? How was something as fragile as paper able to transcend its original form? What visible and invisible forces caused connection within the work?
Elise Vazelakis
Thirst, 2022
reclaimed yarn from thrift store sweater, plastic bottles, wire mesh (120" x 60" x 72")
This body of work, “Thirst,” was inspired by witnessing construction crews consuming and disposing of thousands of plastic water bottles. By incorporating this plastic, which would otherwise be abandoned, I became interested in data mapping my consumption. The single-use plastic in my art represents nostalgia, memory, and the passage of time, creating complex multilayered woven pieces. I encase the water bottles in reclaimed fiber to create these pieces, transforming what would otherwise be thrown out or recycled. By unraveling thrift store sweaters to make reclaimed yarn, I knit circular enclosures to house the water bottles. The unraveling of the sweaters is analogous to my life after the fire, as I make something new while destroying it at the same time, recreating my life in a different form.
Libby Raab
Emergence, 2025
cold press fine art paper, paper raffia (19" x 28")
Reflecting on architectural ruins where tree roots weave through ancient buildings, this paper weave’s raffia coils infiltrate the base weave. Just as nature simultaneously destroys and preserves ancient structures, these coils both disrupt the base weave while also highlighting its pattern.
Virginia Mahoney
Cradle, 2024
acrylic on paper, words, reclaimed food net, marker (13" x 21" x 28")
Reflecting upon various times in my life, I revisit old sketchbooks and writings. Cutting strips from cast off paintings, I rewrite my readings there, weaving them into a container-like form or flat object to bend or shape. This is a contemplative act of remembering, honoring, and preserving, as well as processing uncertainty, change, and ruminations: so much to do, so much to think about and wrap my head around. How to move forward? It’s a stream in our heads that can make it hard to get out of the loop and to act, to make progress.
Loretta Faveri
Space to Breathe, 2020
Japanese paper (washi), ink, beeswax, thread (36" x 19" x 4")
Cutting and tearing through my creative output and stitching it back together as something new is a metaphor for healing wounds from a shameful past and rebuilding it into a positive experience. Living with shame and self-judgment can paralyze us from achieving our life goals. Not only have a repurposed my self described "rejected artworks", I have transformed them into something far more meaningful and paved a new creative path forward.
Holly Wong
Nereid 3, 2025
nylon tulle with light reflective thread, and finishing nails (60" x 48" x 3")
Leslie Pontz
Cynthia(bauble), 2026
monofilament, thread, hemp, plexiglass (100”x35” x 24")
Joanna Rogers
Ozymandias — –.. -.– — .- -. -.. .. .- …, 2025
wool dyed with lobster mushrooms, zinnias, marigolds, st. john's wort, japanese maple leaves (6" x 1044")
Like Shelley’s poem Ozymandias (first published in 1818), my Ozymandias is a meditation on power, tyranny, hubris, the rise and fall of empires and states, and the lasting legacy of art. My piece adds an additional layer by referencing the longevity of Shelley’s still-popular sonnet. I translated the poem into morse code and knitted this code to create my 87’ long Ozymandias, which cryptically documents the political events and upheavals in both the US and Canada as they unfolded during its creation from October 2024 through to December 2025. I dyed the wool with plants from my yard: lobster mushrooms, zinnias, marigolds, St. John’s Wort flowers, Japanese Maple leaves. Knitting conjures up images of comfort and warmth and these associations make the subject matter even more poignant. Ozymandias celebrates knitting as art.
Andrea Dupree
Felt Field #1, 2026
hand-felted Navajo Churro fleece (6.5' x 2.5')
Primal mindset and process exploring the the archetypal field… a place where inner and outer worlds meet. This felted panel exists as a zone where personal experience, ancestral & elemental wisdom, materials, environment and the collective unconscious overlap.
Anna Goransson
Trying To Connect, 2024
felted wool (6' x 6' x 5')
These hollow, felted forms seem to float in the air perhaps trying to find each other, lock into one another, but it is proving to be difficult.
Jes Reyes
Ms. Frankie, 2025
wool yarn, cotton warp (2’ x 2’ x 2")
Evelyn Politzer
Threads of Connection, 202
Hand knit with merino and other materials. Hand embroidery on linen (12' x 8' x 8")
This hand-knit and woven piece was inspired by Anais Nin's "Ladders of Fire", 1959. "She was weaving and sewing and mending because he carried in himself no thread of connection ... of continuity or repair ... She sewed ... so that the warmth would no seep out of their day together, the soft interskin of their relationship."
Evelyn Politzer
Felt Seascapes, 2024
Wet felted merino roving and recycled silk threads (4.5' x 18')
Depicting South Florida's seascapes in a way that mimics the hazy and swirling visuals one sees when about to fall asleep. By creating these almost dream-like images, the idea is to communicate that we need to take better care of our natural environments, before they become ephemeral.
Chris Motley
Stream of Consciousness, 2017
hand knit wool, fulled and sewn (35" x 105" x 2")
