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"Amy has been involved with constructing cloth since she began her education in the field at Rhode Island School of Design in 1991. This pursuit has been mainly in the form of hand weaving on Macomber looms. However she has designed cloth for jacquard that was woven at the Oriole Mill, designed and woven interiors and garment yardage on AVL dobby looms, and even took a machine knitting class once. Her passion and area of expertise is weaving by hand, particularly multiple layer fabrics and ondulé."
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"Kathie Roig has been a weaver since 1980, when her husband gave her a table loom as a wedding present. She now weaves on a Swedish drawloom to create one of a kind wall pieces, that have been exhibited nation wide, as well as functional items such as kitchen towels, hot mats, and baby bibs. Currently she maintains a weaving studio in her home located in Asheville, North Carolina. She is a member of the Southern Highlands Craft Guild."
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"Catharine taught the Professional Fiber Program at Haywood Community College for 30 years before retiring in 2008. She is now devoted to studio work and teaching a limited number of workshops. Her original training was in traditional woven techniques, which led her to weave functional fabrics for many years, often incorporating ikat resist dyeing. More recently, her career has been defined by the discovery and exploration of the woven shibori process."
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"Suzanne’s love of textiles began with the women in her childhood. Her Russian grandmother taught her to sew and knit, stitch and crochet. Her Chicago grandmother gave her an appreciation of vintage textiles by dragging her to many church bazaars in the affluent suburbs. And her Mother’s love of fashion taught her to love the style and feel of fine fabrics. She didn’t have a chance.
Learning to weave as a young woman, living in San Francisco, she is essentially a self taught weaver who has instructed numerous people in learning to weave. She is considered an expert in many areas of fabric dyeing, silk-screening, and complex surface design techniques. With abstract, contemporary art as her inspiration, she has specialized in the creation of intimate mixed media weavings that perfectly blend fine craft and fine art."
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"I am fascinated with light and translucency, the contrast between the fragile, and the strong. With natural materials, I show the small and delicate as the powerful and significant. My work is comprised of fine handwoven fiber. I incorporate into these weavings, small found objects that find a home in the subtle piece. The work is then framed with double glass, allowing for the intricate piece to remain transparent. Shadows originating from the composition give it an extra dimension.
In viewing my work, my hope is that you will for at least a moment, become lost in the discovery of the minute, the quiet of repetition, and the beauty of nature and pattern."
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"Whether it is in her striking doubleweave wallpieces or elegant wearables, Jennifer Moore is widely known for her luminous color gradations and distinctive designs that are at once both balanced and dynamic."
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"Robyn Spady was introduced to handweaving as baby with her handwoven baby blanket woven by her great-grandmother. Inspired by her blankie, she learned to weave at a young age and has been weaving for over 40 years. She completed HGA's Certificate of Excellence (COE) in 2004 with the specialized study Loom-controlled Stitched Double Cloth. Robyn is fascinated by the infinite possibilities of crossing threads and loves coming up with new ideas to create fabric and transform it into something new and exciting. She is committed to turning the weaving world on to double-faced fabrics, four-shaft weaves, uncommon and advanced weave structures, and narrow warp weaves."
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"My medium of choice is paper made from fibers I process and sometimes harvest myself. I work with handmade paper specifically for its minimal environmental impact, its utter versatility, its enormous variety and for its deceptive strength contrasted with its perceived fragility. Made from plants, it is a material derived directly from my conceptual catalysts, involving me physically as well as metaphorically in the perpetual cycles that intrigue me."
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"My work examines the nature of being human, and ways that people create personal realities based on constructs of family and culture. My tools include papermaking, book arts, installation, performance art, and writing, and my recent focus is on making and working with hanji, Korean handmade paper."
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"Alice weaves in her South Carolina studio on a 40-shaft AVL dobby loom and a TC-1 (jacquard). She has taught at numerous schools and conferences, including The Penland School and at Convergence (biennial conference of Handweavers Guild of America) and Complex Weavers Seminars. Her work has been exhibited widely."
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"Born in Lexington, Kentucky, Robin Johnston lives and works in Penland, North Carolina. She holds an MFA in Textiles from California College of the Arts and a BFA from The University of the Arts in Philadelphia. Robin’s work deals with measuring time, capturing moments as they pass, and the sense of loss that accompanies their passing. Information such as light, temperature and heart rate is collected and tracked during the making, creating real-time maps of her physical experience weaving. The levels of translation involved in the charting and integration of various data into the woven structure add to the slowness of the process, illustrating a personal reaction to fast-paced society. Since moving to the mountains of North Carolina, Robin has been researching colonial weave drafts commonly used in the early days of Lucy Morgan’s Penland Weavers. She is combining these traditional woven patterns with data, such as sleep patterns and moon cycles, gathered from her daily life."
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"Rachel Meginnes's fascination with weaving and art began in high school and has continued to grow ever since. After receiving her Bachelor of Arts degree from Earlham College in 1999, Rachel followed her interest in textiles by traveling to northern Japan to study the traditional crafts of ikat and indigo dyeing. Upon returning to the States, she apprenticed as a rug weaver and continued her study of art and textiles by moving to Seattle and earning her Master of Fine Arts degree in Fibers at the University of Washington in 2005.
Although no longer working directly at the loom, Rachel has kept many of her weaving processes alive in her current studio practice. As a dedicated artist, she accepts and encourages her need to work hands-on with her materials and enjoys the solitude that comes along with producing such methodical work. Her original love for the plainweave structure has never ceased and she continues to believe that there is infinite possibility in the most basic of methods.
Rachel is currently a resident artist at Penland School of Crafts in North Carolina."
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"I'm a weaver, traveler, and generally adventurous person. Here I have shared some of my many interests - handweaving, other fiber arts, and adventure travel all over the world."
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"Janice Lessman-Moss, Professor of textile art at Kent State University received her BFA from the Tyler School of Art and her MFA from the University of Michigan. She has exhibited her weavings throughout the U.S. and internationally. Her work was included in the 3rd, 5th and 6th International Textile Competitions at the Kyoto Museum, Japan and at the American Craft Museum, Poetry of the Physical and Fiber: Five Decades from the Permanent Collection exhibitions. She has received a number of Individual Artist Fellowships from the Ohio Arts Council and an Arts Midwest/NEA Fellowship. Lessman-Moss' work is an expression of her fascination with the intrinsic language of weaving. She uses a variety of techniques to achieve a network of patterns which portray the dualities of stasis/dynamism, micro/macrocosm, the decorative and the sublime. The warp is visually activated with ikat and/or painting (with dye) in an organic field of repetitive shapes. The geometry of the weave system contrasts with the motifs created by the changing color of the layered systems."
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"I explore the boundaries of what can be woven on a hand loom. Recently, I began to incorporate weaving and origami together to create a new woven form. This new form celebrates the structural kinship that weaving and origami share. My work is created on the loom where supplementary flaps are woven as I create the groundcloth. I use multiple shafts and a double back beam to help me maintain the tension properly. Once the fabric is taken off the loom, the flaps become the folded origami shapes that hover over the surface of the cloth. There is no cutting or sewing involved in creating the structure. I prefer to weave linen yarn which produces a crisp fabric that maintains the folds nicely. Keeping the color palette simple allows the initial focus to be on the structure. I am drawn to complexity but strive for simplicity."
November 2013
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"I am a lifelong resident of North Ridgeville, Ohio, where my mother taught me to sew at a young age. I was always interested in art and began making collages in high school. Since graduating from Cleveland’s Cooper School of Art with a degree in Graphic Design I have worked in ad agencies as a graphic designer and print production specialist. The growth in my textiles has been influenced by classes at the Quilt Surface Design Symposium. An interest in improvisational comedy led to two years of classes at Second City Cleveland. I love to show humor in my pieces."
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"My work reflects my inner journey and the resistance to letting go; control versus release. I use several different surface design techniques such as airbrushing, screenprinting, monoprinting and painting to create words and/or images that express my personal experiences. By sharing my artwork and teaching classes in the creative process, it is my vision to help others through art. As I change and evolve, I have become more confident in myself and my art."
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Bill Lorton is currently adjunct faculty in the Department of Fiber & Material Studies at Cleveland Institute of Art; he also teaches courses in the Visual Art and Foundation curriculums.
In 2013, Bill launched the Endangered Studies traveling curriculum to preserve and promote a multitude of fiber art techniques. He has also been adjunct faculty in the Textile Department at KentStateUniversity.
He was selected for the 2009 Cheongju International Craft Competition, receiving an Honorable Mention. In 2012 he was part of an invitational exhibition at the KoreanCraftMuseum in Cheongju, South Korea.
Lorton received his BFA in Fiber & Material Studies from the Cleveland Institute of Art and his MFA in Textiles from KentStateUniversity.
