Manasi Eswarapu
Marble Birch Basket, 2023
Collected Plastic Bags, Melting and Basket Weaving, 6 inches wide, 10 inches tall
I started by melting layers of plastic bags, noticing the organic patterns that appeared. I was reminded of marble and tree bark. This pushed me towards techniques that highlight these patterns, such as basket weaving. I aimed to elevate the materials used with accessible materials and techniques.
Pachia Vang (UC Davis)
peb teb, teb peb, 2023, 2022
madder and turmeric on silk mordanted in soil, appliqué and natural dyes, 18" x 18"
peb teb, teb peb invites you to peer into a world of Cloth as Land. Coding QR textiles with traditional HMong techniques, it awakens remnants of land embedded in cloth. Blurring conceptions of "traditional" and "modern" to re-contextualize a longing for Indigeneity through new sites and landscapes.
Jess Harris (Lesley University)
Labor of Love, 2023
acrylic yarn, wooden dowel, metal hardware, single stitch grid crochet, 43x70"
This crocheted tapestry has been my labor of love for the past three months. With over 50,000 single crochet stitches, I carried this work around until it became bigger than me. A gate can symbolize both future opportunities as well as feelings of isolation, closing yourself off from the world.
Alyssa Ruby (Savannah College of Art and Design)
Mo Chreag Bheag Féin, 2022
Wool, sequins, thread, embroidery floss, paper, gold leaf, felting, embroidery, 12 x 11 x 16
Pictured is a 3-D felted house. A vibrant embroidered bunny is on the left side of the home, framing the front door. Gold leaf travels up the felt in swirling waves, entangling in blue embroidered stars and sequins. The right side shows a diamond pattern made up of a note written on notebook paper.
Maisie McDonald (Cornell University)
Senior Collection-Convergence By Play, 2023
Brushed Mohair, Knit on a hand knitting machine, hand brushing, knit shaping, 72 by 48, Liam Liao
Convergence by Play aims to reconnect with play and convergence - two elements deteriorating from work-oriented, individualistic culture. With influence from toy design, the pieces inspire imagination, storytelling, and silliness through the use of color, texture, and sculptural shaping.
Hadis Karami (Massachusetts College of Art and Design)
Don't Tread on Me, 2022-23
Synthetic hair, yarn, rope, metal thread, sequin, bead, mirror, Coiling and random weave, hand embroidery, 24” × 18”
"Don't Tread on Me" is an artwork that delves into my personal experience and the profound impact of forced hijab, inspired by the tragic death of Mahsa Amini, who was murdered by so-called morality police for her supposed "inappropriate hijab."
Emilie Chartrand (Kansas City Art Institute)
Play Pretend, 2023
Found fabrics, found linens, cotton batting, embroidery floss, hand stitched, Hand quilting, collage, embroidery, 14x14
This piece takes on a more hopeful and poetic approach when thinking about our future. The writing I have chosen to include in this piece stems from my journaling, and is cut apart and combined in the same way I have collaged the found linens, fabrics and feedsack used in this piece.
Genevieve Hildebrand-Chupp (Portland State University)
Spanish Moth Dress, 2023
Cotton, Wool, Cotton thread
Hand sewn dress is inspired from the Spanish moth. White Calcutta Cotton was hand dyed to emulate the Spanish moth wing patterning. Process incorporated various dying techniques such as immersion, dip, hand painting and stippling dye. Embroidery detailing included on skirt front panel.
Frey Ranaldo (Cornell University)
Puffed Peplum Look, 2023
Yarn, Wire, Polyfil, Knitting and Crocheting, 3 dimensional garment, fit to model
This is one piece from my recent 8-look knitwear fashion runway collection, titled: Androgyny and Anonymity: an Exploration of Identity through Knitwear. The project explores mask making as a method of obstructing or transforming one's identity, and the intersection between wearable art and fashion.
Megan Dehner (University of Iowa)
Pieces, 2022
Fabric, Ink, Thread, Textile Screenprint, 42 x 120
Putting the pieces together, the various segments and layers of life, is an ongoing, never complete process. This particular work consists of four different textile prints that have been cut and re-stitched together to make a whole. The unfinished edges represent how no work is perfect or complete.
Emily Chase (Indiana University Bloomington)
What Remains, 2023
Hand dyed and discharge printed cotton sateen, silk organza, carved and scorched pine lumber, Quilting/printing/sculpture, H98"xW49"xD67"
What Remains investigates the tenuousness of memory and makes tangible the invisible processes of grief, chronic illness, and healing. In the moment of loss we look at what remains and reconstruct in our minds what is gone; the active (re)building of memory, imperfect and painful as it may be.
Thomas Romero (University of Wisconsin Milwaukee)
CC003, 2023
Cotton, Wool, and Acrylic Yarns, Galvanized piping, Wood, and Fishing line, Treble Crochet and Hand Dyeing Resist Techniques, 6’x10’x4
Through elevating the craft of crochet, I seek to teach viewers a broader range of human nature, emotion and visual experience by grounding my work on something we are all capable of recognizing and perceiving, the basic grid structure.
Autumn Standbridge (Tennessee State University)
Souvenir, 2023
Fibers, Hand Stitched Collage, 128x76x6
Madison Casalino (Sheridan College)
Ephemeral, 2023
Natural Dyes, wool, silk, cotton & wood, Natural dye prints & silk embroidery and tapestry weaving with wool, 132cm x 67cm x 2.5cm
Ephemeral is a naturally dyed patchwork jacket that focuses on transitivity and the threatened diversity of Ontario’s native plant species.
Lilah Ward (University of Iowa)
Superimposition, 2023
cotton fabric, quilting, 25 x 49
Sewn cotton quilt top depicting grids and stripes in different color palettes designed digitally in the video game Animal Crossing and recreated as a tangible real-life object of joy and comfort.
Sarah Landmesser (University of Georgia)
Valentine's Day, 2023
Ink, acrylic, house paint, Painting, 78 x 392
This 30 foot wall installation is made up of 5 panels, ultimately exploring my notions of beauty and love interpreted across the surface in explorations of hidden writing, moments of pattern, and color mixing.
Lilla Rosenberg (Savannah College of Art and Design)
Forested Foliage Collection, 2022
Gouache, Photoshop-painting, digital repeat pattern creation, measurements vary
A pattern collection designed for the rustic country home. The motifs were painted with gouache on paper to create a hand-done effect and then transferred into Photoshop. The collection is designed for surfaces within the home, as well as for homeware and linens.
Kel Schecht (Iowa State University)
Untitled, 2022
Cotton, Silk, Fiber Reactive Dye, Resist Dyeing, 25" x 25" (x1), 51" x 8" (x2)
These three scarves explore various resist dye techniques using fiber reactive dyes. Various aspects of nature including sunrise/sunset, water, and plant structures, informed the color and pattern choices for each scarf.
Xavier Byrdlee
I've Nothing Left to Give You, 2023
fabric, relief printing and laser engraving on fabric, 21" w 22" h
In this piece I focus on representing emotional turmoil and feelings of abandonment. The laser engraving burns the surface away to reveal the text "like I meant nothing at all," which is telling of the emotional state of the figure.
Hannah Sandler (Savannah College of Art and Design)
Looking Through Brighter Lenses, 2023
Bottle tabs, pre-loved yarn, yarn scraps, digitally printed cotton sateen, velvet, lace, Crochet, machine knit, embroidery, print & pattern design, digitally printed fabric, 120" x 140"
The value of the ordinary is often disregarded than the new in a digital age. Utilizing deadstock material, trash and digitally printed fabrics leverages the phygital world and its possibilities. Allow yourself to open your eyes to our surroundings in a new light, one that is optimistic and hopeful.
Laura Graham (Gillian Cooper Studio)
Looking Up Looking Back, 2023
Hand Dyed Fabric, Rust Dyed Fabric, Tea Bags, Lutradur, Acrylic Paint, Silk organza, Interfacings, Thread, Hand Printing, Raw Edge Collage, Free Motion Quilting, 88 x 39
"This work portrays the atmosphere of Yorkshire mills through layered surfaces and stories. I enjoy finding hidden details and the way nature is taking these buildings back. It's amazing how we can walk through our familiar streets every day but looking upwards reveals a brand new perspective."
Nicole Prancik (Drake University)
Microcosmic Beings, 2023
Yarn, Welded frame, Crochet, 72 x 48in
Microcosmic Beings brings tiny microscopic beings into the larger reality. This crochet installation focuses on capturing the viewer to become immersed in a new free flowing reality similar yet very different from the world around us.
Aaron McMullin (Southern Illinois University Edwardsville)
The Legacy of White Supremacy, 2023
second-hand lace, photograph transfers, soil from a Montgomery, AL cotton field, Machine sewn blouse and skirt, heat transferred photographs printed using photo transfer paper, 72x42x36 (approximate measurements for WxD - dress diameter is no more than 42" at most)
I use cotton to contest the myth that white women are pure and society’s moral ideal. White lace references white fragility. Dirt from a cotton field in Montgomery clings to the hem of the skirt. Fading images of Indian cotton farmers depict the everpresent disconnect between consumers and farmers.
John Fifield-Perez (Kent State University)
Untitled (Minneapolis), 2023
Wool, cotton, Jacquard tapestry, 48” x 59”
Untitled (Minneapolis) is a queer abstraction of blind contour drawings remediated through the TC1 1760 loom. It is intended to blur queer subject with queer space and to move toward hope for a queer-future. The horizon line alludes to José Esteban Muñoz’s "queer horizon of the not-yet-here".
Maddie Gordon (Kutztown University)
As I Lay Here, I Think of Who I Once Was and I Hold Her Close, 2023
Quilted Hand-Dyed Cotton and Silk Gauze, Sequins, Beads, Confetti, Quilting, 80” x 57”
This piece is representative of the physical act of self reflection. I personally do most of my meditative thinking in bed, often about who I am growing into as a person and the versions of myself I am leaving behind. I intended to make a space that was dreamy and separate from reality.
Margaret Larson (Stephens College)
Over the Garden Wall, 2023
Cotton lawn; Brushed cotton shirting; silk organza; Bleach; Color remover paste; fabric paint, watercolor effect on fabric; splatter; dip dye; dry brush; Japanese silk flower making
Over the Garden Wall is a collection where a girl can escape from the outside world and her problems / worries to a perfect English garden where she can be free. Throughout the collection this girl transforms and becomes one with the garden.
Anna Stuffelbeam (North Carolina State University)
Dye Plant Portraits, 2023
Wool Yarn, Cotton Yarn, Plant Dyes, Jacquard Weaving, Natural Dyeing, Unraveling, 18" x 48"
A portrait of dye plants - Acacia, Pomegranate and Indigo. Highlighting the natural materials used in my research of color effects from dyeing jacquard woven fabric made with cotton and wool yarn, this piece is a celebration of the plants that provided the color.
Yunjia Zhang (Savannah College of Art and Design)
Tooth on the Roof, 2023
Wool, Mohair, FDM, Cardboard, Plywood, Acrylic Paint, Machine Knitting, Laser cutting,
This scary box generates repetitive movements in interaction with the audience. The basic mechanics of a movable toy simulate the direction of the teeth against the gums as they grow. When the viewer turns the handle, the laser-cut tooth surface on top will jack up the open space knitted surface.
Shania Herrera (Appalachian State University)
Out of Bounds, 2022
acrylic yarn, acrylic paint, glue, wool, glass beads, embroidery thread, Crochet, tufting, and interlocking fibers from a painted canvas, 60" x 132"
This series symbolizes my ever-growing creativity and pushing past the limitations placed by myself and others. The once fluffy felt slowly begins to take form in other fiber processes such as crochet and tufting. It emulates the ongoing evolution of my emotional journey.
Kelly Norris (East Carolina University)
Nature's Influence, 2023
Cotton, Hand-woven on TC2, 19" x 39"
Nature’s Influence was designed in response to the inspiring beauty present all around us. Whether you enjoy sunsets, waves on the beach, or a cool autumn breeze, there is always a peaceful moment to be found when we can remember amidst the chaos of life to stop and smell the roses.
Lola White (Savannah College of Art and Design)
Cared For, 2023
Acid and Natural Dyes on Silk and Wool, Shibori, flower pounding, painting, wax resist, embroidery, bundle dye, 6.5” x 6.5” each
This collection transforms everyday acts of care into wearable expressions of love. A home-cooked meal becomes natural dye made from food scraps. A bouquet of flowers is pressed into silk. My work aims to inspire my audience to treasure their textiles the same way they treasure the people they love.
Jessy Fearnow (Herron School of Art and Design)
Enmeshed, 2022
Wool, Cotton, Satin, Yarn, Polyfil, Steel wire mesh, Sewing and Needle felting, 48x48
Enmeshed brings focus to growth of life and death in the form of tumorous masses of tissue. A study on the insidious nature of disease that offers the audience a macro lens view of the gorgeous grotesque.
Ellery Ekleberry (University of Massachusetts- Dartmouth)
I Always Feel Better Once We’re Together, Embraced in Each Other, 2022
Ceramic, fabric, steel, custom designed wallpaper, Coil built ceramic, sewn fabric form, hand bent steel with hand upholstered cover, 56x41x42
This installation explores how people allow themselves to give and receive empathetic actions, by utilizing the accommodating abilities of different hard and soft materials as they interact within a created support structure.
Atinuke Adeleke (University of North Texas)
Omo ta ni e (English translation - whose child are you?) Headboard, 2023
Artist's own Aso Oke fabric, Furniture Fabric by “Perennials Fabrics”, Embroidery floss, Maple Plywood, 3d printed Wood PLA, Metal (Pewter), Hand embroidery, 44
For this piece I took images of the states I have lived in, Nigeria, England, and the United States. I deconstructed their silhouette and reassembled them to create a unique space that speaks to my identity and the cross-cultural influences that are part of my daily existence.
Kristin Boyer (University of North Texas)
Embrace I, 2023
Dyed Fabric, Embroidery, Polyester Stuffing, Quilting and Embroidery, 16"x19"x3"
"Embrace I" is a part of a series of soft sculptures I am making in the shapes of the letters from my made-up alphabet. Soft sculptures in the shape of individual symbols allow viewers to physically interact with the letters and experience the tactile sensations the sculptures provide.
Allie Dettmann (Savannah College of Art and Design)
The Things We Carry, 2023
Luggage Handles, Cardboard, Upcycled Fabric, Yarn, Thread, Mixed-Media, Quilting, Patchwork, Embroidery, Small- 17" x 11.5" x 4," Medium- 19" x 12.75" x 4.25," Large- 22.5" x 15.75" x 6.25"
In the absence of verbal language, textiles have served as my tongue. Where gender and sexuality were too hard to explain, I turned to fragments of fibers to speak on behalf of my lived experiences. This work illustrates the gendered burdens of societal expectations I’ve carried throughout my life.
Aaron McMullin (MFA Studio Art, Fibers Graduate – Southern Illinois University)
