Ivy Anderson (Savannah College of Art and Design)

Bicolor Assemblage #11, 2024

Elastic, acrylic, found objects [7.75" x 9.5" x 14.5"]

Our perception of objects is rooted in their value, their mass production in modern society renders them meaningless. Abstracted by layers of textile and color, these once discardable items are transformed into unique sculptural frameworks. Photo by Ivy Anderson.

Isabella Andrade (California Polytechnic State University Pomona)

Hand Spun Yarn Exhibition, 2024

Processed Wool [60 yards length]

These skeins of yarn were all hand-made using a wooden drop spindle. Each color comes from a different sheep species including Merino and Romney sheep. Each skein is a 2-ply yarn with varying thickness for surface design. Photo by Dr. Helen Trejo.

Beatrice Atencah (Indiana University, Bloomington)

Stoical, 2024

Handwoven Kente, Patinated copper, Embroidery floss [180" x 245" x 36.8"]

Stoical discusses my adaptive strength of learning and unlearning American and African culture as a migrant. The handwoven Kente traditional fabric strips hangs unto the copper with all the hope and strength it has in order to thrive higher. This is how I have felt in the past three years. Photo by Sarah J. Slover.

Madeline Bass (Georgia State University)

Right Here, For Now, 2024

Jute twine, wire, hydro-stone [72" x 78"]

This blend of natural and manufactured, flexible and rigid materials is used here to explore the tactile sensations of my emotional and mental extremes. Photo by Drew Stauss, Departure Studios.

Amy Beeler (Bowling Green State University)

The 16 Panels of Remembrance, Loss and Lasting. The Gathering Table, 2023. 2024

Cotton, Sassafras [55" x 55" x 40"]

Combining personal reflections with my artistic process, I delve into the significance of domestic practices and their impact on family bonds across generations. I aim to capture the essence of domestic traditions and reveal the beauty and significance embedded within everyday moments. Photo by Devin Herr.

Ary Bird (Indiana University)

Confluence Cloth, 2024

Monofilament [3" x 72"]

Confluence Cloth is a physical manifestation of Ary's love of the loom and it's vast capabilities. Four layers of cloth are woven simultaneously with multiple intersections where each layer crosses through others. It's made of monofilament and displayed on it's side, casting dimensional shadows. Photo by Ary Bird.

Eli Bjedov-Stankovic (Concordia University (Montreal))

when my friend got hit by a car, she couldn’t play on the carpet with us, 2023-2024

Cotton rag pulp from childhood bedsheets and jeans, earth pigments [48" x 72"]

The Carpet is an exploration of identity and a performance of labour and care. Through patterning, tending to the pulp, and careful construction, this work questions diasporic identity and the way that memory – personal and cultural – can create a somewhat fragile basis for a sense of self. Photo by Eli Bjedov-Stankovic.

Marina Cano (University of Missouri in Columbia)

Ofrenda (Offering), 2024

Hand-woven textile, hand-dyed spun rope, fringe, found objects, paper pulp, Milagro charms, ocotillo, yucca, broken glass, mica, silica sand mixed with white sands, earthenware [120" x 96" x 120"]

This installation was the main body of work for my MFA solo show called HONOR THY MAKER. HONOR THY MAKER interrogates the concept of who the maker may be in relation to indigenous, non-indigenous traditions, and their intercultural exchanges. Photo by Allison Minor.

Sarah Clark (Savannah College of Art and Design)

"In the Meadows of the Shire" (Part of my Senior Collection titled, "Nature, Reinvented"), 2024

Insulation foam, paint, silk velvet, acid dye, embroidery thread, beads, raw silk, wool, dried moss [4' x 15" x 18"]

This sculpted log form is embellished with sewn mushrooms, embroidered flowers and butterflies, needle felted mushrooms, and hand-made pom poms. Meant to bring a bit of peace and whim to the world, it was a labor of love to create and a joy to experience. Photo by Sarah Clark.

Eric Couture (Virginia Commonwealth University)

Process Cloth 2 (for Possum), 2023

Hand processed, spun, dyed, and woven wool [16" x 96"]

An experiment in the memory-holding capabilities of cloth, this scarf was handwoven from wool processed entirely by hand by the artist. The wool was sourced from a local sheep named Possum, and this cloth is for him. Thank you Possum for keeping me warm.

Salina Dally (Kendall College of Art and Design)

Sacred Script Dress, 2023

Gold paint onto metallic fabric. Hand painted Hebrew lettering.

This dress draws inspiration from the timeless Hebrew scriptures of the Bible. Delicately hand-painted onto the fabric, the sacred text envelops the wearer, symbolizing an embrace by the divine word and how it is living and active around us.

Kate Arrows Enoire (The University of North Texas)

Sunday's Child is Bonny and Blithe..., 2023

Cobwebs, stretched mylar thread, remnants of animals found in cobwebs, hair, tape, filament, dirt [11" x 7" x 6"].

Sunday's Child is part of a series exploring the intersections of girlhood and Anthropocenic survival via tactics of collaborations with the animals of cobwebs, pondering ideas of discomposure, anxieties, and resentments that simmer beneath crumbling hierarchies. Photo by kate arrows enoire.

Juliet Forehand (Stephens College)

Parasomnia, 2024

Yarn (dk weight merino and lace weight mohair), denim, and setasilk paint.

Parasomnia is inspired by a nightmare disorder, blending light colors with pitch-black accents. Because no night's rest is peaceful when nightmares always find a way to seep in. It is made for a petite femme person who loves to stand out in a crowd and express themselves through their clothing.. Photo by daniela saenz quintan.

Meredith Freeman (The University of Texas at Tyler)

I will wait, 2024

Ink, paper, and size 10 thread [24" ×19"]

My work focuses on the idea of memory. Crochet is a comfortable and familiar place for me and I utilize it to represent memory. I leave my working end hanging, allowing for the opportunity to either continue on and expand the doily, or pull and unravel it. Like a memory, it can grow or be forgotten.

Chenxi Gao (University of North Texas)

2 Years 11 Months and 11 Days, 2023-24

Quilted dye sublimation print on cotton fabric and video projection [60" x 80"]

This quilt is made with digitally printed images of the carpet in my apartment. It represents the time I spent in the space along with the video projection of the light and shadows that I captured throughout the day. The quilt will accompany me as I move away and offer comfort in the new space. Photo by Chenxi Gao.

Afton Hulse (Brigham Young University)

Snuggle Close, 2023

Ink and yarn [11" x 15"]

Snuggle Close delves into the intricate patterns of home and comfort. By drawing and embroidering these patterns, I found myself immersed in memories and the comforting embrace of home. Adding yarn to the piece further deepened this connection, infusing it with tactile texture. Photo by Afton Hulse.

Becky Johnson (University of Kansas)

Layers, 2024

Wool, silk, cotton, natural dyes [120" x 84"]

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.

Hailey Jordan (Appalachian State University)

Letters of Love, 2024

Cotton fabric, cotton yarn, embroidery thread, wool, textile pigments. natural dyes [192" x 140"]

Letters of Love celebrates human connection and the beauty found within ordinary moments of life through the lens of notes, photographs, and voicemails. The quilted pieces represent those who have shaped my life and the woven works are a vessel to write to those who have passed. Photo by Becca Stickler.

McKayla Lange

Organic Symphony, 2024

Felted wool, adhesive, Masonite hardboard [120" x 90"]

My work celebrates chromatic and textural echoes inspired by nature, translating into tangible expressions that invite viewers to embrace the interconnection between ideas of color, form, and novel landscape. Photo by McKayla Lange.

Andrea Loyer Makhlouf (Savannah College of Art and Design)

Bio-Plastics: Color, Light and Movement, 2024

Gelatin, Glycerin, Water, Bio-Plastic Recipe [8" x 5"]

Developed specialized material inspired by auras, embodying malleability, transparency, lightness, and color conveyance via Bio-Plastic, capturing the unpredictability, through color, light, and dynamic energy interplay. Photo by: Andrea Loyer Makhlouf.

Valeria Maldonado Morales (Parsons School of Design - The New School)

From Rock To Water, 2024

Sisal rope, rattan, japanese ramie, peruvian alpaca yarn, indigo dye, bio resin [60" x 18" x 7"]

Gentle Structures explores the link between physical and psychological environments, employing weaving, basketry, sprang, natural dyes, and coiling. Inspired by architectural history, sculptures symbolize growth and time passage, reflecting inner landscapes through contrasting shapes and materials. Photo by Jason Greenberg.

MaryDrew Mason-Hill (Skidmore College)

Sunday Best Vest, 2024

Alpaca and Mohair yarn and vintage apron [20" x 15"]

Reversable vest/top. Photo by MaryDrew Mason-Hill.

Mary Mays (Fine Arts Center)

Herbal Interstice, 2023

Cotton, indigo dye, beads [60" x 60"]

This piece tells the story of the Celtic goddess of healing, Airmed. Her story highlights her selfless ability to channel her grief into helping others. The skirt mimics the form and color of traditional cobalt-painted china and includes beaded "cracks" like a broken plate repaired with Kintsugi.. Photo by Mary Mays & Bee Freeland.

Jenkins McAlister (University of North Texas)

Morning Ritual, 2024

[14" x 14" x 17"]

This soft sculpture occupies a space in between silliness and seriousness with its large appearance contrasting the delicate embroidered words inside. With this sculpture I pay homage to my childhood views of the common objects around the home I grew up in.

Lochlyn McClure (University of North Texas)

Brochosome: Thank You for Your Love and Protection, 2023

Cotton fabric, batting, lace [29" x 23"]

Some Cicadellidae leafhopper species create a special protective protein layer over where they lay their eggs. Depicted on this baby-blanket-sized quilt are the adult and nymph stages of one of these species, the Broad-headed Sharpshooter. Lifting the lace reveals its eggs. Photo by Lochlyn McClure.

Becca Miller (Savannah College of Art & Design)

Transition, 2024

Merino wool, wool yarn [71" x 20"]

Transition is a shawl that was created from a series titled "Healing Journey". It is the visual representation of immense trauma represented through vivid red yarn darned over white merino wool. Blue and green transition in each weaving to show the slow emergence of hope and healing along the way. Photo by Becca Miller.

Anna Miller (University of Iowa)

Iowa Raised, 2024

Fabric, paper, ink.

In the current political landscape of Iowa, Anna's art serves as a conduit to highlight the political dimensions of recent legislative decisions, turning these observations into artworks that prompt further reflection and potential empathy.

Katie Mongoven (Cranbrook Academy of Art)

Delusion / Illusion, 2024

Hand-dyed cotton and silk, raw bamboo, silk, and cotton, bleach, mirror film, thread, hand-embroidery [36" x 36"].

Delusion / Illusion is a large-scale embroidery of kumquat imagery hung suspended between a veil of silk organza and mirror film. I attempt to create physical illusions using mirror film and camouflaged fibers and corrode them with bleach to depict delusions of conflating gratitude and indebtedness. Photo by Katie Mongoven.

Melody Noelani (University of North Texas)

Hand-sewn Heavens, 2024, Cotton thread on cotton fabric, 5.5 x 3.5 inches. Photo by Melody Noelani

Cotton thread on cotton fabric [5.5" x 3.5"]

This thread painting, Hand-sewn Heavens, depicts the skies through string and renders the beauty of the world outside the gravitational boundaries of our earth. Serving as an appreciative study of the sky in all its wonder, this work is composed of cotton thread utilizing french knot embroidery. Photo by Melody Noelani.

Annabelle O'Reilly (Massachusetts College of Art and Design)

Woony, 2023

Woony, 2023, Natural and synthetic yarn [39" x 37"]

Looking at the smoke circle as a ritualistic gathering, this tapestry was woven on a floor loom from left to right to maximize the scale of the piece. Made from natural and synthetic yarns of various weights, this tapestry is a collage of textures, trinkets, and memories.

Sofia Ortega (University of Missouri-Columbia)

Mi Matria Querida, 2024

Found frame, vintage lace, family photos printed onto fine white mesh, aluminum wire, polyfil mixed with yarn scrap for stuffing [108" x 24" x 111"]

This was a shot of my final video art installation with three soft sculptures constructed over the course of the semester: a giant mesh orchid placed behind a plush of la Virgen del Valle, which is framed by a giant rosary. The beads are resewn fragments of screenprints depicting my mom/grandma. Photo by Sofia Ortega.

Hope Pell (University of North Texas)

Essence of Grandma, 2023

Cotton, wool yarn, knitting needles [29" x 27"]

Essence of Grandma is about the graceful aging of women in the winter of their lives and the passing on of knowledge to the next generation. The quilted grandmother is a picture of my own grandmother who taught me how to quilt, pouring her knowledge into me.

Phoebe Plank (Savannah College of Art and Design)

Stick Work : Art to Make Live, 2023

Found sticks, fabric scraps, and poetry. Collection of works of various sizes, from the smallest measuring around 2"x6". The largest fabric piece shown is 12"x16" (largest fabric pieces in collection are 24"x24", not pictured). The largest sculpture shown is 36"x14" (largest sculptures are 5 and 9 feet tall, not pictured).

Stick Work: Art to Make Live is a series of studies in how one might relate to the world. It is attentive intimacy with oneself and one’s environment. I make these to heal myself, my relationships, and patches of earth. My work brings the outside inside, and with it, I invite you inside my inside. Photo by Phoebe Plank.

Lilly Carl Richards (North Carolina State University)

Matrimony, 2024

Cotton and mohair yarn [42" x 52"]

In every thread of fabric, every stitch, and every print lies a story of generations past, woven together by the shared experiences around the dinner table. This piece was chosen from a larger body of work depicting the history of my family.

Jessie Rinker (Savannah College of Art and Design)

Meadow's Chair, 2024

Mercerized Cotton, Thrifted Chair. Woven yardage of floor loom [32" x 42"]

Meadow's Chair represents rejuvenation through symbolism of spring, nature and the process of giving thrifted furniture a new life. Photo by Dalton Rice.

Lilla Rosenberg (Savannah College of Art and Design)

In Sheep's Clothing

Wool, cotton.

In Sheep's Clothing is a knit collection through which I explored the things we hide under beauty, seen through the lens of the Hungarian pastoral. Embellished with visible mending and beadwork, the importance of handwork to culture and connection is conveyed. Photo by Lulu Hamilton.

Robyn Rozelle (University of North Texas)

Coming For Everything, 2024

Denim, Lithographs Printed on Fabric, Thread, Batting [5' x 5']

Coming for Everything is a quilt pieced together with denim, printed lithographs, and eyelet fabrics. Within this quilt, I explore themes of resiliency, survival, and the reclamation of life drawing from my own lived experience of being a woman with a chronic medical condition.

Natalia Sanchez (Savannah College of Art and Design)

Here, now., 2023

Henequen Agave Fiber, Cotton [45" x 9"]

My work seeks to honor the traditional practices that tell the stories of humanity's keen relationship with the natural world. I remain highly curious on how they can enlighten our approach towards sustainable practices, therefore, exploring these concepts through the interweaving of natural fibers.. Photo by Natalia Sanchez.

Aneri Shah (Parsons School of Design, The New School)

Draupadi's Saree (Threads of Liberation), 2024

Wool and silk threads for knitting [396" x 36" x 0.5"]

The sculptural textile installation is inspired by the myth Mahabharata's Vastraharan (Disrobing), featuring 'Draupadi (Her)' and 'Draupadi's Saree (Embodied), weaving together gender roles, colonial history, mythology, and women's agency in self-representation navigated through the Saree. Photo by: Aneri Shah.

Vic Valdez (University of North Texas)

Code 10-96, 2024

Canvas, batting, acrylic paint, poly-fil, thread, falsa blanket, ribbon, nails [48" x 36"]

Code 10-96 is my exploration of embroidery and 3D elements, delving into my strained relationship with paternal heritage and family ties. Photo by Vic Valdez.

Dejah Wake (University of Kansas)

Stars and Stripes, 2024

Stars and Stripes was created on a floor loom using woven grocery bags and metallic thread. The work was guided by a reflection on consumerism, textiles, and waste in America.

Kailynn Washington (Clark Atlanta University)

Finest Blossoms, 2024

Linen fabric, flowers, and berries.

"FINEST BLOSSOM" is a fashion collection inspired by the enchanting beauty of flowers and the dreamy nostalgia they evoke. Drawing upon the timeless allure of floral motifs, this collection celebrates femininity, romance, and the delicate intricacies of nature. Photo by Kailynn Washington.

Hannah Westerman (Kutztown University)

Window Quilt No. 3, 2023

Naturally dyed cotton [16" x 16"]

Window Quilt No. 3 features the lightfastness of natural dyes in a visually interesting way. By revealing some of the fabric to the sun I was able to then create an art quilt with a geometric pattern and a wider range of colors.

Chase Woodson (North Carolina State University Wilson College of Textiles)

Heirlooms, 2024

Cotton, wool, and cashmere yarn [42" x 40"]

Heirlooms is a handwoven copy of a newspaper story written about my father in 1971. The piece relies on the colorful patterned background to abstract the subject matter of the article. It comments on the way trauma is reinterpreted and processed over time.

Ruby Wrigley (The Savannah College of Art and Design)

THE NOODLE CHAIR, 2024

Red Oak, Cotton, Wool, Cashmere, Metal.

THE NOODLE CHAIR, is an interactive chair based upon the childrens book, ‘The Little Prince’. This colorful piece is designed to bring anyone who gets to experience its warm cuddles back to their youthful spirit through color and form. Collaboration with Furniture Designer, Daniela Fleischman. Photo by Ruby Wrigley.

Addie Yocom (Savannah College of Art and Design)

Eclectic Environments, 2024

Laser cut double Matboard, screen printing materials [12" x 37"]

Eclectic Environments is a collection of fine art installation work, showcasing the the balance of chaos and rigor in a postmodern lens. Photo by Hallie Howard.

Emilie Yonker (College for Creative Studies)

Pour Your Heart Out, 2024

Fabric, Spackle, Glitter, Glue, Found Objects, Beads [36" x 48"]

In Pour Your Heart Out, memory and care are represented through the use of secondhand materials and hand beaded animals. The frame is stuffed using scraps from completed and abandoned projects and covered in a mixture of glue and spackle to adhere layers of beads, glitter, and found objects.