Intertwined[fiber from one extreme to the other]

July 21 - September 3, 2018Healdsburg Center for the Arts

Victoria AyresBerkeley, CA“Through my artwork, I am reminded of the opportunity to see beauty in our flaws, in our scars.”

My Body’s Wordsthread, gampi paper and wire55” X 19” X 3”2015600.

Using a water soluble stabilizer, I designed the shape and sewed the thread to form the dress.

Notes to Herself;Paper, Cut-outs of journal entries, Plants for dye (Weld and Toyon), Glue/transfer tape;40” X 24”2018800.

Stressed and Dyed paper and dyed journal entry cut-outs (from my mother’s journal).

Becca BarolliHayward, CA“My work defies expectations and conventions in the hope of discovering new systems for growth.”

Untitled (soaker tubing vessel)Recycled tire soaker tubing12.5” x 9” x 8”2018400.

Take One16.5 gauge annealed steel wire and 222 disks of 18 gauge aluminum wire 8” x 18” x 18”, 20181,000.

Carole BeadleSan Rafael. CAapple“I often choose to work with non-traditional methods of creating and traditional fiber materials.”

What the Sea Tells Meheat treated fabric42” x 16.5” x 1” 800.

Lacy formations of patterns are created with a heat tool which burns the chiffon fabric with a sense of irregularity.

Marie BergstedtSan Francisco, CA“I search for the best materials and techniques to visualize the wealth of personal relationships and episodes I experience, with a goal to encourage viewers to discover their own narrative through my characters. ”

Emerson, Chicago 1930Wool, alpaca, cotton, acrylic, bamboo, beads, buttons, and puzzle pieces over needlepoint canvas.54” x 30” x 2” 20166,000.

Portrait of my grandfather who was confronted by police in Chicago. It was 1930 in the dark. There were no witnesses. Police reported that he pulled a gun and shot himself. The questions around current shooting incidents parallel this historical unresolved question of what really happened.

TerryCotton & waxed linen threads, buttons & beads over needlepoint canvas. Polyester & cotton stuff-ing.44” x 41” x 2.5”201512,000.

Portrait of my Great Aunt Thelma Combes. Unable to survive on a Women’s symphony first bass salary, Terry moved to lone woman and later Jazz Band Director of men in Chicago’s roaring 1920s. She became famous for her leadership and talent, but the challenge of managing and touring with a band of men broke her spirit and ended her career.

George-Ann BowersBerkeley, CA“Color, contrast and texture are important elements in my work, as is dimensionality, whether implied through visual illusion or in actual form.”

Rock FrockCotton, wool, rayon, silk, buckram backing40” x 43” x 2”20173,500.

Double-weave pickup, hand stiching (assembly), stuffed

StonewarePolyester sewing thread, wire armature5.5” x 8” x 11”20171,000.

Not Far From the Treeindustrial felt, cotton embroidery floss18” x 16” x 12” 2015600.

Vesna BreznikarHealdsburg, CAA lifelong artist, Vesna is inspired by the beauty of the Healdsburg area and finds inspiration in the shape, color and texture of leaves.

Trifoliowillow, bronze wire, parchment, shellac and string36” x 12”x 10”20181,200.

The design is guided by organic materials. Willow branches are the backbone, bronze wire plays within this constraint . The parchment fills the void with line and texture and the shellac tightens the parchment and adds color and transparency. I am drawing lines with string to create tension between geometric and organic forms.

Carolyn BurwellMill Valley, CA“My inspiration comes from the reflection of light: the sun sparkling on the dew, speckled shadows, or even the moonlight resting on a distant granite outcropping.”

Rebirthhand woven, hand dyed monofilament30” x 22” x 13”2018950.

This voluptuous hanging sculpture gracefully circulates, exposing glimpses of shimmering iridescence. As it gently turns, a rebirth seems to take place as the contours and shading shift, inviting the viewer to look more deeply into its folds.

Celestial Waveshand woven, hand dyed monofilament23” x 18” x 9”2018450.

Swirls of energy burst from the core of this weaving, spreading into shimmering blues and greens. Shadows created by the layers of hand woven, hand dyed monofilament add depth to the design and invite closer scrutiny.

Shee-he ChinMcPherson, KS“I attempt to carve out what I proudly call feminine territory in which the voices of effaced and silenced women reverberate, and to translate the experiences of women in a way that people of different ethnic backgrounds and cultural experiences can sympathize.”

Poom(With the Open Arms)cotton, linen thread, recycled19” X 29” X 27”200712,000.

random weave, stitched

Jennifer DaySanta Fe, NM“To create my art, I print my photographs on fabric then go about the process of covering the image in thread. I have used as many as 250 different thread colors in one piece of art. My technique is called Thread Stories.”

Cuban Guitarphotograph on fabric, canvas40” x 32” x1”20184,400.

I took the photo for this Fiber Art on a plaza in Cuba. This old man was playing his guitar with his friends as people danced and sang along. Los Mambesis have been playing together on the streets of Havana for 15 years. Everybody is at least 80. I just love them. I printed the photograph and covered the image 100% in thread.

Marlie de SwartBolinas, CAFibershed Member“I believe combining excellent design with locally sourced materials provide a strong alternative to imports.”

SweaterFibershed’s climate beneficial wool,  100% local wool 15” x 18”2018400.

Hand spun and mill spun. Hand and machine knit, woven and sewn.

Susan DoyleSan Geromino, CA“To me the dress is a canvas to express my current concerns or interests.”

Rue Nicolas Apperthandcut paper, rubylith34” x 24”20152,000.

handcut Paper map of Paris, heart place where the Charlie Hebdo attacks occured.

Columbiaencyclopedia pages and cover, thread47” x 28” x 2”20141,800.

Made from an old encyclopedia, cut and woven, solvy thread work

Emily DvorinKentfield, CA“My use of re-purposed, re-contextualized materials is commentary on overconsumption of commercial goods, societal excess and throwaway consumerism.”

NETWORKINGAudio and computer cable, telephone wire, cable ties10” x 21” x 9”2017850.

Coiled basketry vessel

Julia FeldmanCarmel-by-the-Sea, CA“My commitment is to issues encompassing autochthonous people, global politics, and sustainability.”

Fragile (with pomegranate and rocket)Mixed Media24” x 27”20182,300.

Hand embroidered with threads and yarns, applique, quilted, vintage fabrics, cotton, thread, safety pins, and vintage trims.

Underwater and Outer SpaceMixed Media34” x 63“2017-20184,800.

Hand embroidered with threads and yarns, applique, found objects, vintage fabrics, thread, safety pins, vintage trims.

Deborah Benioff FriedmanWalnut Creek, CA“The marks I make - cuts, holes, burns, stains or stitches in paper - are evidence of my truths: they are a code, a rhythmic, enigmatic, asemic language as well as a map to my subconscious meanderings..”

Intimate TerritoryMulberry paper, linen, thread24” X 19”2018975.

Embroidered joomchi on linen. Framed.

OphidialMulberry paper, wire, thread63” X 18” X 14”20171,200.

Joomchi sculpture to be hung on a wall

Danielle GarberNevada City, CADanielle has always been interested in constructing functional objects and working with natural fibers. She first started working with wood and moved into working with plant and animal fiber in textiles.

Woven EarringsLinen warp, wool weft. Earring hooks are sterling silver. Hand woven on Swedish Floor Loom.175.

Each earring is its own individual weaving, woven on 4 harnesses, in a block weave pattern. All finishing work, including a Damascus edging, is knotted and sewn by hand. The artist wanted to use traditional techniques of rug making to make contemporary wearable fashion.

Susan HellerWalnut Creek, CA“Outside the proverbial box might best describe my current approach to quilted works. For a long while I’ve moved beyond the confining borders of a traditional background and now am exploring ways to enter the 3rd dimension.”

Sea CreatureCotton Fabrics, Embroidery Floss, Wire, Metal Spring, Wooden Beads21” x 4.5”2018650.

Referencing our evolution from the sea, a shell-like creature takes on a quasi-human form. This quilted and embroidered fiber sculpture is displayed on a painted wooden base.

PodsCotton Fabrics, Embroidery Floss, Beads, Wood Base21” x 8.5”2018850.

Two seedpods appear to be winged, perhaps suggesting the flight the seeds will take. This quilted and reverse appliqued fiber sculpture has been embellished with beads and embroidery and is displayed on a wooden base.

Susan HerseyPetaluma, CAMy art is my interpretation of where I live in the natural world. At this time I am surrounded by rolling hills, fields of grasses, oaks, buckeyes and fences.

Forest Series IIHandmade paper, fibers, bronze screening, sheet steel24” x 27”2015950.

To interpret the texture of this landscape I configure these elements in various abstract ways with metal screening, handmade paper, fibers, rusted steel and acrylic, all products of our contemporary society.

Stephanie HoppeUkiah, CA“ I weave on the vertical frame loom perfected by the Native Peoples of the US Southwest 1,000 years ago. The loom is simple, and the weaver’s own hands and body form critical components.”

TriangulationWorsted wool warp and hand-dyed wool weft36” x 36”20101,350.

Diagonal lines are the most basic and natural design element in weaving; this piece explores triangles arising from various angles and using color changes to compile or divide them into proliferating series of triangles. Woven at eccentric angles to the warp, accentuating the angularity. And metaphorically a search for my place in the work of weaving through triangulating directions.

Marty JonasBenicia, CA“My Mother taught me to knit, crochet and sew, and my Father taught me to hammer, saw, solder and drill. I cannot remember a time when I was not doing something creative, using threads or cloth, with my hands.”

YO YOCotton fabric, cord, wire mesh, thread60” x 20” x 20”20154000.

FIREFALLHand dyed silk and wool yarn, wire84” x 12” x 12”20171,500.Ceiling mounted

Circle In SquaresCotton fabrics, Slide Mounts10” x 10” x 10”20151,500.

Cube of squares with a circle in the middle

Jennifer Kim SohnSacramento, CA“I rely on the comfort and domestic association one often has with fiber technique and material to give voice to the downtrodden and raise awareness to social and environmental issues of our time.”

Hand to MouthPaper-mache plates, threads38” x 60” x 1”20172,500.

This piece was conceived through my interactions with many homeless people in downtown Sacramento. Feeding a small group of them a few times a year showed me how the homeless often hunger for human contact as much as for food. My thread drawings of the hands and homeless on translucent take-out plates speak to the utter vulnerability of their lives

Spoonful of Honeyembroidery hoops, organza, threads40 x 30 x 3 flexible20152,500.

Franki KohlerPortland, OR“I design textile art for the wall integrating commercial and vintage fabrics with cloth of my own design. Paint, eco-dying, stitch, photographs and beads are my tools.”

Woodwardia WonderCotton fabric, thread and batting. Setacolor paint, acrylic paint, beads.60” x 24”20134,100.

Heliographic print; free-motion embroidery and quilting, hand beading.

Carol LarsonPetaluma, CA“I work with cloth because I like the texture created when it is layered and stitched. Cloth is familiar and comforting yet through manipulation can reveal itself as soft or harsh, stunning or shocking, compliant or feisty, warm and endearing, much as an old friend.”

Keeping Up Appearancesvintage embroidered bridge tablecloth31” x 31”20172,100.

Screen-printed text from 1954 book on etiquette, machine & hand-stitched. (text used with permission of Lincoln G. Clark, trustee of the Amy Vanderbilt Kellar Literary Property Trust)

Keeping Up AppearancesDetail

Sherrie LovlerSanta Rosa, CA“Not everything that is woven together stays that way. Relationships end, administrations change, much of what has been done gets undone. This paper weaving expresses the undoing of things, the falling apart, our changing world.”

UnravelingSumi ink, acrylic ink, gesso, gouache, palladium leaf on paper glued to foam core56” x 56”20173,200.

Beginning as a large abstract calligraphic painting, the paper was torn into strips, woven and glued onto a structure of two layers of carefully cut foam core.

Jennifer McGeeCalistoga, CA“I strive to increase my knowledge, skill and craft to many different mediums so I able to bring my love and passion of creating something that makes people smile.”

I hear youWool over wire armature with glass eyes.27“ x 14“ x 5”2017-20183,800.

Needle felting

Teddy MilderBerkeley, CA“I intertwine materials with different properties to create a piece. Though I may begin with photos & drawings from internal, local, distant travels, I use fiber technique, paper-making, stitch, dye & print with cloth, metal & other materials.”

Wall Constructionsarchival pigment digital mono-print; silk thread; barbed wire wrapped with hand-made paper2018600. each, 4,200. all

Arriving in Oaxaca for an artist residency just after the 2016 US election, threats of building a border wall loomed large. In response, I photographed ancient & new walls that honor Mexican history & culture. Printed on amate paper made while there, I stitched enhancements & memories into each wall image. 7 sets of 5 images can be installed in a 20’ line that spans corners or in various groupings

Erin MillerTemperance, MI“My intention is to offer the viewer an opportunity to experience their personal sensory memory of the materials I am rendering, with a gentle suggestion that they be considered in relation to the cloth that the materials are being rendered with.”

Bubble Wrap: Tool Iwool, tencel24”20171,800.

handwoven cloth on TC1 loom with wet felted finishing

Bubble Wrap: Tool I Detail

Bob MosierConroe, TXWondering what a sculptor do if they came across a sewing machine? After thirty years in heavier mediums, Bob began to make pieces like these.

Queens Gambit manila rope, waxed hemp sewing cords20” X 18” X 40”20174,000.

Created using natural 3 ply Manila rope. At 1 inch intervals the 3d ply of the rope is opened and a cord of natural hemp is inserted through each strand, securing it to the length of rope below resembling that of making a coil pot layer upon layer is tied steadily together to complete the form. The pieces are hollow and lightweight enough to hang on the wall with a plant hanging hook

Chris MotleySan Francisco, CA“I push the boundaries of the stitches to translate an image or concept from my imagination or the real world into fiber to reflect a mood, an emotion, an idea or societal condition.”

Here & Therewire and cotton and linen cord67” x 57” x 5”20171,500.

Hand Knitting usually presents a softness; this piece, hand knit from wire, with linen or cotton cord added in places, presents that strength which is unaltered by the addition of fiber.

Easing Throughwool, thread24” x 40” x 2”2018950.

With its calm colors and smooth, easy shapes of gliding, this piece reflects the ease of very good days

Stream of Consciousnesshand knit wool, fulled and sewn105” x 35” x 2”20171,700.

Stream of Consciousness reflects our thought processes which cover a variety of subjects; our thoughts can be concentrated or wander, come in pieces or continue uninterrupted. The title is derived from the one stream of continuous color that continues the entire length of the piece.

Kristina NoblemanSt. Helena, CA“Each of my whole cut cloth wall hangings is entirely unique, melding diverse influences ranging from African Shoowa textiles to Moroccan Beni Ourian rugs to traditional American patchwork.”

MarrakeshSeven layers of cotton fabrics34” x 44”2017600.

Quilted Wall Hanging

Diamond Mosaiccotton fabric, natural indigo31.5” x 31.5”2018525.

multi layered patchwork wall hanging

Abigail OgleBlountsville, AL“I believe that materials matter, that everything is influenced by art’s history, and that art really can make you more human.”

HirsuteHuman Hair on Pillowcase 14”20185,000.

Inspired by the work of contemporary artists such as Lynne Yamamoto and vernacular practices such as Victorian era hair wreaths, this embroidery asks the viewer to consider their delightful and the disgusting experiences with hair. Though a seemingly mundane medium, this piece is unexpected and bodily once it is realized that hair, rather than thread, has been used.

Sleep Patterns Embroidery on Used Pillowcases27” x 19” each20173,000.

Vein-like, embroidered creases create imprints on three used pillowcases. Each piece becomes a landscape left behind by a left side, a back, and a right side sleeper.

Ursula PartchWillits, CAFibershed Member“My goal is to foster strong connections between humans and their environment and therefore, I have chosen plant and animal fibers as my main artistic medium.”

The Messengerlocal wool from Mendocino County sheep; hemp, silk26” x 35”2018600.

Wallhanging from hand-processed wool from local Mendocino County sheep; hand-dyed with natural pigments from plants grown in my garden; wet-felted with a hint of hand-dyed hemp and silk.

Geri Patterson-KutrasMorgan Hill , CA“It’s the snapshot moments that we witness each day that leave lasting impressions on each of us.”

Japanese Fishing Villagehand dyed cottons, commercial cottons & batiks41” x 27”20152100.,Layers of the day unfold and are exposed as the sun begins its climb over the waking fishing village below. The boats are ready for their customary routine of carrying fishermen to the sea where they cast their nets and harvest the bounty.

Sasha PetrenkoWatsonville, CA“My sculpture, performance work, writing, sound work, and video is layered, like a cosmic ecological sandwich. I identify systems that involve both human and extra human participants. [In my view there is no divide or border between us, despite our best or worst efforts. Their is no wall long or tall enough to stop the interweaving of the species’ fate.]”

Blind Arbiter

reed, waxed linen, rock, paint14” x 8” x 7”2014850.

But I am no scientist, or authority on anything but my own way, and that is even questionable at best. So my work asks questions about relationships, between us and them, humanity and animals, plants and people, our bodies and the universe. In the gaps between our working with and against it, our feeling at home or out of place, there lie deeper truths that can lead us to our better nature and a more stable future. Because it’s all nature. Understanding our place in it leads towards understanding ourselves. It is my hope to make work that illuminates relationships: between our bodies, space and place, our planet, the universe and time. Quite a shopping list I agree. But if I can begin to tell the story and show how patterns in our bodies mirror those in plants and the universe, and how time is like a flower and we are all held in it’s scent, sliding down layers upon layers of satin pedals of perception, pulled continuously to the core of all that is and will ever be... it shall be something.

Rosie SaxeRedway, CA“I draw inspiration from our tightly knit community and how we rely on and care for each other. Pulling through wildfires and natural occurances, to life and death milestones, our lives are connected and woven together making a strong safety net in turbulent times.”

Fire in the FieldMixed Fibers on Fibreflex29” x 34”20182,800.

Coiled and Crocheted Tapestry

Carol Lee ShanksBerkeley, CAFibershed Member“I have been designing and making clothing for 35 years here in California and am thrilled to have been part of this effort.”

California Wool JacketCalifornia Wool44” long by 52” across sleeves2017 1,700.

This jacket was created from wool raised in the north eastern part of California by Lani Estill. This wool was part of a project supported by Fibershed and the Fibershed commu-nity of producers. It is the first ever Climate Beneficial Wool woven textile tied to a work-ing landscape that has implemented a Carbon Farm Plan. The plaid I created in the wool was hand stitched using wool yarn also sourced from within our Fibershed. I have been designing and making clothing for 35 years here in California and am thrilled to have been part of this effort.

Sasha SilveanuSan Francisco, CA“‘My Mother’s Tapes,’ a woven representation of the archive of VHS tapes her mother developed while recording broadcasts of the civil war in the Former Yugoslavia. Creating a conversation between mother and daughter about women and war, the ribbons have been ceremoniously removed from their cases, methodically cut and meditatively woven together. These are not empty ribbons but display invisible narratives and create surfaces of intersections and distorted reflections. The difference in stories between family members, reporters and countries parallels ongoing socio-political distress within the United States and internationally. The material compositions reflect an impulse to make sense of rearranged boundaries and identity and the struggle to stay rooted from afar. The limited color palate highlights shades of gray. Matte and shiny surfaces offer variations in how light and dark are portrayed.”

EclipseVHS tape30”2018800.

VHS tape woven in a circle to make a mirror.

Both Sides NowVHS tape22” x 22” (each, set of two)20171,000.

One weave; two sides.

Dean Bensen & Demetra TheofanousMontain View, CA“We are glass sculptors that utilize nature as a vehicle to communicate environmental challenges, and metaphors for the human experience.”

Sunset TapestryGlass17.25” x 1” x 16.25”20172,000.

VortexGlass9.5” x 9.5” 20171,100.

Vortex DetailPieces are created by weaving togeth-er 1mm & 2mm strands of glass. Each piece is comprised of hundreds of these strands woven together. The tapestry is then put in the kiln and lightly fused.

Mike TinneyHealdsburg, CA“My inspiration - Bob Ross: “There are no mistakes, just happy accidents”. “

Figuremuslin/cotton fabric42” x 38” 2015975.

This is what I call body painting.Dyed muslin is laid on the floor. I paint the front of my body with tempera paint & lay on the muslin leaving a body imprint.I tack muslin to a wall and work it over with paint, pastels, powder pigment, bleach. I gather fabric remnants from my boneyard; cut, shape, leave as is and pin to muslin.Freeform hand stitching of remnants. The goal is to let the figure emerge.

Sue WeilSan Rafael, CA“I weave tapestries with the intent of bringing beauty and a sense of quiet to the places they inhabit. Some of my works reflect an inner call for peace while others may address the intensifying discord in our world. My hope is to find balance between active engagement in events surrounding us, and the periodic need to retreat for reflection and self-renewal.“

It’s About the Journeycotton and wool16” x 37”20171,300.

Many parallel roads begin and end beyond the borders of this tapestry. As the title suggests, it’s less about our background and beliefs that define us than our shared humanity. We all seek the same creature comforts of food, shelter, love and companionship. It’s less about reaching a destination than it is what we learn of the world and ourselves along the way that ultimately matters.

Ama WertzOakland, CA“These works combine traditional tapestry techniques with contemporary design inspired by California landscapes and color. They are woven with local fiber in natural dyes, reflecting the region they were made and humanity’s role in nature as steward and vandal.”

(Alight upon a) Golden StateWool and cotton on canvas29” x 24”20161,200.

An avid hiker, I’m often struck by California’s abundant beauty on both land and sea. Yet this abundance often feels in conflict with pressing urban communities and overcrowded trails. This work is a reminder to recognize this fragile balance and preserve our Golden State for the future.

NYC Bound, FebruaryWool and cotton on canvas12” x 9”2016450.

This piece reflects two crossroads: that of my personal future, as I was about to embark on a new life that would ultimately bring me to California, my adopted home; and that of a state paralyzed by drought and fire, unfamiliar to me and my Southern roots.

Arlene WohlSan Rafael, CA“My marks are both a memorial and a protest, an artistic expression and a cry out, albeit in fiber, material too soft to muffle the tortured sound of suffering around the world.”

Requiemsilk, linen, wool, wire, burlap, dye51” x 71”20181,800.

I think that my affinity to fiber art is addictive.My father a tailor, my mother an embroiderer, my aunt a fashion designer, all of whom escaped the ravages of Polish jewry before WW2, leaving their relatives behind. All were murdered; in death marches, by gas, by gunshot.

I am currently marking this history with stitches, crochet,burning, felt, eco dyes, deconstruction: a requiem for relatives whom I never met.

Requiem detail

Sue YaminsMedford, OR“I first became interested in coiling when I moved to the northwest in 1998 and saw my first pine needle baskets. After taking a short class I became hooked on this ancient basketry technique and have been coiling ever since.”

Rotating Siesta Dreamshemp cord, waxed linen thread13.5” x 11” x 6”20181,200.

multi-colored, coiled sculpture using basketry techniques

Blue Towergourd sections, hemp cord, waxed linen thread17” x 7” x 7”2014950.

Susan ZimmermanEl Cerrito, CA“Much of the inspiration for my work comes from the fine arts, especially color theory, drawing, and sculpture. I am inspired by the simplicity and experimentation of the Bauhaus period.”

Housewife’s Gownpaper towels, acrylic wax, thread42” x 46” x 26”20172,000.

non wearable dress of paper towels burned in various patterns, hand-sewn together in multiple layers

Colorpanesdamask cotton, thread, piping cord, botanical dyes60” x 72” x 3”20182,000.

wall hanging of hand-dyed, hand-sewn cylinders loosely interwoven into grid format

Noir Dresscotton thread70” x 15” x 4”1,500.

machine-sewn open grid lace hung as dress

Jurors

Carole Beadle – Carole Beadle’s long and distinguished career in the field of fiber sculpture has spanned nearly 50 years and has contributed to the adoption of fiber sensibilities throughout the art-making landscape. Beadle earned her bachelor of fine arts from Syracuse University in 1959. She earning the first master of fine arts degree in textiles in 1968 from the California College of Arts and Craft. Beadle’s innovative off-loom construction tech-niques became a major contributor to the burgeoning fiber sculpture movement at that time. In 1969 Beadle join the CCA Textiles Program faculty and just recently retired from there. She continues teaching at the College of Marin. Carole Beadle’s groundbreaking work in fiber sculpture has been exhibited nationally and internationally.

Marlie de Swart – Marlie de Swart is a well known artist in the Bay Area, born in Holland and educated there and in France and the USA. Marlie owns Black Mountain Weavers/Artisans in Point Reyes Station and is on the board of directors for Fibershed. She has been featured in news papers as well as on television by INSP and has had many exhibition, most recently at the Eubank Gallery in Marin.

Vicky Kumpfer – Vicky Kumpfer has worked over 35 years in arts administration in Utah and Sonoma County, California. She received a BFA from the University of Utah, with a sculpture/fiber arts emphasis. Although she is dedicated to supporting the art community, she continues to keep her passion for art making. Her interests are in the intertwining linear elements of fiber material which when combined create strength, mass and endless possibilities for defining space.

Carol Larson – Carol Larson is a textile artist who explores social and cultural values, such as body image, wom-en’s rights, migration, aging, gun violence, and loss in her narrative work. She uses a variety of media, including dyes and paints, wax, stitch, digital media, found objects as well as vintage linens, handwoven and various types of cloth. Her work is in the corporate art collections of James Irvine Foundation in San Francisco, CA, Kaiser Permanente Hospital in Santa Rosa, CA and John Muir Medical Center in Walnut Creek, CA. She has had 6 solo exhibits of her series Tall Girl: A Body of Work including the National Quilt Museum, Paducah, KY.

Intertwined [fiber from one extreme to the other]Sponsors

130 Plaza Street, Healdsburg, CA 95448707.431.1970

HealdsburgCenterfortheArts.orgCreating Community through the Arts

Free Demonstrations and Events

Saturday, July 28, 11:30–2:00pm Spinning Wheel Demo with Alisha Reyes of Full Circle Studio

Saturday, July 28, (at the Healdsburg Art festival) Fibershed display the Wool and Fine Fiber Book

Saturday, August 4, 2:00–4:00pm Modern Tapestry Weaving with Keyaira Terry

Saturday, August 25, 3:00pm–4:30pm Fibershed panel discussion: Reconnection to Land Through Textile Culture 

Monday, September 3, 2:00–3:00pm  Closing Tea, an informal gathering with artists sharing their inspirations

Ongoing in the HCA gallery: A tapestry loom provided by Cast Away Yarn Shop for you to try your hand at weaving!

Images of work in this catalog courtesy of the creating artist, permission for use granted to Healdsburg Center for the Arts.