2024 HGB Show & Sale Showcase

Past Made Present

2024 Showcase
Manager: Janet Strickler
Juror: Anne Bossert

The Juror’s Choice award announced at the Member Reception – October 29, 2024

The People’s Choice Award announced at the Show & Sale – November 3, 2024

  • 2024 Showcase Theme: Past Made Present
  • What is the relationship between our handwork and that of the makers that came before us?
  • How has our fiber art changed over the years – either personally or collectively?
  • In what ways do we use historical methods in new ways?
  • Has your making changed as your skills have changed?

Juror’s Choice Award

The Juror’s Choice award announced at the Member Reception – October 29, 2024

People’s Choice Award

The People’s Choice Award announced at the Show & Sale – November 3, 2024

Participating Artists
Links will be active once this page becomes live

Jeanne Abel | Chandra Barker | Ruth Briggs | Alexandra Busby | Al Canner | Deborah Coccoli | Rachel Courtney | Cleo Digirolamo | Angella Dirks | Linda Farrelly |  Sondra Finch | Sally Fortenberry | Joanne George | Sally Hartshorn |  Babs (Barbara) Herrli | Cat Hersh | Joanne George | Senena Kull | Jane McAtee | Donna Pattee  | Antoinette Peshek | Andra Stanton | Irene Takahashi | Sue Torfin | Susan Wilson | Caitlin Zeller

Chandra Barker
Growing Up

Artist Statement: Crocheting is a gift that my mother and grandmother gave me. Every baby in the family received a beautiful crocheted item lovingly made by one of them, it was tradition. With this peice I’ve tried to honor our family tradition of that coveted baby blanket but modernize it and add to is grandeur with a gradient color scheme and complex pattern. This piece is completed with 1 weight cotton yarn and many hours of attention.

Materials and Techniques: 100% cotton, crochet

55″ x 55″

Ruth Briggs
Mending Fences #10

Artist Statement: The Log Cabin design is a timeless pattern. Untraditional application of texture and color gives this Fiber Art a contemporary feeling. Mending fences is a series that I have been working on for a long time. I am continuing my theme of mending the breach between neighbors, boarders, countries and friends.

Material and Technique: Commercial fabric and thread. Spray paint. Construction fence.

72″ x 72″

Ruth Briggs
Security Blanket #8

Artist Statement: I took the history of traditional weaving and piecing. I then mixed them together. This is a contemporary Art piece with texture and color contrasts. I love mixing the past with the present. The antique buttons were added last as a tribute to the past.

Materials and Techniques: Commercial cotton and thread. Vintage buttons. Pieced fabric, woven and quilted. Hand sewn buttons.

34″ x 54″

Alexandra Busby
Midsummer in the Forest

Artist Statement: A tree provides shelter in the summer heat protecting plants, animals and insects. A fantastical world is waiting to be discovered. The background pieces are made with the ancient technique of wet felting. The bark is suggested with yarn that I hand spun on a drop spindle in a rough and uneven way. The present shows up in the use of wire framed needle felting which is new within my lifetime. The connection to both is nature, using natural materials to make a natural setting and bringing us closer to our lineage of fiber artists.

Materials and Techniques: Wool, Cardboard, Wire, Wetfelting, needlefelting, spinning

25″ x 42″ x 25″

Al Canner
Mid-Century Modern Pictograph

Artist Statement: This work suggests a nexus between ancient pictograhic forms and the mid-20th Century modern style—the far past brought into the almost-present. It relies solely on the strength of the knots (the double half-hitch) to maintain its form.

Materials and Technique: Knotted cords of cotton and hemp.
13.25″ x 8″ x 8.5′

Deborah Coccoli
Repose in the Garden

Artist Statement: I was Siena in 2018, and visited the Pinocoteca Nazionale di Siena. It was a very small museum where I was able to get up close enough to touch the paintings. I saw this work , “Adorazione di Gesu nell’ orto”, “Adoration of Jesus in the Garden”, painted by Giovanni Bazzi , sometime in the early 16th century. The face in the bottom left corner of the painting really spoke to me. I took photos and returned home where the picture languished on my phone. In 2024, I was deep into my felting obsession, and decided to felt what I thought was a woman. This was extremely challenging, but I persevered and eventually declared her finished. I did some research and discovered the person was “one of the three disciples sleeping as Jesus endured his agony in the garden. The blond disciple is probably John the Divine, the youngest, often portrayed looking feminine, and maybe a suggestion of Mary Magdalene”.

This work comes to us from the far past as part of Bazzi’s painting, into the present, as a felted work.

Materials and Techniques: This piece was created using dry needle felting as well as wet felting. I used Merino Tops , Bergschaf Batting, Maori Batting, & NZ Corriedale Wool.

16″ x 24″

Rachel Courtney
Now

Artist Statement: While working on pinecone owls with my family in the summer of 2024, I wanted to jump in and make my own owl. However, I wanted to take it to the next step.

Since 2007, I have been making sunflowers the subject of art pieces – either on my own or in classes. Naturally I would need to make a sunflower from pinecones.

I started with a piece of wood, stained it and drilled holes along the edge. I rummaged through my stash and found a small piece of silk and dyed it yellow with alcohol ink, then used my sewing machine to zigzag up all of the “petals.” The petals were then inserted into the holes along the edge of the wood.

I found some lovely green fabric in my stash and started to cut and glue it into triangles for the back of the sunflower. I incorporated a stick along with some wire and ended up with a few leaves and buds.

The most difficult part of the project was trying to get the whole piece to balance in a pot. I tried several methods and ended up using found objects (including floral foam and rocks) to carefully balance the project.

In keeping with the original piece (the owl), I ended the project by adding a bottle cap bee. I love how we can reinvent the same thing (sunflowers) in many ways including going back to the archives for project ideas.

Materials and Techniques: Pine Cones, Branches, Alcohol Ink Dyed Cotton and Silk, (Sewing on Silk), Wood, Wood Stain, Glue, Acrylic Paint, Pine Cone Dust, Wire, Terra Cotta Pot, River Rocks, Bottle Cap.

15″ x 20″ x 7″

Rachel Courtney
Then

Artist Statement: In 1986 my brothers and I went to an afternoon workshop and created pinecone owls. Andrew’s (he was 9 at the time) looks great. Adam’s (he was 7) has his pieces all lined up perfectly straight (who knew he’d grow up to be an architect?) And mine (age 5) has no writing, because not only did they not want to trust a 5 year old with a wood burner, I probably didn’t know how to write. My dad has had these up in his study basically since then.

Flash forward 38 years and I decide that Andrew’s kids needed to make a pinecone owl. My sisters missed out on the original class in 1986 (because they weren’t born yet) so they jumped in on the craft as well. We painted the background of our boards (because why not?) and got to work on the pinecone scale placement. There was a nice collection of bottle caps for us to use as eyes and we glued those puppies down.

I love how they all turned out. My niece (9) used the wood burner for the first time and my nephew (6) wrote his name and asked me to use the burner for him. I love that he was comfortable asking for help and didn’t try something he wasn’t ready to do. Taking a piece from the past and sharing the craft with others in the present is a great way to let the art live on.

Materials and Techniques: pine cones, bottle cap, wood shingle. Mixed Media

5.5” x 12” x 0.5”

Cleo Digirolamo
Greystone Cottage, Cong, Ireland

Artist Statement: I was inspired to paint Greystone Cottage in Ireland when I was there for a visit last autumn. The cottage itself is built around three original stone walls that were created by stonemasons about 300 years ago. At that time, women were spinning their own wool and used raw wool for wet felted fabrics, shoes and even hats. The waterproof durability of wool was perfect for the wet climate of Ireland. It is a rather spiritual experience using the same materials and techniques as women from hundreds of years ago, to create a wool painting in the current era. Modern items I use when wet felting are a bamboo mat, and a wooden rolling pin, and my favorite tool is the Oval Mool Felting Tool by Moy Mackay.

Materials and Techniques: I start my process with photography. I take these images and sketch out a plan, then I use pastels to come up with a defined image. I use wool, both natural and dyed, along with Angelina fibers, wool nepps, silver leaf, and silk, and create the base of my painting using wet felting technique. Then I add dimension and color using needle felting, followed up by free-form embroidery.

23.5″ x 29.5″ x 3.5″

Cleo Digirolamo
Quaking Aspen

Artist Statement: While doing a study on trees, I got to thinking about this old aspen grove in Coal Creek Canyon, Colorado. It’s hundreds of years old, and here it still stands, gorgeous as ever. When the sun goes down and hits the brilliant leaves just right, they glow gold, pink, and burgundy. So, it’s time to start my painting. First, by using modern photography and editing software I create an image that I like. Then I sketch out my plan in regards to size, etc. I use a bamboo mat for wet felting. I also use modern day insect netting for the garden as my fabric to stabilize the wool while felting. Most of my paintings bases are from an ancient Icelandic Sheep herd from Big Ash Farms in Boulder, Colorado. I also use hand dyed wools, silks,and cotton. I add in some contemporary free form embroidery and top it off with some dried organic matter, like dried mushrooms, moss and twigs from the aspen grove in the painting.

Materials and Techniques: I start with photographing my subject, in this case a lovely aspen grove in Coal Creek Canyon, Colorado. I then create a sketch with pen and ink, then pastels to come up with my design. I then make my base painting using wet felting technique using wool, wool nepps, Angelina fiber, and silk. I follow this up with needle felting to add dimension and texture. I use free-form embroidery using silk floss and lastly, I felt in some organic matter- in this case, dried mushroom and moss from the aspen grove I originally used for my inspiration.

11.5″ x 11.5″

Linda Farrelly
Dear Rita

Artist Statement: Weaving has been a metaphor for telling a tale for most of history, and this piece literally weaves together images to create a narrative. This piece uses prints of a letter my father wrote to his sister Rita and the photograph he sent with it. Woven together, these images become one to tell the story of his arrival in Korea in 1950.

Materials and Techniques: paper, weaving

6.5″ x 8.5″

Linda Farrelly
Stardust #2

Artist Statement: Weaving with different elements in the warp and weft is a common practice, adding depth and texture. This piece was made of two prints of the same photo, one printed on translucent vellum, and the other on opaque paper. When woven together, the effect is that of moving through space and time.

Materials and Techniques: paper, weaving

7″ x 7″

Sondra Finch
Aspen Moon

Artist Statement: I have a great affinity for the beauty of aspen trees. The whole grouping of aspens is a huge family with interconnected roots. I also love to depict the beauty of night scenes from staring at night skies on camping trips, and bringing the memories into quilted landscapes. I cut out images to create the scene, then arrange them to my taste, and once satisfied, I then quilt them as I see fit. This is one of my favorite times of year, in the Fall colors.

Materials and Techniques: I use 100 percent cotton fabrics, and I cut small pieces to quilt onto the aspen trees for the leaves to create texture. I then machine quilt the whole art piece, and mount it on art stretchers

19.5″ x 34″

Sondra Finch
Maroon Bells

Artist Statement: Upon gazing at the Maroon Bells in the wonder and beauty of the Fall, I decided I really wanted to challenge myself to depict them with wool roving, and I took on the challenge by first laying down the base colors and forms first, hand needle felting, and then gradually laying in the smaller forms and details in close to natural colors, and kept in mind the size perspective as I worked in the details.

Materials and Techniques: hand dyed wool roving, and hand needle felting

20″ x 30″

Sally Fortenberry
Lariat Necklace

Artist Statement: In this necklace I have brought the past into the present in a couple of ways. First, the bead weaving technique I use, now called Peyote stitch, dates back to Ancient Egypt, notably artifacts from the tomb of King Tutankhamun (1332-1323 BC) The style got its current name in the late 1800’s, when Europeans introduced glass beads and the technique, to indigenous people of North America. In addition, the decorative beads I have used at the ends are Art Deco Venetian Fiorato “Wedding Cake” beads. Fiorato style refers to the layer of gold foil applied directly to the surface and is thought to have made its first appearance in the late 1700’s. By combining an ancient technique with the artistry of Venetian glassmakers, I respectfully pay homage to the patience of long ago craftsmen whose tools were crude compared to those at my disposal today.

Materials and Techniques: Size 11 glass seed beads, Japanese Delica beads, Venetian Glass beads, tubular peyote stitch, nylon thread.

38″

Joann George 
Homage to Laurel Burch – Kindred Creatures

Artist Statement: I have been enchanted with the work of Laurel Burch ever since I first became acquainted with her work. A few years ago, I wove a hanging based on her floral cats, embellished with needle felting, embroidery, beads and sequins. So now I have created a quilt based on the Kindred Creatures quilt in her quilt book, but taken many liberties with the pattern, particularly adding more fiber techniques.

Materials and Techniques: Materials: cotton and specialty fabrics, cotton batting, various yarns, including cotton, synthetic and metallic wool fleece, metallic embroidery threads, glass beads and sequins, sewing, felting, embroidery, weaving, tatting, marbling

24.5″ x 29″

Sally Hartshorn
Clearing the Fog

Artist Statement: This is a piece from my Long COVID series. I was successfully treated for Long COVID by spending 80 hours in a hyperbaric oxygen chamber (over a few months). When it was done, the brain fog lifted. The faces on the silk cocoons in the back represent two things a) the stages of mental fog I was in when I had Long COVID b) all the people with Long COVID I want to bring to the hyperbaric chambers so they too can get healed and have their minds and bodies back. Over 2000 years ago, the Chinese learned to make paper with silk fibers. This piece is made with silk fusion, a contemporary (within the past 15 years or so) manifestation of silk paper. I have expanded the technique by adhering, when wet, silk fusion to 3-D objects. Hyperbaric Oxygen Therapy is also an example of taking an ancient technique (it is about 100 years old) and using it for, in this case, for the first time, a seemingly uncurable medical condition. I am one of the relatively few worldwide who have used this treatment for Long COVID. This piece is made of silk fusion, yarn, silk cocoons, silk fibers, wool roving and acrylic paint. The bottom is reinforced with cardboard.

Materials and Techniques: Glass dish, silk fusion, silk cocoon, wool fibers, ink, yarn and silk fibers, cardboard.

2″ x 9″ x 6″

Sally Hartshorn
Warriors

Artist Statement: This piece is part of a series, chronicling how Long COVID changed my life and my artistic style. Warriors, in particular, was also inspired by my niece and nephew who went on to have amazing lives and careers despite their mother (my sister) dying unexpectedly when they were teenagers. My nephew is an accomplished composer. I was listening to him play while making this piece. His music went into my brain, down to my heart and straight out to my working hands where they intuitively knew what to do. I did not think about where the fibers were going or what I should do. They fell exactly where they were meant to be. The piece represents my becoming more powerful as a result of illness. It forced me to be a better friend to myself and let go of unhealthy relationships. Tragedy and illness can force us to slow down and listen. They are powerful lessons and show us how to let go and navigate uncharted waters. We survive them and become different and better people as a result. The red. Well, before Long COVID, I hated red. It spoke to me for this piece and I now work with it regularly. I even bought myself a red wool and silk coat! Over 2000 years ago, the Chinese learned to make paper with silk fibers. This piece is made with silk fusion, a contemporary (within the past 15 years or so) manifestation of silk paper. I have expanded the technique by adhering, when wet, silk fusion to 3-D objects. It also has silk fibers, acrylic paint, barbeque skewers.

Materials and Techniques: silk fusion on repurposed vase with silk fibers (not fused) and painted wooden skewers

11″ x 6″ x 5″

Babs (Barbara) Herrli
To B, or not

Artist Statement: The use of previously owned linens, the cut silk cocoon flower and added beadwork is new to my style of art. I usually only embroider. The beads give a further dimension to the piece. The “B” is a duplication of one from a favorite scarf my mother made me when I was a child. Mother’s was created with fabric paint, while I was inspired to create my “B” with embroidery.

Materials and Techniques: Linen Napkin and Doily (previously owned), Silk Cocoon Flower with Watercolor, Beadwork, Embroidery Thread; All beadwork and the ‘B’ Initial are my handsewn work.

20″ x 16″ x 1″

Cat Hersh
Caballo Diablo

Artist Statement: I have been making cinches for approximately seven years. When I started, I used basic, one-color cord for the warp on my cinches, and the same for the weft, one color, with an extremely simple design. As I have continued in my maker’s journey, I have added in more color, and much more complex designs. I have learned how to draw up my own patterns; to most effectively complete a new design and I have become much more courageous with my colors and designs. For the body of this cinch, I used an 8-ply mohair tie-dye cord named Diablo Canyon. I had a difficult time choosing the colors for my 2-ply mohair cord for the design, but I decided to go bold, and chose colors that draw out the background in the warp. I repurposed the hardware for it, from an old, worn out, cotton cinch, that fits perfectly with the theme of the “Past Made Present”. This cinch is made from 100% mohair cord in 8-ply for the warp and 2-ply for the weft. It is 17 strands, and 30” inches in length. In the recent past, cinches were made of cotton, prior to that they were made of horsehair. High quality modern cinches are made of mohair, which is longer-lasting and causes less chafing on the horse’s skin, and helps to wick sweat away.

Materials and Techniques: Made from 100% mohair cord in 8-ply and 2-ply, with repurposed hardware from an old cinch. Warp is attached to the buckles with lark’s head knots and the weft is created with a Navajo-style weaving.

7.25″ x 31″ x .5″

Sebena Kull
Vase with Flowers by Rosina (1660) and Sabena (2024)

Artist Statement:Because of my background in art history, my own textile work in the present often finds inspiration in the artists and artwork of the past. In Vase with Flowers by Rosina (1660) and Sabena (2024), I adapted the floral and animal motifs from a book of embroidery patterns designed by Rosina Helena Furst in seventeenth-century Nuremberg, Germany. By including Furst’s initials alongside my own within the border, the piece depicts us as co-creators, playfully envisioning a kind of artistic collaboration across time and space.

Materials and Techniques: #10 cotton crochet thread, handwoven on a homemade inkle loom in warp-faced “intermesh” structure (alternating three-span floats)

12′ x 24′

Mercedes Lindenoak
A Place in the Heavens Beyond the Clouds

Artist Statement: I grew up in a three-generation household and when I was 10 my grandmother started teaching me the fiber arts. She taught me tatting, knitting, crochet, embroidery, hand applique, and sewing on a sewing machine. My first sewing machine was a pedal Singer. When I was 16 my grandmother died and the first thought that went through my head was, “Who is going to keep my father from killing me?”

Materials and Techniques: hand-dyed and commercial cotton fabric, metallic yarn, wonder-under, cut, pieced and sewn into a quilt

17.5″ X 27.25″

Jane McAtee
The Sun is in Virgo

Artist Statement: The PAST – I was born on August 31, 1951 in Troy Ohio. Per an astrology reading, my horoscope foretold that I would be happiest when making things. My natal chart is 10 pages long but significantly notes: when Solar Virgos are not involved in some kind of project, there is generally a vague feeling of discontent. Add plenty of worthwhile projects to keep them busy….and with Mars in Leo possesses a strong need to create in some way-My DNA also foretold this, since my grandmother and father were “makers” and I know I have many makers’ DNA in my Irish and Scots heritage. I have been making things, usually textiles, since age 10.

The PRESENT – This scarf is an interpretation of my horoscope. Astrologer aficionado and weaver, Bonnie Tarses, did my chart and turned it into a thread by thread weaving draft assigning colors to each house in my chart. With Virgo in the Sun, it has a lot of “hot” colors. My “present” included weaving since 2015.

Materials and Techniques: Weaving – This is an 8 shaft plain weave and twill draft using Lunatic Fringe cotton yarns from their Tubular Spectrum series.

16″ x 70″

Donna Pattee
Nostalgia

Artist Statement: When I was learning to crochet, the first thing I finished was a poncho. It was the 60’s version: points centered in the front and back, lots of fringe, and a bright lilac. The poncho was made of Lily Sugar and Cream cotton yarn. Suitable for potholders, that yarn made a poncho so stiff it could stand up on its own. The poncho’s stiff quality was aided by the fact that it was made with a size G hook – because that was the only one I had!

I’ve updated that old poncho and made one that better reflects my broader knowledge of crochet, beautiful yarns, beading, and how to use the right hook for a specific weight of yarn. Nostalgia is made from fingering weight Malabrigo, using the correct hook for that yarn, making it soft and drapey rather than scratchy and stiff. Rather than being 60’s neon, it is a muted blend of purples and blues more suited to my wardrobe. Like its ancestor, it has “points”, but they are asymmetric. Also like its ancestor, it is crocheted in spider web patterns, but this time combining three traditional versions of spider web, one beaded.

Materials and Techniques: Glass beads, wool; Crochet

60″ x 20″

Antoinette Peshek
Abby Normal

Artist Statement: The “forgotten women” series was inspired by the crocheted doilies left behind as the primary physical legacy of generations of (mostly) women, as the means by which their descendants remember them, or don’t. I made each doily for this project and then burned them to reveal an embroidered PET scan of a brain, indicating diagnosable mental illnesses (according to the infallible medical research repository of Google Images). As I made them, I imagined each person’s rich interior life, as it may have been unknown by the families who touched their creations, who boxed them up after the funerals, who set their coffee mugs on the thousands of tiny knots brought to life by bones and sinew and pain and laughter.

Abby Normal: Abby’s brain is “normal,” whatever that means. Abby’s never felt normal in her life, not for one fleeting moment, no matter how much she tries to file down her edges and hew herself into the shape of normal. Abby writes bad poems about her garden and loves to ride on public transit, where she can let her mind unwrinkle and forget not to think about her best friend from junior high school, whose hair was like the afternoon light catching on wheat and whose hands were the softest things she’d ever touch.

Materials and Techniques: Crochet (cotton thread), embroidery (embroidery floss), acrylic paint, and fire

6″ x 6″ x 2″

Antoinette Peshek
Eugenia (Depression)

The “forgotten women” series was inspired by the crocheted doilies left behind as the primary physical legacy of generations of (mostly) women, as the means by which their descendants remember them, or don’t. I made each doily for this project and then burned them to reveal an embroidered PET scan of a brain, indicating diagnosable mental illnesses (according to the infallible medical research repository of Google Images). As I made them, I imagined each person’s rich interior life, as it may have been unknown by the families who touched their creations, who boxed them up after the funerals, who set their coffee mugs on the thousands of tiny knots brought to life by bones and sinew and pain and laughter.

Eugenia’s sister calls it her “couch of sadness,” but it’s not sadness, not really. Eugenia would welcome sadness, she’d revel in it, crawl right up to the shoreline and let sadness lap at her body until she was immersed in it. At least sadness would be placeable. Eugenia could find somewhere to put it, on a bookshelf next to a picture of herself that she barely recognizes. She sinks into the cushions of the couch of nothing instead, pulls another blanket across her lap, and sleeps.

Materials and Techniques: Crochet (cotton thread), embroidery (embroidery floss), acrylic paint, and fire

6″ x 6″ x 2″

Irene Takahashi – Alaina Marler
Makapu’u Beach

Collaboration
Irene Takahashi – Fabric choices and construction
Alaina Marler – Exquisite custom (free hand) Long Arm Quilting

Artist Statement: I’ve loved the double wedding ring quilt after seeing it for the first time in my mid-20s. The design can be dated back to the 1400s.

A unique modern twist to the traditional pattern, the addition of stars, motivated me to make this quilt 30+ years later, using the colors of the ocean.
Materials and Techniques: Cotton fabric and batting. Paper piecing with custom, free hand, long arm quilting.

75″ x 89″

Irene Takahashi
Shibori Meditations

Artist Statement: Indigo arrived in Japan in the early 1600s, combining with the older technique of Shibori resist patterning to create beautiful cloth.

My grandfather was a cloth dyer in Japan in the early 1900s. Using modern formulated dye, I can create Shibori images with indigo dye to revisit a family tradition.

Materials and Techniques: Shibori hand stitching and binding on linen, followed by Indigo vat dyeing.

38″ x 20″

Sue Torfin
Spiral of Life

Artist Statement: In addition to using different skills I’ve developed over my lifetime, (sewing, felted knitting, wet felting and needle felting), I chose to depict the glorious spiral of the nautilus shell because of its symbolism of movement – from the past, through the present, and into the future.

Materials and Techniques: The purse is wet felted wool with a needle felted spiral – also of wool. It is lined with fabric. The eye glass case and the coin/card purse were knitted and felted out of wool.

14″ x 12″

Sue Torfin
We Are Where We’ve Been

Artist Statement: My piece depicts the idea that our unique values, beliefs, and behaviors have evolved because of the influence of the many relationships and experiences of our lives. Each of the balls reflects the colors through which their path has taken them, whether direct or indirect, intentional or unforeseen.

Materials and Techniques: This piece is made from wool and silk using some wet felting an nuno felting techniques as well as some stitching.

25″ x 25″

Susan Wilson
The Monarch

Artist Statement: Gradually my fiber art has morphed from merely making the practical to creating the meaningful. Depicting some of the world’s declining species brings meaning to my art. Monarch butterflies are becoming an endangered species as they are annihilated by pesticides, climate change, and ongoing suburban sprawl. This piece was created to bring attention to the sad plight of these beautiful butterflies.

Materials and Techniques: Perindale wool, merino wool
Wet felting, needle felting, embroidery

14″ x 11″

Caitlin Zeller
Bygone

Artist Statement: In this piece I use traditional embroidery stitches and vintage buttons to create a coral environment full of texture. I hope that at first people don’t realize it’s embroidery, but are enticed to stop, linger, and search out the hidden details.

Materials and Techniques: yarn, embroidery thread, & vintage buttons on linen

embroidery diameter: 6″ frame: 8.75″ x 8.75″ x 1″

Caitlin Zeller
Vintage

Artist Statement: In this piece I use traditional embroidery stitches and vintage buttons to create a coral environment full of texture. I hope that at first people don’t realize it’s embroidery, but are enticed to stop, linger, and search out the hidden details.

Materials and Techniques: yarn, embroidery thread, & vintage buttons on linen

embroidery diameter: 7.5″ frame: 12.75″ x 12.75″ x 1″

HGB Fiber Art Show & Sale Juried Showcase

Each year, during the five-day HGB Fiber Art Show & Sale at the Boulder County Fairgrounds, Handweavers Guild of Boulder members show their best work in the juried showcase. According to the theme chosen for that year, members of the Guild interpret their reflections in a wide variety of media including weaving, quilting, knitting, crochet, basketry and felting which may be hung on the wall or stand as sculpture.

The Showcase brings visitors the opportunity to see creativity and skilled artisanship up close and personal, and the chance to vote on the People’s Choice Award for their favorite work.