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Tickets on sale August 1st | Kids 12 and under FREE!        October 3-5 | 10am-5pm | Waterford, Virginia

Waterford Fair

81st American Crafts & Historic Homes Tour

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Waterford Craft School Instructor

Hart, Ian

Vigilance Forge

Metal

I graduated college in 2017 with a degree in traditionally forged ironwork under the tutelage of Richard Guthrie, a Colonial Williamsburg veteran Journeyman who moved on to teach others the craft through the American College of the Building Arts. Rick instilled in me a value of creating accurate 18th century reproductions exclusively by hand, matching the construction methods, characteristics, underlying geometry and functionality of their historic counterparts. He has since passed but I carry this lesson with me through every day: to make a profit when I can, to take a loss if I must, to sleep some nights, and others not, but always to do good work.

For several years I managed a modern architectural iron shop in Northern Virginia, designing massive custom stair railings and similar projects, from conception to construction and installation. I was surprised by the lack of care that my colleagues had in terms of craftsmanship and excellence in design, not just from coworkers but also from architects and design firms that were supposedly classically trained. The jobs were big, they were interesting, but they didn’t satisfy the quality and standards of the work that I valued. Over that period I worked part time in the evenings producing my own work, until last year, when I left the company and opened my own shop full time.

People often say “as long as it works, who cares what it looks like.” I cringe a little every time I hear this. In my experience, if it looks right, it is right, and while people may not realize it, things are distracting if care is not placed into their design and creation. While B+ work may have no fault with it, the little extra decoration, feature, or degree of quality goes a long way in transforming work from acceptable to exceptional. This is my goal today; to provide people with tools, hardware, furniture and furnishings that are a joy to look at, use, and will work as well as someone can ask, not just now, but through heavy use into the far future. Historically people relied heavily on their tools and could not afford to have them break or to replace them frequently. Because of this they are perhaps the best teachers a craftsman could look to. It is not solely with misplaced nostalgia that I look to my forefathers of the crafts, but also because I believe that we might learn lessons in how to shape our future.

VigilanceForge.com

Cantilo, Icka

Square of the Bone

Jewelry

I cut each design completely by hand using a traditional jeweler’s saw, then they are fabricated, formed, textured, and patinated. I also use the technique of Champlevé with vitreous glass enamel with sterling silver, rose gold, 14k yellow gold, and nickel free copper sourced from foundries specializing in recycled precious metals. I heavily reference biology and natural sciences such as entomology with textures, patterns and motifs. Because of my quirky sense of humor my work rides the line of peculiarity while also being dainty and precious. I create my jewelry to be highly expressive for a wide range of aesthetics.

SquareoftheBone.com

Aylward, Michael

Aldie Glassworks

Glass

I have been creating and displaying stained glass artwork for more than 30 years. Trained by craftsman in the Boston area, my work is centered on quality, detail, vibrant colors and creative patterns. Also, have been involved in numerous restoration projects for antique, ecclesiastic and architectural subjects. Have a keen interest in maintaining and showcasing the craft to the public, including teaching classes for others to learn.

Landmark Artisan

AldieGlass.com

Rochford, Grace

Designs By Grace

Mixed Media

Rochford has always been interested in history and early American crafts. Through this interest, she became acquainted with the historical American floorcloths. She enjoys demonstrating and educating the public about this craft. During the last 13 years, she has made these canvas products for home as well as for sale. The first piece, a large 8ft. rug is still in her front hallway. Many of designs are inspired by the colonial canvases, although she creates original and contemporary designs. The products begin with natural heavy cotton canvas. This canvas is stretched and coated with primer, artwork done, then a protective coats applied. The final step involves creating a folded under and glued hem. In addition to participating in many shows, Rochford has produced many and varied custom pieces, including historical reproduction pieces. She also worked with interior designers and have taught numerous floorcloth production workshops.

DesignsByGrace.biz

Stanley, Mary

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Mary Stanley

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Mixed Media

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Everlasting flowers and foliages become enchanting wreaths and arrangements- a gathering of Summer’s Bounty. Like walking in the garden on a golden August day.

Flowers grown and gathered from my own garden ensure vibrant colors. Each wreath tells its own story. A profusion of color promises the joy of flowers all year long.

Just like us, no two are exactly alike. Each wreath and arrangement is made entirely by hand one at a time.

Because you can never have too many flowers.

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Waterford Landmark Artisan

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Wychock, Karen

Times Gone By

Fiber/Textiles

Working over wooden molds, in the method of the Shakers, Wychock’s baskets are traditional in shape and materials. She weaves both Shaker reproductions in ash and traditional, utilitarian baskets of reed. Native hardwoods such as ash and oak are used to make the rims and handles, and all of the baskets are lashed using ash. Each basket takes on its own character as it is woven in a quadrifoil, twill or fancy lace pattern to appeal to both eye and touch.

KarenWychock.com

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40222 Fairfax Street
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