Locations

Cohen, Heather

Textile Design by Heather

Fiber/Textiles

I am a textile designer and artist from Zimbabwe with over three decades of design experience, currently residing in Mocksville, NC. I hand paint with many different methods, such as Batik, Shibori, tray dying, salt and watercolor applications. All items start out as a white blank canvas!

Design

– The Batik method is the application of melted wax, which resists dyes, resulting in the motifs and design. The wax is then carefully removed with heat.

– Shibori and Tray Dying is a process of folding, pleating and scrunching during dye applications.

– All of my creations are unique and one of a kind so no two are exactly alike. Any minor imperfections are part of all the handcrafted processes, which indicates the authenticity of this garment.

uniqueartwear.com

Storms, Anacari

Still Meadows Boutique

Mixed Media

I am a flower preservation artist working primarily in resin, creating functional and decorative works from real botanicals gathered from weddings, memorials, and other meaningful occasions. My pieces include display blocks, trays, bookends, clocks, tables, jewelry, and other keepsake forms intended to preserve both the natural beauty of the flowers and the personal histories they represent.

Each work is designed and made entirely by hand, with careful attention to the color, form, and character of the original blooms. Flowers are preserved through a combination of traditional drying and pressing methods alongside contemporary botanical preservation techniques, then arranged into finished compositions. Depending on scale and complexity, the full process of preservation, assembly, curing, and finishing can take 6–18 weeks. Larger works may also incorporate handcrafted wooden bases.

My work is informed by the long tradition of botanical preservation and sentimental decorative arts in 18th- and 19th-century America. During the colonial and Victorian periods, flowers were commonly pressed, dried, and kept as memorial objects, personal keepsakes, and elements of domestic decorative craft. Natural resins, varnishes, and pine-derived pitches were also widely used in early American craftsmanship for sealing, finishing, and protecting handmade objects. My work continues within this lineage of material preservation and memory-keeping, translating historic practices of botanical keepsakes into contemporary form.

Just as flowers have long been used to mark affection, remembrance, and significant life events, my work seeks to preserve those fleeting natural moments as lasting objects of memory through contemporary botanical artistry.

stillmeadowsboutique.com

McGuire, Michael

Michael McGuire Handcrafted Furniture

Furniture

My appreciation for furniture began at a young age. My parents were antique dealers, and my father, Jack, restored Early American Shaker and period furniture. Through him, I learned about proportion, traditional joinery, and furniture styles, developing skills that would later shape my career.

My career as a furniture maker and designer began after graduating from the University of Vermont with a degree in Art History and Studio Art. I specialize in Period Furniture from Shaker, Hepplewhite, Sheraton and Modern Pieces. Authentic Shaker is a passion and I also make Shaker inspired furniture.

MichaelMcGuirehandcraftedfurniture.com

Short, Lisa

L.T. Short Folkart and Fraktur

Paper

I am a self-taught artist inspired by the folk art traditions of rural Pennsylvania, specializing in hand-inked and painted fraktur and decorative furniture based on historic examples. My work reflects years of study and a deep appreciation for Pennsylvania German art, and I have been listed in Early American Life’s Directory of Traditional American Crafts since 2000.

I create reproduction representations of Fraktur drawings inspired by 18th- and early 19th-century Pennsylvania German reference materials. Each piece begins with a careful pencil sketch derived from period sources. I then outline and embellish the design using a traditional metal nib pen and India ink. For authenticity, I work on laid-finish paper that closely resembles early Fraktur examples, which I hand-antique to achieve an aged appearance. The finished drawings are painted with watercolors in keeping with historic techniques and materials.

The frames are an integral part of each work. They are handmade by a local cabinetmaker and purchased unpainted, allowing me to finish them using traditional 18th-century grain-painting techniques. This process involves applying a glaze over a base coat and manipulating it into wood-grain patterns using tools such as feathers, putty, torn paper, and other simple implements. I use two period-appropriate glaze methods: one made with vinegar and dry pigment, and another using oil paint. Some frames are further embellished with stenciling or hand-painting. Each frame requires a minimum of six layers to achieve the desired depth and character. Whenever possible, I use antique or reproduction glass to complete the presentation.

http://ltshort.com

Kulbeth, David

Columbus Cartography

Paper

I create modern geography maps with a traditional, antique look. My maps are hand-designed, etched, printed and watercolored using traditional 16^th-19^th century copperplate etching and cartographic techniques. I print on custom, hand-laid paper made from natural cotton and abacá fibers. I include illustrations to help visualize the modern places, natural landscapes, and historical influences which give meaning and influence to the local geography. I do my own research and meet with local people making sure what they know and are familiar with is represented on the map.

These maps are originals. They’re not replications of antique maps, but I do try to incorporate similar styles and methods of previous time periods.

columbuscartography.com

DeWald, John & Chandra

The Horn & Needle

Mixed Media

Living Historians Demonstrating Powder Horn Making & Needlework

The Horn and Needle is an Artificer driven store dedicated to the crafts of Hornwork, scrimshaw and period correct needlework inspired by originals and the imaginations of John & Chandra DeWald

*Artificer: A skilled worker, a craftsman, one that contrives, devises or constructs something original. A clever or inventive designer.

*Scrimshaw is the name given to handiwork created by whalers. It began on whaling ships between 1745 to 1759 and survived until the ban on commercial whaling, however there are pieces of scrimshaw, or engraved items in the Inuit museum in Alaska that are over 2,000 years old. It takes the form of elaborate engravings in pictures and lettering on the surface of the bone or tooth, with the engraving highlighted using a pigment such as lamp black or ink. With the advent of the migration to “The New World” this art was applied to the next available medium, powder horns.

As a Horner and Scrimshander John makes contemporary and historical powder horns & horn accoutrements. Some examples are, spice containers, powder measures, inkwells, cups, wing bone turkey calls and many other items associated with horning from the 17th and 18th century. John is a Past Guildmaster of the Honourable Company of Horners, where he was mentored, applied his skills and became a master horner in 2016. He uses traditional tools and techniques in everything he makes.

As a needlepoint and embroidery artificer, Chandra makes 18th century fire screens, bellpulls, and various pieces of needlework that John incorporates into his horn work. Chandra has done extensive research and visited various museums to study original examples. She branches out from there in to making wool trees, ornaments, and colonial garlands. Chandra focuses on using period correct tools and techniques to create her pieces.

Both John & Chandra have been involved in the 18th century culture for over 46 years. Their extensive research has allowed them to recreate original pieces that emulate originals in museums and private collections. Their work has been recognized by various magazines and organizations and they have received awards for their work. It is their hope that in promoting and selling these ancient crafts that they will be able to pass on the history and traditions of our great culture in America and beyond.

Both John and Chandra demonstrate their skills at every event they attend. John engraves and works horn on an 18th century bench. Chandra is constantly working as well, doing embroidery, cross stitch, or making wool trees or felting ornaments. John and Chandra are also available to give specific demonstrations or “talks” at every event they attend to pass on their extensive knowledge and skills to others.

The Horn & The Needle Website

Boglioli, Loring

Loring Boglioli, Fiber Artist

Fiber/Textiles

Inspired by Victorian penny rugs and the unpredictable vagaries of sourcing and integrating upcycled textiles, her work merges well-practiced hand-sewing applique fabrications methods and bold color and design opportunities, to reinterpret a popular nineteenth century needle art, into unique fiber art wall hangings and interior design accessories.

Historically important, her work captures and honors the self-taught technical expertise and material-driven philosophy of nineteenth and twenty century needle artists and fosters the preservation of hand sewing techniques, textiles examination and the creativity and frugality of important but, unacknowledged fiber artists. Fusing venerated practices and innovative strategies, manipulating color, shape and dimension, her design aesthetic is unabashedly bold, kinetic, and playful, emerging from bags of cast-off scraps, or scavenged from flea markets, other fiber artists, and yard sales.

From these materials penny rugs are artfully cut, stitched, and layered textile pieces, then arranged in geometric patterns or naturalistic designs and stitched to a backing of stout fabrics. Completely original, unique designs are assembled using various weights and shades of woolens, synthetic fabrics, and felts and two common embroidery stitches to reinterpret color, shape, spatial frolic and primitive sophistication, evident in her compositions. All works are mounted as follows. Wall hangings under 14 -16 inches wide include an integrated stiffener and hanging ring. Hangings over 14-16 inches wide include 1/8^th”thick aluminum bar stock in a hand-sewn cotton casing with strategically drilled holes for hanging.

frugalfiber.com

Steinberg, Lorene

Pottery by Lorene

Clay

My pottery is wheel-thrown stoneware, trimmed with a footring, and bisque fired. The designs are hand drawn in pencil, hand painted with underglaze, then bisque fired a second time. The piece is finally dipped in clear glaze and fired a third time to stoneware temperature. My ideas come from architecture, textiles, stained glass windows, natural forms, wallpaper, and especially historic Italian majolica. Each piece is unique.

The work is food safe and microwave safe. Hand washing is recommended.