My artistic practice weaves together collage, textile, and installation, using 19th century black and white photographs and botanical illustration. At its core, my work, delves into layered concept of identity, investigating themes of belonging and un-belonging. I am deeply motivated by the need to confront the enduring legacies of colonialism, unravelling how this complex past continues to shape global dynamics of race, culture, politics, land, economics, and society.

Central to my practice is the exploration of the racial dimensions of historical imagery, questioning whose stories are preserved and celebrated and whose narratives remain obscured. This inquiry extends into the realm of ethnobotany, where I investigate the intertwined histories of plants and people. I examine the roles women have played in plant exploration and the extraction of botanical knowledge from indigenous women to serve colonial interests. Through archival research, I explore the act of collecting and cataloguing drawing connections between the classification of plants and the racial categorisation of humans. The linguistic heritage of plant naming, encompassing both Latin and Indigenous languages, also features prominently in my work.

Recently, I have been expanding the textile aspects of my practice. Initially, I started by transforming my mixed media collages into embroidered pieces which then led to be awarded a fellowship where I learnt to weave for a month. This experience has inspired me to delve deeper into the traditions of textile work, particularly the rich techniques and histories of practices from South America, Africa and Asia. As I move forward, I am excited to explore how textile traditions can further deepen my engagement with themes of identity, history, land and belonging.

Website: www.alidarodrigues.com

Lella Crystal (she/they) makes embroideries that are a little bit punk and a little bit soft. Images of birds, the ocean, and other parts of nature are consistent themes in her work. She enjoys sewing the embroideries onto clothing so they can be little pieces of protection and warmth for the wearer.

Website: www.beautifuldinners.com

Sadie Winter is a multimedia artist who creates in response to materials. Influenced by folk art, she incorporates found and recycled objects, as well as natural and foraged elements, in her work. The DIY ethic of repurposing and re-examining resources underpins her practice, reflecting a commitment to sustainability and class consciousness. This work highlights themes of transformation, and invites a reconsideration of the value and purpose of everyday items. 

Website: www.sadiewinter.com

Instagram: @sadie_winter_studio

Izzy Morrison is a textile-designer based in Los Angeles, California. Her design studio specializes in hand-embroidered linen tablescapes and natural botanical dyes. She incorporates traditional embroidery techniques and botanical natural dye processes as a way to connect to our past and weaves these two practices together to capture and memorialize stories.

Izzy is inspired by childhood memories and the evening ritual of setting the table with her three sisters. Time spent together around the table has continued to cultivate her love for gathering, creating community, and storytelling, which are the foundational pieces to her work intersecting textiles, natural dye, and food.

Website: www.waverlylinens.com

Instagram: @tofutti___cutie

Raina Lee is a second generation Taiwanese-American artist and writer based in Los Angeles. Working primarily in ceramic glaze and clay, her practice is in conversation with classical ceramics as well as painting. Her work is influenced video games, science fiction futurism, and a Southern California immigrant upbringing. She grew up between Taiwan and her parent’s pizzaria in Torrance, California. Her work has been featured in press worldwide, including The New York Times: T Magazine, Surface Magazine, and MilK Decoration.

Website: https://rainajlee.com/

Instagram: @rainajlee

Hope Okere is a Nigerian-American interdisciplinary artist, who recently received her MFA degree from UCSB. Her work exists at the intersection of sculpture, fiber, and movement. Informing her art praxis are theories of Afro-Futurism, neo-conceptualism, and research of improvisational modern dance, African dance, and craft arts. She also explores dualities, distortions, translations, and hybridity. She holds a BFA from Parsons School of Design in New York City and has a past career as a fashion designer, working for companies such as Marc Jacobs, J.Crew, Converse, Gap, and Target. Hope has attended workshops at Haystack School of Craft in Deer Isle, ME, Yucca Valley Material lab in Yucca Valley, CA, The Textile Art Center in NY, NY and Pioneer Works in NY, NY. While at UCSB she has been honored in receiving the Levitan award and the Ron Newby award; and was a nominee for the Dedalus Foundation 2024 MFA Fellowship in visual arts.

Website: https://www.hopeokere.com/

Instagram: @hopengozistudio

Mayssa Kanaan is a researcher and artist from Beirut, Lebanon. Her research and practice weaves forgotten histories, and explores connections between storytelling and crafts. She often experiments with archives, weaving, maps, natural materials, and clay, delving deeper into the narratives of the land of "Bilad el Sham" (the Levant), its people, and their stories. Her projects are co-created with communities, craftsmen/women, and storytellers.

Website: https://mimstudio.co

Paulina Ho is an independent designer and artist inspired by her home bases of New York City and Taos, New Mexico. She creates graphic work that utilizes caricature as a means for introspection. By exaggerating scale and color, she immerses the viewer into her own fantastical world. Paulina’s work balances between both literal and abstract visuals, while capturing a variety of emotions, both personal and universal.

Seyi Adeyinka, of Nigerian descent and raised in Connecticut, is a self-taught textile artist based in New Haven, CT. With expertise in embroidery, natural dyes, weaving, quilting, and garment sewing, Seyi blends her scientific background in physics and chemistry with her creative practice. This unique foundation allows her to approach materials and techniques with both curiosity and precision.

An intuitive artist and psychiatrist in training, Seyi explores the intersection of wellness, creativity, and self-expression. Her work—ranging from embroidery and freeform weaving to fabric collage—embraces the process of creation, allowing each step to inform the next. Seyi’s art practice, rooted in joy, curiosity, and flow, is deeply connected to her background in psychedelic-assisted psychotherapy and integrative psychiatry, where she integrates themes of healing and well-being into her work.

Website: readymag.website/SeyiAdeyinki

Instagram: @seyi.studio

Living on Washington State's Olympic Peninsula, between the Salish Sea and the Olympic Mountains, Alexa is a textile artist focused on sustainability, using natural local dyes and repurposed fabrics to reduce waste. Her work honors place, seasonality, and rhythms that support balanced production and lifestyle. With over 12 years as an art handler, including positions at the Seattle Art Museum, Henry Art Gallery, and the Donald Judd Foundation, Alexa is a skilled builder and problem solver, adept at bringing diverse elements together to foster creative collaboration.

In 2017, Alexa co-founded Level It: Women’s Art Handlers Network, providing technical training to women-identified art handlers and fabricators. Her dedication to community extends to her role as a certified Wilderness EMT, serving in her local hospital’s Emergency Department. Rooted in a rural, intentional community of artisans and farmers, Alexa’s creative practice is closely aligned with her values, reimagining sustainable living and collaborative problem-solving within a life of intention and symbiosis.

Website: Lightwiggler.com/archivedworks

Instagram: @lightwiggler

Emelie, originally from Lexington, Kentucky, earned her BFA from the University of Kentucky before moving to the Pacific Northwest to begin her artistic career. After nearly four years in Seattle, she sought new landscapes and rhythms that aligned more closely with her creative process, ultimately settling in Chimayo, New Mexico. Here, Emelie has experienced some of the most formative years of her career, focusing primarily on textiles.

Her studio practice explores the intersections of painting and weaving, with recurring themes of body and landscape relationships, repetition, and isolation. Emelie’s work reflects a deep engagement with both medium and environment, shaped by her experiences in New Mexico’s unique landscape.

Website: www.emelierichardson.com

Instagram: @e_m_e_l_i_e__

Jay Lee is a multidisciplinary artist from Seoul whose work transcends traditional boundaries through the exploration of memory, identity, and the passage of time. Drawing from her experiences as a mother and nomadic traveler, Jay’s practice involves creating immersive installations, sculptures, and paintings using natural and found materials. Her art reflects a deep connection to the environments she inhabits, blending personal narrative with universal themes. Jay’s work has been exhibited internationally, and she continues to explore the intersection of cultural heritage and contemporary experience through her evolving, site-specific creations.

Website: whywhatmatters.com/exhibition

Instagram: @jay.art.making

Rosa (she/her) is a Chicago-based mixed media artist, farmer, and color enthusiast who comes from a long lineage of landworkers. She works in both her art and advocacy toward a world that honors the labor and strengthens sovereignty in our food system. A printmaker by training, she has recently immersed herself in ceramics and weaving while still keeping her knitting needles, watercolors, and blockprinting materials close.

Rosa’s hands are her ultimate gift, and they are at their best when in soil, transforming clay, or in between the strings of her loom. she dreams of spending her days working on a farm producing fiber from plants, welcoming migrating monarchs into her milkweed garden, and growing grapes for natural wine. Her flower allies are toloache and cempazuchtl. her favorite colors are ochre, taupe, goldenrod, and moss.

Website: thesehandswillbuild.com

Instagram:@thesehandswillbuild

Amelia, based in Brooklyn, NY, has been a maker since childhood, dedicating the last 15 years to fashion design as a top-level industry designer at a major fashion house. Now on a path of rediscovery, Amelia is reconnecting with the hands-on creativity that first inspired her. She teaches knitting and macramé, with a deep interest in how skills are passed down and instructional knowledge preserved. Currently, Amelia is also working on archival studies of knitting techniques, exploring the rich history and evolution of her craft.

Website: https://www.studiofaden.com/ | ameliamargart.com

Instagram: @studio_faden | @ameliamargaret

Helen discovered her passion for textiles and art in her early 20s, when a friend introduced her to printmaking through lino printing at home. This experience inspired her exploration of screen printing on fabric, and she went on to study screen printing, repeat patterns, and printed design at East London Printmakers and Morley College in London. Driven by a commitment to sustainability, Helen later adopted ecological approaches to screen printing, experimenting with natural inks and dyes to create unique, environmentally conscious designs.

Her extensive textile experience includes weaving, quilt-making, embroidery, upholstery, painted fabric design, and screen printing. Helen currently works with diverse mediums such as cyanotype, seasonal natural dyes, and shibori, crafting her art with a sensitivity to nature and tradition. Her studies have taken her across the UK and Greece, and in 2023, she participated in the Thread Caravan weaving retreat. Helen also studied at the Royal School of Needlework in London, where she deepened her expertise in textile arts.

Instagram: @slowdye

Dörte is a self-taught fiber artist based in Berlin, Germany. Since 2013, she has been exploring macramé knotting techniques, developing a unique creative language within this art form and creating pieces for clients and exhibitions. She founded the Berlin-based label California Dreaming and the fiber art studio Dreamweavers, a contemporary textile art studio focused on the modern revival of traditional craft techniques. Through her work, Dörte continues to push the boundaries of fiber art, blending tradition with modern expression.

Website: dortebundt.com

Instagram: @dorte.bundt | @californiadreamingdesigns

Courtney is a psychotherapist and emerging fiber artist based in Baltimore City. She began weaving during the pandemic and is currently pursuing a BFA in Fiber at MICA, building on training from Weaver House in Philadelphia. For Courtney, weaving parallels psychotherapy, as both involve bringing together disparate threads—whether of fiber or the psyche—to create something whole and meaningful.

Inspired by the transformative power of craft, Courtner is dedicated to exploring the connection between healing and creativity. Her practice reflects a deep love for texture, color, and pattern, as well as a desire to develop a robust artistic career alongside her work as a healer.

Website: dreamwellpsychotherapy.com

Instagram: @cocoweaves

My work with clay is a healing process. A reconnection to my ancestral roots. An attempt to preserve the relationship to the four elements for future generations. It’s a spiritual practice.

Instagram: @gunz_ceramics

6 years ago I officially began my journey into the world of ceramics. I have always practiced art, but never felt at home in the mediums I was practicing. In clay I found a place that I belong and have not looked back since. I love learning and with clay you are constantly learning. Clay has given me a better route for reconnecting and understanding my roots and culture. I know that I will be a ceramicist for the rest of my life.

Instagram: @ogceramics

Desarrollé una pasión por los textiles y fibras desde una edad temprana, inspirada por el trabajo textil de mi familia. Mi arte refleja a menudo mis raíces mientras exploro temas de identidad, migración y sostenibilidad ambiental.

Actualmente, soy cofrade aprendiz del programa BAAD - bordado aplicado a arte y diseño de la Ciudad de México.

Estudió Artes Visuales en la Universidad Católica e hizo un Máster en Moda en Goldsmith University of London, y durante 8 años se dedicó a la moda, donde destaca su rol como directora creativa de Hall Central y como socia fundadora de MODA Chile.

Actualmente, Piedad está detrás de A Whole New World (@a.w.n.a), una marca de alfombras y tapices que diseña y fabrica personalmente utilizando sólo materiales naturales de Chile, y que busca nuevas formas de ver, entender y hacer textiles a través del estudio del color y las formas orgánicas de la naturaleza. Además, comparte sus conocimientos como docente de la Escuela de Oficios Creativos de la Universidad Católica de Temuco y es directora de la primera Bienal del Arte Textil del país (@bat.chile), un proyecto que busca celebrar y visibilizar la expresión contemporánea de la tradición textil. “Queremos reivindicar el arte textil como uno de los pilares del arte contemporáneo y ser su mayor exponente en Chile y Latinoamérica”

Natalia is a first generation Mexican-American artist exploring the innovative realms of design and its influence in the world. After earning a BFA in Fibers from Savannah College of Art and Design in May of 2024, her creative career launched designing print for interiors and fashion, where she gained a deep understanding of fibers and the production of textiles before embarking into her personal practice.

Her diverse experiences have supported the development of her creativity and professional skills in textile design, contemporary art, and business innovation while nurturing her dedication to her community development and craft. She is an awardee of the 2024 Wingate-Lamar Fellowship issued by Center for Craft and has received awards and recognition from the Surface Design Association, Cotton Incorporated, and Women of Tomorrow.

Azul Ceballos (1979, Argentina) es una artista interdisciplinaria radicada en Brooklyn, Nueva York. Su obra abarca video, sonido, tecnología interactiva, fotografía, arte público y participativo, y trabajos en papel con materiales bio y reutilizados. Explora narrativas abiertas, fomentando la conexión, imaginación y el diálogo sobre lenguaje, identidad y diversidad. Es licenciada en Bellas Artes por la Universidad Nacional de Córdoba y ha estudiado diseño sustentable en el Royal College of Art, así como Artes y Tecnología en Parsons y Eyebeam, Nueva York. Ha sido galardonada con el Premio Sony Corporation Europe Young Artists, otorgado por el curador de Documenta XI Okwui Enwezor. Su obra ha sido expuesta en instituciones como la Casa da América Latina (Lisboa), el Museo Nacional de Bellas Artes y el Centro Cultural Recoleta (Buenos Aires). Además de su práctica artística, trabaja como diseñadora enfocada en la sostenibilidad y experiencias de aprendizaje.

Roberta Schreyer is an interdisciplinary and enviornmental textiles researcher, artist and activist.

She investigates how storytelling can be used in the arts to restore the broken human-nature relationship through mixed-media textiles installations in order to tackle the climate crisis. She works with and for nature using a variety of textiles processes with a strong focus on natural dyes, print and knit.

Her research-driven practice focuses on the link between science and design in order to re-establish a healthy relationship between human and nature. She deeply cares about the environment and preserving it for future generations.

Roberta gives the natural environment a voice by dreaming of a hopeful future where humans don’t deplete their ecosystems but heal them based on nature’s circular economy. She aims to set hope within the climate narrative to encourage and educate society so that humans and nature can return to living in balance on Earth.

Jeanne Medina Le engages the process of weaving as relational and collaborative practice. She is interested in the rhythms and encounters — embodied in textile -- that resonate in the broader ecology of the human and non-human. Her projects explore the entanglements of her lived experience, often trying to decolonize the fixed and fluid spaces of her Filipina-American identity. Guided by an "Aesthetics of the Earth”, she uses garment, installation, and performance to create full-sensory experiences, engaging her site and audience as collaborators. Jeanne is Assistant Professor in 3D Media at California State University and Fiber Program Area Head.

www.jeanne-medina-le.studio

Jovencio de la Paz is an artist, weaver, and educator. Their current work explores the intersecting histories of weaving and modern computers. Rhyming across millenia, the stories of weaving and computation unfold as a space of speculation. Trained in traditional processes of weaving, dye, and stitch-work, but reveling in the complexities and contradictions of digital culture, de la Paz works to find relationships between concerns of language, embodiment, pattern, and code with broad concerns of ancient technology, speculative futures, and the phenomenon of emergence. Jovencio is currently Associate Professor and Curricular Head of Fibers at the University of Oregon. In 2022, Jovencio was awarded the prestigious United States Artists Fellowship for their significant contributions to the field of weaving.

https://www.jovenciodelapaz.org/