Welcome to the TextileX resource guide—a growing effort created to map out and connect the vibrant textile community and resources in the Portland metro area and beyond. The foundation of this guide was built from the diversity of organizations that participate in the Portland TextileX Month festival every October.
Altar is a clothing company and retail store with a brick-and-mortar location in Portland, OR. We initially opened a business in 2010 (under another name in the same retail location) with a focus on supporting independent artists from our immediate region, and by 2015 when we became Altar, we had grown that vision into the beautifully curated and ever-changing space it is today. We celebrate independent manufacturers and artists from across North America, with a focus on the stories that are woven into their work. We use the phrase, “objects with meaning” because we believe in sharing the unique stories behind these pieces.
Our clothing brand, Altar Houseline, is proudly made in America using deadstock materials and serves size gradations from size small to 6XL.
Cassie Ridgway opened her shop in 2010 with less than $3000 in the bank and a night job. Owning and operating this small business has been defined by labor of love and perseverance. Cassie's passion for sustainably produced and ethically manufactured apparel was a driving force, and has kept her laser focused on making this company better by the year. Her aesthetic sensibilities are always sort of changing (ok, sometimes all over the place), but she has always consistently been inspired by desert color-stories, moody floral motifs, art deco filigrees, and modern art.
Anne Williams was born and raised in Normandy, France where she began to learn traditional upholstery at the young age of 15. She graduated from French upholstery school in 2007 and has been traveling internationally for the past 12 years, to master the skills of upholstery. Some of the major cities where she has worked include Paris, London, Melbourne (Australia), New York City and Portland. Through her background working in each of these cities she has gained a well-rounded skill set, an attention to detail, and versatility in a wide range of upholstery techniques. Now she is the proud owner of Atelier Douce France, a small business that focuses on high-end work for interior design firms and exclusive residential projects.
We are a sister team, Erin + Megan (and pup, Beetle!), raised in New Mexico but now happily based in Portland, OR for the last 14 years. Our shop is a cozy blend of our Southwestern roots melded with our love of the Pacific Northwest. There's always a great array of cacti and houseplants mixed in with our handmade and vintage finds. Our shop also houses a working studio where we refurbish vintage finds, plant in vintage pottery and hand-print and make our own collection of housewares and accessories. Our mom makes all of the macrame plant hangers and wall hangings we sell in the shop.
Alyssarhaye Graciano is a trilingual, POC fiber artist. Once in the tech industry as a linguistic specialist, she left her day job to pursue a creative career. While she mainly knits, crochet, macramé and weaving are also part of her everyday life.
She started BlackSheepMade as a way to fund an internship abroad while in college, but since 2014 it has evolved into large public installations, long-term pop-ups and traveling workshops. You can find her latest mural in her hometown of San Jose, California at The Berryessa Flea. She wove a 15 x 8–foot (4.5x 2.5–m) mural with her dad, Francisco, as an homage to her late abuelita and hometown culture.
In 2018, she ran a two-month long pop-up in downtown Portland via a city-funded program. She was able to test out her idea of a “deli for knits”: choose a style of beanie or scarf, pick your colors and she’ll knit it up in a week. In 2019, Travel Portland and My People’s Market brought Alyssarhaye to Japan to discuss life as an entrepreneur and teach a macrame workshop. In January of 2020, Alyssarhaye published her first DIY knitting book, Chunky Knits: Cozy Hats, Scarves and More Made Simple with Extra-Large Yarn.
Today, she continues her art career as a designer for various fiber brands and local businesses and she teaches fiber workshops in both English and Spanish. Alyssarhaye now lives in San Jose, California where when she’s not knitting, can be found sewing, cycling, or on a hike.
Bolt Fabric Boutique was founded in 2005 to serve our community with high quality, unique fabric and complimentary items that inspire creativity, regardless of your skill level. Since then, the shop has grown to serve both Portland locals and become a popular destination for tourists. We strive to ensure that Bolt is a truly unique experience—when you walk in the door, you will discover fabrics and other delights that you haven’t seen anywhere else.
PURVEYORS OF CURIOUS OBJECTS Authentic, handmade and unique. We support small manufacturers, artists and local merchants.
As founders of Creative Capital Design, we are, at our core, friends who know we are better together. Our success is largely a product of those who mentored, encouraged, and inspired us along the way. We continue to be buoyed up by the enthusiasm and energy, imagination and intelligence, of those around us. Now it’s our turn to share our knowledge and resources with the industry that has treated us so well. We developed Inside Fashion Design, a behind the scenes look into the world of apparel design. A site dedicated to first-year students, emerging designers and industry leaders alike. It’s a place to teach and to learn. A place to bring everyone into the conversation and celebrate what we all love to do.
Focus Group is the place to get all your lightly used street wear and vintage!! We focus on the most current vintage styles. Located in the heart of SE Portland, in the famous Hawthorne shopping district. Friendly prices, friendly atmosphere, and friendly faces.
We embrace our role as community builders, seek out public engagement, and regularly give back through community service. What we accomplish, we accomplish together by putting people first. We build relationships based on fairness and respect. Our work is founded on trust, strengthened through sincere communication, and inspired by daily innovation.
Josh and Michelle started Herbivore in 2002 in the spare bedroom of our apartment in SE PDX. Why? Well, we wanted good looking clothes, ethically made, that would show the world we believed animals deserved respect, love, and to be free from harm. We wanted to spread the word about living cruelty-free.
We spent a few years in spare bedrooms in Portland, shipping our clothing all over the world before we took the leap to open our first little store. And by little, I mean one lap around without missing anything took about 40 seconds. We stocked our ever-expanding clothing line alongside an ever-expanding line of vegan cookbooks. We filled the rest of the store with cruelty-free belts, bags, and wallets.
Then, in 2007, we got together with Lisa, the founder of Sweetpea Baking Company, Chad and Emiko of Food Fight! Vegan Grocery, and Brian and John of Scapegoat Tattoo, and we moved down to SE 12th and Stark Streets. The Vegan Mini-Mall was born. It started as a joke, but the name stuck.
A lot has changed over the years, but the core belief and drive behind the vegan mini-mall hasn't. Basically, ethical veganism is awesome, you can be one, too! All while eating a donut with one hand, sipping a soy latte with the other, wearing ethically made, fashionable clothing as you wait for your tattoo appointment to begin in a shop that uses vegan ink and supplies.
As for Herbivore, we have spent all these years designing rad clothing, as well as manufacturing belts and wallets. We have hosted countless events, co-founded an animal rights conference, and spoken at vegfests. We've published some books. We've travelled the country tabling at events. We've donated our time at sanctuaries, and donated our skills to lots of organizations in the form of pro-bono design work. We have raised lots and lots of money for animal rights organizations and sanctuaries, as well as other social justice movements.
We believe these movements are linked and the oppression of one is the oppression of us all. We believe in animal liberation and human liberation are the same cause, so we fight for both.
Our approach has always been to show veganism as a positive choice that gives you back so much more than you give up. Compassion Is Invincible!
Hidden Opulence is a Design House that’s focused in Apparel sustainability and upcycling. We enjoy serving both existing apparel brands and the general public. We feel pride especially serving those who identify as Queer, Non-Binary and/or BIPOC. It’s all about meeting you where you are at in your slow fashion and sustainable journey!
We are your one stop shop when it comes to refreshing or perfecting those cherished items in your wardrobe or from your home. Basic tailoring, mending and altering are a part of our core. Projects that have anything to do with heirloom refurbishing, repairing and re-configuring (garment or textile) touch our hearts. Unfortunately at this time, we do not provide pattern rendering or clothing concept development.
Katen Bush is the co-owner of Kat + Maouche, a gallery specializing in vintage Moroccan rugs. She and her husband, Latif, focus on research and provenance.
Kate creates from her home studio in Portland, Oregon, where her family, kitchen and garden are always within reach.
She believes we are deserving of color and pattern in our lives and that they can be harnessed to tell our stories, create connection, and inspire joy in our homes, communities and around the world.
Founded in 2000, Laundry is a multi-faceted design studio in Portland, Oregon specializing in print and pattern design, illustration, graphic design and creative workshops focusing on all of the above.
Based in San Francisco, we offer small-batch, sustainably sourced yarn + fiber goods. We design our collections to spark creativity in makers (that’s you!) while creating meaningful opportunities to support and elevate fiber-producing communities. Our incredibly skilled partner artisans practice their craft in small, family-run workshops in Nepal, Tibet and America's West Coast.
Made On 23rd is a modern design workshop specializing in hand-crafted textiles. Our products are block printed by traditional processes by skilled artists.
MADRE is Shay Carrillo and Jeanie Kirk, two women deeply stirred by mothering, both beauty + breakdown, homemaking, and food. We all eat, and we all rest, therefore MADRE strives to offer linens that support food, rest, and our community. Linen napkins are the foundation of MADRE, and we are proud also offer tabletop and kitchen goods, bedding, and other select home essentials. Shay and Jeanie dreamt up the idea for MADRE from a simple premise: to create linen home essentials that are as close to 100% domestic as possible. We are honored to be a part of welcoming flax back to Oregon! MADRE is a feminist brand committed to embodying our aspirations for a feminine economy. We believe we are mutually indebted to each other and to our one true madre: MAMA EARTH. Therefore, we commit to you, to ourselves, and to the plants, lands, and waters, to embrace the obligation of our core values: integrity, honesty, transparency, collaboration, and radical inclusivity.
With continuous support from local craftsmen MAOTA commits to a maintained visible production. We are based only a short distance to our weaving mills, yarn factories, dyeing mills and production factories in Japan, making possible frequent visits and keeping the production local and close to home. We use high quality yarns which are the base to unique textures, shapes and colors. Yarn is the beginning.
Youkyung Kaycee Woo was born in South Korea, achieved a BFA diploma at Parsons School of Design as a fashion design student in New York. Also, Kaycee studied textile design at Central Saints Martin in London UK for almost one year. She has been working as a textile and fashion designer since she graduated in 2019. Besides, she opened her textile workshop in New York City. Currently, she is working on tufting art installations for exhibitions and several art projects in New York and South Korea. Also, she opens workshops for art and textile students who want to learn tufting techniques. MUJER WOO, Youkyung's fashion and home interior design brand, embraces time-honored techniques with her bold but feminine textile design and a modern sensibility to create unique and feminine pieces for all different ages of women. Indeed, MUJER WOO's priority is producing sustainable living products and tufting artwork. All the tufting works are hand-made and made with 100% New Zealand Tex wool. Also, the brand has sustainable and unique shapes of soap for a zero-waste living. The designer wants customers to be intelligent, confident, and love themselves through the contemporary feminine garment and sustainable products, consider the environment, and love other people.
Founded by international interior designer Michael Reper in 2009, the Nest Showroom reflects what he, as a designer with thirty-five year’s experience in all aspects of the business, and an in-depth knowledge of design, wanted his ideal showroom to be; a complete and exceptional resource for Northwest designers with staff who understand his obsession for quality.
Over & Over Style is the project of Barbara & Vivian, veterans of the Seattle apparel industry, with shared passions for textile artistry, history & travel, and the transformative power of clothing. In search of our next act, we came across a treasure trove of vintage kimonos (way too beautiful to be hidden away in moth balls) and decided to give them new life. The result, after hours upon countless hours of designing, deconstructing, washing, steaming, cutting & sewing, is a collection of unique home decor and one-of-a-kind garments in a dazzling array of patterns and colors.
PenFelt Studio provides delightful, original projects and high-quality materials for felters who appreciate consciously-sourced materials, good design and a sense of fun.
Founded in 2004 by artist and felting instructor LeBrie Rich. Known to some as Duchess of Felt, LeBrie is best known for her highly realistic sculptures of food packaging rendered in felt. LeBrie has taught workshops at colleges, art studios, and fiber festivals all over the world—from a small village in the mountains of Japan to New York City. In addition to custom work for private clients, LeBrie has worked with Bent Image Lab, Nike, and a sustainable diaper manufacturer who needed a presentation box made out of felt for Kate Middleton (the Duchess of Cambridge). She lives and works in Portland, Oregon.
PLACE is a design studio engaging landscape architecture, art, and urban design to make the world a better place. As a partner of 1% for PLANET, our impact is reflected in prestigious accolades including the 2021 ASLA Landmark Award and the inaugural Architecture MasterPrize Landscape & Urban Design Firm of the Year.
PAL is a member-based makerspace for sewn-goods. PAL is a design support team here to get you production-ready. PAL is a collaborative knowledge-sharing community that takes your skills to the next level.
Portland Garment Factory is a full-service design and fabrication studio with expertise in soft-goods design + manufacturing, creative direction, and art fabrication + retail display + experiential marketing design. Led by PGF founder Britt Howard, the zero-waste studio has been upending the factory model for more than 10 years, as a leader in soft-goods innovation, design, and fabrication.
Heidi Leugers created her brand and studio, Reclaimed Wool in 1998 with one guiding principle: to turn her artistic practice into a business only if she could "reclaim" all the waste she (also) had created in the process of making adorable or functional items - whether for exhibition or for sale. Her studio has been zero waste for over two decades. The 8K - 12K hotpads, coasters, holiday ornaments and pincushions she makes, are limited to what she can produce with her own hands and can be found at museum stores, craft galleries, and specialty retailers. In 2007, her zero waste practice received critical, scholarly attention in the college teaching text, "Cycle-Logical Art", by Linda Weintraub. Heidi firmly believes that "zero-waste" is a practice, not a purchase.
The Renewal System takes discarded apparel and textiles and turns them into Renewed Apparel, upcycled materials or recycling feedstock. Data is collected on everything that flows through the system and is given back to our brand partners to help them improve the production and design of future products. It is a zero waste system that recovers the full value out of what has already been created as a way of serving customers, partners and planet.
Revive Designs and Upholstery was established in Portland, Oregon in 2011. Specializing in heirloom furniture, including vintage re-upholstery, mid-century antique commercial design, bespoke product.
Sincere Studio was founded by Frances Andonopoulos. A Chicago-native, Frances now lives in Portland OR with their dog Jelly. Frances learned to make quilts ten years ago and has a passion for bringing people together to share space, ideas, and skills. Frances is also the artist behind We Love You and We Miss You, the fentanyl memorial quilt. Sincere Studio’s mission is to provide textile arts education with a focus on sewing as a tool of social change and empowerment.
Founded on the principals of discovery and education, the Sustainable Fashion Forum is a highly-curated, community-driven sustainable fashion conference held annually in Portland, Oregon. The SFF looks to the future by fostering honest, thought-provoking and in-depth conversations about the social and environmental effects fashion has on our world and what we can do individually and collectively to improve it.
Textile Hive, based in Portland OR, is home to the 40,000 textiles of the Andrea Aranow Textile Design Collection. The collection is the largest fully digitized independent textile collection in the world. Through its membership program the visual database offers access to educational institutions, design professionals and textile enthusiasts. Textile Hive’s mission is to preserve and enable greater access to the rich history, intricate techniques, and stunning visual beauty of the textile collection through immersive physical and digital experiences.
Vicki Ostrom (she/her), is a futurist and trend editor for trendependent.com, a lifestyle trend analysis and consulting company, and for SanMar, a leader in the promotional products industry. With nearly 25 years in design and forecasting, Vicki has honed these skills and shares how trends connect to products. She provides researched, clearly presented materials that help corporations understand what is happening today and forecast what is likely to happen tomorrow. This guidance informs decision-making to deliver a future-proof brand.
Weaver House is a yarn shop, textile studio and weaving school located in Philadelphia. We weave heirloom textiles in honor of craft tradition, to regain tactility and a hand-making consciousness within the home and in relation to the body. Our woven practice is forever recorded in cloth, forming a tangible language between maker and loom. We teach mindfulness and mediation throughout all of workshops, and believe that weaving can be therapeutic and healing.
At Ewethful Fiber Farm we create custom made fiber products for flock owners and fiber enthusiasts. In addition we also create our own line of products using locally sourced fiber. We specialize in processing fine animal fibers to our customer’s specifications. Using MiniMills Equipment we are able to process sheep, alpaca, llama, angora rabbit, dog hair, bison and goat in addition to several other fiber animals. We receive raw (unwashed) fleeces from our clients, wash them, dry them and then process the fiber into batts for felting or roving for hand spinning. We are able to custom blend fibers and have a wide selection of blending materials to choose from to create our customers perfect product. In addition we are able to dehair, to separate out course fibers from fine finer and remove vegetable matter from fine fiber fleeces.
It’s not common to find a privately held ranch whose headquarters is a National Historic District. It’s even less common to find one located in Oregon that sustainably produces a wide variety of all-natural products. In fact, the Imperial Stock Ranch is the only one. Our rich history of more than 145 years is deeply rooted in visionary thinking and the implementation of practices that are anything but ordinary. We are proud to offer you something different. Something special and unique. Something extraordinary.
We are a group of dedicated farmers and passionate educators committed to exploring innovative solutions to enliven the current food system, both locally and globally. We work to honor ancient traditions in growing food and connecting to the land as well as to helping to create healthier communities. We are partnering with local schools and youth projects to create mentorship programs as well as green job training possibilities to accompany the hard work and dedication of growing food and learning from one another in a field setting.
From 2018-2020, 1122 was in a backyard garage in the Montavilla neighborhood of Southeast Portland. As of May 2021, 1122 is an outdoor space in the Tabor neighborhood. 1122 is a community art gallery located in Portland, Oregon. It offers workshops, hosts events, and is open to collaborations of all kinds. It is inclusive, immersive, and aims to support people in the creative process. 1122 is a platform for all voices and stories and is committed to helping people generate art. We believe in responding to the world through creative acts, and support the community of makers, thinkers, dreamers, and imaginationists that make this happen. Jen Denrow and Lauren Wallig, creative humans and cousins, have been dreaming about creating a space like this for years.
Combining a mentor-based approach with an exceptional visiting artists program, students work one-on-one with nationally and internationally recognized designers, makers, and scholars in a self-directed curriculum that challenges them to bring to life the full strength of their ideas and skills.
Carnation Contemporary was founded in 2018 by a collective of Portland-based artists who champion critical and contemporary artwork. Carnation supports emerging and mid-career artists from the Pacific Northwest, and is committed to fostering an inclusive, diverse community of member artists (including but not limited to diversity in race, ethnicity, language, religion, gender, sexual orientation, physical ability, and age).
Established in 1981, the Elizabeth Leach Gallery presents prominent Northwest and internationally established artists working in a wide variety of contemporary media. The gallery's mission is to create a dynamic dialogue between the local community and the global art world.
Fuller Rosen Gallery was founded in 2018 by artists EM Fuller (she/her) and BriAnna Rosen (she/her) as a collaborative curatorial project. The gallery exhibits regional, national, and international emerging artists who address urgent, contemporary issues.
GAGALLERY is a vibrant art gallery and community space in Portland, Oregon. We offer a variety of events and exhibitions, andare open for special events. evening receptions, First Friday Art Walks, and by private appointment. Our mission is to promote the work of visual and performance based artists and to create a welcoming space for the community to come together and experience art.
HOLDING Contemporary presents exhibitions and programs by emerging and established visual artists across disciplines. Through a deliberate curatorial vision and a strategic business model, we position ourselves towards challenging the economical and social privilege of the art world.
Home is a gallery and creative space featuring local artists, pop-ups, and collaborations with mission-aligned organizations in the Estate Store at Community Warehouse. We believe in the power of the arts to connect to community.
The Art Building at Portland State University is home to the MK Galleries.
MK Gallery brings world-class exhibitions and events together with pioneering learning and community programmes to Milton Keynes.An independent café and shop, cinema from Curzon, and spectacular views over the park feature in this new building, which launched in 2019. Three major exhibitions are presented each year across five elegant and spacious galleries, from thematic group exhibitions to in-depth solo presentations. Alongside our exhibitions, we offer music, dance, talks and conferences, mixing emerging and locally based talent with established names. We also deliver a weekly film programme featuring the best of independent cinema in partnership with Curzon. We offer schools and family activities throughout the year and our artist-designed play area is open 365 days a year.
Nationale is an art space established in 2008 by Owner/Director, May Barruel. Nationale is dedicated to the promotion of culture through exhibitions, performances, and a selection of carefully chosen goods.
Nine Gallery was founded in 1987 by nine artists interested in working periodically outside the context of the commercial gallery. It is an artist-run cooperative and is administratively and financially independent from Blue Sky, funded solely by its members. Each member of Nine Gallery is in charge of the gallery for one month each year. Usually members show their own work, however, they are also welcome to curate shows of other artists’ work. Periodically the members of Nine Gallery, present work together in group exhibitions, and at other times they collectively invite other artists to show. Beyond the general interest in creating a largely non-commercial exhibition environment with a minimum of bureaucratic and institutional structure, the members of Nine Gallery have no collective ideological program or philosophy.
Opened in 1996, PDX CONTEMPORARY ART continues to be one of the Pearl District’s most forward-thinking commercial galleries. Representing artists both local and international, owner Jane Beebe strives to mix conceptual work with more personal offerings that are “both intellectually and visually satisfying.” The elegant space, designed by Brad Cloepfil of Allied Works Architecture, boasts monthly exhibitions of represented artists as well as the PDX Window Project, a more experimental space viewable from the street.
Sara Childers and Carie Nedley grew up in the Portland area in a home full of plants and gardening.During weekly sisters nights, Carie and Sara dreamed up Potted In Portland as a way to help everyone have houseplants that thrive. Selling succulent arrangements at their location gift shop grew into helping people around the city design plantscapes and care for their plants.
In 2020, they opened their neighborhood plant shop on a vibrant block of SE Clinton full of local businesses. In 2022, Sara and Carie opened their satellite location inside the Schoolhouse Electric showroom, bringing plants and pottery to thoughtful designs. Now, the Potted in Portland dream continues. Their two shops are full of interior houseplants, gifts and pottery, and their staff of plant care specialists help them care for 50+ businesses and growing around the Portland Metro area.
SEQUOIA GALLERY + STUDIOS creates an art-centric ambiance that puts art appreciation and artists’ stories at the forefront. Our various programs, events, and exhibitions offer safe and accessible opportunities for artists to showcase their work, learn, and grow. We enrich the community through innovative outreach and in-house programs, extending our impact beyond the gallery walls.
Well Well Projects is a contemporary artist-collective gallery in Portland, Oregon established in January 2021. In total, we are 14 member artists from the greater Portland region.
Well Well opened its doors with the intent of giving artists gallery representation and enriching their home base in the Oregon Center for Contemporary Art. We aim for this project to serve as a launchpad for artists while open calls and other opportunities seek to reach a wider audience that expands outside the Pacific Northwest region.
An inclusive culture of respect that honors the rights, safety, dignity, and worth of every individual is essential to the success of our gallery. We are committed to creating a space that is free of racism, transphobia, homophobia, ableism, misogyny, classism, and other bias.
We host opening receptions for new exhibitions on the first Saturday of each month.
Our open gallery hours are Saturday & Sunday 12 - 5 pm.
Babaran Segaragunung Culture House (BSG) is a non-profit arts organization located in Yogyakarta, Indonesia. The mission of BSG is to explore cultural traditions of Indonesia and the world in order to gain a greater understanding of the application of the rich cultural heritage of indigenous cultures in this era. BSG facilitates educational programs teaching the ancient creative process of Nusantara, collaboration and cultural exchange, publications, exhibitions, cultural tours, workshops, as well as documentation of creative process. Serving artists, artisans, cultural lovers, both locally and abroad, BSG intends to increase the creativity and interconnections of all aspects of Indonesian art.
BASIC NEEDS is about making things whose beauty is intertwined with their utility and sustainability. Sometimes it takes the form of a small collection of unique pieces, like hand felted sheepskins or botanically-dyed textiles, other times it may be a garden, designed and cared for over many years.
Columbia FiberArts Guild is a vibrant group of textile artists celebrating their 50th anniversary this year. Our guild provides a network and forum encompassing ALL aspects of fiber art, including art quilting, surface design, sculptural, and wearable art. Fiber artists of all abilities are welcome. Established in 1969 as the Columbia Stitchery Guild, the Columbia FiberArts Guild serves the greater Portland, Oregon and Vancouver, Washington areas.
At CPALI, we work with rural farmers to develop sustainable livelihoods that support both people and ecosystems. In our approach, we focus on existing resources, local leadership, community ownership and linking partners to global markets.
For decades, eastside community members have dreamed of creating opportunities to engage in Jewish life closer to where they live, work, and play. Now, this dream has come to life! After a four-year process involving community engagement and organizing, we proudly opened our doors in July 2021 at NE 24th and Sandy.
The Eastside Jewish Commons (EJC)’s mission is to create and sustain a joyful, inclusive, and inspiring community space on Portland’s eastside where people can connect, learn, and grow.
Our values are:
Inspiring: We inspire the opening of hearts and minds, ignite curiosity and embrace innovation,
Inclusive: We are welcoming, accessible, and inclusive to all interested in Jewish life.
Joyful: We uplift each other by coming together in a place where we all feel seen and heard and can celebrate and honor what unites us.
Our vision includes:
Regular programs for children, teens, and adults offered by 24 Jewish community partners as well as individuals and other organizations.
Services on Shabbat and holidays, offered by multiple congregations.
Counseling, massage, yoga, and other wellness services.
A social action hub.
A cultural hub for films, concerts, lectures, and more.
A learning center for all ages.
A program site for children and teens when schools are out.
Elder programs for social connection and links to essential services.
A social hub across the spectrum of Jewish life.
Los Angeles-based designer Michelle Koza accidentally accumulated the largest 80s ESPRIT archive. The archive includes everything from ESPRIT corporate collateral, garments, accessories, product catalogs, packaging, 35mm slides, photographs, audio, video, and various publications. ESPRIT Flashback was first established on Instagram in 2017, her passion project developed into a source of inspiration for brand enthusiasts and various creatives from around the world. The mission of the archive has evolved from collecting & preserving to research & discovery – unearthing the soul of the archive.
Five Oaks Museum is a gathering place of vibrant art, culture, history and storytelling — a resource for all who are curious about the world around us. It’s a place for everything from learning and self-reflection to the sheer joy of making art or enjoying cultural traditions together. Since our founding in 1956 as the Washington County Historical Society, we’ve worked to preserve the artifacts and narratives that define the Tualatin Valley’s unique place in the world. By collaborating with others to explore how art, culture and history shape the past and influence the future, we help visitors connect to a collective local history made up of community voices and the important stories they tell. Here, everyone is part of the story.
Gather:Make:Shelter is a new collaborative model of engagement, connecting people experiencing houselessness and poverty (PEHP) with collaborators in creative professional fields. The project builds relationships and ongoing partnerships with PEHP, fostering opportunities through teaching and leadership skill-building. Gather:Make:Shelter was founded in 2017 in Portland, Oregon to create consistent, authentic connections between people which recognize our shared humanity.
The GLEAN Program invites artists to push the boundaries of material exploration. With a stipend to support their practice and seemingly endless materials to work with, artists are challenged to expand their existing studio practice by making work from the materials gleaned from the Metro Central Transfer Station (aka, “the dump”). One of the goals of this program is to introduce established and emerging artists to the wealth of materials available to them through the GLEAN. With the ultimate goal to reduce waste and raise awareness with this program, no prior experience with discarded materials is required. All artists in the Portland area are encouraged to apply.
Green Anchors is a center for community engagement through the arts, business, and ecology. Situated on a historical shipbuilding site along the Willamette River, our 7-acre property is a model for brownfield remediation through ecological restoration. We are a local business incubator, collaborative arts center, educational forum, and site for eco-innovation.
Welcoming and inclusive, the Hillsboro Public Library is a world-class system where our entire community gathers, connects, and explores. The second floor of Brookwood Library is home to the largest non-professional art gallery in Washington County – over 129 feet of wall space! Shute Park Library’s smaller gallery space often showcases artwork from students and emerging artists. It is part of the Hillsboro Cultural Arts District. Both gallery spaces:
- offer an inclusive, all-ages art experience.
- create community and discussion around diverse art and culture.
- create a space where artists and patrons connect.
Ko-Falen Cultural Center, located in Bamako, Mali and Portland, Oregon is the inspiration of Baba Wagué Diakité, a Malian artist and writer now living in Portland. It has been his dream to share the culture of his homeland with the people of his adopted home. In Bambara, the word ko-falen means “gift exchange.” Ko-Falen Cultural Center seeks to promote cultural, artistic and educational exchanges between the people of the United States and Mali through art and educational programs. We believe that a greater understanding and respect between people can be reached through these personal exchanges.
The Multnomah Arts Center (MAC) provides excellent arts education in the visual and performing arts at an affordable cost to students of all ages. We offer programs in music, movement, dance, theater, woodshop, literary arts, conditioning, metal arts, mixed media, printmaking, drawing, painting, photography, ceramics, sculpture, textiles, and more. Programs run year-round, and scholarships are available. Along with our vibrant arts education program, MAC hosts theatre, music & dance performances, gallery exhibitions, and other special events.
The Oregon Flock & Fiber Festival has grown significantly since its inception in 1997. The Festival includes three days of workshops and a weekend filled with demonstrations, livestock shows, seminars and kids’ activities.
The Oregon Historical Society (OHS) is a private museum, archival library, and educational institution headquartered in downtown Portland. It was founded on December 17, 1898, with the purpose of forwarding the “collection, preservation, exhibition, and publication of material of a historical character, especially that relating to the history of Oregon and of the United States.”
The Oregon Jewish Museum and Center for Holocaust Education is the largest museum dedicated to the documented and visual history of the Jews of Oregon, United States. The Museum is dedicated to the preservation, research, and exhibition of art, archival materials, and artifacts of the Jews and Judaism in Oregon.
We are a group of professional fiber artists located in Oregon and Washington. We primarily work in feltmaking, but enjoy other media as well. We formed to share experiences, to further our understanding and knowledge of felt making, to support one another in our creative endeavors and to act as a resource for others to help them learn this craft we love so much.
The Portland Handweavers Guild (PHG) has promoted excellence in handweaving, spinning and other fiber arts for over 75 years.
The Portland TextileX Month Festival was founded and organized to foster cross-pollination among textile enthusiasts, artists, businesses, schools, and cultural organizations. We create programming and provide an open platform to share histories, knowledge, commerce, experiences, and practices, across cultures and generations. We seek to partner with facilitators and organizations, rooted in community building, sharing, accessibility, inclusivity, diversity, and collaboration. By creating and fostering textile programming that champions grassroots collaboration and dialogue, we create meaningful opportunities for change.
ReClaim It, is a place where the creative citizens of Portland can find unique materials to reuse, repair, and reimagine.
Rewild Portland is an environmental education focused non-profit organization serving Portland, Oregon and the surrounding wild and rural communities. Our mission is to create cultural and environmental resilience through the education of earth-based arts, traditions, and technologies. This mission comes to life in the form of educational workshops and programs, community-building events, and ecological restoration.
SCRAP PDX is a nonprofit creative reuse center specializing in reused materials for the arts, education programs, birthday parties, and more.
Stitching is connection. Working with our hands creates connections between our bodies and our minds. It literally lights up neural networks and somatic memories. It calms nervous systems. It connects us to each other. It connects us to our ancestors and lineages. SWANA Stitch is a monthly cultural space hosted at The SWANA Rose Center, for SWANA (Southwest Asia and North Africa) textile artists to practice their traditional craft in community. Those of us in the diaspora have grown up with these beautiful historic images of SWANA folx stitching together. They’re getting water at the well, stitching. They’re forming collectives, stitching. They’re supporting their families in forced exile, stitching. They’re laughing, talking, learning, plotting, stitching. Always, stitching. Our mission is to be together in radical spaces, to make art as revolution, to keep our traditions alive, not as they were, but as we are now. Rediscovering and reframing our art and craft is our way to stay connected to ourselves, our community and our ancestors. Being together outside of colonial time, productivity and pressure, is one way to build radical community. Our cultures are resistance.
Founded in 2017 by Sankar Raman, who immigrated to the U.S. from India, The Immigrant Story (TIS) is a volunteer-run nonprofit with a mission to foster empathy and build a more inclusive community by sharing stories of immigrants and refugees who often overcame tremendous odds to reach the United States. Sankar, who has experienced violent, racially-motivated attacks, founded The Immigrant Story in response to a Kansas shooting in February 2017 that killed one Indian American man and injured two others.
The Soul Restoration Center is housed within the location of the former Albina Arts Center, which was established in the 1960s after Black youth advocated for a safe gathering space where they could take free creative arts, dance and music classes, taught by Black professionals. The building became a significant Black community hub until the 1970s. Several organizations occupied the building over the decades. Yet, it had been completely closed for about 16 months before it was temporarily reactivated by a few Black artists in late 2021 through January 30. In February 2022, I Am MORE signed a 2-year lease and transformed the neglected space into a healing-centered, arts-focused Black respite that collaborates with heart-centered individuals, donors, organizations and other partners who value Black lives.
The Surface Design Association is an international organization focused on inspiring creativity, encouraging innovation, and advocating for artistic excellence as the global leader in textile-inspired art and design. Our mission is to promote awareness and appreciation of textile-inspired art and design through publications, exhibitions, and conferences.
The Tatreez Institute (معهد التطريز), also known as Tatreez & Tea, is a Palestinian-led educational arts initiative focused on the preservation, documentation and research of textiles in the South West Asia & North Africa (SWANA) region. Embroidery, or tatreez (تطريز), is a centuries-old practice preserved through intergenerational exchange over a cup of tea, or shay (شاي). Inspired by generations of fiber artists, The Tatreez Institute continues the rich traditions of embroidery, textile and storytelling of Palestine, the Palestinian diaspora and Greater Syria from the United States.
In 2022, The Tatreez Institute was established to expand the scope of Wafa’s research into regional costumes beyond Palestine, produce more publications, as well as ensure that her documentation efforts can secure funding to continue. The Tatreez Institute was incorporated on her son’s fifth birthday, a meaningful symbol to Wafa that reminds her of the intergenerational impact of her work for Palestinians living in the diaspora.
The Tatreez Institute is founded in the belief that the study of embroidery and textiles in Palestine and Greater Syria cannot be divorced from its historical context. Anyone interested in joining the Tatreez & Tea community must stand unequivocally against the appropriation of arts and culture, for Palestinian liberation, and fight against the oppression of marginalized and oppressed communities equally. Individuals that are not able to meet this criteria must first build their activism and alliance, prior to joining the Tatreez & Tea community. The Tatreez Institute is not a service to the culturally curious— it is an active agent in fighting for Palestinian liberation. Therefore, The Tatreez Institute works to build an informed ally movement that stands against oppression, appropriation, and erasure — not just for Palestinians — but for all indigenous, BIPOC and LGBTQ+ communities facing the same.
Audrey Moore has been teaching Navajo-style weaving for 50 years and is the owner of Damascus Fiber Arts School, formerly known as Damascus Pioneer Craft School. Terry Olson, once Audrey's student, has taught Tapestry-style weaving at Damascus for 20 years. Tammy Rosecrans is a current student, going on her second year with DFAS, who focuses primarily on Navajo-style weaving.
Our interior design school, located in the heart of Portland, provides aspiring designers the opportunity to cultivate their natural design talents through hands-on learning programs in a supportive classroom environment. Our curriculum enables students to transform their passion into an extraordinary design portfolio. Students build confidence as they acquire the knowledge and skills required to succeed professionally in the industry.
Founded in 2012 in Englewood, NJ, “one river” west of New York City, One River School has embarked on a mission to "transform art education"® in America. Today, our innovative program teaches thousands of students in fourteen locations across six states. The company has developed a unique method for teaching art and digital design classes to people of all ages. Very simply, One River's students have more fun, learn faster and produce more compelling creative outcomes. Our state-of-the-art facilities create an aspirational mindset that inspires our students to tap into their creative spirit. And, our proprietary / original lesson plans allow us to facilitate an educational experience that is differentiated from anyone else. One River also produces exhibitions from world class contemporary artists, which allows us to be the voice of contemporary art in our communities and to enhance our ability to "teach through the lens of living artists." Our team at One River is made up of passionate, mission-oriented art-centric professionals who are motivated to provide hospitality level service to our students. As we grow, One River is focused on becoming the "best place to work in the arts" and also providing business ownership opportunities in the arts via our franchise program.
Connecting design thinking to design doing, the MFA in Applied Craft + Design program is grounded in hands-on making, entrepreneurial strategies, and social and environmental engagement.
With a curriculum focused on the development of a strong artistic voice, the realization of work for a specific community or client, and entrepreneurism that connects making a living with making a difference, the MFA in Applied Craft and Design is the only graduate program of its kind.
Combining a mentor-based approach with an exceptional visiting artists program, students work one-on-one with nationally and internationally recognized designers, makers, and scholars in a self-directed curriculum that challenges them to bring to life the full strength of their ideas and skills.
Encouraging a cross-disciplinary studio environment in which the workshop is a lab to collaboratively explore design and making processes, the mentor-based MFA in Applied Craft and Design welcomes students from a wide range of creative backgrounds to make original work with an applied purpose.
Portland Sewing started business in 2002 with a beginning sewing class for four students. The business grew to add classes in intermediate and advanced sewing. In 2010, Portland Sewing added classes on the business of apparel. In 2016, Oregon made it a licensed career school. Thus Portland Fashion Institute was created to offer three certificates and give people the skills to start businesses and get jobs at apparel companies. Yet PFI still offers classes to people who just to take one or two just for fun. We offer sewing classes for the beginner to the advanced stitcher wanting to learn something new, from sewing basics to patternmaking, draping, tailoring and couture. No matter the class, our job is to make sure you gain skills, create a project you like, build your confidence — and have a good time doing it!
The Textile Arts program provides a critical investigation of clothing and textiles with a focus on craft, sustainability, and community engagement. Students learn techniques in weaving, surface design, and sewn construction towards fashion, costume, and contemporary art.
Founded in 2017, the Social Justice Sewing Academy (SJSA) is a non-profit organization that aims to empower individuals to utilize textile art for personal transformation, community cohesion, and to begin the journey toward becoming an agent of social change. Prior to COVID-19, youth workshops and programs were at the core of the organization.Through a series of hands-on workshops in schools, prisons, and community centers across the country, SJSA used social justice and art education to bridge artistic expression with activism. Many of our young artists made art that explored issues such as gender discrimination, mass incarceration, gun violence, and gentrification. The powerful imagery that youth created in cloth demonstrated their critique of issues plaguing their local and larger communities. These quilt blocks are then sent to volunteers around the world to embellish and embroider before being sewn together into quilts to be displayed in museums, galleries, and quilt shows across the country.
While youth programming remains at the heart of SJSA, the civil rights movement of 2020 and the concurrent COVID-19 pandemic significantly impacted SJSA’s programming. Due to no longer being able to provide in-person programming and limited virtual youth workshops, SJSA launched a series of new initiatives to critically respond to the times. With each project, SJSA bridges the differences between age, race,and socioeconomic status to facilitate conversations about and encourage action toward social justice issues in households across the country.
Cydni Carter Lopez is a place-based artist and designer based in SE Portland. Recently graduated with her MFA in Applied Craft & Design from the Pacific Northwest College of Art, Cydni has a passion for working with her hands and the slow processes that come with traditional craft work. Raised in the Pacific Northwest Cydni comes alive in nature; it is where she feels most grounded and finds infinite joys and curiosities. Her work uses the crafts of natural dyeing and foraging as methods of connecting deeper with the self and the world that we inhabit. Deepening connections between people and place Variegated Places invites you to reimagine the potential of our interconnected worlds through a color based collaboration with a plant. The website serves as a place based color catalogue and growing educational resource including instructions, demonstrations, material resource lists, and someday lesson plans designed to facilitate interconnection between our human selves and the places, spaces, and worlds all around us.
Expanding textile traditions. Sharpening creativity. Seeing culture through craft. Learning from nature. Since 2013, WildCraft’s mission has been to offer exceptional creative programming to diverse, adult learners (18 yrs & up), with a special focus on Craft, Textiles, Studio Art, Native Art and Nature-based workshops. From our SE Portland studio—as well as from the farms, forests and beaches that make up our off-site classrooms—WildCraft strives to awaken creativity and deepen an understanding of place, through hands-on experiences in making and learning.
Abbie Miller (b. 1981, Billings, Montana) received her BFA from the University of Wyoming in 2004 with a minor in apparel construction and holds a Post-Baccalaureate Certificate from Maryland Institute College of Art, 2005 and an MFA from Cranbrook Academy of Art, 2007. She has had solo exhibitions at the Missoula Art Museum, Nicolaysen Art Museum and Teton Art Lab where she was an artist in residence for two years. Miller has been included in group shows throughout North America, including the Craft and Folk Art Museum, Reading Public Museum, Cranbrook Academy of Art Museum, Portland Art Museum and the American Academy of Arts and Letters. Her sculptures are included in the permanent collections at the Portland Art Museum and the Scottsdale Museum of Contemporary Art. She is a recipient of a Wyoming Arts Council Fellowship, a Contemporary Northwest Artist Award and a Metcalf Award from the American Academy of Arts and Letters.
Abbie lives in the Pacific Northwest and works as a studio artist, educator and stylist.
Drawing inspiration from many sources, I have built a dedicated clientele. My skill and esteem as a designer and creator of clothing has garnered me collaborations with the Portland Art Museum, Contemporary Craft Museum, and Oregon Ballet Theater. My garments are known for their clean lines, tailored silhouettes, timeless appeal, and impeccable construction.
Harlem native Adriene Cruz was deeply inspired by her mothers creative use of color and the rich cultural influences of her childhood community.
Adriene attended the High School of Art and Design and received a BFA from the School of Visual Art in NewYork. After relocating to Portland, Oregon she explored quilting at the Oregon School of Art and Craft. What emerged were brilliantly colored and adorned quilts, large and small, piecing together richly patterned materials in rhythmic arrangements, structured as well as improvisational, deeply moving on a spiritual level and simply enjoyable for their sheer beauty. Fabric, cowrie shells, mirrors, sequins, beads , tribal silver, even beetle wings and fragrant herbs are among the endless adornments and amulets in Adriene's artistic alchemy.
Adriene's creative vision garnered invitations to create public art in her Portland community. Often engaging community youth, Adriene created street banners, murals, decorative trash bins and a billboard. Public artist Valerie Otani invited Adriene to design one of Portland's Light Rail stations. The artists collaborated creating colorful glass mosaic, handmade tiles, steel railings and concrete benches reflecting Ashanti culture. "Stone quilts" embedded in the paving also adorn the platform of Killingsworth Station.
Adriene has exhibted internationally in Brazil, Costa Rica and South Africa. Nationally her work has exhibited at the Smithsonian in D.C., The Folk Art Museum, NY, American Craft Museum , NY, Museum of Biblical Art, NY, The Museum of the African Diaspora, San Francisco, The National Civil Rights Museum, Memphis, and the Fowler Museum of Cultural History, UCLA. to name a few. Collections include the Schomberg Center for Research in Black Culture, Hartsfield International Airport, Atlanta GA, Haborview Medical Center, Seattle, Portland Community College and numerous private collections.
Ali Cat. is an artist and print maker living on unceded Cowlitz, Multnomah and Confederated Tribes of Grand Ronde land at the confluence of two rivers, also know as Portland, Oregon. She produces her work under the name Entangled Roots Press. Her prints mingle the literal and metaphorical to illuminate and comment upon the world around us. Relief, screen, and letterpress prints span from the carnage of clear-cuts to the beauty of peoples movements. Ali’s prints pull from ancestral herstories and push towards liberatory futures; entangling lessons from gardens, symbols in coffee cups, woven threads from Armenia and Euskal Herria, to the printed page. Ali received her BFA at Pacific Northwest College of Art in Portland. She completed an artist-residency at Proyecto’ace in Buenos Aires in 2014, and was a member of Flight 64, a member-run, nonprofit print studio, from 2015- 2018. Ali worked as the Print Studio Technician at PNCA from 2017 – 2021. They now teach and volunteer at the Independent Publishing Resource Center.
Alison Heryer is an interdisciplinary artist whose work combines costume, installation, performance, and community engagement. As a costume designer, she is a member of United Scenic Artists, Local 829. Her design credits include productions at Steppenwolf Theatre Company, 59E59 Theaters, La MaMa, The New Victory Theater, Portland Center Stage, Portland Opera, Kansas City Repertory Theatre, Indiana Repertory Theatre, Artists Repertory Theatre, ZACH Theatre, The Hypocrites, and Redmoon. Her work has been featured in exhibitions at the Nelson Atkins Museum of Art, World Stage Design, and The Prague Quadrennial of Performance Design and Space. Awards include a RACC Build Grant, Drammy Award and Austin Critics Table Award for Costume Design, and the ArtsKC Inspiration Grant. Heryer is a graduate of Washington University in St. Louis and the University of Texas at Austin. She is a faculty member at Portland State University where she was recently granted the Sue Horn-Caskey & Charles F. Caskey Professorship of Textile Arts & Costume Design. Alison Heryer’s 2021/2022 projects have been generously supported by a RACC Build Grant.
Amirra Malak is an Egyptian American artist living in Oregon while also inhabiting spaces between cultures, countries, geographies, and identities. She feels most at home in liminal spaces, especially in the natural world and is interested in using light, pattern, movement, time, sound, and visual sensation to create meditative healing experiences. Work includes drawing, painting, textiles, meditative video, interactive and immersive video installations, and curated online spaces. She is currently exploring bridging past and future through the combination of ancient craft and modern technologies in video and textile installations inspired by Egyptian Khayamiya tent applique.
Amirra shares her belief that humans are makers and creators by nature with her two children and her high school students in Hood River where she has been an art teacher for twenty years. She strives to create equity and access to college level art curriculum for all students through building and maintaining an inclusive AP art program at Hood River Valley High School and serving on the Hood River County School District Equity Committee. She also served on both the Arts Academic Advisory Committee and the Advanced Placement Art & Design Development Committee for the College Board. She was awarded the College Board Regional Award for Excellence and Innovation in the Arts for her equity work within the AP Art & Design program.
Amy Reader is a fiber and installation artist based in Portland, OR. Her primary interest is in using fibers and textiles to create sculptural forms. In 2015, Amy facilitated a large-scale, collaborative crochet installation that received international acclaim. In 2016, Amy traveled to Peru for an artist residency in the Amazon Rainforest where she built a permanent sculpture in the jungle. From 2016-2018, Amy was a Display Artist at Anthropologie where she created large scale installations and window displays. Currently, Amy splits her time between sewing her own artwork, teaching workshops, and writing educational blogs. Amy is a member of the Society for Embroidered Work - an international honor society promoting the best stitched art worldwide. She has been featured on local news segments like Wilson’s World on WCCB and on the art blog Brown Paper Bag.
Anne Greenwood-Rioseco (b. Jamestown, North Dakota, 1967) is a multidisciplinary artist whose work explores themes of time, spirituality and the transcendent genius of the natural world. Collaboration, vibrant color and fostering relationships are the common threads in her social art practice that spans textiles, plants and poetry. She has worked as a residential gardener in Portland tending to small gardens across the city for 25 years. In 1989 she co-founded the Albina Green in North Portland and for over ten years collaborated in Ariadne Community Supported Agriculture Garden. In 2018 she was introduced to the TC2 Digital Jacquard loom at the Icelandic Textile Center, and in 2022 she was invited to return to weave 10 yards of textile. This work will be featured in the 2023 international exhibition Threads | Þræðir Intertwined in Iceland: Textiles & Book Arts at Nordia House NW in Portland and this will be a featured exhibit, artists talk and workshop with Portland Textile Month. This exhibit will feature twelve artists brought together by the Icelandic Textiles Center and includes new work in collaboration with Arnþrúður Ösp Karlsdóttir. Anne incorporates photography, natural dyes, hand-work, book making, writing, and installation in her creative practice. She has collaborated with her husband Mauricio Rioseco Milano as artists in residence, installation exhibits, writing prose & making images for Vestiges & Shapes of Land artists’ books. Mauricio (b. Rosario, Argentina, 1965) is a first generation Argentine who has worked as a woodworker for 25 years in Portland. Siblings Anne and Tom Greenwood started an ongoing community project called Ray-mains Blanket Company in 2019. The two worked with the Portland Garment Factory over the summer and fall to make an edition of 44 repurposed wool blankets to help fund the Albina Green 20th Year Celebration in North Portland. Anne has worked with Caldera and Arts Education in the Gorge teaching in both urban and rural schools. She co-curated VOLUME 4 of the PNW version of Class Set with Bay Area artist Jessalyn Aaland. Class Set provides K-12 teachers with free artist-designed, Risograph-printed posters for their classrooms featuring quotes by authors and activists. Anne’s work has been collected by the Plains Art Museum in ND, the Bainbridge Island Art Museum, many special collections libraries, rare book rooms, and private collections. Her work is sold by David Abel at Passages Books in Portland, OR, Erin Michelson at 23 Sandy in Santa Fe, NM, and Fran Durako of Kelmscott Book Sellers in Baltimore, MA. The OAC, the PICA, RACC, the Hallie Ford Foundation, the Multnomah County Cultural Coalition, and the North Dakota Council for the Arts have all financially supported her projects. Greenwood Rioseco has been an artist in residence at Portland State University Textile Arts, Playa (Summer Lake, Or.), Caldera (Sisters, Or.), Signal Fire (Or.), and Pine Meadow Ranch (Sisters, Or.).
Aradhita Parasrampuria is a materials designer originally from India, based in New York. Parasrampuria combines synthetic biology with fashion to create sustainable, scalable textiles to replace toxic petroleum-based materials. She works primarily with raw materials such as Microalgae, Escherichia coli, and Cellulose. Parasrampuria received recognition on Indian Forbes 30 under 30 2023 list in the climate change category. She has also been awarded the Swarovski Foundation's "Creatives For Our Future" grant and the Aronson Fellowship from Tishman Environment and Design Center. Her work has been showcased in prominent events and publications such as United Nations, COP27, Vogue, L'officiel Brazil, CFDA, Dezeen, No-Kill Magazine, New York Design Week, and Portland Textile Month.
Ariane Mariane is a German fiber artist living and working in Paris. Trained in architecture and graphical textile design she felt in love with textile arts in 2004. Since 2008 she runs her own textile art studio, creating wall-hangings, sculptures, home decor, wearable art and accessories. In her work she combines graphical design and several textile techniques to make outstanding pieces in a fancy and playful style. She paints with powerful colored fibers and creates little stories in a poetic and humorous way. Each item is unique: created by hand, in a time-consuming and artistic process. In each piece Ariane Mariane explores new techniques, association of colors and materials. She describes her process as involuntary, deconstructed and messy. "My workshop is filled up with fabrics, wool fibers, pigments, papers and findings of all kind. It’s my kingdom from where I travel to imaginary countries, enjoy great adventures and often come back with marvelous treasuries. My best creations "just happen or as Picasso pointed out:"Inspiration exists but it must find you working."” In Ariane Mariane’s world, clothes and accessories stand side by side to wall hangings and sculptures. "I do not see any difference in making a garment or a picture," she explains. "My approach is always graphical and somehow storytelling: a combination of colors, shapes and materials. In the beginning“ making art for art seemed pretentious to me and I needed a function to authorize myself to create. Nowadays I play around with both. I may even feel freer when doing wall hangings and sculptures. On the other hand it’s so exciting to see a creation transformed by another human. I love the sparkling eyes when a woman tries out an art vest, a hat or accessory. Something’s happening –the art work and the woman are transformed.” The artist’s goal? Spread good vibes and color life.
Arnþrúður Ösp Karlsdóttir is a visual artist. In her textiles and artist books she works with traditional textile and fiber techniques, expressing nature's visual qualities, in form and image, texture and atmosphere. She has an education in textile art and design from The Icelandic School of Arts and Crafts and as a teacher in adult education from Håndarbejdet Fremmes Seminarium in Copenhagen. She has participated in exhibitions in Iceland and abroad and lives and works in Reykjavík.
Wagué grew up drawing–first for his own pleasure, then for schoolwork and finally for part-time jobs. He first learned claywork however, after meeting American artist Ronna Neuenschwander, and moving to Portland, Oregon in the US in 1985. There, he began using clay as his canvas.
Wagué and his wife, artist Ronna Neuenschwander, have collaborated artistically on a number of projects, including an animated film by Jim Blashfield entitled “My Dinner With the Devil Snake”, an award-winning documentary film by William Donker of their lives entitled “Don’t Paint Lizards on my Wall”, and a number of public art projects. They recently completed a large tile floor mosaic for the Serengeti Plaza at the Oregon Zoo. They continue to return to Mali with their two daughters bi-annually for extended stays.
Wagué is founder and director of the Ko-Falen Cultural Center in Bamako, Mali, which enables artists and travelers from other countries to live, meet, study and collaborate with artists of Mali. The Ko-Falen Cultural Center encourages cross-cultural exchanges through art, dance, music and ceremony to promote a greater understanding and respect between people. Ko-Falen also manages education programs for youth of artisans in Mali.
Jessica Bardsley is a weaver and textile artist living in Portland, Oregon. Primarily self-taught, Jessica is interested in exploring weaving and other textiles as a way to connect to culture, history, and heritage, and using it as an avenue to build community and connections across generations.
Francisco Bautista is a fourth generation Master Weaver in his family. He and his wife Laura were born in Teotitlán del Valle, a Zapotec village in Oaxaca, Mexico; they have always been fascinated by the infinite possibilities of crossing threads. They use only hand-spun, hand dyed wool, and weave each of their works on a foot pedal loom. The vibrant colors you see in their weavings come from their own natural and aniline dyes. Together they work to ensure that the quality achieved by the Master Weavers of old will continue to live on in each piece they weave.
Blue is a trans-disciplinary artist originally from Southern Appalachia, currently based in Portland, OR. They make fantasy-industrial cast sculpture, dance, textiles, and paintings. They choreograph for hyperpop and metal musicians, most recently directing a video for Jan Julius' album Meat Shot Idyllic. They are currently writing an experimental multimedia novella set in a factory about sex, labor, and revolt.
Bonnie Meltzer’s art-making, activism, community building and gardening are linked together like crochet; one thread looping with itself creating an interlocking life. Born in New Jersey, Bonnie moved to Seattle to get an MFA at the University of Washington. There, she found her medium, her social commentary voice, and installation as a format. As a networker she crochets (crochet being a form of net making) and in the other meaning, she purposefully designs projects that invite people to participate and connect with each other. Throughout her career she has used fiber art techniques and found objects in experimental ways to make very mixed media social commentary. In the last five years she has added stitched and crocheted text to her body of work that comments on the social fabric. Textile Month 2021 highlighted her interactive Installation, Tikkun Olam - Mending the Social Fabric at the Oregon Jewish Museum, which included 75 handkerchiefs with embroidered text. At the same exhibition, visitors under Bonnie's guidance mended a torn parachute, a metaphorical social fabric. The coming together in those traumatic times brought a sense of healing to the sewers. Other recent work includes a beaded wire and fishing line crocheted sculpture of the Columbia River was exhibited at Maryhill Museum. “Water and Land”, a decade of environmental works were shown at PLACE Portland during spring 2023. Her work is in private and public collections; The National Science Foundation, University of Washington, Baylor University Rosenberg Artist Book Collection, Community Music Center, Portland and Multnomah County, Oregon. Her mixed media sculpture is on the covers of the books “The Fine Art of Crochet” and “Artistry in Fiber: Sculpture”. Her pioneering crochet is in many crochet books from the 1970s. She has taught textile workshops for decades. This past summer she taught “Text on Textiles” sponsored by Creative Arts Community at Menucha
Crossing both visible and invisible boundaries of nationality-ethnic background, the traditional-the contemporary, art-craft Agus Ismoyo (Indonesian) and Nia Fliam (American) have been working collaboratively to produce contemporary textiles in their fine art batik studio, Brahma Tirta Sari in Yogyakarta, Indonesia since 1985. Ismoyo’s ancestors were batik makers in the court city of Solo in Java. He was trained in industrial management at the Industrial Academy (AKPRIND) in Yogyakarta. Nia originally explored dye resist techniques from Africa and Asia in America. She completed her fine arts degree at Pratt Institute in New York City before coming to Indonesia in 1983 to study traditional batik. ‘This collaborative art team is renowned for their intricate, nuanced and time-intensive contemporary fine art textiles. They have exhibited at many prestigious exhibitions around the world and worked with world distinguished curators. Since 1994 they have explored and worked in collaboration with Australian Aboriginals, American Indians and various Asian and Australian artists, They have received critical acclaim for their successful use of traditional textile techniques in exploring their own realm of creativity while pursuing an understanding of the value, role and meaning of tradition in the development of our world culture.’ Christine Cocca, Antenna Projects, Yogyakarta Indonesia. Their studio produces not only fine art batik and paintings but a range of wearable art products and craft as art interior items. Brahma Tirta Sari (BTS), which means ‘creativity is the source of all knowledge’, was founded on the belief that there are many relevant traditions rooted in cultures throughout the world.
Bridgette Hickey is a multidisciplinary archivist exploring interspecies communication with her ancestors. She works in repetitive time intensive traditional mediums to weave fragmented and disembodied themes and materials. They are a community herbalist, poet and care worker currently developing their skills in textiles, education and grief facilitation. She has been led here through a remembering of her families Black Gullah, Irish, Nipmuc and Mohawk lifeways. Bridgette has a background in medical anthropology with a focus on state inflicted intimate violence and chronic illness. She has an appreciation for relational neuroscience and somatics: the ways our sinew hold stories of joy, pain, love, and guidance for the beyond. Bridgette’s work Doing My Hair was included in an artist talk alongside Lisa Jarrett, Sharita Towne and Susana Pilar Delahanate Matienzo in 2015. In 2020 Bridgette collaborated with Salimatu Amabebe’s love letters to black folks creating flower and environmental literary essences. They are featured on Water in The Desert website as one of the 2020 Switch artists in residency alongside Intisar Abioto, Sidony O’neal, Yawa Amenta, and Ni Abioto. Bridgette is a spring 2022 recipient of a make build learn RACC grant to support her current herbal textile work Beloved Fragments in collaboration with Adriene Cruz, and is a current summer 2022 PLAYA resident.
Carolyn Hazel Drake is a third-generation Oregonian who works with textiles, ceramics, and domestic materials. She references devotional objects and archetypal imagery to create objects and installations that are familiar yet cryptic. Drake studied literature & architecture at PSU’s Honors College and has an M.Ed. in art education. She has been awarded residencies at GLEAN, Leland Ironworks, Suttle Lodge, and Sitka. Her work is represented by Carnation Contemporary and Hanson Howard Gallery. Drake is an assistant professor of art education at Arizona State University. She divides her time between Phoenix and Portland. www.carolynhazeldrake.com / @carolynhazeldrake
Based in Portland, Oregon, with roots in small town Minnesota, Charlie Wilcox is a designer, embroiderist, filmmaker, writer, and tubist. In combining these practices, he uses the constraints of a hand-embroidery approach to examine the possibilities and test the limits of stop-motion animation. The first gallery show of his work took place in May 2022 at Dorsa Brevia Art Gallery in Portland, with shows at the Hallberg Center for the Arts in Wyoming, MN and PLACE Studios in Portland, OR, following. He spends business hours at Reed College as an Administrative Coordinator (and de facto Graphic Designer) for the performing arts departments and is working towards a Master’s Degree in Design Systems from the Pacific Northwest College of Art. When he’s not doing all that, he’s probably trying out different punch recipes for his friends.
Charlotte Flory is an artist and design director living in Portland, Oregon. She comes by way of New York City, where she lived for 21 years after graduating from Parsons School of Design. Her fashion and home accessory designs sold in eponymous NYC shops such as Barneys New York, Bergdorf Goodman and ABC Carpet & Home, while a piece she designed for Louise Bourgeois hangs in MoMA, signed in red stitches “LB”. Her textile work has walked the runway for Donna Karan, Calvin Klein, and more. Working for Master Printmakers to edition hand pulled etchings of Sean Scully and Phillip Pearlstein, and learning Letterpress Printing from the grandson of Alexander Calder, her true passion for approaching design as art has offered her a lifetime of fulfilling work. “More Pattern More Better” has been her moniker for some time now, and as a Decorative Expressionist, color, pattern and especially the mix of them, is her favorite way to amplify beauty and inspire joy. Please visit her Instagram page for more @charlotteflory
I am driven by my experience as a trans man, the symbology associated with traditional westernized gender, and redefining those gender systems through my art practice. Elements of nature are incorporated into a variety of my images, countering the notion that certain bodies and identities are not natural. Through photography, I find new possibilities of existence where all expressions are sacred, honored, and a vital part of the human ecology.
Emily Pacheco is a multi-disciplinary artist creating wearable art, soft sculpture, illustrations and papier-mache work. Her practice is a middle school love letter asking DIY, arts and crafts and outsider art if they'll go to prom.
Eric Jordan is a multi-disciplinary artist focusing primarily in sound. His sound works have been performed and presented in San Antonio, Austin, Marfa, Brooklyn, and Portland. He has also recorded music under his own name, Coo, Sleepy E, and Mort, and with other musicians in The Chronics, Scooter Einstein, Little Monkey Venus, Two-Toed Sloth, FRAZZ, The Ray Talley Dancers, and Notnauts. He’s composed and performed sound/music for film, dance, radio, site-specific events, and educational curricula. He DJ’s under ever-shifting DJ handles for radio and events, and was a guest contributor, curator, and advisor for Trickhouse.org.
Felicia Murray is a fiber artist from Maine, who now lives and works out of her studio at NW Marine Artworks in Portland, Oregon. Her tactile work explores motifs from nature, while creating imagined landscapes of color and texture. She received her B.F.A. in Fibers from The Savannah College of Art and Design in 2019, and has since been continuing to develop her work through collaborations, commissions, community projects, and exhibitions. She has created large-scale fiber art for clients worldwide, and has worked with brands such as NIKE, Gallagher Designs, SCAD, and Wieden and Kennedy.
Francesca Capone is a materials designer, visual artist, writer, and educator. Her work is primarily concerned with the creation of materials and a poetic consideration of their meaning. She is interested in how tactile forms simultaneously serve as functional surfaces for daily life and as a mode of communication or symbol within the cultural paradigm. Her books Woven Places (Some Other Books, 2018), Text means Tissue (2017), and Weaving Language (information as material 2018, Self Published 2015) focus on textile poetics. They are available for purchase via Printed Matter, and are available for viewing at the MoMA Library and the Watson Library at the Metropolitan Museum of Art. She has exhibited at Whitechapel Gallery in London, LUMA/Westbau in Switzerland, Textile Arts Center in NYC, and 99¢ Plus Gallery in Brooklyn. She has been an artist in residence at the Josef and Anni Albers Foundation and Andrea Zittel's A-Z West. Her academic work includes lectures and workshops at Brown University, Rhode Island School of Design, Reed College, University of Washington, and Alberta College of Art and Design, among others.
Megan Rothstein is a weaver, explorer of natural dyes, restorer of looms and general fiber artist. In her production weaving practice she forages natural dyes from the Portland landscape in order to dye natural fibers. After the dying process she weaves shawls and scarves with a focus on twill weave structures which she sells at craft sales through out Oregon. One of her woven naturally dyed shawls recently won the award of “Grand Champion” in the weaving division at the Oregon Flock and Fiber Festival and her handspun blanket received a first place ribbon at the Black Sheep festival. Her fine art weaving practice focuses on re-using materials from her production weaving process and upcycling synthetic fibers into hanging tapestries. Megan is also an Ikebana (Japanese floral art) artist. She holds a 3rd grade teaching certificate with the Sogetsu school of Ikebana. She focuses on teaching workshops to those interested in incorporating the concepts of Ikebana to their fine arts practice and ongoing classes to gardeners interested in using the gardens to create Ikebana. Her Ikebana practice focuses on found plant material, rather than relying on flower shops, and re-using materials such as cardboard, plastic pieces and other discarded materials. She teaches classes throughout the Portland area and has done several demonstrations at the Portland Japanese Garden. She also holds a masters degree in folklore and has done research on roadside memorials and multimodal communication in 911 call centers. In addition she has a collaborative installation practice focused on re-used materials with Adam Rothstein. She also co-runs Weird Shift an ongoing project, twice funded by the Portland Institute of Contemporary Art’s precipice fund, with Adam Rothstein and Carl Diehl.
Fuchsia Lin is a Taiwanese-American artist, fashion/costume designer and filmmaker, called a visionary by the Seattle Times for the imaginative art and performance work she has produced. Fuchsia began her career as a fashion designer, studying at Parsons School of Design in NYC. Years later, Fuchsia turned to the medium of film to showcase her fashion and costume designs in motion. Her first short film, Crystals of Transformation, went on to win her a scholarship award to study fashion filmmaking at London College of Fashion, one of two universities in the world that teaches fashion filmmaking. Fuchsia is currently finishing up her second film, Future Cosmos Flow, a fantasy drama film. This film features more than 40 custom couture pieces made from sustainable materials Fuchsia designed especially for the film, worn and set in motion by award-winning performers. Future Cosmos Flow is a genre-bending film and magical fairy tale inspired by mythology and the natural elements. An exiled royal family must learn to harness a mystical water-power to subdue a tyrannical Uncle who threatens the ecological survival of their Kingdom. It relates to our modern day need for the renewed care of our environment. Fuchsia will speak about her journey from costume designer to filmmaker. She will share how she uses the medium of film to show fashion in motion and tell a story through textiles. And she’ll show excerpts from her new film, Future Cosmos Flow, which will be screened at a special event at the Portland Art Museum in 2024.
Grace was born and raised in California, and studied agriculture at Texas A&M University. Afterward, she worked in biomedical science research, specifically in the field of reproductive biology. Her passion for learning led her to explore the world of fine art. She worked for a fine art gallery for a year, and during this time, showcased her oil paintings in local exhibitions. Her art practice explores Western, Americana, and pop culture themes. In addition to her love of painting, she enjoyed creating and teaching children's textile art curriculum. Recently, Grace moved across the country from East Texas to Oregon, where she works for Oregon State University Extension Service and assists TextileHive with collections and online projects. Grace loves working with textiles because of the stories, heritage, and craftsmanship interwoven into each piece.
Heather Watkins’ work explores the nature and possibilities of the drawn line – materially and symbolically. Working with ink, cord, thread, cloth, and paper, she submits these materials to many cycles of saturation, compression, intertwining, and transference. Through these physical processes, she investigates phenomena such as flow, stasis, circulation, and gravity. Her work takes many forms: sculpture, drawing, text-based work, printmaking, and artist’s books.
Her work has been shown in numerous exhibitions, at venues including: PDX CONTEMPORARY ART, Portland, OR; Portland Art Museum, Portland, OR; Planthouse Gallery, New York, NY; the lumber room, Portland, OR; Front of House, Portland, OR; The Art Gym, Marylhurst, OR; and Nine Gallery, Portland, OR. Her work is held in private and public collections including the Portland Art Museum, the Miller Meigs Collection, the Regional Arts and Culture Council’s Portable Works Collection, the Collection of Jordan D. Schnitzer, Portland State University, Reed College, and Rhode Island School of Design Artist’s Book Collection. She has been the recipient of grants from Oregon Arts Commission, The Ford Family Foundation, and Regional Arts & Culture Council, and has been awarded residencies at Caldera; Sitka Center for Art & Ecology; Oregon College of Art and Craft; and at Em Space Book Arts Center. Watkins holds an MFA from the Rhode Island School of Design, and is represented by PDX CONTEMPORARY ART.
Formal Education B.A. Mills College, Biology MBA UCLA Anderson School of Business, 1985 Work Experience Self-employed fiber artist, 2012 to present President, Lewis Kennedy Associates, 1995-2012 Director of Development, Oregon Public Broadcasting, 1989-1995 Workshop participation (in person and on line) Felting: Gladys Paulus, Marjolein Dallinga at Bloomfelt, Judith Dios, Fiona Duthie, Zia Gipson, Yekaterina (Katia) Mokeyeva, Renate Maile- Moskowitz, Pam deGroot, Eva Camacho-Sanchez, and Susan Thompson at Spirited Hands Studio. Natural Dyeing and Shibori: Kathy Hattori at Botanical Colors, Charlotte Kwon, Sophena Kwon, Danielle Bush, and Natalie Grambow at Maiwa School of Textiles, Takayuki and Tomo Ishii of Awonoyoh, Joan Morris, Nicola Brown, Rick Rao, Jane Callender, Irit Dulman, Porfirio Gutierrez, and Aboubakar Fofana. Papermaking: Pulp & Deckle (Portland) Online classes in drawing and painting with Lisa Congdon, Pam Garrison, Lisa Solomon Exhibitions Gallery 114, Portland, 2023 Tucson Museum of Art Artisan Markets, 2017- 2020 Portland Open Studios, 2023, 2022, 2021, 2020 Many of the markets were suspended during the pandemic Teaching Indigo Dyeing, Tucson Handweavers and Spinning Guild (study groups) Wet-felting, Tucson Handweavers and Spinning Guild (study groups) Blue Magic – An Intro to Indigo and Shibori, Tucson, AZ, March 2023 Indigo Dyeing: Bamboo Garden Nursery, Ned Jaquith Foundation Benefit
Hyun Jung Jung is a Korean artist and designer currently based in Portland, Oregon with a BFA from Rhode Island School of Design. Hyun Jung’s artistic practice centers around creating interactive and immersive experiences for her audience, resulting in various outcomes across different forms and mediums. Inspired by personal experiences and Pop culture, she aims to capture the generation she lives in and create work that is relatable to people from different backgrounds and cultures. Hyun Jung plans to continue creating works that capture the generation that she lives, and to fuel meaningful dialogues.
Jeanne received her BFA in Fiber and Material Studies (2001) and Post-Baccalaureate in Fashion, Body and Garment (2009) from the School of the Art Institute of Chicago (SAIC), and her MFA in Fiber (2013) from Cranbrook Academy of Art where she was awarded the Toby Devan Lewis Award. The award enabled her to pursue research in Antwerp, Belgium at the ModeMuseum (MoMu), and to work with fashion designer, Christian Wijnants. In 2018 she was awarded the Fountainhead Fellowship in Craft & Material Studies at Virginia Commonwealth University (VCU). There she worked with the Highland Support Project and fair-trade weaving organization, Pixan, in Xela, Guatemala to develop textile designs with indigenous Mayan weavers. Her collaborations include a 2019 Bessie Award winning project with choreographer, Ni’Ja Whitson. She has been Artist-in-Residence at Haystack Mountain School of Crafts, Caldera, Oak Spring Garden Foundation, and Pine Meadow Ranch. Jeanne served as a Visiting Assistant Professor in Fibers at Oregon College of Art and Craft (OCAC) in Portland, OR. Her exhibitions include Interpretive Center for Embodied Textiles solo-exhibition at the Alice Gallery in Seattle; GARB at ArtCenter Pasadena; International Fiber Art Fair in Seoul, Korea; Ancestral Offerings solo-exhibition at Reynolds Gallery in Richmond, VA; and Discursive at the Jordan Schnitzer Museum in Eugene, OR. Her work is in the permanent collection at Cranbrook Art Museum in Bloomfield Hills, MI and the Oak Spring Garden Foundation Rachel “Bunny” Mellon Collection in Upperville, VA.
Jens Pettersen b. Arendal, Norway, 1998 is a multidisciplinary artist and image maker living in Portland, Oregon. His work alludes to coyness, bumper stickers, highway road signs. Codes and messages for people to see, ways of communication, a cry for help and things that might be hidden in plain sight. Pettersen is a 2021 BFA graduate from Pacific Northwest College of Art. He has exhibited nationally and internationally in solo and group exhibitions at Oregon Contemporary, Portland, OR, Ghost Gallery, Portland, Oregon and Bomuldsfabriken Kunsthall, Arendal Norway.
Jo Hamilton’s crocheted portraiture and landscape works are a fascinating combination of traditional technique with contemporary subject matter. A native of Scotland, Hamilton earned a degree in painting and drawing from the Glasgow School of Art, but after moving to Portland, she translated her artistic vision into the medium of crochet, which she had first learned as a child from her grandmother. Her work is included in the collections of the Jordan Schnitzer Museum of Art, University of Oregon, Eugene; Portland Community College and the Portland Art Museum, Portland, OR; and the City of Seattle, among others.
Joan Truckenbrod is a digital artist exploring the intersection of the digital realm with textiles. Currently she is creating hand digital Jacquard weavings using a TC2 loom. She also works with various forms of printmaking using digital images that juxtapose different aspects of the self that sometimes collide in conflict and other times collaborate, including incongruous, socially constructed and prescribed roles. Her artwork is exhibited internationally. Earlier this year her textiles were included in the Weaving Data Exhibit at the Schnitzer Art Museum at PSU. In 2021 the Schneider Art Museum in Ashland Oregon hosted a solo exhibition highlighting Truckenbrod’s fiber artwork, titled Digital Fibers 1979 to Present. This year, one of her early textiles was included in a group exhibition at LACMA titled Coded: Art Enters the Computer Age, 1952–1982. The Whitney Museum of American Art included her early coded algorithmic textile and drawings in their exhibition Programmed: Rules, Codes, and Choreographies in Art, 1965 to the Present in 2018 and 2019. This artwork is in their permanent collection. Truckenbrod’s textiles are included in collections at The Art Institute of Chicago, the Block Museum of Art, and the Illinois State Museum, have Truckenbrod’s textiles in their collections. Tina Sauerlaender published “A Short History of Self-Representation in Digital Art”. International Journal for Digital Art History, no. 5 (December):3.2-3.17 in 2020 that includes her artwork. https://doi.org/10.11588/dah.2020.5.77407. Truckenbrod is Professor Emeritus in the Art and Technology Department at The School of the Art Institute of Chicago, and has relocated her studio to Corvallis where she opened the non-profit Truckenbrod Gallery to exhibit professional and emerging artists. Joan Truckenbrod’s artwork is represented by the RCM Galerie in Paris, France.
Judilee Fitzhugh is a textile artisan who specializes in natural plant dyes and couture sewing. A tour of duty in Japan with the U.S. Navy led to a profound Japanese influence and a lifelong affection for indigo and plant fibers. She gained her Certificate in Craft at the Oregon College of Art and Craft in 2002, and taught in the BFA and Studio School programs until the school’s closure in 2019. Her finely crafted work combines natural objects with vintage fabric remnants, hand weaving, and surface design to portray a single moment in history.
Julz Clementine is a surface designer, illustrator, and teacher living out her dreams in Portland, Oregon. She has a BFA with a concentration in Communication Design from Texas State University. During the expanse of her career as an artist, she has worked as a designer in print & apparel, an art director in advertising, and is currently working as a surface pattern designer & illustrator. Her deep love for nature and female empowerment led her to begin Hummingbird Art Camp in the summer of 2018. A few of her favorite things since childhood have been creating, crafting, rainbows & finding simple beauty in the everyday. Once she became a mama, she began to teach her daughter about sharing kindness with the world, appreciating art and looking for the good. She realized that many of these teaching opportunities were her favorite parts in the day, and now dedicates her life to creating and connecting with others through art and sharing ways to play and seek out the magic in everyday life.
Growing up Keeva Moselle made all of her Halloween costumes from age nine on, repurposing items from around the house. Keeva learned to work with her hands and a myriad of materials and techniques to create wearable art. These skills eventually translated into fashion design and garment construction. Today Keeva is a Portland native artist creating large scale interactive art installations, immersive beauty experiences, costumes, and multimedia art. All of her endeavors primarily use post-consumer waste & salvage materials. Keeva is a graduate of Oregon State University Graduate School, where she studied socio-political ethics. Keeva is an environmentalist and a Black Feminist thinker and author; her art reflects that same powerfully dynamic voice. In 2011, Keeva created an original character “The Queen of Unicorns”, as a public persona to inspire imaginative play and give young girls, especially those of color, representation in the cosplay and festival community.
Kindra Crick is a multimedia artist who gives visual expression to the wonder and process of scientific inquiry. In her experiential installations and layered mixed-media work she incorporates drawings, diagrams, maps, and imagery from under the microscope. She is fascinated by the human brain - our complex machine - which can fathom the beginning of time and the nature of its own thought. Crick has a degree in Molecular Biology from Princeton University and a Certificate in Painting from the School of the Art Institute of Chicago. Her work has been influenced by the inspired marriage of her grandparents, the artist Odile Crick and the scientist Francis Crick. Noted exhibitions include: Christie’s, The Phillips Collection, the New York Hall of Science, Littman Gallery, and MDI Biological Laboratory. Her artwork is included in the LMB collection in Cambridge, England, the Gordon Gilkey Print Center at the Portland Art Museum and the Jordan Schnitzer Collection. Her work has been featured in HuffPost, PBS NewsHour CANVAS, Science Magazine, and Oregon Art Beat. She is on the board of NW Noggin, an arts-integrated neuroscience outreach organization and has given talks about the intersection of art and science at Princeton University, Lewis and Clark College, University of Wisconsin, and the Portland Art Museum.
Kyle Denman is a designer whose mission is to create social change, share cultural narratives, and humanize the experiences of underserved communities. Denman teaches fashion design and art to at-promise youth in Los Angeles, California. Many of his students have experienced trauma, such as trafficking, homelessness, gang violence, incarceration, domestic violence, and substance abuse.
Lane Hunter, a Portland native, stumbled into a college folk dance audition and ended up dancing across the globe, earning a BFA in Dance from Brigham Young University. He fell head first into choreography and his work has been seen as far away as Beijing, China. Lane tripped into Kim Robard’s Dance in Colorado, slipped into Renaissance Cruises, and toppled into music videos for Blues Travelers and Michael Jackson. He tumbled across the stage and films of BodyVox, creating numerous original works before leaping into his own where he continues to demonstrate his innate ability to land firmly on his feet.
LeBrie Rich has been exploring the visual possibilities and emotional resonance of felted wool since 2004. She is best known for updating the traditional crafts of felting and embroidery by creating highly detailed soft-sculptural replicas of familiar packaged food items, such as Jif peanut butter and Spam. Venues that have shown her work include the Robert Rauschenberg Foundation Project Space in New York, NY; Portland Art Museum and Blackfish Gallery in Portland, OR; and Albus Gallery in Fukuoka, Japan. She has been awarded artist residencies at the Rauschenberg Residency (2013, 2015), Ucross Foundation (2018), and Kayamori House (2012) in the mountains outside of Nara, Japan.
Rich loves to teach people to access their creativity through felting. In 2021 she taught the art of felting to a total of 800 students from across the world, both through online and in-person classes. Her felt sculptures, collages, wearable fiber creations, and workshops for youth have been written about in the New York Times, Hand/Eye Magazine, Make, the Oregonian, and Portland Monthly.
Lehuauakea is a māhū mixed-Native Hawaiian interdisciplinary artist and kapa maker from Pāpaʻikou on Moku O Keawe, the Big Island of Hawaiʻi. Lehua’s Kānaka Maoli family descends from several lineages connected to Maui, Kauaʻi, Kohala, and Hāmākua where their family resides to this day.
Through a range of traditional Kanaka Maoli craft-based media, their art serves as a means of exploring cultural and biological ecologies, Indigenous identity, and contemporary environmental degradation. With a particular focus on the labor-intensive making of ʻohe kāpala (carved bamboo printing tools), kapa (bark cloth), and natural pigments, Lehua is able to breathe new life into patterns and traditions practiced for generations. Through these acts of resilience that help forge deeper relationships with ʻāina, this mode of Indigenous storytelling is carried well into the future.
They have participated in several solo and group shows around the Pacific Ocean, and recently opened their first curatorial research project, DISplace, at the Five Oaks Museum in Portland, Oregon. The artist is currently based between New Mexico and Pāpaʻikou after earning their Bachelor of Fine Arts degree in Painting with a minor in Art + Ecology at Pacific Northwest College of Art.
Limei Lai enjoys working with paint, fabric and clay. She is curious about how memories and experience work with objects to create cultural value and aesthetic value in spaces, thus addressing and commenting past and present to encourage good changes. Her interactive community engagement installation focuses on creating spaces and voices for intergenerational communication. Art as an experience not only visually critiques, questions, reflects, but also celebrates. Limei is the artist member at Blackfish Gallery. She was the founder and curator of Playground Gallery and the vice-president of Oregon Chinese Artist Association. Her works were shown in Local 14 Art Show, The Arts Center at Corvallis, Ashland Fiber Arts Collective, Newport Visual Arts Center, Paragon Gallery, Lansu Garden, The Place, PNCA, Red E Cafe Gallery, Playground Gallery. Her murals were in north Portland and Chinatown Portland.
Loo is a multimedia artist investigating ideas of history, material, earth science, and self. She has received artist grants, most recently the Oregon Arts Commission, shown nationally in galleries, acquired private commissions, and participated in artist residencies including Arrowmont, Pine Meadow Ranch, Playa, the Icelandic Textile Center and most recently Portland State University. She has assisted and collaborated with many artists, including Michael Rackowitz, Lead Pencil Projects, Pepone Osario, Lisa Yuskavage and Ebony Patterson. She loves living in Portland where she continues to make and show work.
Colombian textile artist, historian, woman and apprentice, temporarily living in the United States, with more than 5 years of experience in embroidery. Currently third semester course of the Master of Embroidery applied to art and design (BAAD) in Mexico City.
Maren Jensen is an artist living and working in her hometown of Portland, Oregon. Working with concepts of mutual concrete and un- concreteness, the conceptual vs. impactful realities of an idea, and wading through imperceptibility, she uses tapestry weaving, ceramics, drawing and text to study these themes. She recently received a grant from RACC, has been in residence at Dirt Palace in Providence, RI, A-Z West in Joshua Tree, CA and will be attending the MassMOCA residency this fall.
Michelle Freedman is a Portland, Oregon based designer, teacher, and maker. Her recent quilt designs have been published in Quiltmaker, Fons & Porter’s Quick + Easy Quilts, and McCall’s Quilting and have been featured in the Quilting Daily Quilted Jacket Workshop and the cover of Sew News magazine. On weekdays she designs quilts and works as the marketing, graphic design, and website manager for Maywood Studio. When she isn’t sewing or drawing, you can find her tending to her dye garden or writing that mystery novel she hopes to publish one day. Michelle has a BFA in Fashion Design from Parsons School of Design. She co-authored the Book How the West Was Worn which accompanied an exhibit of the same name at the Autry Museum of Western Heritage. She loves to combine her love of fashion and textile history in her quilt designs. Find her online at stitchwellandprosper.com
Mo Geiger is an artist. Her work includes sculpture, performance, and experimentation, with a focus on interdisciplinary processes. Trained as a theatrical designer and technician, she values tactile learning in collaborative environments. Living material histories, scavenge, discard, and transformation connect all of her artwork and research. She develops projects using context-specific perspectives, which consider active and potentially overlooked elements wherever she is.
Mo’s artwork, research, and designs have appeared in public spaces, local organizations, galleries, theaters, and museums. In each of her projects, she uses de-centralized collective methods to make space for art in unconventional places. Recently, she received an MFA in Art and Social Practice from Portland State University, where she honed skills in collaboration and site-awareness. She makes work within a personal art practice and as a member of the south-central Pennsylvania performance collective Valley Traction.
Niky moved to Portland to study Craft and Design at PNCA in August 2019, and finished her MFA in June 2021. She designs workshops to share her passion and belief that hand work positively impacts the maker and everyone should have an access point to the techniques. She identifies as differently abled resulting from a brain injury and experiences life through the lens of a low income individual. These are her motivators for designing free and inclusive workshops to invite a broader audience that may have felt discouraged to learn craft techniques due to cost or ability. Niky believes that we can create a stronger community through the act of making together in the same way our ancestors had. She wants to encourage folks to reconnect with their hands to discover an outlet for exploration, creativity, and a space for connecting with those who share our world.
Opulent Fibers is a studio operated by felt artist Kristi Kún. Kristy Kún is a studio artist working in hand made wool felt with an innovative approach to construction methods, material combinations, and craftsmanship. Kristy believes strongly in collaboration and community building through Craft and has hosted local and international instructors, each experts their practicing form of textile art, and has presented at free community events, demonstrating techniques and sharing her passion for wool.
Orquidia Violeta is a Salvadoran-American textile artist. Her art expands on traditional indigenous weaving with new techniques and current themes, using only salvaged materials and found objects. She incorporates sewing, embroidery and fiber-collage to tell stories about strong people transcending existential challenges. Her work shows how mythical heroines have found balance by following the guidance of the natural world.
Julia Bond is a multi-disciplined creative currently based in Portland, OR. She is a contemporary dancer and a part of the FreshVibe Dance Crew. She has worked for brands like Amazon, Under Armour, and is currently employed at Adidas. Julia brings her Cincinnati roots with her as she utilizes her skills in styling, garment construction, and design to bring projects to life. She seeks to visualize the black experience through various mediums and outlets. OTHERLY is a platform she created to investigate the complexities of blackness through color. OTHERLY exists to provide a space for art to not only educate but to inspire social justice. Julia loves collaboration and working with other creatives to make dope work.
Pablo V. Cazares is an interdisciplinary artist in Portland, Oregon. His work has been shown at the Parallax Art Center, Afru Gallery, Portland State University’s MK Gallery, and Western Oregon University's Cannon Gallery. In 2023, he was nominated for the International Sculpture Center's Outstanding Student Work Award, awarded the McGlasson Prize for Textile Arts, and received a jury commendation from the Arlene Schnitzer Visual Arts Prize. In 2023, he was also awarded the Visionary Award at InventOregon for his work with kombucha biotextiles. He was awarded an artist’s residency at the Lookout Arts Quarry in April 2022. Community work features largely in his practice. In 2021 he created The t4t Art Collective to provide transgender artists an opportunity to show work and build community which he now curates and facilitates. In 2021 he also became a mentor-designer for high school students through the SHIFT Project with Arts for Learning NW (formerly Young Audiences). Pablo holds a B.S. in Art Practice from Portland State University, as well as an associates degree in Apparel Design. Contact him at PabloVCazares@gmail.com
Preethi Gopinath is an educator, textile designer, product development, and marketing professional with extensive international experience in the area of creative design for home and apparel textiles, CAD (including texture mapping), styling, production, sourcing, merchandising, entrepreneurship, and research with over 20 years of international experience in the textiles industry. She graduated from the National Institute of Design in India where she focused on weaving, printing, embroidery, and garment design. She teaches undergraduate and graduate courses in textile development, design, marketing and technology at the Fashion Institute of Technology, as well as fashion design, business, and management at George Brown College in Toronto. Gopinath has written for TheSweet Home.com, and has worked on product and design for Carini Lang, NYC; Springs Global, Canada; and Hua Fang USA. Gopinath’s research explores traditional Gyaser weaving techniques, particularly handloom, silk brocade weaving of Benares, India.
R A W Textiles is a production dye studio in Portland, Oregon, that specializes in natural dyed, shibori, and rusted textiles.
Born and raised in Taiwan, Shu-Ju Wang is a painter and book artist now based in Portland. Through careful research and community outreach, her art practice is a path to gain deeper understanding of the world and our relationship to each other—the land, the water, and all the beings that call this place home—our experiences and transformations form a complex tapestry of shared interests and conflicts. While her work is largely focused on the radical and sometimes catastrophic shifts of our lives, she find tenderness in our efforts to continue life on this planet, hope in our willingness to work together, and humor in our flaws.
Stashia Cabral is a visual and performance artist from Portland, Oregon. She works in movement and traditional media such as sculpture, and painting, she has a passion for ready made and assemblages. Muchof her workincludes the use of saved family artifacts, including textiles, letters and photographs, and navigates the storeie (real and imagined) of her family's flight from Germany and their love (and hate) stories. Her performance pieces range from traditional belly dance, to butoh or burlesque and feature beautifully handmade costumes and props. Quirks and oddities are her happy place. Stashia has shown work at galleries and cafes locally, and performed at venues ranging from cafes and theaters to big stages, like the Northwest World Reggae Festival. Stashia received her MFA from Pacific Northwest College of Art.
Midnight Seed is a muse, a consummate lover, an oracle, a mystic, and a mother of five goddesses. Her tools are culinary arts, wordsmithing, spirit law, and storyteller. For over thirty years, she practiced human rights law throughout the byways and highways of Mississippi. She is a culinary evolutionary storyteller "Green Lady" and she has brought her southern roots to vegan and vegan sun foods from the south to the northwest. Combining writing, theatre, law, and spirit; she has been led in the spirit to create "Holy Mojo", a spiritual interactive theatre, "Legal Oracle", a publishing company engaged in the interpretation of world issues from a cultural metaphysical perspective as it impacts people of color, " O'zeal Inspirational Spa", a spirit healing modality, "Midnight Seed" a mystical apothecary and "Green Lady" a living light food vegan cafe. She is a queen mother of five women who have brought their extraordinary qualities to the earth and for this, she is most grateful. She is a consummate lover of life evolving and bursting boundaries of preconceived dogma and for that, she is most blessed.
In Weinberg’s most recent weaving and sculpture, she explores connections between life-sustaining circulatory systems both internal and external to the human body—from lungs and arteries to forests and watersheds. Transforming tourniquets into tree rings; coiling color-coded climate data around medical tubing; and weaving trees out of plastic into lung-like forms, Tali responds to intertwined climate and health crises. Weinberg’s work is held in public and private collections and is exhibited internationally including at the Griffith Art Museum, 21C Museum, Berkeley Art Museum, University of Colorado Art Museum, Georgia Museum of Art, Center for Craft, and Form & Concept gallery. She has been featured in the New York Times, onEarth Magazine, Surface Design Journal, Fiber Art Now, and Ecotone. Honors include a Tulsa Artist Fellowship, Serenbe Fellowship, Windgate Fellowship to Vermont Studio Center, Lia Cook Jacquard Residency, SciArt Bridge Residency for cross-disciplinary collaboration, and a virtual residency at New York’s Museum of Art and Design, among others. She has taught at California College of the Arts (CCA) and Penland School of Craft and is currently a 2022 Illinois Artist Fellow.
The Japanese textile tradition dates back to the Yayoi period (300 BCE - 300 CE) where the primitive yet ubiquitous backstrap loom weaving method was employed in the Japanese regions. In her own art practice, Terumi Saito explores the spiritual and existential by way of employing these traditional and ancient techniques; techniques which involve rudimentary modes of textile production including the mechanisms constructed only from sticks and yarn. Despite this, her complex textile work still involves particular care and detail in every part of the extensive process including weaving, dyeing, and coiling.From 2019 to 2021, Saito traveled to Peru, Guatemala and Japan conducting research in these countries' respective indigenous textile traditions whose weaving and natural dyeing techniques she employs in her practice today. The synthesis of this research now embodies an art process which aims to not only produce a contemporary hybrid craft derived from these traditions but to also preserve and honor its extraordinary significance.
THAT YEAR is a creative studio and clothing label, developing products, events, design, direction and digital and physical media.
Tiny Pricks is a public art project created and curated by Diana Weymar. Contributors from around the world are stitching Donald Trump’s words into textiles, creating the material record of his presidency and of the movement against it. Tiny Pricks Project holds a creative space in a tumultuous political climate. The collection counterbalances the impermanence of Twitter and other social media, and Trump’s statements as president through the use of textiles that embody warmth, craft, permanence, civility, and a shared history. The daintiness and integrity of each piece stand in stark contrast to his presidency.
Tricia Langman has over eighteen years experience designing for prestigious fashion companies worldwide, including Ralph Lauren, Calvin Klein, Halston, Kashiyama, Donna Karan, Nicole Miller, Anthropology, Banana Republic and Target. Projects include work featured at the Costume Institute of the Metropolitan Museum of New York City, and a hand-painted designer gown for Celine Dion for her performance at the Grammy Awards ceremony of her Oscar winning song “My Heart Will Go On”. Founder and design director of the successful international Textile Print design studio Spoogi, while concurrently adjunct lecturer at the Art Institute of Portland.
Vanessa Koch is an artist and arts organizer in Portland, Oregon. Their zines and paintings have been featured in exhibitions up and down the west coast.
Vo Vo (they/them) explores support strategies and models of community care within a post-traumatic social landscape, focusing on the resilience of BIPOC, LGBTQIA2S+ and disabled communities. They are editor of an internationally renowned publication, speaker, educator, curator, artist and musician who has exhibited and toured in Australia, Germany, Indonesia, The Netherlands, Singapore, Croatia, Mexico, Finland, Denmark, New Zealand, Vietnam, Sweden, Malaysia, and the States. In their transdisciplinary art, they work in textiles, embroidery, audio, video, weaving, and furniture building. Their installations seek to interrogate power dynamics, structural oppression, challenge histories and realities of imperialism, white supremacy and colonization.
Wafa Ghnaim is a Palestinian researcher, author and educator who began learning embroidery from her mother, award-winning artist Feryal Abbasi-Ghnaim, when she was two years old. Her first book, “Tatreez & Tea: Embroidery and Storytelling in the Palestinian Diaspora” (2018), documents the traditional patterns and stories passed on to her by her mother. Wafa has since become a leading educator in SWANA dress history and embroidery techniques, as the first-ever Palestinian embroidery instructor at the Smithsonian Museum, Curator for the Museum of the Palestinian People in Washington, D.C., and most recently, Senior Research Fellow for The Metropolitan Museum of Art. Wafa continues her mother’s educational legacy through The Tatreez Institute (Tatreez & Tea), a global arts education initiative she began in 2016 teaching courses in Palestinian embroidery and lecturing at leading institutions, museums and universities around the world. Wafa has since been featured in major media outlets, including Vogue Magazine, which named her and her mother “the world’s leading guardians of tatreez”. Her curatorial debut "TATREEZ INHERITANCE" (2023) at the Museum of the Palestinian People in Washington DC highlights traditional Palestinian dresses circulating North America and the importance of reclamation in the diaspora. Wafa released her second publication “THOBNA” (2023) that celebrates Palestinian embroidery as a powerful form of resistance art over the past century.
Mythic Mummery & Place-based Art.
Moni J. Sears (they/she) has lived in Portland, Oregon / on Multnomah Chinook land since 1999, but was born in Aotearoa New Zealand, within the traditional lands of the Ngāi Tahu Māori.
Following a Bachelor of Fine Arts degree and several years involvement with film and theatre arts, Moni started a mask-making company (Goblin Art, 1995-2015) which sold original work at markets and galleries in Oregon, Washington and Louisiana, and created custom pieces for film, television and other media in the US and Canada. Moni became interested in earth-based arts and nature education in 2011, and in 2020 decided to combine both mask-making and nature skills into Wildland Roots.