“These are artists who live and work on the Eastern Shore, where the beauty of the land and our community influences them. Rather than competing, the artists’ style and approaches complement one another, elevating the art to another level. Come join us at CREATE and see for yourself.”
Patti & Dave Hegland
Dave and Patti Hegland (www.heglandglass.com) are a husband and wife team known for their innovative kiln art glass. Earlier careers in engineering and finance ingrained in them an acute attention to detail which they apply to all phases of their craft from the complexity of their designs to the precision applied to the finishing processes used to polish and shape each piece. Winners of numerous fine craft awards, the Heglands are particularly proud to have been selected as the 2013 winner of the prestigious Niche award for kiln & cast glass, recognizing creativity and technical excellence among American professional fine craft artists.
For over twenty-five years, Carla Massoni (www.massoniart.com)has played an integral part in bringing exhibitions featuring artists of national and international stature to the Eastern Shore. Her gallery is considered to be one of the finest in the mid-Atlantic region. Massoni served as original chair of the Greater Chestertown Initiative and with the support of others was instrumental in the designation of Chestertown as an official Arts & Entertainment District by the State of Maryland. She also chairs the Open for Business loan program dedicated to providing financial support for those eager to open businesses in Downtown Chestertown. The origin of CREATE dates back to 2013 when curator Carla Massoni brought this group of artists together to help establish Chestertown as an art lovers destination while encouraging more tourism in the area. With the encouragement and support of the Kent County Office of Tourism, information about this unique grouping of artists began to spread across the broader, mid-Atlantic. The success of this effort resulted in the decision to open a gallery. CREATE is the realization of their shared vision.
Marilee Schumann Art
Marilee Schumann (www.marileeschumannart.com) has been passionately making and teaching pottery for 35 years. With a diverse background in art, and an Masters of Fine Arts in sculpture, her work includes the humble uses of pottery, food preparation and serving, as well as more abstract symbolic uses like flower arranging, vessels, sacrifice, ritual, and contemplation.
Faith Wilson Art
Faith Wilson (www.faithwilsonart.com) has been making textile art for more than 30 years. Starting at as a weaver, she first showed at the American Craft Council Baltimore show in 1985. Transitioning into painting and mixed media work, she started her lauded floorcloth series in 2001. Her work has also been shown at the Smithsonian Craft Show, the Philadelphia Museum Craft Show, the Washington Craft Show, and Craft Boston, among many others.
The Create gallery is designed to make fine art and craft a more personal experience for the visitor. Its goal is to promote a deeper understanding of the creative process through direct interactions with the artists it represents. “Chestertown provides a quiet, peaceful lifestyle that is conductive to contemplative, intensive art and craft work,” notes Faith Wilson, one of the partner artists. We are thrilled to be able to bring this to life in our new Create gallery.” Create is the home for a variety of existing work while presenting the opportunity to work directly with the artists to create personal or commercial custom pieces.
My work is based on psychological observations that are representative of voices we all hear inside. I make ceramic figurative sculptures that describe emotions from my life as a diary. By exploring expressive possibilities of my visual language, the figurative form and its multi-colored surfaces reveal the abstracted version of my interiority. Creation of ceramics requires endurance. Looking at its chemical changes through the process of firing, it is a creature granted with invisible power, which means its outcome belongs to nature. Ceramics are regenerated by fire, the most fundamental aspect of nature. Borrowing human hands, it cannot create emotions
"I usually describe my work as rich in complexity and simple in form. I focus on thoughtful craftsmanship and pay attention to the detail on every side of a composition, embracing the notion of edges, yet excluding the idea of front or back. All sides are created equal.” Bardol works with custom-blended polymer clay. She mixes the clay with metal powders and a variety of other materials to produce unique colors. She sometimes rolls textures onto the clay or uses a cut-away process to add depth to the clay. Then, each tile is formed into a bead. Once the beads
CEH Creations jewelry is made with glasses and beads from Japan and the Czech Republic and a braided fishing line. CEH Creations was started in 2007 by Christine Heartsick. After 32 years in the world of finance, it was time to take a more creative route. All pieces are hand woven, using traditional bead weaving methods but with non-traditional materials. Glass, metal, gemstone and hardware components are woven to create unique jewelry. CEH Creations jewelry is made with glasses and beads from Japan and the Czech Republic and a braided fishing line.
This jewelry was designed and created by Constance in her New England studio. She earned her BFA in sculpture, which is evident in the intricate detail of each piece. “Although I keep an eye on current trends, I tend to design for women’s diverse lifestyle. Women have many opposite dimensions to their roles and personalities today. I design for the softer, romantic side. My new work is bolder but still botanical in nature. I incorporated an ancient Asian technique of permanently bonding fine silver with 24 kt yellow and colored golds with gemstones” Constance’s jewelry designs have appeared in Vogue,
The exchange between terrain, climate, temperature and the elements is constant and transforming by the moment. My work is an exploration of the effects of atmospheric conditions on land, water and the resulting patina of time. These elements inform the work and at times determines the subject matter. There is an excavation and layering process that both conceals and reveals visual information, each layer informing the next. Delicate surface markings and textures from salvaged boards record this process. Subject matter is not predetermined, it is intuitive and emerges as the work evolves. Born in New York, Deborah Weiss is a
Started by George Dubinsky and David Short, Edgewood brings a unique and exciting take on home-ware design standards. With background from RISD and coming from the success of George’s MFA thesis show at RIT, Edgewood was conceived. Standing for all that is just, while also ushering in a bright new era of design, Edgewood stands as it is today. Equally a design and a production company, Edgewood works with the best in the business to take design all the way from conception to production.
“I was born and raised in New York, on Long Island. When I pierced my first piece of copper plate at age 17, I was instantly hooked. I was somewhat of a metal purist until my last semester at Tyler School of Art. It was then that I began working with cast resin. Incorporating other elements is sporadic, whereas the constant interest of resin remains. When I finished school, I stayed in Philadelphia because there was a great community of artists and craftspeople. My first studio was in the space of the late Olaf Skoogfors, a pioneer in the field
"I discovered felting about 9 years ago just by chance when having coffee with a friend. "It was her birthday and her mother sent her a present from Germany where she grew up. When she opened the package, my eyes flew opened. I didn't know what it was, but I knew right there, what I could do with it." My background has been in design and fashion. I'm a serial crafter that would embrace anything done by hand. This lead me into a very successful career as a children's clothing designer for many top firms in the US but at
As the middle of three daughters growing up in New England, I inherited the right brain skills of my mother and grandmother. While my sisters were playing outside, I was knotting macrame and making yarn dolls. As I pursued an MBA and a 30-year career in finance, sewing with colorful fabrics or testing a new chocolate cake recipe provided a welcomed diversion. Although I played with polymer clay with my young children, it was not until 1994, after participating in a workshop at a local arts center, that I discovered my niche. What started as an avocation became my occupation
Located in Alexandria, Virginia, Estelle has been handcrafting jewelry for over 25 years. Her jewelry designs are influenced by both the visual and the tactile. Whether it's the leaves on trees, the roughness of tree bark, or the intricacies of Japanese textile design, she distills these images into her jewelry with an elegant simplicity. Estelle’s work is textural being pleasing to the eye and the hand at the same time, and currently involves several surface techniques. The gold painted work involves melting 14k wire onto the surface of the sterling silver in a painterly fashion and then using an iridescent
Nature and science provide the inspiration for my artwork. With a focus on large-scale woodcuts, my prints are evocative of landscapes, cellular activity and deeply felt environmentalism. Utilizing a multifaceted background in architecture and art, I engage the variables of printmaking to produce an ongoing body of nature-based, graphic images. Organic patterns combine with shifts of light and color in tapestries of abstracted form. Once a practicing architect, I am still inclined to record the structure and units of nature while striving for a painterly approach to printmaking. My prints usually have 3-5 layers of color, a different carved block
Five Ply Design is an award winning multi-discipline design studio based in Seattle, Washington. Our name reflects our commitment to viewing design and creative problem solving from multiple perspectives and scales. While many traditional design firms rely on a single approach to design resolution, Five Ply Design embraces the full spectrum of design sensibilities in order to solve our clients needs. Five Ply was founded in 2006 by Peter Benarcik, an award winning designer and educator. Our team includes experienced architects, interior, furniture and graphic design professionals who work collaboratively to provide seamless integration of design disciplines.
My jewelry is an interpretation of the natural feel of coastal Florida, where I live. It is a figurative representation which depicts the environment of the south with feathers, birds, and shells from the beaches or scrubby dune hammock. Inspired partly by the ornamentation of indigenous people, my use of feathers is comparable to today's prevalent use of gemstones. The color, texture and size of each of the feathers is carefully considered when I create a one-of-a-kind feather neckpiece. The time-consuming process of organizing, trimming, and lastly hand-wrapping the feathers onto the neckpiece is a small part of a fulfilling
In her work Ginger combines artisan skill with aesthetic finesse in making jewelry and small vessels in her downtown metals studio. Her skills at the bench, including forging, fabricating, etching, hollowform construction, creative stonesetting and texturing – when linked with her eye for contemporary but organic design – generate a unique and expressive body of work that conveys the mark of the human hand.
One-of-a-kind bronze constructions are welded, forged, machined and oxidized with hot process patinas. The process has evolved in my 40 year dialogue with materials, and I have learned when to impose my will and when to listen. I want my pieces to look "made" and to retain evidence of my hand and thought. Working in series creates a slowly accumulating momentum, wearing away the non-essential to reveal what is authentic to a personal and particular aesthetic." -Jack McLean
"I think I was drawn to clay because of its working properties; Clay is a very squishy, soft, malleable material. These are qualities which I fully embrace and exploit in making my pieces. By giving my work just some of the basic qualities of life–a sense of movement, growth, and breath—the pieces develop presence and take on unique personalities and trajectories. I strive to give a feeling of animation to my work that suggests gesture. This speaks to the inspiration for many of my forms and surfaces, which is drawn from nature. I spend a lot of time in the
“My pieces are built rather than sewn. My designs are decidedly feminine - I seek to drape the body with the same beauty and grace of the traditional Indian sari I use in my work. I consider each piece a composition, often inspired by a single vintage silk. I then respond to that by adding my own hand-dyed silks and loose wool fibers, using traditional wet felting methods (hand-rolling with soap & water) to build both the fabric and the finished garment simultaneously. Creating couture results without sewing is an ongoing adventure and I strive to create finely finished pieces.”
John Tzelepis has been dedicated to the art of jewelry and metals for 20 years. He received his undergraduate degree in Jewelry and Metals from Skidmore College and his MFA from Arizona State University. Working in his studios in Arizona and New York, he has devoted himself to the research, development, and refinement of techniques to produce jewelry that exceeds the character and quality his customers demand. The line, form, color, and texture of these designs are a reflection of his passion for redefining both the art and function of jewelry-making. He currently is the Department Head of the Metals
"I believe it is my responsibility as an artist to keep telling stories of our histories. I am obligated to observe the word around me and make some sense of it through visual means. Successfully doing this gives meaning to the social concerns and heightens awareness in each of us. I’m influenced by the journeys we take in our lives. I am interested in how we travel from one phase of life to another. Sometimes it involves a physical move. Other times it is an emotional shift. How do we make it feel like home? When do we know
Growing up in Oregon in a creative family, particularly with a father who was a printmaker, painter and art professor, I have always had artistic influences in my life. While studying Art History and Fine Arts at the University of Oregon, I took my first metalsmithing class in 1990 and loved it. After graduating in 1991, I returned to the U of O to receive a BFA in Metalsmithing in 1993. I moved to Portland in 1994 and the city, its buildings and environment inspired me to pursue architecture. I moved to Raleigh, NC to attend North Carolina State University's
Lauren Markley is a native of Kansas currently living in Raleigh, NC. She began studying metalsmithing in 2007 and has taken classes in New York City, Penland, NC, and Iowa City, IA. She maintains a studio at The Carter Building in Raleigh and exhibits at numerous craft shows every year. Her jewelry can be found online and in boutiques and galleries throughout the United States.
LISA and SCOTT CYLINDER began collaborating in 1988 shortly after graduating from prominent University Jewelry Programs. They have created limited production studio multiples under the auspices of CHICKENSCRATCH for the past 28 years. Ten years into their venture, they craved a greater technical and creative challenge and began making One-Of-A-Kind pieces under "L and S Cylinder", in addition to their studio multiples. The skills they use for these grander works were never fully explored before. This jewelry is more substantial and more serious, both in concept and execution. The Cylinders began manipulating and incorporating Found Objects and Epoxy Resins
“We create fun, modern jewelry intended to delight. Everything is designed and hand crafted by us in our studio. Our current body of work is inspired by architecture, geometry, texture and patterns in form and color. Our work is born from a collaboration that is always evolving in its details. We thrive on the development of work through a constant exchange of ideas and the perpetually growing vision of our joint body of work. Our choice of materials include sterling silver, and powdercoated base metals. Our collaboration began while attending the University of New Mexico at Albuquerque where we were
Melissa Stiles received her degree in Architecture and worked in the field for ten years before founding her jewelry company. She makes modern jewelry that combines the discipline of her architectural training with the exploration of industrial materials and processes. Her work expresses modern simplicity and flawless execution with the illusion of effortless design. She strives to expose only the intentional form without gratuitous details. The result is design that celebrates the simple and pure form in beautifully wearable color combinations. Stiles works in various materials including hand-pigmented resin, laser cut stainless steel, brushed aluminum, powder-coated enamel, and silver. These
"I have been a handweaver and dyer since 1978. These scarves and shawls are all hand woven and hand dyed. My loom has 24 harnesses instead of the more usual 4 or 8. This allows me to design highly complex structures, and to combine them in a single piece for intriguing variations in scale, texture, and motif. My designs are original, unique, and innovative, with images inspired by nature, modernism, and the fabrics of Latin American, Central Asia, and Africa. Guided by the weave structure, I select silk fibers to maximize visual impact and to balance drape and stability. Hand-dying
Nancy (Gardner) is an award winning potter with an extensive exhibition record and with work published in The Best of Pottery 1 and 2, The Ceramic Design Book, The Contemporary Potter (Rockport Publishers). Burt (Isenstein) is a sculptor and college art professor. We have been collaborating on our pottery since our first son was born in 1988.
Whitlock designs and hand weaves fashion items for the person and the home out of 100% bamboo. Yes: bamboo. "When we begin work, we are working with bamboo yarn that has already been spun and dyed. The yarn is created by a method similar to that used to create rayon from wood waste: the cellulose is plasticized,extruded into a fine filament, then spun into an extremely long-staple, very strong yarn. Despite the bamboo plant's reputation for outstanding strength and toughness, bamboo in the form of yarn creates fabric of amazing softness and drape. Our bamboo scarves, for instance, have the feel
Paula Shalan received her BA in studio art and child development from Sarah Lawrence College. She furthered her ceramic education at The Art Institute of Chicago and Penland School of Crafts. Her smoke fired ceramics have been shown locally and nationally including Crafts National, The International Orton Cone Box Show, and History in The Making. In The Berkshires, her ceramics can be seen at Lauren Clark Fine Art in Great Barrington, MA, LOCAL in Lenox, MA, or at her studio in Stockbridge, MA. Paula participates in fine retail shows such asThe Philadelphia Museum Show,Crafts America, and Craft Boston retail
Starting out a designer and photographer, Raymond studied at the Illinois Institute of Technology, where he graduated with a BA in Design. Moving over from photography to woodwork, he has showed at a number of national crafts and arts shows. His most current interests include making sculptural vessels, and his beautiful boxes.
Based in Portland, Oregon, the company is owned and operated by Renee Sonnichsen, an artist and designer. She strives to create a line of strong, sexy, and smart handbags that easily transition from day to evenings. Inspired by her vision of today’s woman, the line of handbags proves durability need not be dowdy, nor femininity fussy and fragile, that’s hardwear, and that’s you.
Richard Jones: “I have been blowing glass for over 25 years and over that time I've come to realize a very simple thing, vases are meant for use. Making a vase is not just making another object of home decor, but creating an exquisite frame for flowers. It is an opportunity to engage a dialogue between vase, craftsman, landscape, flower, arranger, and guest. It is a bridge between human built architecture and the natural landscape. My life as an artist began early with drawing lessons from a small town neighbor and propelled me on a path that lead to a
Bob Ortiz (www.ortizstudios.com) has been making furniture for more than 30 years. Ortiz’s designs incorporate influences from the Arts & Crafts movement, Japanese and Asian Cultures, Shaker craftsmen and a lifetime of playing music. In his studio, Bob offers unique ‘vacation workshops’, where participants can work under Bob’s tutelage for a week of furniture making, creating their own crafted wood piece to take home.
A structured composition is vital within the framework of my vessels. The rim and feet of my pots are strongly defined areas, while the space in between lends itself to be broken down in parts. I incorporate a repeated pattern over the surface to assist in accentuating the volume within the forms. The surface of my vessels is constantly explored. Sensitivity in the glazing process must be attained in order to preserve the essence of the piece. - Ryan J. Greenheck
Coming from a long line of artisans, it was a natural choice for Sarah Richardson to follow her passion for art. Sarah studied Metalsmithing at Rhode Island School of Design, with further design studies in Germany. After graduating, Sarah moved to New York and designed custom jewelry for a fine jewelry gallery in the West Village, taught metalsmithing, and focused on fine art jewelry. In 2006, she returned to CA and set up her own studio. She has since expanded to a new studio in San Rafael, CA. Sarah Richardson’s jewelry is a process of evolving designs. Drawn to the
"From the day I first walked into the ceramic studio as an undergraduate student clay has captivated me with the possiblities of combining the 3-D form with 2-D imagery. The imagery in my work is influenced by life in and around the Chesapeake Bay where I grew up. The pieces are narratives of imagined gatherings of the sealife found in the bay and act as vehicles for telling stories of life on the bay. "The forms are thrown or handbuilt with a cone 6 porcelain clay body. The general design is drawn on the leather hard clay then the piece
Eric Cruz studied architecture and worked as an architect for several years before discovering glassmaking. He studied with Curtiss Brock at the Appalachian Center for Crafts and Frantisek Janak at SUPSS in the Czech Republic. Tomo Sakai studied glass at Tama Art University in Tokyo, Japan, and then went to the Czech Republic for advanced training in glass engraving and coldworking. She worked closely with Peter Rath of Lobmeyr, in Kamenicky Senov, Czech Republic. In our work, we are passionate about exploring the beauty of glass through experimentation and technique. Our goal is to combine a high level of traditional craftsmanship
“I first discovered the freedom art could bring when my grandmother taught me to sew and knit. Even as a child, textiles inspired me with their variety of patterns, textures, and movement and opened my eyes to art’s boundless possibilities. “As an adult, my creative medium moved from textiles to metals, but the stitching came with me, as seen in my current Interwoven Collections. I love texture, form and intersecting lines and find inspiration in everything from nature to architecture, fabric, design, lines and texture. All of these spur my personal aesthetic and style. “I stitch with gold or silver wire
Takashi and his wife Terry met at a wood fired kiln site in 1983 and knew immediately they were destined to work together. They decided to break away from Japanese traditions and came to the United States in 1985. “We were starting on a wonderful journey, and decided to name our studio YUME because of the dream we shared. When we first came to Massachusetts, we did slideshows and lectures explaining the ancient traditions and modern movements in Japanese ceramics. We always look back to those traditional foundations for inspiration as we create our own vision. Even after more than
“Becoming a metal smith was less than a direct path for me. Like most of us, I began making art at an early age, and because I was encouraged, I continued to create. In my undergraduate work at Indiana University, I co-majored in the BFA sculpture program and psychology. Although this path was interrupted, I was able to reunite these passions in my clinical graduate degree, MAT, Master of Art Therapy. “After 18 years in private practice, I decided to retire and devote all my energy to the arts. I'm now 11 % in "jeweler" years and still forming my
"I aspire to make unique functional pottery that reflect myself, fit American life style, and enrich customers everyday life. I would like to keep making handmade pottery so that customers can relate my work to me as person. As I am making pottery I think about how individual customers use my pieces and how it affects their life. This gives me a unique connection with the people who use my pots. I achieve my goal by making functional pottery as an collaborative work between me and customers. Most of my functional-ware are half complete as art. My ikibana vessel and
My current ceramic work reflects an investigation into several areas of interest and an attempt to unify solutions to various visual problems. One interest is in the vessel as an abstract sculptural form and its many associations, both literal and metaphoric. Another is pattern and color and how a collection of abstract elements can create various feelings or impressions. A third is an interest in the investigation of surface pattern and three dimensional form. The technique that I use, which results in a penetration of the pattern through the thickness of the wall so as to be visible on both
“I began blowing glass back in 1994. As it happened, I went to college to pursue a basketball scholarship, but as fate would have it, a work study in the art department introduced me to glassblowing. I remember that jaw dropping moment, seeing the molten material rotating on the blow pipe, the creative energy, the improvisation, the dance, the sweat, the teamwork. All these things at once. This was something I had to do. After 2 years, I walked off the court, and into the hotshop to take my first class. The rest, well is art history. “The college glass
Tom Stoenner has hand blown fine glass for over three decades. Working out of his studio in the scenic Hudson Valley, he makes functional glassware for home and table. Each piece is individually crafted using traditional tools and centuries-old techniques; yet, his finished objects are informed with a contemporary sensibility. His work has been shown nationwide, and he was a recipient of an American Craft Museum Design Award. "I have always believed that things made by hand offer a shared experience between the maker and the user. A simple object can forge connections."
Yuh works with several quality textiles and processes including silk and Shibori. Yuh creates stunning surfaces which project three-dimensional illusions. Soft with flow and energy, her scarves are fun and fanciful contriving features of coral and sea animals immersed under water. Yuh gained her basic design skills in Tokyo before coming to the US and completing her education at the Rhode Island School of Design. She has shared her ideas and taught all over the world. In the late 90’s Yuh’s distinct ability and flair began attracting prominent clients. Her expertise and work was sought by fashion and fiber art.
We feel fortunate to have met Jonas at the Smithonian and Philadelphia Museum of Art Craft Shows. His work is the definition of handmade and one of a kind at it's best. "The art of the bladesmith is a deeply satisfying experience. It is both challenging and elemental in nature, requiring intense heat, considerable strength and focus, and an acute personal bond with the materials at hand. Without any one of these, there can be no knife. As such, the craft both offers and demands a reverence for the history and tradition of making and using edged implements. I hope
After exploring many different mediums in my art, I have devoted the last several years to making one of a kind prints. In producing a monoprint I combine a matrix of printmaking processes, such as collograph, monotype, solar plate etching and chine colle. I am fascinated with layering multiple images to create an abstract expression. Through these provocative layers of line, color and forms, intriguing patterns and textures emerge yielding great richness and depth to the surface.
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