Artists by Name

Corey Ackelmire

Corey Ackelmire uses metal to create hand-forged, functional house wares. She hammers flatware from thick silver stock in a laborious process resulting in a unique utensil made of solid silver. Ackelmire additionally works with copper to create beautiful display pieces. She received her BFA in Metals/Jewelry and earned her MFA in Jewelry, Metalsmithing and Enameling at Kent State. She has been published in “The Art of Jewelry: Plastic and Resin” and “Metal Vessels: Contemporary Explorations of Containment.” When not in the studio, Ackelmire teaches full-time at the Houston Community College and serves as the Education Coordinator for the Houston Metal Arts Guild.

Above: Corey Ackelmire, “Condiment Set.” Silver and wood. Photo by Amanda Shackleford.

Tana Acton


Through her unique perspective as both a dancer and choreographer, Tana Acton combines air, movement and light to create pieces that are at once delicate and solid. Her jewelry pieces are contemporary, lightweight and affordable–they can be worn as either casual or formal accessories. She has progressed to graphic artist, choreographer and dance teacher, painter and eventually fashion designer to some of New York’s leading knitwear and house wares manufacturers.

Born in Birmingham, Michigan, Acton has lived a life focused on creative and artistic expression. She earned an Antioch College BFA in painting and completed the Parsons School of Design Fashion Design program. In Florence, Italy, she studied with Tomaso after studying silversmithing in Haystack’s high-school program with Glenda Arentzen.

Above: Gold cuff by Tana Acton. Photo by HCCC.

Art of Fire / Foster Holcombe

Foster Holcombe’s interest in glass began in 1976 with his stained-glass studio in Denver, Colorado. While attending a summer seminar in enameling techniques at Pilchuck in 1978, Foster became interested in hot glass. In 1980-81, he studied glassblowing, decorating and technology in the Stourbridge area of England, the heart of England’s glass industry. In 1985, Theda Hansen joined Foster and together they have designed a line of glass uniquely their own. Between them, Foster and Theda offer more than 40 years of art experience.

Todd Hansen joined the studio in 1999 and Josh Riles in 2003. They bring their own individual and collaborative styles to the Art of Fire as well as assisting with production and instructing glassblowing classes.

Art of Fire, “Pedestal Fan Vase.” Blown glass. Photo by Amanda Shackleford.

Gabriele Beyer-Murphy

Artist Michael Murphy passed away in 2010, but his wife Gabriele carries on his legacy by continuing to design hand-painted silk fabric, which is then made into one-of-a-kind wearable art in the form of scarves. Gabriele works out of her studio in a remote and scenic mountainous area in Washington State. Her travels and the serene and peaceful backdrop of nature are reflected in her original and distinctive art work.

Each piece is dyed by hand one at a time. Starting with white silk, stretched like a canvas, the designs are applied using brushes, stamps and hand tools. The dyed silk is steam set to ensure color fastness, then washed. The silk is then cut and sewn into high-quality ties and scarves.

Gabrielle Beyer, “Painted Silk Tie.” Silk. Photo by Amanda Shackleford.

Jay Bridgland


Although his technique and style are derived from a variety of backgrounds, Jay Bridgland’s work breaks out of the traditional mold. Color, shape and conceptual form play an integral role while he uses classical and traditional glass techniques as his work’s foundation. Bridgland’s work is in constant evolution stemming from both expected and unexpected results that come from hours of experimentation. The development of couture glass derives from his concept of art as fashion which allows him to explore and enhance the relationship between us and glass in order to create form from air and beauty from fire.

Harlan Butt

Harlan Butt is influenced by the flora and fauna of places he has lived. From the cell structure of plants and animals to the multiplicity of stars in the sky to the days in our lives, repetition gives structure to chaos. The making of art, for him, is more than a record of these things; it is part of the experience of discovering connections and part of the act of being alive.

Above: Harlan Butt, “Blue Jay Vessel.” Metal. Photo by HCCC.

Carfora, "Self-Contained"

Christina Carfora


Using ceramics and mixed media, Christina Carfora  creates engaging narrative sculptures that explore the mind and human relationships. Through the use of imagery and symbolism, such as people, animals and organic forms, she tells stories about triumphs, failures, opinions or revelations that everyone has experienced during their lives.

Using slab and coil construction, as well as altered wheel-thrown forms, Carfora explores a variety of techniques in her work, including colored slips, glaze, salt-firing, raku and cold finishes. She begins each piece by deciding its title and then creating a series of sketches to decide which visuals communicate the narrative. Paying particular attention to the subtle nuances in the face or the posture of the form, she completes the story in the details. She says, “I leave the story open ended to create a setting of dialogue with the viewer. It is my hope that the viewer may be able to personalize the experience and become psychologically involved in the work.”

Above: Christina Carfora, “Self Contained.” Ceramic. Photo by HCCC.

Kimberley Chalos

While sculpture has always been a defining part of her artwork, Kimberly Chalos realized making a living from her sculptures was not an easy accomplishment. During her time working as a furniture maker she became interested in primitive art of different cultures. While making a reproduction of a northwest coast Tlingit rattle she noticed the rattle sitting upside down on her work table and thought of what a unique handbag it would be. From that thought came a whole line of beautiful hand carved handbags which are all are totally functional, fully lined inside and will catch everyone’s attention.

Above: Kimberley Chalos, “Little Jimmy Bag.” Wood and leather. Photo by Amanda Shackleford.

Kat Cole

Kat Cole has an interest in the anti-aesthetic aspect of a place: the abandoned buildings and factories, scrap yards, piles of trash and detritus found in the streets. This is the evidence of human inhabitants, both past and present. Using found materials in her work allows her to create a direct connection between art, object and place.  The tins, rusty bolts, scraps of plastic and metal are transformed in conjunction with vitreous enamel and steel to make jewelry and sculpture that is distinctly of a place and time.

Above:  Kat Cole, “Red Dangle Structure Brooch.” Mixed Media. Photo courtesy of the artist.

Dona Dalton

“I don’t remember when I did not look to animals as a source of beauty and inspiration. Including humans, I’ve made them subjects of toys and sculpture for three decades and have put most of them on wheels. I combine inspiration, a vision of gesture and memory, with the physicality of wood and paint. The building part is a place of transition where everything snaps together, an intoxication of pure flow.”

“I often use ancient Egyptian cosmology as subject matter. In using myth as a context, there are lots of stories to tell as these grand beings flap back and forth between animals and human. Some of my pieces become sophisticated toys, while others are about nature and rhythm and color. My objective is simple: to have fun. I want adults to have toys also, to give in to being playful.”

Above: Dona Dalton, “Large Robin.” Wood. Photo by HCCC.

Linda Deardorff

Linda and her husband hand select and dry wood from forests on the Oregon coast, where they live. They work with Oregon Alder, a non-endangered hardwood that has been used in furniture and cabinetry for years. After searching for interesting shapes, textures, and patterns, the parts of the tree that Jim is unable to use in his furniture become the basis for the one-of-a-kind vessels and boxes that Linda creates. She shapes each piece following the wood’s natural contour, finely sands them and finishes each with tung oil. Much of the inspiration for Linda’s work comes from the natural beauty and wildlife on the 10 acres where she and her husband live and work. Her hope is to create a unique piece of artwork that will provide years of enjoyment while bringing the natural environment “out of the woods” and into the home, without further degrading our forests or wasting precious resources.

Linda Deardorff, “Lidded Box.” Wood. Photo by HCCC.

Elizabeth DeLyria

“My art has always been about the landscapes of northern Michigan: its waters, rolling hills and trees. Originally, I used the vessel as a canvas to convey landscape. My technique evolved over time such that the vessel became the landscape.”

“Stoneware, glazes, and stains became birch logs or a cairn of Lake Michigan beach stones cradling a pool of water. I then began to combine elements of birch, water and stone in non-traditional ways, incorporating non-traditional firing techniques. Functional pottery began to transcend function and became sculptural, combining pit firing and trompe l’oeil surfaces in ways nature never intended. I believe a functional pot that exhibits qualities of nature brings both art and nature into one’s daily experiences, thereby enriching the quality of one’s existence.”

Elizabeth DeLyria, “Birch Vases.” Ceramic. Photo by Amanda Shackleford.

Gretchen Diehl


“I consider my work to be an exploration of drawing as a form of storytelling. My subject matter is inspired by my vivid and often frightening dreams, people and animals I have known and loved, as well as verbal and visual misinterpretations. The result is usually surreal in nature and narrative. The work has a tendency to represent things as they are, not as they appear. My subjects typically abandon their physical forms to present to the viewer something more intuitive and less confining. My ultimate goal is to simultaneously seduce and repel, drawing the viewer in with beautiful images and stunning them with an unexpected intimacy.”

Gretchen Diehl, “Toucan Necklace.” Plastic and silver. Photo by Amanda Shackleford.

Duo Duet

Benoit and Meghan’s paths converged at the Rhode Island School of Design where they fell in love. Benoit first suggested exploring Ultrasuede because of its lightweight and amazing colors. Their intent was to push the 2-D material to evolve into 3-D sculptural pieces. Inspired by origami, nature, repetitious shapes and patterns, ideas began to flow and the first designs were created. Duo Duet is shaped by clean, minimal aesthetic and their method of approaching design through experimentation. Their pieces are defined by all of the unique details such as materials chosen, clasps and mechanics. The local arts scene helps to support and inspire Benoit and Meghan in their business of Duo Duet.

Above: Duo Duet, “Flutter Hoops.” Suede and silver. Photo by Amanda Shackleford.

Naomi Evans


After a BA in Fine Arts, a BFA in Ceramics and an MFA in Ceramics, Naomi Evans decided it was time for a change. She returned to school yet again to study jewelry making. It was wonderful for Evans to learn a new medium and to challenge herself to bring her aesthetic to a new realm. Evans finds it exciting to develop a body of work that brings together her love of jewelry with her design influences to bring art and design into people’s everyday lives. The intimacy of jewelry contributes a unique element to that desire. Evans hopes her work will have a special place in people’s lives; perhaps yours!

Above: Naomi Evans, “Long Pierced Necklace.” Silver. Photo by Amanda Shackleford.

Michael Farris

“I consider my work to be ‘Cut and Paste.’ The letters (fonts) for the initial cards are cut out by hand using an artist blade. Many are enhanced by cutting out images that then become raised, giving the cards dimension and shadowing. For the collage cards, I find a variety of sources for paper and images. Anything from newspapers and magazines to Italian or Japanese decorative and origami papers, including repurposed wrapping papers, the inside of envelopes, and decorative shopping bags.”

Left: Michael Farris. In my head #2, 2011. Newspaper clippings, magazine clippings, photo copies of images enhanced with colored pencils. Photo courtesy the artist.

Melle Finelli


Through fabrication and forging metal, Melle Finelli is able to manipulate her materials to create form and space, capturing movement in solid form. Melle loves the engineering challenge of putting each new piece of jewelry together, combining multiple techniques in order to create a balance of precision and chaos. Through piercing, bending, forging, and pounding, she creates miniature sculptures.

Above:  Melle Finelli, “Hidden Nest Pendant.” Silver. Photo by  HCCC.

Richard Florance

Richard Florance resides in Shoreacres, a small city on Galveston Bay. He is a lifelong resident of the Houston-Galveston area. He is retired from Semasy Inc., a plastics manufacturing company in Houston, which provides merchandising aid for retail briskness. Over the last 30 years, in his spare time, he learned cabinet making. Upon his retirement, after golf did not require enough hours, he started wood turning, which had been an interest for many years. This has indeed become an outlet for his creative abilities. He has been turning wood for over seven years and has made over 900 bowls, each of which is unique. His bowls have been distributed worldwide.

Richard’s other activities include civic and community participation, as well as being involved with his church and enjoying his nine grandchildren.

Above: Richard Florance, “Cocobolo Bowl.” Wood and Turquoise. Photo by HCCC.

Lyn Foley


“I love making glass beads. As I work, my hands dance with the flame. Lampworking is an ancient technique of making glass beads, one by one. It involves melting rods of glass in a torch flame and winding the molten glass onto a prepared mandrel. After each bead is made and decorated (also in the flame), it is placed, still on its mandrel, into a preheated kiln for annealing (which insures bead durability and strength).”

“The next day, after the annealing process, the group of beads I made the day before are removed from their mandrels and cleaned. I then make wearable art jewelry using my beads. My husband, Jim Foley, fabricates or casts silver findings to complement the jewelry I design.”

Lyn Foley, “Turquoise Disc Necklace.” Lampwork glass and wire. Photo by Amanda Shackleford.

Betsy Frost


Betsy Frost’s style reflects her love of dance and movement. She is attracted to sensual shapes and objects which she tries to reflect in her work. Frost strives for fluidity in her pieces and is constantly trying to reinvent a shape. She does this by giving it movement with links or hinges in a way that is comfortable to wear, fun and aesthetically pleasing. Shape and movement take precedence over surface texture and color. Frost works primarily in sterling silver creating pieces that are either fabricated from sheets into hollow forms or cast through the lost-wax process.

Above: Betsey Frost, “Coral Teardrop Necklace.” Silver and gold filled beads. Photo by Amanda Shackleford.

Heidi Gerstacker


Heidi Gerstacker uses traditional goldsmithing techniques to construct wearable art from sterling silver. The designs are about organic imagery simplified to suggest abstract shapes and forms. The earrings, necklaces and pins demonstrate the interplay of light and shadow: the positive and negative space of the metal. Gerstacker has begun to think about color as form. She is inspired by the ordinary being extraordinary. A stroll through an urban neighborhood provides a variety of visual influences. Some may be natural–others are man-made–but either can spark an idea. Gerstacker takes these impressions and transforms them into a modern line of jewelry to share her vision with the wearer‘s style.

Jenne Giles

Jenne Giles is a San Francisco-based artist whose work ranges from traditional fine arts and crafts to innovative performance and installation art. She received her B.A. in Art and Art History from Rice University in 1997. After working professionally in the arts and trades, she began her own business, Harlequin Feltworks, in 2007. Her enterprise is dedicated to creating unique pieces of wearable art that combine her love for painterly color, sculptural form, folk art and costume. Jenne is thrilled to be working at felt’s cutting edge of fashion and design.

Jenne Giles, “Coral Scarf.” Felt. Photo by Amanda Shackleford.

Jan D. Gjaltema


Influenced by his education and experience in architecture, Dutch-born Jan D. Gjaltema combines the linear and structural with the modern to produce a most varied and distinctive collection of hand-crafted brass and copper jewelry for both men and women.

In 1983, Jan turned his full creative attention to fine jewelry design. The results of his efforts have been nothing short of spectacular. His jewelry graces the finest galleries and museum gift shops throughout Europe, the United States and Japan.

Image courtesy of the artist.

Terry Hagiwara

“Let my pieces speak to you.”

Born in Kyushu, Japan, Teruhiko (Terry) Hagiwara came to the U.S. in 1969 and to Houston in 1981. Though he enjoys a day job as a research physicist in the petroleum industry, he has been passionate about ceramics since he began taking classes at Houston’s Glassell School of Art in 1989. He is inspired by that which is almost, but not quite, symmetrical, delighting in the element of chaos a slight skew brings to the order and control of symmetrical forms.

Terry works with high-fire stonewares and sometimes wood fire, but more often with raku firing. With raku, he uses glazes, whether metallic copper or crackle white, in simple geometric surface designs.  He also uses a process he calls “jade finish,” during which he omits any glaze and instead burnishes, applies slip, then removes the slip after raku-firing.

Terry Hagiwara, “Lattice Basket Vase.” Ceramic. Photo by Amanda Shackleford.

Roy Hanscom

“I enjoy working with clay; it is a material that sets no limits and has practically no boundaries in its ability to adapt to my ideas and designs. My latest body of work is the exploration of the functional form. The forms are thrown and altered, giving each piece a sense of life and movement. Constructed of a high-fire stoneware clay body, the forms are reduction fired to cone 9 in a gas kiln. A combination of ash glazes are used to help accentuate the forms and further enhance movement.”

Roy Hanscom, “Footed Bowl.” Ceramic. Photo by Amanda Shackleford.

Paula Haymond

Paula Haymond is a wood sculptor seeking to explore the relationships among color, imagination, form and texture. She uses a wide variety of hand tools in addition to the lathe to create original, one-of-a-kind forms. Haymond alters the wood–initially turned on the lathe–into forms using texture, pyrography, piercing and air brushed paints to create either pictures or creatures. She enjoys the wide variety of woods as well as the figure and grain’s many possibilities. Even when she intends to cover the surface with her designs, Haymond considers what that piece of wood will support and how to go about creating something new.

Above: Paula Haymond, “In the Dream Time.” Wood, abalone and copper. Photo by Amanda Shackleford.

Hj Designs / Hazel Studstill

Hj Designs by Hazel Studstill offers inspired jewelry and accessories.  Hazel’s modern designs are hand fabricated using traditional metalsmithing techniques and alternative eco materials, like fish leathers and upcycled plexiglass signage. Each collection has a story, and her style blurs the lines among art, fashion and hand-crafted studio jewelry. Her head-turning designs are inspired from life experiences, travel, organic shapes and world events.

Above:  Hazel Studstill, “Plexi Links Necklace,” Plexiglass and silver. Photo by HCCC.

Natasha Hovey

As a sculptor working in ceramics, Natasha Hovey is driven to explore the body’s internal systems at a microscopic level. She does this by utilizing the concept of the multiple through a slip casting process. Curiosity of human physiology motivates Hovey to explore the unfamiliar workings and genetic mappings within the human body: specifically her own genetic variations. Hovey’s work is influenced by historical anatomical imagery as well as contemporary computer generated models that abstract raw organic matter into two-dimensional form.

Above: Natasha Hovey, “Stroma Cove.” Ceramic. Photo by Amanda Shackleford.

Hudson Beach Glass

Hudson Beach Glass Studio has casted functional and sculptural objects for over 20 years. John and Wendy Gilvey, Michael Benzer, and Jennifer Smith founded Hudson Beach Glass in 1987. Hudson’s main studio is located in a renovated ice house in the Hudson Valley of New York state. The space features fine cast and blown glass, an artist-run retail space, and a funky second-floor gallery space for installations.

Above:  Hudson Beach Glass, “Grey and Green Tripod.” Glass. Photo by HCCC.

Joyce Joe

Joyce Joe uses the fine craft of porcelain to create her well known variety of faces. Porcelain is a hard, fine-grained ceramic ware that consists of kaolin, quartz, and feldspathic rock, and is fired at a high temperature.

Everything has a story–it is all in the telling. This is the central idea behind Joyce’s work. Using ceramics, she crafts a story into each piece, leaving the viewer to bring it to life. From the unending expressions of the faces to the whimsy she crafts into functional objects, Joyce presents many tales to follow. What will you see?

Image courtesy of HCCC.

Jason Kishell

“My work addresses the way things grow, live, receive support from the environment, decay and ultimately start again. The features that are produced through these actions are the source of my visual vocabulary. The subtle details found in the natural world, the cyclical quality of life, and the way nature interacts with human society are the topics I generally work with. The media used in my work reflects my appreciation for process and learned skill. I enjoy the process of making just as much as the end result.”

“Smug Mugs are inspired by my series of sculptural works that feature mouths with various expressions. Each one is unique and completely handmade–thrown on the potter’s wheel, hand carved, glazed, and china painted. These mugs are meant to be used. They are made of porcelain and are dishwasher and microwave safe, although heating liquids in a separate container and washing by hand will extend the life and finish of the mug.”

Jason Kishell, “Texas Orb Weaver Mug,.” Ceramic. Photo by HCCC.

Christy Klug


“My line of large-scale, sculptural metal is cut by hand using a jeweler’s saw. The current collection was inspired by my early interest in stained-glass design, which I studied at the Museum of Fine Arts in Boston. I was drawn to the stained-glass artists in post-World War II Germany who revolutionized the medium by elevating the structural function of the lead lines into an artistic element.”

“I discovered metalsmithing when I moved to Austin, Texas. Jewelry design afforded me the opportunity to work on a smaller scale, and creating wearable art personalized the artistic process for me in a way that stained glass had not. I found I could achieve the dramatic aesthetic effect of lead lines by hand cutting them into the metal, leaving negative space where the glass had been. I’m inspired by the shapes and lines in the art of Jean Arp, Gerhard Richter, Egon Schiele, Johnnes Schreiter and Frank Gehry.”

Above: Christy Klug, Long planed earrings and overlapping plane flat necklace. Silver. Photo by HCCC.

L&M Studio

L&M Studio is a collaborative project by Lucie Piedra and Meg Oliver. They opened the studio to design sleek, modern handmade items for the home and garden. L&M Studio’s designs begin with the function of each piece in mind. Birdhouses, for example, have a flanged lid for cleaning and cups are ergonomically designed to fit comfortably in hand. The two start by making a model out of clay or wood before creating a plaster mold from the model. After the mold dries the porcelain slip is poured into the mold creating multiple porcelain copies of the original model. The pieces are then sanded, bisque fired, sanded again, washed and glazed and then re-fired to 2232 degrees creating the final vitreous porcelain piece. All items are made from their own recipe for durable, creamy white porcelain by L&M in their store-front studio in historic Catskill, NY.

Above: L&M Studio, “Assorted Mixing Bowls.” Ceramic. Photo by Amanda Shackleford.

Lebeth Lammers

Lebeth Lammers has long known that clay, as an artistic medium, has the versatility to allow her to express her ideas in both two and three dimensions, using surface and texture, opacity and translucence. With both painterly and traditional ceramic techniques, she creates work in series which evolve piece by piece into works distinct from the original.

“Sometimes when I open the kiln, I see a shape which approaches my idea or a surface which perfectly fits its shape. At those times, I like to think the fulfillment I feel may also be felt by the person who will own that piece. For the opportunity to make art which touches both nature and my own creativity, I am forever grateful.”

Above: Lebeth Lammers, “Frog/Lily Pad Mug”. Ceramic. Photo by HCCC.

Jera Rose Petal Lodge


Jera Rose Petal Lodge is a jewelry designer working to create steel and silver wire-based artworks. Her pieces range from small scale production and limited edition work to large scale sculptural jewelry pieces. The forms Lodge uses are frequently geometric in nature which utilizes patterns and repetition to create bold, graphic shapes. Design and function are her primary concerns and the strength and durability of steel allows her to create forms that are lightweight and visually delicate yet sturdy and easily wearable. Lodge often uses cold connections to introduce elements of motion, sound and playfulness into her jewelry.

Above: Jera Lodge, “Asymmetrical Necklace.” Steel and silver. Photo by Amanda Shackleford.

Kristin Lora


“I primarily work in precious metals and combine them mostly with found objects. I utilize a variety of traditional metal and silversmithing techniques, including fabrication and soldering, as well as many others. All of my jewelry, functional objects and small sculptures are fabricated by hand. I prefer to do one-of-a-kind pieces; if I choose to duplicate a previous design, there are always subtle differences in the subsequent work.”

“My artistic journey began as a small child and throughout my growing up as I experimented with beading, glass, painting, sculpture, music and more. I have always had my art as a foundation to create and outlet to ground my otherwise busy life.”

“My jewelry and small sculpture is known for its clean, uncomplicated and contemporary lines. The imagery tends to be scaled-down replications of objects I am familiar with (such as vehicles), and many I invent in my mind (aliens and other creatures). Again, bold lines and an up-front whimsy prevail. I love the intimate scale that this work provides both as the maker and as a viewer. I love watching the reaction of discovery when others notice the tiny and unexpected details within my pieces. Humor is important in my work and my life–a very direct humor that is slightly bemused. What I like best is creating something that has never existed before.”

Above: Kristin Lora, Circle cluster earrings with garnet and Circle link necklace. Silver, garnet. 32” Photo by HCCC.


“My functional work reflects the way I live, from the way I cook to the way I like to shop. My designs are based on my passions: cactus, Houston, Texas, television, cooking, science, shopping, and family nostalgia.”

“I am constantly stimulated by the world around me and feel compelled to translate it into a way that I can share with others. Functional work is inspired from objects I use myself or would like to use. My figurative, sculptural works become conglomerations of my encounters sprinkled with the kind of nervous energy persisting in present-day America.”

“Inspiration for sculptural work is based on the human figure and my un-verbalized concerns about life and the human condition. Many of the forms are influenced by the objects I collect.”

Left: Lotus, “Spike Cup” and “Skull Mug.” Ceramic. Photo by HCCC.

Cindy Luna

Cindy Luna is an accomplished wire sculptor. Her work has been displayed in galleries all over the United States. Each piece is hand woven out of stainless steel wire or brass. Her work has a clean, urban feeling, yet her life is deeply isolated.  Cindy is a resident of Big Island’s secluded Waipi‘o Valley.

Image courtesy of HCCC.

Sharon MacLeod


“Turning ordinary materials into colorful, richly patterned jewelry is what fascinates me. Looking at a finished piece, the nature of the work is not obvious, and I am often asked, ‘What is this made of?’ Mostly self-taught, I have always been a maker of things, from creating paper dolls with elaborate wardrobes as a child to the jewelry I make today. Unencumbered by formal training, I explored many materials and techniques over the years, intuitively gravitating toward jewelry design. Working with digital imaging allows me to spontaneously create colors and patterns impossible any other way, and to ‘exploit the random.’ Finding inspiration all around me, my most recent collection is based on African textile patterns.”

Image courtesy of the artist.

Margarita Mileva


“As a trained architect, I have always been intrigued by different art forms. Shapes, volumes and colors fascinate me, and quite often I am also looking for similar expression in the architectural projects that I am working on. When creating jewelry using rubber bands, I have the feeling of drawing and painting using the rubber bands as my color palette.”

“It is very interesting to follow the reaction of the people around me trying to figure out the material, with its unique texture and pastel colors. In this jewelry series, I am trying to recreate, in a contemporary way and with unusual materials, the beauty of nature.”

“My rubber-band jewelry has been compared to multicolored sculptures…knotted, twisted, and braided every which way.”

Above: Margarita Mileva. Bubble Green Necklace, 2011. Black and green rubber bands; approximately 18″ – streachable. Photo by Margarita Mileva.

Moon Spoon

Moon Spoon is designed by Jonathan and Julia Spoons. She creates in graphic images; his life’s work is wooden spoon design. Together they work in a little shop designing beautiful spoons and utensils, deep in the woods of Pennsylvania by the Maiden Creek.

“The moon casts its brilliant light through the trees and inspires our designs. The stark beauty of contrast and silhouette emerges from the moonlit night. We interpret this graphic imagery in fine cherry wood, creating elegant serving utensils inspired by moonlight.”

Moon Spoon, “Assorted Utensils.” Cherry wood. Photo by Amanda Shackleford.

Ayala Naphtali


Ayala Naphtali draws inspiration from ancient alphanumeric systems, contemporary architecture, and her own personal cultural history. She is intrigued with balance and proportion and feels as if each piece must find its axis on the wearer. The work is designed to be elegant with minimal and bold forms. Naphtali’s work is an exploration of form and materials: each equally important. She is committed to the use of materials for their color, texture and versatility. Coconut shell, dyed andcarved, is used to achieve such rich color and texture while forging, fabricating and casting are used to create pieces with dimension and volume.

Above: Ayala Naphtali, “Lampin Brooch.” Coconut shell, silver. Photo by Amanda Shackleford.

Peggy Nino

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“Our daily lives are enriched by a multitude of diversity.  Each day can embody the mystery of the seemingly polar.  From repetition to singularity, stress to tranquility, from chaos to unity, we find completeness in the complexities that make up our day-to-day activity. By editing, organizing and reorganizing, we can find a harmonious calm within our life. In my work, I explore the relationship of daily life and its diverse intricacies. By simplifying shape and form, by layering color and texture, I symbolically denote the complexities in our personal experiences. These works serve as a means to express the parallel between mankind and nature and changes that are essential to both.”

Peggy Nino enjoys working with a variety of media, including sterling silver, enamel and semi-precious stones.

Peggy Nino, “Enameled Necklace.” Silver, copper. Photo by Amanda Shackleford.

Mark Orr

“Since Man’s earliest history, the Raven and Crow have held a high and honored position in our mythology and spirituality. Native American tradition holds the Raven-Crow as the courier of energy flow. Northwest coastal tribes believed the Raven was the Creator of the Heavens, Earth and Sea. For Southwestern Native Americans, he was their ‘Storyteller.’  For me, the Raven and Crow represent the ‘scavenger’ or ‘gatherer’ of my found objects from the past, and they are a ‘messenger’ of the many mysteries that we call spirituality. The ‘key’ symbolizes the opening of doors and welcoming positive change into our lives. Perched on a ‘ball’ serves as a representation of living in balance.”

Image courtesy of HCCC.

Tom Perry

“I want to create pots, whether tea cup, salad bowl, lemonade pitcher, platter, or flower vase, that, through their use, add spirit and pleasure to someone’s life. My own pleasure derives from the process of forming the vessel while the clay is plastic and malleable. I use white stoneware and porcelain clays because they produce smooth surfaces and respond well to color in glazes, in slips, and within the clay itself. I often mix colorants into the clay to integrate layered and patterned color combinations with wheel-throwing and hand-building processes. Carving into the swirling colored surfaces of wheel-thrown vessels, for example, exposes variegated patterns resembling agate and marbled cores, wood grains, and stratrigraphic earth layers, while stretching clay slabs during hand building distorts and expands original patterns into new designs. The result is always a surprise.”

Tom Perry, “Cream and Sugar Set.” Ceramic. Photo by Amanda Shackleford.

Philabaum Glass / Tom Philabaum

Tom Philabaum built his first glassblowing studio in 1975 in downtown Tucson and opened a gallery in 1982. The following year, 1983, the Glass Arts Society (GAS) conference took place in Tucson, with Tom as the liason for the local glass community. In 1985, the present location became the new home of Philabaum Glass, and, in 1997, the GAS conference returned to Tucson with Tom as Co-Chair, and Philabaum Studio & Gallery again being a major venue for demos and exhibitions.

Tom and his wife, Dabney, ran a second gallery location in the Tucson foothills from 2002-2007. Since that time, they have re-focused their efforts at the original home of Philabaum Glass, in downtown Tucson, where Dabney runs Philabaum Glass Gallery, showing artists from across the country. Tom continues to spearhead the studio of blown glass and the more current sculptural and site-specific art, using a broad array of techniques, including kiln casting, fusing, slumping, and dalle de verre.

Tom Philabaum, “Round Blue Paperweight.” Glass. Photo by HCCC.

Pinzette Glass / Bill Burch

Bill Burch finds there is nothing quite as exciting as shaping and forming molten glass, a material that cannot be touched, despite the tender and intimate relationship the artist has with the medium. No piece is ever quite reproducible or predictable, which adds to the excitement and mystery of glass. Burch’s work emphasizes the process of blowing and forming hot glass using design elements that can be incorporated into the molten material. His challenge is to add these designs and still maintain the integrity of the process by capturing the beauty implicit in the simplest form, line and color.

Above: Bill Burch, “Creamer,” “Wabi-Sabi Vase,” and “Large Pitcher.” Glass. Photo by HCCC.

LeBrie Rich

LeBrie Rich is known as the Queen of Felting for her hand-felted wearable pieces. She loves working with felt for its illustrious history of utilitarianism and versatility in both form and function. Being a true colorist at heart, she hand colors all of her wool with vibrant, long lasting acid dyes before felting. Rich has had a life-long love affair with wildflowers. The designs of her felt flowers reflect the botany of her favorites. As in nature, each felted piece is unique. Rich’s felt pieces are durable, colorfast, lightweight and made of 100% wool.

Above: Lebrie Rich, “Assorted Geo Pins.” Felt. Photo by Amanda Shackleford.

Connie Roberts

“I have a BA in art history and a MA and MFA in painting, so I’m not qualified to be a folk artist, but my work is generally referred to as folk because that is what it looks like. I don’t mind how people label me as the ‘Whistle Lady.’ This gives me a category all my own, and all of my sculptures do have a whistle somewhere in them. I have loved woodworking ever since I was a kid messing around in the garage with my dad and older brother. I have equally loved things that are humorous, from Mad Magazine to Monty Python to the evening news. I believe that the essence of good art is that it is attractive enough to draw you in for a closer look, yet has sufficient content to make the time you spent with it worthwhile.”

Connie Roberts, “Zombie Lady.” Pine wood. Photo by Amanda Shackleford.

Caitie Sellers


Caitie Sellers received her BFA in craft/material studies from Virginia Commonwealth University in Richmond, Virginia.  After graduating, she spent the summer of 2008 teaching jewelry-making lessons to women in isolated regions near Xela, Guatemala.  Upon returning to the U.S., Caitie moved between Montana and North Carolina, developing her own jewelry; working professionally as a floral designer; and assisting artists, such as Joanna Gollberg, Natalya Pinchuk, and Amy Tavern.  Caitie’s work is informed by her observations of the many places she’s lived, from rural Virginia to Central America.  She is interested in themes of urbanization, architecture, and social development.

Above:  Caitie Sellers, “Highway Earrings.” Sterling Silver. Photo courtesy of the artist.

Janet Taylor

Craft is a struggle between trying to lead and trying to follow…a passionate dance at best. Janet Taylor’s work has been a process of listening and following. After years of learning about textiles, cultures, techniques and art making, her work seems to be a melding of all of the above.

Textiles have always been opulent, intriguing, a sign of royalty, elegance, setting women and men apart. It is with all of those things in mind that her work evolves, providing enjoyment every step of the way.

Janet Taylor, a recognized artist, speaker, and educator for more than three decades, received a BFA from the Cleveland Institute of Art and an MFA from Syracuse University’s School of Art. Upon receiving her degrees, she simultaneously began a career in teaching and a career as an exhibiting artist.

Janet Taylor, “Purple and Green Scarf.” Fiber. Photo by HCCC.

Matt Thomas (Thomas/Work)

Matt Thomas was introduced to woodworking by his father when he was 14. A few years later his parents urged him to participate in a jury session at Tamarack: The Best of West Virginia’s retail gallery. Jeff Fetty, a Tamarack juror and local blacksmith, invited Thomas to apprentice at his shop from 1998 to 2002. Thomas slowly increased his skills and responsibilities, eventually contributing design ideas.

Matt launched Thomas/Work in 2002. Each of his designs begins as a sketch, then is adapted to three-dimensions on the computer so he can view it from all angles. From there he creates a prototype. Successful pieces are added to one of his three lines: the traditional inspired line, the contemporary line and the hybrid line refers to pieces that merge wood with iron. “I want people to appreciate and enjoy timeless design.”

Matt Thomas, “Small Serving Board and Bowl.” Wood and metal. Photo by HCCC.

Demitra Thomloudis

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“My work connects visual and physical elements that exist within our daily periphery. The jewelry I create embodies my own adaptation of architectural language, which organizes and constructs elements within each work. I choose to visually and physically preserve, translate and cherish these attributes through the objects I create.”

Originally from the greater Philadelphia area, Demi Thomloudis received her BFA in metals and jewelry from the Cleveland Institute of Art in 2007 and her MFA in jewelry and metalwork from San Diego State University in 2013. Her work was featured in two recent exhibitions at HCCC:  SPRAWL and La Frontera.  Demi’s jewelry can be seen in publications such as 500 Plastic Jewelry Designs:  A Groundbreaking Survey of a Modern Material and The Art of Jewelry: Plastic & Resin: Techniques, Projects and Inspiration, both published by Lark Books.

Demitra Thomloudis, “Landscape Cameos Brooch.” Mixed Media. Photo by HCCC.

Amber Tiemann


“For as long as I can remember, I always loved to create. I started off painting, and I have always been drawn to working with color. I love working with metal and using vibrant, bold colors in my work, with the use of colored stones, enamel and resin.”

“Design inspiration comes to me in so many different ways. Sometimes it’s from architecture and the clean graphic lines of industrial design. And I am always inspired by the different variety of artists around me.”

“I have been taking classes at the Glassell School of Art for a number of years under Sandie Zilker and, more recently, with Jan Harrell. I live in Clear Lake, Texas, with my husband, Jonathan, and our dog, Cooper.”

Above: Amber Tiemman, Gold druzy tear necklace and Red coral earring. Silver, coral, enamel, and swarvoski crystal. Photo by HCCC.

Vetro Vero Glass / Michael Schunke & Josie Gluck

Vetro Vero is the collaborative design and glass-blowing studio of makers Michael Schunke and Josie Gluck. The idyllic setting of their repurposed dairy-farm studio is just the place for Michael and Josie to envision and create their signature designs, which are revered for their exceptional quality and meticulous craftsmanship. Each hand-blown glass object is made through practicing the core values that brought them together:  honest work, pure materials, fresh designs, and respect for the skilled glassmaking tradition in which they were both trained.

Above:  Vetro Vero Glass, “Petite Flat Pitcher.” Glass. Photo by HCCC.

Eugene Watson

Eugene Watson began Watson Woodworks in 1990 within an old 1,200 square foot loft just outside of Chinatown in Chicago, Illinois. Prior to woodworking Watson designed the electronic components for black boxes in airplanes. Watson holds a Bachelor of Science in Electronics Technology from Southern Illinois University. He chose to pursue woodworking over an electronics career because he is able to express his creativity with his hands by designing innovative pieces in a relatively short period of time. Trapezoid box is finished with three coats of lacquer followed by a top coat of paste wax with fine sanding and steel wool between coats. The drawers are lined with genuine Ultrasuede leather. No stains have been used on any of the woods. The Scallop box is finished with three coats of hand-rubber lacquer and lined with genuine Ultrasuede and features abalone/Paua shell for the inlay.

Above: Eugene Watson, “Helical Box.” Wood and abalaone. Photo by Amanda Shackleford

Lisa Wilson


Lisa Wilson was born and grew up just outside of Columbus, OH. She earned a BA in theater and drama, in addition to a BFA in studio art, metalsmithing and jewelry design. Eager to continue her studies in metalsmithing, Lisa attended graduate school at Miami University in Oxford, OH, where she recently earned her MFA. As an emerging artist, Lisa has exhibited work in local, national, and internationally competitive juried exhibitions and has been awarded on several occasions.

Image courtesy of the artist.

Rena Wood

Working primarily with textile materials and processes, Rena Wood’s work gives physical form to the ephemeral sense of memory. Often using vintage materials, she combines her own history with that of a previous maker. The time Wood spends working is marked by each stitch, each knot and each repetitive act of her hands. She constructs and deconstructs materials to show suspension: formation and ruin, remembering and forgetting, the passage and stopping of time.

Above:  Rena Wood, “Shibori Scarf.” Silk. Photo by Amanda Shackleford.

Matthew Yanchuk

Matthew Yanchuk’s ceramics are for use in everyday life. He begins creating by hand building or throwing the initial form on a wheel. He then makes a plaster mold of the work which allows him to recreate it by slip-casting it into a low-fire white earthenware. After a vessel is removed from the mold it is hand painted by Yanchuk with a freehand design, wax-resist method, or transfer images. The patterns incorporated are gathered from a combination of Mimbres pottery and textile design which generate vivid colors with bold patterns. Yanchuk finds that the shapes dictate how the pattern moves across the surface of a piece; an idea he finds exciting because it showcases each work’s individuality.

Above: Matt Yanchuk, “Assorted Bud Vases.” Ceramic. Photo by Amanda Shackleford.

Rebecca Zemans


After making sculpture for many years, Rebecca Zemans realized shrinking the scale to jewelry size would allow her to make art that is more accessible. Strong yet delicate, ancient but modern, her designs are contemporary with a classic look. They derive from Rebecca’s fascination with the similarity of biological organisms viewed through a microscope and celestial bodies viewed through a telescope.

Rebecca creates comfortable, everyday jewelry that complements and expresses the exceptional qualities of the individual. Each piece tells its own story; every blow of the hammer, every bent curve of silver or gold, every precious stone collected from a far-away land becomes part of a one-of-a-kind, wearable work of art.

Rebecca Zemans, “Infinity Cuff.” Gold fill wire. Photo by Amanda Shackleford.