I first learned to weave when I was 10, fascinated by the play of light on crossed threads. Every textile, from simple structures to complex weaves, carries a kind of coded relationship between time and space. It’s a language of tactile memory connected by hidden structure, and deeply embedded in human experience.
Since that first weaving, textiles have been my lifelong journey. They have taken me on trips through landscapes, cultures, history and imagination provoking my endless curiosity. The nuance, longevity and depth of textiles inspire and inform my practice as an artist, educator, designer and researcher.
Areas of research include visual culture, textile technology, design history, art history, fashion history, and sustainable design. Especially interested in projects where these topics converge.
M.F.A., Art, University of Arizona
B.A., Fine Arts, University of Oregon
Full-time Faculty, Apparel Design & Liberal Arts Departments, The Art Institute of Portland, OR, 2004-present
Instructor, Art History and Basic Design, Art Dept., Pacific University, Forest Grove, OR, 2003-04
Instructor, Textiles for Interior Design, Art Institute of Portland, OR, 2002-04
Instructor, Art History, Adult Degree Program, Linfield College, Portland, OR, 2001-04
Visiting Assistant Professor, Fibers Dept., University of Arizona, 1988-89
Visiting Assistant Professor, Dept. of Fine and Applied Arts, University of Oregon, 1986-87
ARTS PROFESSIONAL EXPERIENCE
U.S. Exhibition Reviews Editor, Textile: Cloth and Culture, Taylor & Francis, London, UK, 2014-present
Textile Consultant, TextileHive, 2012-present
Gallery Manager, The Steven Goldman Gallery at The Art Institute of Portland, 2012-2014
Textile Advisor, CROW Clothing, 2007-2008
Writer, Thompson/Wadsworth Publishers, 2004
Owner, archiTEXTILE, 1990-2004
Oregon State Coordinator, The Year of American Craft, 1993-94
Board Member, Museum of Contemporary Crafts, Portland, OR, 1989-95
Past Future Textile Design, Steven Goldman Gallery, 2014
Surface Design student work inspired by the textile collection and database of Textile Hive, in conjunction with Portland Design Week. Co-curated with Caleb Sayan.
Timberline’s 75th Anniversary, Steven Goldman Gallery, 2012
Original WPA art and crafts from the lodge on Mt. Hood: ironwork, furniture, weaving, prints. Co-curated with Linny Adamson.
The Story of Tea, Steven Goldman Gallery, 2011
Tea as cultural expression representing India, China, England, South Africa, Japan, Argentina, and Morocco. Weekly public events with tea experts showing traditions from around the world. Co-curated with Meredith Hamm and Eric Wynkoop.
Felt Spaces, The Art Institute of Portland Gallery, 2011
Felted wool designs by Tash Wesp, myself, and Kyrgyz craftswomen. Inspired by my 2010 sabbatical research in Central Asia.
From Vintage to Vamp: 100 Years of Jantzen Swimwear, Steven Goldman Gallery, 2010
Selections from the extensive archives of this international brand begun in Portland, including advertising art, and swimwear. Documentary video produced for the opening. Co-curated with Jantzen Archivist Carol Alhadeff.
Sustainable Fashion, The Art Institute of Portland Gallery, 2008.
Invitational exhibit of 9 innovative Northwest designers. Auxiliary juried student design competition.
New Embroidery: Not Your Grandma’s Doily, Museum of Contemporary Craft, 2006
Comprehensive survey of contemporary art embroidery. Co-curated with Namita Gupta Wiggers and Manya Shapiro.
“Considering Historic and Futuristic Textiles from the Perspective of Media Theory,” Textile Society of America Symposium, Los Angeles, CA, 2014
“Integrating Physical and Digital Resources for Textile Education in the United States, Pasold Conference on Textile History, Goldsmith’s College, London, UK, 2013
“Teaching Visual Culture in Second Life,” Confluence, Foundation in Art: Theory and Education Conference, Portland, OR, 2009
“A Stitch in Time: New Embroidery, Old Fabrics, Changing Values,” Textile Society of America Symposium, Honolulu, Hawaii, 2008
Panel discussion, “Digitizing Art History Libraries,” OTEN Conference, Portland, OR, 2004
“Policarpio Valencia’s Embroidered Poetry,” Textile Society of America Symposium, Santa Fe, New Mexico, 2000
Moderator, Ways of Working seminar, Handweaver's Guild of America Convergence convention, Portland, OR, 1996
“Textile History,” Historic Preservation League of Oregon's Winter Lecture Series, Portland, 1996
GRANTS AND AWARDS
Oregon Arts Commission Career Opportunity Grant, 2013
Friend of Timberline Award, 2012
Sabbatical Award, The Art Institute of Portland, 2010
Faculty of the Year Award, The Art Institute of Portland, 2007
OTEN Technical Support Grant, Digital Image Library, Pacific University, 2004
"Book Review: Stitching the World: Embroidered Maps and Women's Geographical Education," Journal of Textile History, Vol 47, Issue 2, Taylor & Francis online, Sept. 13, 2016.
"Meisen Magic: How Textiles Could Revolutionize Big Data (Again)," Medium online magazine, June 1, 2015.
“Considering Historic and Futuristic Textiles from the Perspective of Media Theory in the Work of Neri Oxman, Anouk Wipprecht, and Iris Van Herpen,” New Directions, Textile Society of America symposium proceedings, 2015 anticipated.
“Exhibition Review: Io Palmer: Artstars,” Textile: The Journal of Cloth and Culture, vol. 9, issue 3, Berg Publishers, 2011, pp. 384-386.
"Reinventing Velvet,” Fiberarts, Interweave Press, Sep./Oct. 2009, pp. 50-53.
“Exhibition Review: Darrel Morris: The Large Works 1999-2008,” Textile: The Journal of Cloth and Culture, vol. 7, issue 3, Berg Publishers, 2009, pp. 338-343.
“A Stitch in Time: New Embroidery, Old Fabric, Changing Values,” Textiles as Cultural Expressions, Textile Society of America symposium proceedings, 2009.
“Policarpio Valencia’s Embroidered Poetry,” Approaching Textiles, Varying Viewpoints, Textile Society of America symposium proceedings, 2001, pg. 153-156.
“Textile Manifesto for the New Millennium,” International Tapestry Journal, Winter 1997, pg. 7.
Quoted and reviewed in “Fiber Arts,” Cate Gabel, Coast Weekend, Astoria, OR, November 15, 2012, pgs. 12-14.
Interviewed in “Fashion Balances High Style and Humane Design,” Ai Insite online magazine, www.insite.artinstitutes.edu, November 4, 2009
Quoted in The Land of Disenchantment: Transformation, Continuity, and the Greater Espanola Valley, New Mexico, Michael Leon Trujillo, Doctoral Dissertation, University of Texas, Austin, 2005, pgs. 74-75, 79.
How the Light Gets In, T Project, Portland, OR, solo exhibit, 2016
Mountain High XIX, Timberline Lodge, Mt. Hood, OR, invitational, 2015
(SUR)Face Forward, The Arts Center, Corvallis, OR, juried, 2013
Contemporary Textiles, Kala Gallery, Astoria, OR, invitational, 2012
Coastal Fiberarts, Art Center Gallery, Clatsop Community College, Astoria, OR, juried, 2011
Felt Spaces, The Steven Goldman Gallery, The Art Institute of Portland, OR, 2 person, 2011
Prints in the Pearl, Print Arts Northwest, Portland, OR, invitational, 2005
Celebrating Contemporary Fibers, AVA Gallery, Astoria, OR, invitational, 2004
Tapestry, Grants Pass Museum of Art, Grants Pass, OR, invitational, 2002
Tapestry is Art, Morris Graves Museum of Art, Eureka, CA, juried, 2002
Fiber Arts Exhibit, Cannon Beach Arts Association, Cannon Beach, OR, juried, 2002
Tapestry 2001: A Weaving Odyssey, Onda Gallery, Portland, OR, juried, 2001
The Gloria and Sonny Kamm Teapot Foundation, Sparta, North Carolina
Neil and Pegi Young, Woodside, California
Timberline Lodge, Mt. Hood, Oregon