DOT DOT WORKSHOP
Anna Highsmith
[1997, Industrial Design]
Based in Providence, RI
Dot Dot Workshop’s RISD Craft Gallery
My work is about texture, pattern, touch, and contrast. I roll stoneware clay into soft, flexible slabs, and then cut and wrap and bend and stretch those slabs into pots: mugs, cups, bowls, and plates. Each pot is made by my own hands, and the marks of texture and pattern are a record of my movements and decisions as I work. My mind, my hands and the material are my essential tools. When the pots are finished, I send them out into the world, to be discovered and handled by people who investigate the choices I’ve made with their own eyes and fingers. Each piece of my work strings a silent, intimate through-line from my studio through the public realm, into someone’s else’s home and daily life. I see my pots primarily as tangible tenderness delivery vessels. As an introvert who loves humans, but usually in small, infrequent doses, I find this a very satisfying arrangement.
What are some of the most important practices for your creative process?
I’m a little bit obsessed with efficiency, which can either hold me back or lead to new directions in my work, depending on the day. I’ve definitely spent a few hours making something I don’t love just so I didn’t waste a dollar’s worth of material. But I also arrange my workflow in a way that I find satisfying, and that usually results in work that I feel good about. Lately, I’m cutting my soft clay scraps into uniform circles that I can make tiny dishes out of. The tiny pieces are low-stakes enough that I can be experimental without worrying about wasting time and material, and I really love the feeling of approaching a whole table full of little blank plates, waiting for me to paint, carve, stamp, stencil, inlay, and incise to my heart’s content. During this scrap-using and experimenting, I often discover new marks or imagery that finds its way onto larger pots. And if they end up being kind of lame, then hey, at least they’re small. And that’s why seconds sales exist.
How does your current creative practice tie into your time spent at RISD?
My favorite part of my time in Industrial Design was experimenting with different materials. I made things out of wood, metal, fabric, cardboard, paper, plaster, and ceramic. The most satisfying projects were always the ones where I felt like my understanding of the material shaped my final design in a way that made the solution seem obvious and natural. Now I only work with clay, but all my material explorations in school have informed the way I approach it. One of the exciting things about clay is that the material can have completely different attributes, depending on how dry it is, and whether or not it’s been fired. It can be fluid, ductile, drapable, resilient, carvable, rigid, and (finally) stonelike, waterproof, and ready to last millenia (so, no pressure). I love the clay at every stage, and I’m always working to understand it better. When I make marks in the clay and the glaze, my goal is to show the nature of the material, so that the user gets a little window into the processes behind the finished object.
Tell us about some of your main sources of inspiration.
In terms of direct aesthetic choices, I’m mostly inspired by the nature and potential of my materials and my tools. The look of my work evolves in direct relationship with my learning, experimenting and repeated practice. I also get a lot out of the teaching that I do. The best classes are where there’s a group of people all ready to try and fail and learn and talk about it. The shared space and time with eight or ten brains all working on similar challenges is a super-rich opportunity, and I love how we all learn different things while sharing the same space. I think a lot about what it means to create a space that allows people to be brave, take risks, try things, and fail. I try to be as patient with myself in the studio as I hope I am with my students.
In terms of external inspiration, the things that can bring me pure aesthetic joy include loading docks, retaining walls, millstones, aglets, grommets, casters, eyedroppers, belt loops, spools, conveyor belts, drive belts, bricks, rubber mallets, feed dogs, bodkins, dry beans, pallet knives, whisk brooms, basins, ladles, embroidery and hasps. Also the word “hasps.”
To see more of Anna’s work, visit dotdotworkshop.com
ALICIA BURNETT
Alicia Burnett
[2013, Illustration]
Based in Schenectady, NY
Wolf Jaw Press’ RISD Craft Gallery
Wolf Jaw Press is an independent screen printing studio located in Upstate New York just north of Albany. Founded by Alicia Burnett in 2015, Wolf Jaw Press focuses on celebrating the beauty of nature with small limited edition runs of handcrafted prints. From start to finish, every part of the printing process is done by hand. Working by hand is messy and labor intensive, but it is a rewarding and humbling process that yields breathtaking results.
What are some of the most important practices for your creative process?
The most important practice for my creative process is reminding myself that it’s okay to take breaks and have a life outside of my work. I am much more creative and productive when I’m well rested and happy. Everyone at RISD has such a tremendous work ethic and I think it’s really easy for young artists to fall into the trap of becoming a workaholic. At times it can seem glamorous, romantic, or even required to slave over your work – sacrificing basic self care in the pursuit of creation. I’ve learned that good time management, self care, and stepping away from my studio every once and a while contributes to my ability to think creativity create good work.
How does your current creative practice tie into your time spent at RISD?
I learned to screen print at RISD and I’ve never looked back! I was an undergraduate in the Illustration department where I was introduced to a lot of different creative processes, methodologies, and medias. The illustration department is great; I loved the fact that we were encouraged to experiment and take creative risks as we searched to find a process or media that really clicked with us. In my creative quest, I ventured outside of the Illustration department to take an elective screen printing studio with the Printmaking department and I completely fell in love with the process. The modality of screen printing, the structure and parameters it provided, felt freeing.
Tell us about some of your main sources of inspiration.
The inspiration for my art stems from my lifelong fascination with and affinity for the animal world. From the time I was old enough to comprehend that I shared this earth with other living, breathing, non-human beings called “animals,” I’ve been obsessed with observing and learning about the diverse creatures that walk, swim, and fly on this planet.
I remember as a young child begging my parents for horseback riding lessons. I was less excited about riding the horses and more interested in the simple pleasure of spending time in the presence of such exquisite beauty and unrestrained power. Standing on the ground next to a horse and sharing an intimate moment as two equals invokes a feeling of intense awe and reverence. It’s these kinds of feeling and these kinds of experiences that really inspire me.
Is there a work/body of work that you are particularly excited about sharing with us at RISD Craft this year?
Recently, I’ve been creating a lot of bird of prey prints that I’m pretty excited about. Birds of prey seem to be my current animal fixation at the moment.
To see more of Alicia’s work, visit wolfjawpress.com
RICKY BOSCARINO
Ricky Boscarino
[1982, Jewelry + Metalsmithing]
Based in New Jersey
Ricky Boscarino’s RISD Craft Gallery
My jewelry work is created by the repoussé method as well as traditional fabrication. Sterling silver and bronze are my main materials. I also incorporate found objects and antique glass stones.
What are some of the most important practices for your creative process?
Channeling sources of inspiration is my most important practice. Since I live and work in my great work in progress which is my home and studio every day is an adventure in creativity. I have the ability to switch media from metal, clay, glass, wood and cement and many others which I dabble. My work is mixed media and this is one of my most important practices.
How does your current creative practice tie into your time spent at RISD?
I look back on my years at RISD as incredibly productive and inspiring. I feel just as inspired as ever and even more so that I am passionate with my current work. RISD showed me the abundance of creativity which I carry with me everyday.
Tell us about some of your main sources of inspiration.
My home Luna Parc is my main Well-Spring of inspiration. It is my 30 year obsession. Since 1989 the house and grounds have been developed by me into a museum and sculpture park.
Is there a work/body of work that you are particularly excited about sharing with us at RISD Craft this year?
My articulated insect jewelry pieces are certainly my most favorite to make. Since my youth I’ve been an entomologist and now as a working artist I have incorporated this concept into my work. The insect pieces are made of sterling silver and bronze. The appendages, head, thorax and antennae are fully articulated with minute rivets. These I consider my signature pieces.
Any recent press, exhibitions, achievements or awards you’d like to share with us?
I’ve been featured on several home shows on HGTV for Luna Parc: Extreme Homes, Home Strange Home, Extreme Cribs. Also on TLC on a show called Four Houses and on a Canadian TV show called Home Work.
To see more of Ricky’s work, visit lunaparc.com
ELANA CARELLO SWEATERS
Elana Leanna
[1984, Apparel Design]
Based in Cranston, RI
Elana Carello’s RISD Craft Gallery
I like to create whimsical and unique knitwear with a retro influence. I love designing sweaters because you can design the entire garment. For me, designing sweaters is the closest an apparel designer comes to fine art. I want my sweaters to be wearable art in the most tasteful way. I want them to feel good as well as make the wearer look good and be happy – the first reaction when customers see my sweaters is always a smile. My process begins with my sketching the sweater, choosing yarn and colors and deciding how to knit the fabric. I create a life-size layout and decide on type and size of the yarn. I often knit a first swatch or prototype and then instruct my partner how to knit the garments on jacquard machines; this includes gauge, stitch, number of ends of yarn, and specifications for each size and garment. Everything is done under my instruction and supervision in the USA.
Tell us about some of your main sources of inspiration.
I’m inspired by so many things. Pop culture, music, and art all contribute to my desire to create. The work of the great fashion designer Karl Lagerfeld, is perhaps the most inspiring, tho. After I watch a Chanel fashion show, I’m dying to sketch.
How does your current creative practice tie into your time spent at RISD?
I’m always thinking about what I learned at RISD, especially from Professors Lorraine Howes and Marie Clarke. Their words, advice, and the work ethic they taught me are still with me.
Any recent press, exhibitions, achievements or awards you’d like to share with us?
Our sweaters were featured in the last season of The Mindy Project. I’m including my early rough sketches here.
Is there a work/body of work that you are particularly excited about sharing with us at RISD Craft this year?
Yes. I decided this year to design a sweater that did not have any of my signature patterns, and that also incorporated woven material. As a small company, I have to be cautious about taking risks, but I’m very excited about this one.
Anything else you’d like to share?
I’m so happy to be back at the Sale.
To see more of Elana’s work, visit elanacarellosweaters.com
DWRI LETTERPRESS
Dan Wood [1994, Printmaking]
Alums also at DWRI:
Lois Harada [2010, Printmaking] +
Hope Anderson [2013, Printmaking]
Based in Providence, RI
DWRI Letterpress is a custom letterpress shop based in Providence, RI. We specialize in fine art edition printing, stationery, pencils and paper goods. DWRI is a team of three RISD alumni balancing traditional letterpress techniques with a contemporary aesthetic.
Tell us about some of your main sources of inspiration.
I’ve always been interested in multiples and began working as a press operator in commercial offset lithographic printing for ten years after art school. I was also printing my own work on letterpress presses at the same time and founded Garbaszawa Press in 1994 to print a mix of letterpress and offset books and print for myself and other artists. I reestablished the business in 2002 as DWRI Letterpress focusing solely on commercial letterpress printing. There are so many printers and printmakers who have inspired me along the way, but particularly artist’s like Saul Steinberg who worked on that line between fine art and world and the world off mass production.
Is there a work/body of work that you are particularly excited about sharing with us at RISD Craft this year?
We’re excited to debut our new line of cards for all occasions or just everyday. We’ve also got some great new notecards and stationery sets as well as some editioned art prints from shop and in collaboration with local artists.
Any recent press, exhibitions, achievements or awards you’d like to share with us?
We had a spotlight feature in the summer in the Providence Business News. It was a great platform to share our work and has led to some interesting follow up calls.
Dan has had work featured in Art in Print, a publication specializing in fine art printing. His print “Emanuel 9” has also been purchased by Wheaton College.
Hope completed a stunning animation for local band Mountainess earlier this year. Doe-Eyed Nightling is available to view online and Mountainess performs with a recently released side scrolling animation also designed and produced by Hope.
Lois completed a show at World’s Fair Gallery of two color letterpress prints in June.
To see more from DWRI visit dwriletterpress.net
ELYSE ALLEN TEXTILES
Elyse Allen
[2000, Textiles]
Based in New Mexico
Elyse Allen Textiles RISD Craft Gallery
I make fine knit accessories – hats, scarves, and fingerless gloves. I find the best materials I can, because they’re worth it and they last, and make the work by hand where I live because it’s better for the work and better for my neighborhood. I love to mix yarns, to play with colors and patterns, and to make them all explode a little bit with some sparkle and gleam. Cashmere gives beauty, warmth and durability; Swarovski crystals activate the surface, adding depth and motion. I try to make my pieces special to be near, like reuniting people with their long-lost favorite thing.
What are some of the most important practices for your creative process?
Meditation helps me create space needed for the creativity to arise. Hiking and walking in nature are also integral.
How does your current creative practice tie into your time spent at RISD?
The drawing and sketchbook practice are still an important part of my creative process. The freshman year full of Drawing class and the year in Rome with EHP (96-97) were really formative in learning to use drawing to work through ideas on paper.
Tell us about some of your main sources of inspiration.
Nature for color and pattern and traveling the wide world around!
Is there a work/body of work that you are particularly excited about sharing with us at RISD Craft this year?
I’m excited to show my new collection of colorful cashmere embellished fingerless gloves!
Anything else you’d like to share?
I recently left my home and studio in Manhattan and moved out to the beautiful desert in New Mexico!
To see more of Elyse’s work, visit elyseallentextiles.com
WANDERLUST CERAMICS
Craig Crawford
[1981, Textiles]
Based in Jamestown, RI
Wanderlust Ceramics’ RISD Craft Gallery
My ceramic pieces are made from hand rolled slabs which are silkscreened in one color and then formed over plaster molds. More colors can be added after the first firing. I use images from old copper etchings or engravings as well as hand drawn background patterns to create my silkscreens. This technique allows the images to be layered or areas to be masked out and other designs dropped in. Many of the images I use relate to Natural History. I am inspired by the botanists of the 17th and 18th centuries and their skill of recording their detailed observations.
How does your current creative practice tie into your time spent at RISD?
Although I currently work with clay, previously I was a Jacquard fabric designer for 10 years. I use a silkscreening technique which I learned during my time at RISD and incorporated that as well as hand drawn fabric designs into my clay pieces. RISD prepares you to be creative across different mediums, no matter what your major.
Tell us about some of your main sources of inspiration.
I am particularly fascinated with the botanists of the 17th and 18th centuries and their cabinets of curiosities. The Nature Lab at RISD, which is an amazing cabinet of curiosity, was one of my favorite places to spend time and I was lucky enough to have a work study there.
Is there a work/body of work that you are particularly excited about sharing with us at RISD Craft this year?
I started making ceramic sconce lighting last year and will be showing these new pieces as well as my tabletop collection.
Any recent press, exhibitions, achievements or awards you’d like to share with us?
Two pieces were featured in the Rhode Island Monthly magazine under local artisans in the Home Design 2018 edition. In 2017 I was awarded a RISCA grant to participate in the show Object of my Affection with 2 other artists at the TF green Airport which was up for 3 months.
To see more of Craig’s work, visit wanderlustceramics.com
DaVINE JEWELRY
Danielle Vaillancourt
[2002, Jewelry + Metalsmithing]
Based in Somerset, MA
DaVine Jewelry’s RISD Craft Gallery
Utilizing forms and textures from leaves grown in my herb garden, shells I’ve gathered, and other natural objects from my collection, I work mainly in sterling silver and bronze with semi-precious stones and pearl accents to create jewelry to bring people closer to nature. My work incorporates traditional metalsmithing techniques combined with fine metal clay work, and consists of small production lines, one of a kind pieces, and custom commissions. When the use of casting is needed for my small production lines, I carefully create each original model myself before bringing it to the caster to be molded and cast, and then use those castings to create finished and refined pieces of work.
With my jewelry, I hope to show people the details and beauty I see in the natural world, allowing them to carry these objects with them as wearable sculptures, reminding them of things often overlooked and taken for granted in everyday life. My goal is to bring people closer to nature, helping them feel more connected when they glance down at the ring on their hand or reach up to touch the pendant around their neck.
What are some of the most important practices for your creative process?
Finding time to be outside in nature, even when I feel like there are other “more important” things I should be doing is the key to fueling my creativity. I’ve been slowly building up my backyard garden area to be a creative and relaxing haven, and during the warmer months I spend a lot of time out there, finding inspiration and peace as I tend to my plants. Some of my most recent best ideas for new work have come to me while I’ve been out there gardening!
How does your current creative practice tie into your time spent at RISD?
During my time at RISD, I began working with nature objects for inspiration in my jewelry. My senior thesis project focused on using acacia seedpods and seashells recreated in metal for their intriguing and unique shapes and textures. I enjoyed creating work focused on showing them in a way that really made people look at the details of these beautiful natural objects. Nature remains the primary focus of my work, and I still include a few pieces in my lines that I started developing while I was in school. Our professors always drove home that small details mattered and could make even the simplest pieces more extraordinary, and that is something that I carry with me to this day.
Tell us about some of your main sources of inspiration.
My main source of inspiration is the natural world, and I spend a lot of time paying attention to all the details around me. I have an ever-growing collection of nature objects, and I’ve learned to always take containers or bags along with me to collect things in whenever I go on an outdoor adventure.
I love to go to the beach during the times when there’s fewer people around and it’s quieter so I can explore and find new treasures to inspire my jewelry. My backyard is full of plants whose leaves, flowers, and seedpods I draw tons of ideas from, including the sage plant that has inspired an entire line of work.
Is there a work/body of work that you are particularly excited about sharing with us at RISD Craft this year?
One of the new lines of jewelry I’m working on this summer is based on the leaves of a lupine plant (Miss Rumphius, anyone?!). I’m especially excited about it because, recreated in metal, they have an almost floral, bloom-like quality to them. Like the acacia pods I’ve worked with, which many people think look like waves, I love that they look a little bit like something more than simply a leaf.
Anything else you’d like to share?
With my jewelry, I hope to show people the details and beauty I see in the natural world, allowing them to carry these objects with them as “wearable nature”, reminding them of things often overlooked and taken for granted in everyday life. My goal is to bring people closer to nature, helping them feel more connected to it when they glance down at the ring on their hand or reach up to touch the pendant around their neck.
To see more of Danielle’s work, visit davinejewelry.com
ANNA BOOTHE
Anna Boothe
[1981, Sculpture]
Based in Pennsylvania
Anna Boothe’s RISD Craft Gallery
The work I will show at RISD Craft is comprised of individually crafted, one-of-a-kind sculptural vessels, flacons, “talismans,” beads and other decorative objects. With technical inspiration taken from the late 19th C. – early 20th C. French glass-casting technique known as pate de verre, all are constructed of brilliantly colored glass elements, kiln-cast from lead crystal via the lost-wax casting process, then ground, hand-polished and assembled.
Conceptually and visually, the objects elicit a sense of history and ritual. Formally, their prompts derive from antiquity and nature. The resultant composite forms interpret symbols from a variety of sources. Prominently featured in many pieces, the hand motif represents a ubiquitous cross-cultural human tool of communication through its emblematic gestures of friendship, generosity, holding, letting go, etc.
How does your current creative practice tie into your time spent at RISD?
My experience at RISD set the foundation for my ongoing practice – through challenging and helping to develop my resolve to keep at it and pursue a life grounded in the arts. Friendships made at the time keep circling back to support and strengthen what I do now. At RISD I studied Sculpture, and combined with what I learned in the great studio and art history electives I took, I don’t think I could’ve started my career with a better critical and practical overview of what lay ahead. Several of those electives were in the Glass Department; those classes sparked a connection to the material that is now central to my work.
What are some of the most important practices for your creative process?
By practices, I’m assuming the question refers to techniques I use in fabricating my work. I cast glass using the lost wax process. All of the work is made from crushed lead crystal that gets melted in one-use molds – that which is hand or machine finished/polished and assembled. Some of the work is created using a more refined version of this process: pate de verre ( late 19th C. French casting technique that traditionally relied on the casting of colored glass powders). Other than actual art-making practices, my regular and longterm yoga practice greatly informs my hands-on and conceptual approach to how I work – mostly around patience (it’s glass! it breaks all the time!) and the intensely long and tedious process I use.
Tell us about some of your main sources of inspiration.
The work that I plan to show at RISD for the October market is inspired by iconography from a variety of cultures. Many of the objects I create are extrapolations or interpretations of Buddhist symbols and forms, as well as those from ancient Mediterranean civilizations…..and from object-memories from my travels and research. A lot of the objects are an outgrowth of a large collaborative project I’ve been involved in since 2012, initiated through a Collaborative Residency at the Corning Museum of Glass. The result of that project, “Between Seeing and Knowing” – an approx. 50′ long x 11′ high installation comprised of 300+ glass elements – has been shown at Accola Griefen Gallery in Chelsea (2013), Philadelphia Art Alliance (2017), and the Philadelphia International Airport (2018).
Any recent press, exhibitions, achievements or awards you’d like to share with us?
In addition to the current exhibit I have with my collaborative partner Nancy Cohen at the Philadelphia International Airport (through July, 2018), she and I have a collaborative exhibit opening in October at the Arts Council of Princeton (NJ). In addition I’ll be participating in 2018 Fall exhibits at the Albuequerque Museum of Art, Wayne Art Center (PA) and will be showing at the Philadelphia Museum of Art Craft Show.
To see more of Anna’s work, visit annaboothe.com
INDIVIDUAL ICONS
LeeAnn Herreid
[1991, Jewelry & Metalsmithing]
Based in Warren, RI
Individual Icon’s RISD Craft Gallery
LeeAnn Herreid‘s jewelry is something the 21st century traveler should never be without. Compass rings and pendants set in sterling silver ensure you never lose your way, spirit level earrings keep you in balance, stainless steel ruler bracelets give you the measure of things, and thermometer earrings keep you cool. These are just some of the pieces in Herreid‘s line of functional and innovative jewelry; more than just decorative, they are pieces with purpose.
For several decades, LeeAnn has been making custom work and one-of-a-kind pieces out of sterling silver, stainless steel, 18 karat gold, and platinum. This technically complex work inspired her to achieve a Graduate degree in gemology at the highly esteemed Gemological Institute of America.
LeeAnn‘s work is available in galleries and museum shops throughout the United States and abroad. Her pieces have been praised internationally and featured in numerous magazines & multimedia. She is an Accredited Jewelry Professional with 30 years at the bench.
What are some of the most important practices for your creative process?
A well thought out and streamlined design is very important to me. To distill the idea into the most important elements and to strip away everything that is superflous to the idea is very important in the finished product. To make clean, wearable and well constructed work is my primary mission.
How does your current creative practice tie into your time spent at RISD?
Every single day I use what I learned at RISD: challenging myself to make a cleaner, stronger design, paying attention to the minutiae of detail which differentiates good jewelry from the great. The connections and constructions are all clean and well thought out.
Is there a work/body of work that you are particularly excited about sharing with us at RISD Craft this year?
The pieces I have recently been making for the Metropolitan Opera are exciting to me. I have been using the fabric from their costume department and making all sorts of jewelry with it, embossing (rollerprinting) the original fabrics into sterling silver. One of the fabrics I have been working with often is the original golden silk curtain from the Metrolpolitan Opera’s first opening night at the Lincoln Center in NYC.
Any recent press, exhibitions, achievements or awards you’d like to share with us?
Have a piece on tour with the “Innovative Merger of Art and Guns”, a show curated by Boris Bally. The show was first opened at the Society of Arts and Crafts in Boston, and is currently on exhibit in St. Louis. 100 metal Artists were each sent an inoperable handgun that was confiscated or bought back by the police Department in Pittsburgh. We were asked to make a piece of art out of some part of the gun. I made a squash blossom necklace (A traditional Native American/ Navajo jewelry Design). The squash blossom necklace has spun off into several different ideas and pieces. I will be submitting some of these for a competition for the RI Coalition against Gun Violence. Hopefully, it will make a difference!
To see more of LeeAnn’s work, visit individualicons.com