Fiber Art Colorado 2025 Invited Artists

1. “Oculus”

Robin Beattie, Littleton

Turned edge appliqué quilt, cotton fabric

My work explores the emotional language of color, texture, and shape, translating moments, memories, and feelings into bold compositions, primarily abstract. Each piece is stitched together not just with thread, but with intention—layer by layer, scrap by scrap—until it speaks. I am drawn to the tactile nature of textiles and the endless ways they can be transformed—cut, folded, layered, sewn—into something entirely new. My approach is spontaneous yet intuitive, allowing color and form to guide the design rather than strict planning. For me, the ultimate compliment is for a viewer to be so drawn in that they want to touch its surface. Though rooted in quilting traditions, my work steps beyond functionality into the realm of visual art. These pieces are not meant for beds but for walls. They are my response to the world around me—vibrant, chaotic, and deeply human.

2. “Topography”

Linda Behlen, Winter Park

Indigo Hand Dyed cotton using Traditional Japanese Shibori resist techniques, Fabric Stiffener, Sashiko Thread, Canvas Stretcher.

A fascination with the Japanese art of Shibori coupled with the beauty of the Rocky Mountain West results in iconic themes interpreted through this ancient art form. It used to reference the high peaks of the Colorado Rockies. Typically after fabric is bound and dyed, it is pressed flat to reveal the resisted design. For “Topography”, instead, the unbound fabric is allowed to retain its structural qualities resulting in an alternate but equally interesting 3D visual experience.

3. “Aspen Leaves”

Linda Behlen, Winter Park PARK

Shibori Tapestry/Scroll/Wall Hanging. (NOT A QUILT) Indigo Hand Dyed cotton using Traditional Japanese Shibori resist techniques

An aspen tree surrenders its leaves, they float upon a mountain stream. Serenity, Beauty, Calmness, these are the abiding themes of my work, reflective of my life at 9000 ft in the Colorado high country, expressed using Shibori techniques. A fascination with traditional Japanese art of Shibori coupled with the beauty of the Rocky Mountain West results in iconic themes interpreted through this ancient art form.

4. “Lidded Basket”

Al Canner, Boulder

Knotted cords of hemp (predominantly), cotton, and rayon

During a visit to the The Textile Museum in D.C., I saw a lidded Ghanaian basket highlighting colorful squares sparsely displayed along graciously shaped sides. The predominant background was a natural-toned reed, crafted in wide strips. When I got home, I set to work immediately, inspired by the shape and pattern I had seen; however, I chose a vibrant aquamarine color for the background, used 1mm cord, and re-imagined the lid altogether. The basket started in the center of the bottom and, after reaching its full diameter, began its coiling climb. The courses of knots actually grew down; I worked with the basket inverted, suspended from a metal bowl with a cardboard collar into which I could secure the form with T-pins as I knotted. It took six months of mostly four-hour workdays—no doubt why knotting isn’t the technique of choice for basket-making.

5. “Clover Patch”

Honorable mention

Al Canner, Boulder

Knotted cords of cotton, nylon, and polyester

Clover Patch was inspired by its “spring green” satin cord, shimmering like the soft breeze in the newest of grasses. And once spring had asserted itself, a form suggestive of cloverleafs was soon pinned to the corkboard. Could I insert squares of color into that undulating form? Like all my work, this piece relies solely on the repetitive use of the humble double half- hitch. It retains its shape solely from the power of the abutting knots.

6. “Food for Worms”

Mia Conley, Denver

Handmade SCOBY Leather, bees wax, and iron pigment

We are food for worms; a few billion bacterial organisms held together by magnetism and meat. These experimental textiles, made from homegrown SCOBY leather, were once alive, feeding on cheap sangria and butterfly pea tea. Marked by beeswax and iron, they carry the poetry of our cyclical, fractal realities. I’m drawn to the tension between disgust and comfort that arises when we work with living, biological matter. In this space, art-making and scientific inquiry become parallel pursuits — both rooted in observation, attention, and devotional curiosity.

7. “Heartland Sunset”

Shelly DeChantal, Littleton

Handmade paper, silk, cotton floss. Hand papermaking, silk painting, piecing, hand stitchery.

“Heartland Sunset” invites the viewer to look more closely at what is often called “flyover country.” The undervalued mid-continent prairie eco-system conceals unknown resources and a unique character. Grasses are the main sustenance for the majority of earth's mammals, including humans. My work is a visual expression of my search for a deeper understanding of the interdependence of all living beings and material elements. By closely observing the natural world I strive to develop a more profound appreciation of the dynamic forces that support life. My creative process is rooted in the slow meditative practice of making objects with my hands, reveling in the tactile nature of my chosen media. Manipulating cloth, paper, thread, reed, wire, beads is a perpetual dance between intention and response, control and release. The repetitive acts of pounding plant fibers into pulp, pulling sheets of paper from a slurry of fiber, stitching threads through surfaces, weaving reed into a form cultivates a more conscious knowing that is deeply satisfying.

8. “Endangered”

Shelly DeChantal, Littleton

Handmade paper, silk, linen, paper yarn, cotton floss. Paper-making, spinning. paper yarn, stitchery.

“Endangered” speaks to the ability of prairie grasses to sequester large amounts of water, carbon and essential minerals in their extensive root systems. Living in harsh arid conditions, indigenous grasses have survived the onslaught of invasive species in a rapidly changing environment. My work is a visual expression of my search for a deeper understanding of the interdependence of all living beings and material elements. By closely observing the natural world I strive to develop a more profound appreciation of the dynamic forces that support life. My creative process is rooted in the slow meditative practice of making objects with my hands, reveling in the tactile nature of my chosen media. Manipulating cloth, paper, thread, reed, wire, beads is a perpetual dance between intention and response, control and release. The repetitive acts of pounding plant fibers into pulp, pulling sheets of paper from a slurry of fiber, stitching threads through surfaces, weaving reed into a form cultivates a more conscious knowing that is deeply satisfying.

9. “The Village”

Peggy Dietz, Littleton

Linen, embroidery floss, French Knots

A photo I took in Italy of a village was post-processed using photoshop, morphing it into a fluid, fanciful design . Then I traced the image on a piece of linen, placed it in an embroidery frame and recreated the scene making very tightly packed French Knots.

10. “Poseidon Memorial Post-2024”

Jane Dupree, Cedaredge

Experimental hand-felted 3D Shibori and hand-spun techniques. Navajo Churro and Merino wool, silk & cotton, tencel fibers

Poseidon Memorial. Post-2024 Imaginarium visit to the Great Barrier Reef as warming sea waters caused bleaching/ dying of the coral reef

11. “Poseidon’s Chamber. Great Barrier Reef Pre-2024”

Jane Dupree, Cedaredge

Experimental hand- felted 3D Shibori & hand-spun fibers. Navajo Churro & Merino wool, silk, tencel, cotton, mohair, seagrass fibers

Poseidon’s Chamber. My Imaginarium conceptual visit to the Great Barrier Reef pre-2024, before warming sea water began to seriously endanger coral reef life all around the globe.

12. “A Circle Of Stones III”

Tracy Eagle, Highlands Ranch

Raw Edge Appliqué, machine quilted, hand finished. Batiks, cotton quilting fabric, batting, thread.

Artist Statement: Nature provides the smallest, simplest ways for me to relax and achieve a sense of balance. These quilts depict circular arrangements of fabric that represent stones; each chosen and placed in a balanced manner, representing a small meditation.

13. “Pathways”

Nancy Eastman, Boulder

Handmade paper and cotton/silk thread.

The paper inspired me

14. “Ocean freight”

Nancy Eastman, Boulder

Handmade paper, and cotton/silk thread.

The paper inspired me

15. “Spot”

Karen Eberle-Smith, Wheat Ridge

Handmade paper, embroidery

“Spot” was created using molds wrapped with pressed paper pulp sheets. Embroidery was used to sew Spot together. This work may evoke an alien landscape or something under the sea. For me, it was a spontaneous creation to provoke joy.

16. “Spring”

Karen Eberle-Smith, Wheat Ridge

Handmade paper, pulp painting and stencils

Created by making a sheet of paper from paper pulp. Techniques such as pulp painting and stencils were added to form the images. The paper process lends itself well to creating dream-like qualities open to viewer interpretation.

17. “Lions Mane Bunshrooms”

LeAnn Fenton, Centennial

Dry felting on canvas

Drawn from the flowing, shapeless beauty of the lion’s mane fungus. This one is reaching out. Dry felting on canvas.

18. “Fancy Green Market Basket”

Eileen Flanigan, Highlands Ranch

Natural and colored reed, sea grass and white oak

My art life began as a sculptor of clay and has evolved to include basketry, enameling, paper arts and woodworking. I find am drawn to projects which involve a component of engineering to bring the piece I envision to life. Seeking to continually grow in my skills, I often seek opportunities to marry multiple mediums into a single piece. My basket skills evolved as a result of weaving clay, copper, papercraft and anything else that lends itself to the process of weaving. There are so many aspects to learn and I find every bit of it engaging and interesting. The Fancy Green Market Basket is really striking and noticeable when taken to a farmer’s market! The D style swing handles allow for items to go into and come out of the basket with ease. Basketry is a less popular craft in Colorado so I am hoping to show the variety of useful and beautiful baskets that folks can make!

19. “Night Sky Tote”

Eileen Flanigan, Highlands Ranch

White oak, natural reed, dyed reed, leather

My art life began as a sculptor of clay and has evolved to include basketry, enameling, paper arts and woodworking. I find am drawn to projects which involve a component of engineering to bring the piece I envision to life. Seeking to continually grow in my skills, I often seek opportunities to marry multiple mediums into a single piece. My basket skills evolved as a result of weaving clay, copper, papercraft and anything else that lends itself to the process of weaving. There are so many aspects to learn and I find every bit of it engaging and interesting. The Night Sky Tote begins with a white oak bottom. I usually weave the bottom of my baskets, but thought I would try a different technique with this one. The stars in the Night Sky are woven in reverse colors which really highlights the theme of the basket. This is a very sturdy tote, perfect for carrying lots of goodies.

20. “Smocking”

Jeanne Gormley, Castle Rock

Fabric, smocking

Silver framed smocked fabric. Soft fabric of blue, purple, yellow and silver threads with a “Monet” look.

21. “High-Country Color #8”

Michele Hardy, Silverthorne

Surface design, machine stitching. Hand-dyed/painted cotton/silk fabrics dye, paint, assorted threads.

Inspired by colors and structures found in nature, maps and aerial views, I combine blocks of color with grid structures inspired by to create an abstract landscape. Surface design, machine stitching. Hand-dyed/painted cotton/silk fabrics dye, paint, assorted threads.

22. “Circles #51”

Michele Hardy, Silverthorne

Surface design, machine stitching. Hand-dyed cotton fabrics, printed cottons, fiber reactive dyes, acrylic paints, assorted threads.

I love color and fabric and circles. Portraying features at different scales and using vibrant color and contrast, I create a new world of abstract forms that combine to make a whole. Surface design, machine stitching. Hand-dyed cotton fabrics, printed cottons, fiber reactive dyes, acrylic paints, assorted threads.

23. “I Do What I Want”

Heather Hauptman, Wheat Ridge

Embroidery on second hand dress

I find working with everyday clothes and household textiles disarming. Embroidering on them is a way to express my deepest held beliefs fearlessly. A way to push back without having to shove. A way to draw the viewer into a difficult conversation, before they realize they’re even talking. It is also a way to constrain myself. A way to confine my imagination into the seams of a dress or a pillow case. To divorce myself from the anxiety of a blank canvas. My work takes me tens of hours to complete. I often lose myself in the tedium of the process. The sound of the needle punching a hole, and the friction of the thread passing through. It allows me time to ruminate on what I’m trying to say. And to build up the courage to say it. I Do What I Want is a response to JD Vance's comments about childless cat ladies.

24. “Fluid shapes”

Janey Hubschman, Westminster

Fabric with hand stitching and embellishment

Four Stitched Leaves. I draw with scissors, letting my scissors cut spontaneously. Inspiration often comes from nature. Fabric shapes are then hand stitched and embellished. I chose this project for my 100 day challenge and found the stitching to be a soothing activity.

25. “After The Fire”

Sandee Jasstad, Buena Vista

5/2 mercerized cotton

I am a Colorado native and have been weaving for over 40 years. “After The Fire” piece was inspired by all the tragic wildfires not only in Colorado but also by the tragedies across our country and the world. Nothing but devastation is left after a fire and this burned skeleton of a tree against the background colors of a raging and out-of-control fire symbolizes this destruction.

26. “The Well Dressed Bag Lady”

Sandee Jasstad, Buena Vista

Woven recycled grocery store bags, fabric, sewing

I am a Colorado native and have been weaving for over 40 years. The inspiration for the “The Well Dressed Bag Lady” stunning outfit came from the current emphasis on recycling – what could I do with the ever present Walmart bags? The bags were flattened and cut crosswise into 2” strips which were circles. They were joined together by looping them through each other and then wound onto a large rag shuttle. The jacket and purse were woven in a twill pattern using the strips. The dress was sewn using commercial white fabric and was embellished with more of the same strips, separated, and flattened out by finger pressing. Please note: I did NOT purchase enough items to fill these bags, most were donated to me!

27. “Free Spirit/Unity”

Karen Maria Kenney, Denver

Raw edge and traditional quilting using repurposed fabric scraps, yard sale lace, silk embroidery floss and paper.

A flow of studio magic…emptying the bins of little scraps from previous projects…a sudden recognition of the immense beauty of color/textures shapes and sizes of the trashed bits. Layering, fitting, stitching, supporting, combining…being in flow at thrift sales finding items to add. Represents value/inclusion of all individuals in community AND loving inclusion of every aspect of ourselves, a coherent somewhat patched-together whole.

28. “Balance”

Karen Maria Kenney, Denver

Mixed fiber raw edge collage, artist rendered Inktense birds, and monofilament surface weaving using metallic threads

Balance:Fiber collage using artist drawn birds, commercial and hand dyed fabrics, stencil printing, monofilament 'warp' thread sewing and surface weaving with metallic threads on top. Private, personal connection, quiet juxtaposed with the chaotic buzz of our outer worldly activities.

29. “Still Life After Rosina Helena Furst, ca. 1660”

Sabena Kull, Arvada

Handwoven cotton, cotton crochet thread warp and weft

Still Life After Rosina Helena Furst, ca. 1660 (Sabena and Rosina Collaborate) Handwoven on homemade inkle loom with pick-up patterning in jin (warp-faced compound tabby) using #10 cotton crochet thread warp and weft. Imagined, playful collaboration across time and space with a historical female artist

30. “Garden of Many Colors”

Janice Larson, Louisville

Mixed media textile, images of artist’s own artwork, paper, stitching, beading, images, markers

My mixed media textile work contains a variety of materials and digitally printed images of my own artwork. I experiment with new and different combinations of these materials to create new visual surprises. Instead of fabric, I use many different types of paper, cutting and ripping to achieve the look I want. I then overlay with stitching, beading, images, markers and other techniques. I have an overall plan for each piece of art that I begin, but I like to create the details and color combinations spontaneously as I work.

31. “The Light in You is All I See”

Annie Lay, Colorado Springs

Repurposed vintage quilts, fabric, lace, linens, and beads

Hand and machine stitching and embroidery using vintage quilts, repurposed clothing, fabric, and beads. In the “The Light in You is All I See” piece, I was thinking about how at our core, we are all the children we once were. It's about honoring that inner child, and the light that makes us who we are.

32. “The Choices We Make, the Paths We Take”

Annie Lay, Colorado Springs

Repurposed vintage quilts, fabric, lace, and linens

Hand and Machine Stitching and Embroidery using vintage quilts, linens, and fabric. In the “The Choices We Make, the Paths We Take” piece, I was thinking about how our paths and choices in life shape who we are and how the process of figuring out our lives is both light and dark, with moments of both joy and pain.

33. “Becoming Undone”

Sue Lewis, Arvada

Found objects, paper, heat distressed metallic ribbon, cording, waxed linen thread and yarn

My textile work is largely inspired by surface designed fabric, original photos and the beauty of nature. My art pieces incorporate hand-stitching and I use a wide variety of textiles, including vintage fibers, hand-dyed or painted fabric, wool, Tyvek, dryer sheets and organza. I often include found objects, wire, feathers, paper, mica, twigs and clay. My intention is to connect with the viewer and draw them in for a closer look by presenting unusual imagery or materials. Repurposing is a strong pathway enabling me to connect the past with the present. I value the unnoticed or unobserved and seek to celebrate beauty and encourage the unique spirit within us. "Becoming Undone” focuses on deterioration of found objects and the sense of incompletion. My artwork often celebrates the imperfection of nature in it's various life cycles. The paper leaves indicate the beauty of going away or erosion and passing on to a different physical state. The incomplete basket symbolizes ""undoing"", falling apart or not staying the same. My sense of the current environment felt like a loss of many accepted ideologies, of cultures and moral tenets. I have used found objects like a branch, rusted wire and vintage crochet. Other materials include paper, heat distressed metallic ribbon, cording, waxed linen thread and yarn.

34. “When Tea Pots Dream”

Pamela MacGregor, Grand Junction

Hand Made Felt, Glass bulb, Assorted Seeds, Devil’s Claw Pod, Hand Sewn beads, Embroidery, Plexiglass stand with metal posts

I am a Fiber Artist that is inspired by nature and up-cycled objects. I am compulsive in collecting seed pods, shells, interesting twigs, bones, old laboratory glass and much more. These wonderful objects very often find a home in one of my works. It is my way to honor nature and reuse what others have thrown away. “When A Tea Pot Dreams” made from hand-made felt, glass bulb, assorted seeds, Devil’s Claw pod, hand-sewn beads, embroidery, and has a plexiglass stand with metal posts.

35. “Osteo Botanica”

Pamela MacGregor, Grand Junction

Vintage Chemical Bottle, Eco Printed Handmade Felt, Snake Vertebrae,Hand sewn beads, Embroidery, Reclaimed Metal Stand

I am a Fiber Artist that is inspired by nature and up-cycled objects. I am compulsive in collecting seed pods, shells, interesting twigs, bones, old laboratory glass and much more. These wonderful objects very often find a home in one of my works. It is my way to honor nature and reuse what others have thrown away. “Osteo Botanica” made from vintage chemical bottle, eco printed handmade felt, snake vertebrae, hand-sewn beads, embroidered with reclaimed metal stand.

36. “Gazing At The Moon”

3rd place

Pamela MacGregor, Grand Junction

Felt, Ceramic face, Horse Hair, hand beading, found wood, Found bones, Devils /Claw Pods, Dyed Monofilament, Stone

I am a Fiber Artist that is inspired by nature and up-cycled objects. I am compulsive in collecting seed pods, shells, interesting twigs, bones, old laboratory glass and much more. These wonderful objects very often find a home in one of my works. It is my way to honor nature and reuse what others have thrown away. “Gazing At The Moon” created from felt, ceramic face, horse hair, hand beading, found wood, found bones, Devils Claw pods, dyed monofilament and stone.

37. “Flatirons”

Tara Manning, Lafayette

Handmade Felt (needle felt, wet felt, felt appliqué), Hand Embroidery Hand dyed wool, hand dyed hand spun wool yarn, hand dyed prefelt

My love of deep texture, creating color and comfort are the core of my work. My life as a maker began when I was a small child when I painted and stitched on everything. I used to think I needed to pick one medium and stick with it. Now I realize I can do all the things all at the same time. I love to combine paint, stitch textiles and wool-craft. I acknowledge that the flow state itself is a co-creator of everything I make, and the contemplative aspect of making moves me forward. I also find nourishment through teaching others to make with their hands. The synergy of sharing my passion coaxes my own curiosity and evolution. Growing up in Boulder, the stunning beauty of the iconic Flatirons were a constant backdrop that I could never take for granted. They provided me with a deep sense of place. Regardless of the many people who come and go and the challenges and changes Boulder goes through, the beauty of the Flatirons will always remain.

38. “Teatime”

Tara Manning, Lafayette

Handmade Felt (needle felt, wet felt) Hand dyed wool, wool prefelt

My love of deep texture, creating color and comfort are the core of my work. My life as a maker began when I was a small child when I painted and stitched on everything. I used to think I needed to pick one medium and stick with it. Now I realize I can do all the things all at the same time. I love to combine paint, stitch textiles and wool-craft. I acknowledge that the flow state itself is a co-creator of everything I make, and the contemplative aspect of making moves me forward. I also find nourishment through teaching others to make with their hands. The synergy of sharing my passion coaxes my own curiosity and evolution. Tea and teatime are among my dearest companions. No matter what the world hands me, cup of tea makes it all better. Of the many tea pots and tea cups in my collection, these are my favorite. Old friends, bringers of relief, ritual objects. With the addition of a boiling kettle and my favorite blend – even if only for a brief moment – as is well again.

39. “Fall Leaf Pot”

Katherine Migaki, Lone Tree

Felted merino wool, recycled cotton & silk clothing.

“Fall Leaf Pot” is a hand built marino wool and recycled garment pot with the garment swatches serving as the fall leaves blown by a riotous wind across the landscape.

10. “Deconstruct to Reconstruct”

Megan Morgan, Louisville

Burlap, Acrylic Paint, Scientific Stand

As a Colorado-based multidisciplinary artist, I explore resilience, transformation, and reflection through the use of upcycled materials—most notably burlap. Often salvaged from used coffee sacks, burlap is a coarse and humble fabric that carries a rich history of labor and transport. In my work, it symbolizes struggle—both personal and collective—and serves as a tactile reminder of endurance, imperfection, and the possibility of change. Much of my artistic inspiration comes not only from lived experience, but from the emotional clarity found in reading and reflecting on literature. I see burlap as a parallel to the characters and ideas I encounter in books: weathered, layered, and imperfect—yet full of texture and meaning. Whether shaped into sculptural forms, sewn into layered compositions, or used as a printing surface, burlap allows me to explore vulnerability and strength simultaneously.

41. “Heliocentric”

Megan Morgan, Louisville

Found Object (Vehicle Spring Coil,) Burlap, Traffic Paint

As a Colorado-based multidisciplinary artist, I explore resilience, transformation, and reflection through the use of upcycled materials—most notably burlap. Often salvaged from used coffee sacks, burlap is a coarse and humble fabric that carries a rich history of labor and transport. In my work, it symbolizes struggle—both personal and collective—and serves as a tactile reminder of endurance, imperfection, and the possibility of change. Much of my artistic inspiration comes not only from lived experience, but from the emotional clarity found in reading and reflecting on literature. I see burlap as a parallel to the characters and ideas I encounter in books: weathered, layered, and imperfect—yet full of texture and meaning. Whether shaped into sculptural forms, sewn into layered compositions, or used as a printing surface, burlap allows me to explore vulnerability and strength simultaneously.

42. “La Sangre se Hincha 01”

2nd place

Megan Morgan, Louisville

Burlap, Traffic Paint, Science Support Stand

As a Colorado-based multidisciplinary artist, I explore resilience, transformation, and reflection through the use of upcycled materials—most notably burlap. Often salvaged from used coffee sacks, burlap is a coarse and humble fabric that carries a rich history of labor and transport. In my work, it symbolizes struggle—both personal and collective—and serves as a tactile reminder of endurance, imperfection, and the possibility of change. Much of my artistic inspiration comes not only from lived experience, but from the emotional clarity found in reading and reflecting on literature. I see burlap as a parallel to the characters and ideas I encounter in books: weathered, layered, and imperfect—yet full of texture and meaning. Whether shaped into sculptural forms, sewn into layered compositions, or used as a printing surface, burlap allows me to explore vulnerability and strength simultaneously.

43. “Equity Quilt”

Elizabeth Morisette, Fort Collins

Quilted Fabric

Equity Quilt is from a series of quilts I created inspired by words used during news coverage during the 2024 election and following events. It is made using quilted cotton fabric.

44. “Dream House (for Judith)”

Elizabeth Morisette, Fort Collins

Embroidery floss on Vintage Dollhouse

Dream House was created as part of my "Fix You" series of work, using fiber techniques to 'fix' the world. In this case, a vintage dollhouse. I used embroidery floss and hand stitching to fix the dollhouse.

45. “Bindweed”

Nancy Moseley, DENVER

Batik appliqué with fabric crayon accents

“Bindweed” is a fiber art portrait from Moseley's series of plant portraits illustrating the flora and fauna found in Colorado. Bindweed depicts the beauty of invasive, unwanted flowers crafted using batik fabric through the techniques of raw edge appliqué, quilting, embroidery and watercolor crayons.

46. “Death In Our Forests”

Barbara Olson, Boulder

Painted, machine quilted, appliquéd fabrics

“Death In Our Forests” made with painted fabrics, and machine quilted. Fabrics were hand painted, machine stitched and appliquéd in layers. I created this piece from observations of the effects of the pine beetle on the lodge pole pine forests in Grand County, CO.

47. “Marshall Fire Devastation”

Barbara Olson, Boulder

Dyed fabrics, painted Tarlatan, hand embroidery

"Marshall Fire Devastation” created with dyed fabrics, painted Tarlatan and hand embroidered. Fabrics were discharge dyed, dye painted, then sewn together. Tarlatan was painted and hand appliquéd with embroidery stitches. This is dedicated to the tragic destruction of over 1000 homes from the December 30, 2021 wind driven fire in Boulder County.

48. “Beholder II”

Antoinette Peshek, Denver

Beaded hand-knitting mounted on acrylic-painted canvas, crochet

In the surreal landscape of "Beholder II," an enormous eye passively watches the theft of stars from the night sky. The background is composed of beaded hand-knitting mounted on acrylic-painted canvas, with the hands and eye crocheted and assembled using fabric adhesive.

49. “Test Specimen”

Italu Ramos Hernandez, Denver

Paper collage and specimen pins

“Test Specimen-01” explores the dehumanizing language embedded in bureaucratic systems, specifically sample immigration identification documents where the placeholder names “Test” and “Specimen” are used in place of a real person’s identity.

50. “Bluebirds”

Dorothy Raymond, Loveland

Hand-painted fabric, machine appliqué, free motion stitch, hand embroidery

"Bluebirds" started with hand-painted fabric that was machine appliquéd, free motion stitched, and hand embroidered. The play of colors and shapes suggest bluebirds in flight.

51. “Rainbow”

Dorothy Raymond, Loveland

Hand and machine embroidery on hand-painted dotted-swiss fabric

"Rainbow" features hand and machine embroidery on hand-painted dotted-swiss fabric. I expanded the blue and green bands of the visual spectrum. It's all about color.

52. “Dark and Stormy Sea”

Honorable mention

Dorothy Raymond, Loveland

Hand embroidery on hand painted cotton poplin backed with craft felt

"Dark and Stormy Sea" is hand embroidery on hand painted cotton poplin backed with craft felt. There's magic in the play of light on waves. In a storm, the colors interact blurring the distinction between water and sky. Responding to the color scheme of my hand-painted fabric, I started stitching intuitively, playing with light and dark colors of thread in different weights to give a sense of movement and depth.

53. “Self Portrait”

Pam Schmidt, Littleton

Needle-felting, wool roving

I transform raw potential into original creations in various media. By constantly exploring new and varied materials, learning fresh techniques, and pushing my boundaries, I ensure continuous growth and evolution in my art. The journey of creation is where I find true satisfaction, often feeling a tinge of melancholy upon completing a project – eagerly anticipating the spark of inspiration for the next endeavor that lies ahead. Each piece I craft tells a story, a narrative woven with passion and dedication, inviting viewers to delve into the depths of creativity that define my artistic vision.

54. “A Shoulder To Lean On”

Pam Schmidt, Littleton

Needle-felting, wool roving, pastels, beadwork, crochet

I transform raw potential into original creations in various media. By constantly exploring new and varied materials, learning fresh techniques, and pushing my boundaries, I ensure continuous growth and evolution in my art. The journey of creation is where I find true satisfaction, often feeling a tinge of melancholy upon completing a project – eagerly anticipating the spark of inspiration for the next endeavor that lies ahead. Each piece I craft tells a story, a narrative woven with passion and dedication, inviting viewers to delve into the depths of creativity that define my artistic vision.

55. “Maiden Skjold”

Penelope Sharp, Boulder

Dyed and lacquered twill-woven basket reed, bamboo and copper ornament.

I create objects of power — personal and spiritual — that draw from the immensity of the amazing world in which we exist and the force of the Muse working through me to you. “Maiden Skjold” is a staunch woven shield used by a fierce Norse Shield- Maiden. Designed not only to protect, but to distract and confuse. Dyed and lacquered twill-woven basket reed, bamboo and copper ornament.

56. “Pillar to the Sun”

Penelope Sharp, Boulder

Dyed, lacquered, and plain-woven basket reed, bamboo struts, copper ornaments, card-woven pearl cotton weaving

I create objects of power — personal and spiritual — that draw from the immensity of the amazing world in which we exist and the force of the Muse working through me to you. “Pillar to the Sun” is a metaphoric temple to honor the miracle of the daily Sunrise! Dyed, lacquered, and plain-woven basket reed, bamboo struts, copper ornaments, card-woven pearl cotton weaving symbolizing the sun’s rays emerging from the darkness.

57. “Scarlet Frisson”

Best in Show

Penelope Sharp, Boulder

Dyed, lacquered, and woven cherry wood with sheared copper sheet and findings

I create objects of power — personal and spiritual — that draw from the immensity of the amazing world in which we exist and the force of the Muse working through me to you. “Scarlet Frisson” is an intense moment of a quivering passionate embrace! Dyed, lacquered, and woven cherry wood with sheared copper sheet and findings.

58. “Seasons”

Elizabeth Shoeman, Longmont

Wool and cotton tapestry weaving

This wool and cotton tapestry triptych was inspired by Robert Frost’s poem “Birches.” This triptych depicts these lovely trees in all their colorful seasons. Whether you call them birch or aspen trees, standing among them, in any season, brings peace to one’s soul.

59. “Heliconia”

Elizabeth Shoeman, Longmont

Wool and cotton tapestry weaving

Handwoven tapestry weaving using cotton warp and wool weft. Tropical flowers provide an artist with many opportunities for striking images. This tapestry utilizes liberal use of hatching to achieve the blending of the brilliant blossom’s colors.

60. “Mirage”

Elizabeth Shoeman, Longmont

Wool and cotton tapestry weaving

Handwoven tapestry weaving using cotton warp and wool weft. This colorful tapestry utilizes liberal use of hatching and other color blending techniques used in much of my weaving.

61. “Dancing on Motherboards”

Jacqueline Shuler, Castle Rock

Fiber, metal, wood

As an artist, I'm committed to creativity. My background includes three advanced art degrees and a history of fifty years of teaching. Entering a fiber art piece is a new adventure as I'm working on digital art at present. I wanted to unite computer technology with fiber. As a creative person, I focus on integrating all sorts of images and experiences, discovering the overall patterns. It was a real challenge combining organic, linear shapes with hard, flat, pierced surfaces. My aim was to create a colorful unified composition which took me several rounds of experiments. Lastly, I added the interior LED lights to give my prism a glow.

62. “3 Stooges”

Bobbi Shupe, Denver

Graphite drawing, paper, fabric, string woven and circular spiraled background.

“3 Stooges” fiber art piece uses a graphite drawing of three people as the focal point. A variety of materials including paper, fabric, and string create the paisley, woven and circular/spiraled background. I've always been attracted to color and texture. Because of this, mixed media is right up my alley.

63. “Let It Be”

Kathy Spoering, Grand Junction

Handwoven Tapestry

After weaving large tapestries for 40 years, I have found it to be extremely satisfying to also weave very small tapestries. These tapestries are still reflective of my life in western Colorado, where daily events inspire the bits of yarn to create stories on my small looms.

64. “Woodland Guardian”

Honorable mention

Layered, painted felt, acrylic paint, stitched & clipped, heat gun

Since childhood I have loved fabric and sitting at the sewing machine. After retirement as an Occupational Therapist, I started working on quilts rather than garments. Art quilts quickly became the focus. Much of my work is inspired by "what if and/or why not try". The real joy is learning a new technique and stretching the boundaries of that new technique. Color and texture are the binding factor in all my work. In “Woodland Guardian” the tree is layered felt that is painted with acrylic paint, stitched and then clipped. I then use a heat gun to open up the clipped parts.

65. “Sea Fantasy”

Marge Van Woerkom, Fort Collins

Manipulated & quilted cotton fabric, fibers, sea shells, beads, stones

Marine life scene created with cotton fabric manipulated then quilted to create folds giving it texture. Fibers and fabric added to create sea grass and coral. Sea shells, beads and stones to complete the sea life scene. Mounted in a shadow box frame.

66. “Short woven vest”

Darlene Wiedman, Littleton

Cashmere, merino, with other various yarns, free style weaving onJapanese saori loom

I’m a fiber artist, I weave, needle felt, wet felt knit and recently do eco printing. The vest is woven on a Japanese saori loom, in what i call free style. The fibers are mostly cashmere, merino, with other various yarns as accent.

67. “Felted wreath”

Darlene Wiedman, Littleton

Wool fleece, wet felted

I’m a fiber artist, I weave , needle felt , wet felt knit and recently do eco printing. Each flower on wreath is individually made starting with wool fleece. It is wet felted with colored fleece added on each layer.., each flower is hand rolled and shaped. When dry, wreath is assembled.

68. “Blooming Together”

Sarah Wu, Littleton

Cotton Quilt

"Blooming Together” is a quilt inspired by the colors and traditions of a Hawaiian welcome. The flowers represents the * (asterisk) character, which can be used as a wildcard symbol to include all possibilities. Hand pieced and free motion quilted using cotton fabrics and polyester thread.

69. “Authenticity in Adversity”

Sarah Wu, Littleton

Cotton Quilt

In "Authenticity in Adversity” quilt I repurposed fabrics from previous projects to celebrate my journey overcoming unnecessary restrictions while remaining true to my own identity and moral compass. It made with traditional quilting techniques, machine and hand stitching using cotton fabrics and polyester thread.

70. “Ruminations”

Annie Zook, Denver

Hand dyed fabric, personal photos, beads, bobbles & other strange things

“Ruminations” consists of twelve blocks of sayings by Rumi stitched together using hand dyed fabric, personal photos, beads, bobbles and other strange things. The process is simply "look and play”. I enjoy how bits and pieces of fabric, bought or hand created, will morph into an exciting art piece simply by stitching and embellishing with anything that can be attached with thread. Materials used; beads, buttons, sticks, crochet items, odd plastic pieces, threads and yarns of all weights and shine….