Q U E L L E Z I N E
(what?)
The OnLine Magazine for
The New Mexico Fiber Arts Directory
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Susan A Christie, Editor/Publisher
Each NMFAD artist is listed in the Directory
Subscribe to Receive a Link to the Current Article
The New Mexico Fiber Arts Directory
BECOME A MEMBER
Susan A Christie, Editor/Publisher
Each NMFAD artist is listed in the Directory
Subscribe to Receive a Link to the Current Article
|
Published Articles:
February To November 2022 KAREN WATERS #21 CHERYL JANIS $22 JOHN GARRETT #23 LINDA CAPERTON #24 ANNE VICKREY EVANS #25 KEI & MOLLY TEXTILES #26 LIN BENTLEY KEELING #27 IRVIN, LISA & EMILY TRUJILLO #28 JULIE WAGNER #29 MINNA WHITE/LANA DURA #30 |
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Q U E L L E Z I N E
Number Thirty
Published by the New Mexico Fiber Arts Directory
October 27, 2022
MINNA WHITE/LANA DURA (LLC)
Taos, New Mexico
Number Thirty
Published by the New Mexico Fiber Arts Directory
October 27, 2022
MINNA WHITE/LANA DURA (LLC)
Taos, New Mexico
EXHIBITION
The Art and Legacy of the Navajo-Churro Sheep
Nov 12, 2022 - Jan 29, 2023
RioBravoFineArt Gallery
Truth or Consequences, NM
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The Art and Legacy of the Navajo-Churro Sheep
Nov 12, 2022 - Jan 29, 2023
RioBravoFineArt Gallery
Truth or Consequences, NM
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From the Editor: Knowing Minna White (Feltmaker) Exhibition is an absolute pleasure. I met Minna over six years ago at
El Rancho de las Golondrinas during the former Española Fiber Arts Tour. She is an exuberant, funny woman who says exactly what is on her mind. She is also a dedicated supporter of the Navajo-Churro Sheep and the people who are working to save this endangered breed. Minna uses only the natural colors of the sheep, no dyes are used. Shown are samples of her work. Minna White/Lana Dura (LLC) lanadura.com
El Rancho de las Golondrinas during the former Española Fiber Arts Tour. She is an exuberant, funny woman who says exactly what is on her mind. She is also a dedicated supporter of the Navajo-Churro Sheep and the people who are working to save this endangered breed. Minna uses only the natural colors of the sheep, no dyes are used. Shown are samples of her work. Minna White/Lana Dura (LLC) lanadura.com
And as Minna says, she is Giving Sheep A Job!
Photo Courtesy of
Tanya Charter Pearl, et al |
Photo Courtesy of Minna White
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Photo Courtesy of
Tanya Charter Pearl, et al |
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Churro Wool Art Felts
Approximately 18"x48"
Approximately 18"x48"
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Navajo-Churro Wool Art Felts
Approximately 36"x48"
Approximately 36"x48"
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A Word About Felt
Excerpt from Uniquely Felt by Christine White Felt is alive, and every wool speaks a slightly different language.... of all the animal fibers, sheep's wool is particularly well suited for entangling, due to the overlapping scales on the surface of the fibers... During the felting process, the outer part of the fiber softens in response to warm, soapy water and also to heat, from the friction of fiber-to-fiber contacts....
Described is the "wet felting" technique. The finished felted piece is a thickly entangled fabric which can be sometimes walked on, hung on the wall or used to adorn surfaces, washed, worn and used in your home. |
Detail by Minna White/Lana Dura
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Q U E L L E Z I N E
Number Twenty Nine
October 27, 2022
Julie Wagner
Albuquerque, New Mexico
Number Twenty Nine
October 27, 2022
Julie Wagner
Albuquerque, New Mexico
From the Editor: Often, the members of the NMFAD become more than emails and such, we become good friends. After several tumultuous years, Julie Wagner has moved her home and created a superlative new group of works. She will be showing at the Tortuga Gallery in Albuquerque in a group exhibition titled In Conversation: Fiber Stories . Opening November 4 2022, ending November 12, 2022. In her work, Julie Wagner takes us from the lyrical edges of water thru a time of sorrow yet finishes with hope. Something, I imagine, we are all wishing for.
Below you will find the content of Julie's Gallery Talk. Please read her words along with viewing her beautiful works.
(click images to enlarge please)
Below you will find the content of Julie's Gallery Talk. Please read her words along with viewing her beautiful works.
(click images to enlarge please)
Pines by the River, 14”x13 1/2”x44”, mixed media
Fish Bowl #4, H. 9’, Dia. 9”;
Fish Bowl #1, H. 9”, Dia.9”, acrylic on paper
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Julie Wagner is a
respected members of the New Mexico Fiber Arts Directory ******* New Mexico Artist Directory |
Fish Bowl #3, H. 9”, Dia. 9”
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JULIE WAGNER - GALLERY TALK - TORTUGA GALLERY, LAS CRUCES, NM - Saturday, November 5, 2022 - 3pm to 4pm
My work has always been nature based, even when it is very visually abstract. I spent much of my childhood roaming the woods of the northeast, collecting leaves, flowers and seeds, and any other odd finds that caught my fancy. This practice continues today. I have containers with castoff snake skins, tiny skulls, jars of colored sand, and all sorts of seed pods, bugs, and odd sticks and stones. I love maps, diagrams, natural pigments and dyes. When I am planning a new body of work, I often make a “working” journal where I can keep ideas, sketches, quotes, plans and records of my processes. I also keep a blank book by my bed, where I can record ideas and thoughts that arrive at 3 in the morning and keep me awake, worrying that I will forget some “brilliant” insight. I used to write in a journal without turning on the light, producing semi-legible notes of my thoughts, culminating in the Insomniac’s Journal and the Chronicle of Sleepless Nights.
Now I turn on the light!
I am interested in flow…the flow of water, flow of air, blood through arteries and veins, time, ideas, movement through space. My pieces sometimes start as an idea in search of a form and sometimes as a structure that dictates a theme. I am interested in metamorphosis, and use various book forms like accordions and flexagons to map the progression of a being from one stage to another and often yet another. I see my work as a “map” of my thoughts —-a way of making visible something rather amorphous and fluid—-in the way that a topo map translates all the messy cacophonous complexity of the landscape into an elegant two-dimensional frozen image. There is a lot lost in the process, but also something gained
in being able to grasp and envision the reality. It gives an image to a process, in the same way one of my objects gives an image and container to an otherwise “impossible for me to express verbally” concept.
I often use drawings and/or text on my sculpture . I think of text as texture, although I feel it contributes content, even when it is illegible. I am also interested in borders, boundaries , edges, the spaces where lifeforms need to be more adaptable and open to change, as for instance, the littoral zone, the land between high and low tide, where the plants and creatures have to survive being totally dried out and then being submerged completely on a regular basis.
I like words, their multiple meanings, their origins in other languages. I occasionally read the dictionary for fun, and I like word ames and puzzles. I like words that have a weight to them, that are like a rock thrown into a pond, I like the look of words and the presence of hand-written text. Roots of words, roots of trees and plants, roots of ancestry, roots of friendships. I am starting a body of work exploring ideas of the need for community and diversity in the world of plants, animals, and humans for health and survival. In the last year I have moved from a life in a very small rural town to life in Albuquerque . I am adapting to my view of the world going from a “macro” view to more of a “micro” view—-from the long vistas of the Sangre de Cristos to a focus on the bark of my neighbor’s tree and the lizard in my yard.
This is basically a work in progress.
The Terrible Beauty Series
Resulted from a combination of looking at a photo of the atom bomb exploding over Hiroshima and thinking how as an abstract image it was beautiful, but as a real happening it was appalling and enormously tragic. I was also reading Rilke’s Duino Elegies where he writes “For beauty is nothing but the beginning of terror we can just barely endure, and we admire it so because it calmly disdains to destroy us. Every angel is terrible”. I started reading the accounts of people who had survived Hiroshima and Nagasaki, and began a series of vessels and drawings using their stories. The publisher in Japan graciously granted me permission to use their words, and I wanted to make works which mirrored the horror of the bombings at the same time as they were beautiful and moving. I chose to let the survivors own words speak for them.
My work has always been nature based, even when it is very visually abstract. I spent much of my childhood roaming the woods of the northeast, collecting leaves, flowers and seeds, and any other odd finds that caught my fancy. This practice continues today. I have containers with castoff snake skins, tiny skulls, jars of colored sand, and all sorts of seed pods, bugs, and odd sticks and stones. I love maps, diagrams, natural pigments and dyes. When I am planning a new body of work, I often make a “working” journal where I can keep ideas, sketches, quotes, plans and records of my processes. I also keep a blank book by my bed, where I can record ideas and thoughts that arrive at 3 in the morning and keep me awake, worrying that I will forget some “brilliant” insight. I used to write in a journal without turning on the light, producing semi-legible notes of my thoughts, culminating in the Insomniac’s Journal and the Chronicle of Sleepless Nights.
Now I turn on the light!
I am interested in flow…the flow of water, flow of air, blood through arteries and veins, time, ideas, movement through space. My pieces sometimes start as an idea in search of a form and sometimes as a structure that dictates a theme. I am interested in metamorphosis, and use various book forms like accordions and flexagons to map the progression of a being from one stage to another and often yet another. I see my work as a “map” of my thoughts —-a way of making visible something rather amorphous and fluid—-in the way that a topo map translates all the messy cacophonous complexity of the landscape into an elegant two-dimensional frozen image. There is a lot lost in the process, but also something gained
in being able to grasp and envision the reality. It gives an image to a process, in the same way one of my objects gives an image and container to an otherwise “impossible for me to express verbally” concept.
I often use drawings and/or text on my sculpture . I think of text as texture, although I feel it contributes content, even when it is illegible. I am also interested in borders, boundaries , edges, the spaces where lifeforms need to be more adaptable and open to change, as for instance, the littoral zone, the land between high and low tide, where the plants and creatures have to survive being totally dried out and then being submerged completely on a regular basis.
I like words, their multiple meanings, their origins in other languages. I occasionally read the dictionary for fun, and I like word ames and puzzles. I like words that have a weight to them, that are like a rock thrown into a pond, I like the look of words and the presence of hand-written text. Roots of words, roots of trees and plants, roots of ancestry, roots of friendships. I am starting a body of work exploring ideas of the need for community and diversity in the world of plants, animals, and humans for health and survival. In the last year I have moved from a life in a very small rural town to life in Albuquerque . I am adapting to my view of the world going from a “macro” view to more of a “micro” view—-from the long vistas of the Sangre de Cristos to a focus on the bark of my neighbor’s tree and the lizard in my yard.
This is basically a work in progress.
The Terrible Beauty Series
Resulted from a combination of looking at a photo of the atom bomb exploding over Hiroshima and thinking how as an abstract image it was beautiful, but as a real happening it was appalling and enormously tragic. I was also reading Rilke’s Duino Elegies where he writes “For beauty is nothing but the beginning of terror we can just barely endure, and we admire it so because it calmly disdains to destroy us. Every angel is terrible”. I started reading the accounts of people who had survived Hiroshima and Nagasaki, and began a series of vessels and drawings using their stories. The publisher in Japan graciously granted me permission to use their words, and I wanted to make works which mirrored the horror of the bombings at the same time as they were beautiful and moving. I chose to let the survivors own words speak for them.
Traces of the Bomb, H. 5”, Dia. 23”, walnut ink on polypropylene
A Terrible Beauty: Taniguchi, H. 8 3/4”, Dia. 9 1/4”
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A Terrible Beauty: Sachiko, Dia. 14”, oil transfer drawings on paper
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Bearers of Hope
or Hibakujumoku (survivor trees)
This group of works were inspired by the story of the ginkgo trees which survived the bombing of Hiroshima.
Immediately after the bombing, they started sending out fresh buds and came back to life.
The Japanese regarded them as “bearers of hope”.
They are all 6 1/2” in diameter and 7” high, and the medium is acrylic ink on handmade Japanese paper.
Bearers of Hope #1
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Bearers of Hope #2
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Bearers of Hope #3
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Bearers of Hope #4
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Q U E L L E Z I N E
Number Twenty Eight
October 20, 2022
IRVIN, LISA & EMILY (8th Generation) TRUJILLO
Centinela Traditional Arts - Chimayo Weavers
Chimayo, New Mexico
Number Twenty Eight
October 20, 2022
IRVIN, LISA & EMILY (8th Generation) TRUJILLO
Centinela Traditional Arts - Chimayo Weavers
Chimayo, New Mexico
From the Editor: Having lived in New Mexico since the 1980's. In a village between Valarde and Taos, North of Taos in the Moreno Valley and driven and visited friends most everywhere, I can say I love New Mexico. I love the landscape, the weather, the history the metaphysics, the people the families, the pueblos, the towns, the arts, the sun, the winters, the acequia, the writers, the scents and the seasons. This Minnesotan, along with many others, have become besotted with living here, visiting here. I know this village of Chimayo, I have ventured into this amazing collection of fiber, textiles, creative energy again and again, what I know, weavers are mathematicians and geniuses. Chimayo is a center for the roots of the weaving traditions of New Mexico. (I am not leaving out the Diné in the western part of the state.) Thank you for your generous spirits and the closeness of the family of Irvin, Lisa and Emily as you have brought forward, thru history into our present, a remarkable tradition and lifestyle.
Chimayo Weavers – Centinela Traditional Arts is a tapestry gallery located in Chimayo, New Mexico,
specializing in hand woven tapestry wool products using natural dyes, custom-dyed yarns, handspun yarns,
and the traditional Chimayo and Rio Grande weaving styles.
specializing in hand woven tapestry wool products using natural dyes, custom-dyed yarns, handspun yarns,
and the traditional Chimayo and Rio Grande weaving styles.
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In the historic village of Chimayo, weaving has been a treasured tradition for over four centuries.
Practiced and perfected, passed from generation to generation, the weavers of Chimayo have drawn visitors worldwide. Irvin and Lisa Trujillo represent the seventh generation of family weavers and now their daughter Emily represents
the eighth. A visit to Chimayo should be a long one, at least a day. The scenic drive is part of your day. You can take
your time at the Trujillo's shop as you peruse the rugs, wearables and other items made by the family and
others weavers they represent. You can see the looms with rugs in process and talk directly to Irvin, Lisa and Emily
who are often on site. Take home something to mark your visit and illuminate your home plus gifts for others.
Irvin, a weaver in the Rio Grande tradition, has work in the Smithsonian among many other collections.
Spend time in the village, absorb the beauty and the timelessness, visit the Santuario de Chimayo, and have a bite to eat.
Practiced and perfected, passed from generation to generation, the weavers of Chimayo have drawn visitors worldwide. Irvin and Lisa Trujillo represent the seventh generation of family weavers and now their daughter Emily represents
the eighth. A visit to Chimayo should be a long one, at least a day. The scenic drive is part of your day. You can take
your time at the Trujillo's shop as you peruse the rugs, wearables and other items made by the family and
others weavers they represent. You can see the looms with rugs in process and talk directly to Irvin, Lisa and Emily
who are often on site. Take home something to mark your visit and illuminate your home plus gifts for others.
Irvin, a weaver in the Rio Grande tradition, has work in the Smithsonian among many other collections.
Spend time in the village, absorb the beauty and the timelessness, visit the Santuario de Chimayo, and have a bite to eat.
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Irvin Trujillo
The Hook and the Spider 1995 92 1⁄2 x 54 x 1⁄4 in. Naturally dyed Wool Collection Smithsonian American Art Museum americanart.si.edu/artwork We specialize in hand woven tapestry wool products using natural dyes, custom-dyed yarns, handspun yarns, and the traditional Chimayo and Rio Grande weaving styles.
Lisa Spinning
The Trujillo Family
are respected members of the New Mexico Fiber Arts Directory Open to the Public ******* New Mexico Artist Directory ******* VIDEO MEDIA Irvin Trujillo Master Weaver www.newmexicofiberartsdirectory.com/videomedia.html ******* The NMFAD History Page |
Lisa Trujillo
"19, 20, 21" Exhibited at the Museum of International Folk Art in the Gallery of Conscience Read about on NMFAD The tapestry gallery and the website also represents several other talented weavers. You can see all of their work by browsing through our weavings on our website:
www.chimayoweavers.com blanket weight weavings for the wall, and your furniture, and look at our selection of hand woven rugs, vests, and coats. 
Churro wool has a luster that, in
a lot of old pieces, has an almost silky look. It's fleece also has what is commonly described as a "double coat". Similar to a cat's, there is a thick lower layer of fine wool, with longer, coarser, fibers interspersed forming a sort of shaggy-looking outer layer. Most of the wool spun by the weavers associated with Centinela is churro. Irvin Trujillo's sister, Pat Trujillo Oviedo, raises Churro sheep here at La Centinela, and we often spin up her fleeces. 
Before he became a professional weaver, Irvin was an engineer, and
he put that knowledge to use when he came back to weaving. Over 20 years ago, Irvin put his mind to work and designed a loom that can weave handwoven room-sized rugs we use for custom orders. |
"Maniac," or "Maníaco"
By Emily Trujillo Honorable Mention at Spanish Market 2022 40"x60" Trampas Vallero, made of Two 20"x 60" tapestries, sewn together. All churro yarn from Emily's Aunt's sheep with a touch of cochineal dye. 
The five thousand or so Navajo-Churro sheep that came to New Mexico with Coronado’s expedition
in 1540 were too valued as food to these original settlers to survive and become established flocks in the new territories. New Mexico proved to be a hospitable place for Navajo-Churro, and the sheep thrived to become an important part of the Spanish colony’s economy. 
Tumbling Blocks
Lisa Trujillo Handspun Navajo-Churro After the 2021 Spanish Market, I and my loom were ready for a new, big project. I had been d doing a lot of spinning from Pat Trujillo's Centinela-grown fleeces, so I had handspun yarn to work with. I perused my Pinterest board and settled on what I eventually named the "overly elaborate tumbling block" pattern for the border. I'm sure I realized it would be a challenge. I thought I was up for it. |
Q U E L L E Z I N E
Number Twenty Seven
September 29, 2022
LIN BENTLEY KEELING
Las Cruces, NM – El Paso, TX
Number Twenty Seven
September 29, 2022
LIN BENTLEY KEELING
Las Cruces, NM – El Paso, TX
From the Editor: Coiled Basketry, Weaving and Volunteerism, are all part of Lin Bentley Keeling's life. The pandemic and a family illness meant a hiatus for her work. As her commitments have lightened up and the family member is improving,
Lin is now able to return to her own work. I encourage you to visit her listing on the New Mexico Fiber Arts Directory. AND
her website which will give you an in depth look into how she describes her work and more images of her beautiful coiled baskets. Lin's Blog also makes interesting reading as she describes her recent weaving project on her Louet Jane 8 shaft loom. I know that weavers are mathematical & design geniuses. (ed) linbentleykeeling.com
Lin is now able to return to her own work. I encourage you to visit her listing on the New Mexico Fiber Arts Directory. AND
her website which will give you an in depth look into how she describes her work and more images of her beautiful coiled baskets. Lin's Blog also makes interesting reading as she describes her recent weaving project on her Louet Jane 8 shaft loom. I know that weavers are mathematical & design geniuses. (ed) linbentleykeeling.com
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I create coiled basketry vessels
and loom-woven tapestries ... Vibrant Flowing Colors are a hallmark of my work. Each piece evolves as it is created Spiraling upward and outward Coiling and growing from its inspiration… |
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Each piece begins the same way, with a small curling coil at the center.
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Once I have an intuitive sense of the piece, I begin to think what form the piece should take and the placement of the major design elements within its form. None of my pieces are fully mapped out; I create several loose sketches which serve as working ‘scores’ for the piece as it evolves
and changes during the coiling process which requires 80 to more than 100 hours for the completion of a given piece. |
Wrapping and stitching as the coil grows, adding short segments of
coil to change the shape, curving outward, a maximum of 12 to 15 inches of stitching can be accomplished in one hour. |
A New Weaving Takes Shape
I think that weavers are
mathematical & design geniuses. What a beautiful process. (ed.) Lin said Here is the draft for those interested. The brown in this draft is the pattern area which is visible in one pick and the gray is the ‘subtext’–the name I’ve given to this part of the weaving–which is visible as the other pick. Both together complete each row of tapestry. 
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You can see the collection of yarns I am using. I blend 3 to 5 shades of each color into the yarn bundle. There are 5 color areas in the design with a brown background.
Here are some bobbins wound with yarns. The variegated one is a blend
of the 5 different colors within the design. I’m using this for the ‘subtext’ part of the weaving. |
Here is the tapestry after about
8 inches of weaving. 
Here is a detail showing the pattern/subtext relationship and the weave structure. At this point, I have woven 6 inches above the fold. The pink stitching along the side marks every two inches of weaving.
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Q U E L L E Z I N E
Number Twenty Six
Number Twenty Six
August 18, 2022
KEI & MOLLY TEXTILES
Albuquerque, NM
KEI & MOLLY TEXTILES
Albuquerque, NM
From the Editor: Begin with a soft, hand silk-screened towel, fill it with kindness, warmth, community dedication, beauty, and partnership, and maybe some homemade treats! This is Kei & Molly Textiles, in Albuquerque, New Mexico. NMFAD met the two women business creators several years ago during a fiber tour, which was followed by a recent and actually joy filled telephone conversation. During our conversation, their emphasis was on the well-being of their staff – to have "fun". Covid made a big difference in their days. They have just brought back their pot-luck lunches and often Fridays are highlighted with Mexican (Paletas) Popsicles! The New Mexico Fiber Arts Directory (NMFAD) brings you this QUELLE ZINE article with great pleasure.
The business began in 2010. They then bought the building at their current location in 2016.
The exterior of the building is painted with a colorful mural representing
the international backgrounds of their staff.
The exterior of the building is painted with a colorful mural representing
the international backgrounds of their staff.
Kei & Molly Textiles represents the shared dream of Kei Tsuzuki and Molly Luethi – to support the refugee and immigrant communities of Albuquerque, New Mexico. Kei Tsuzuki, originally from Japan, grew up in Canada and attended the University of New Mexico, graduating with an MBA. Molly Luethi, a Swiss-American who speaks four languages, has a background as an ESL teacher. Meeting originally as mothers at their children's elementary school, both with backgrounds in non-profits, they discussed what a business might be which made a profit and created jobs. The spark was a Holiday Bazaar at their children's elementary school. After designing and screen printing 135 flour-sack dish towels at Tsuzuki's kitchen table, they sold out in an hour at the Bazaar!
The spectacular hand screen printing table is the workroom centerpiece along with the open, well-lit and well-organized work areas. Other up to date equipment
is used for drying, sewing, and assembling, along with their business office. 
Their products are printed with water-based inks on natural fibers/materials in their partly
solar-powered studio. Today, their workroom produced wares are sold in more than 400 stores around the country. 
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Kei Tsuzuki and Molly Luethi
There are currently 10 to 12 staff members. Staff may hail from
Congo, Ukraine, the Philippines, and Cuba, China and Afghanistan and often arrive speaking little or no English. Interpreters come in when needed, but the team mostly teaches new employees by example. |
❤️ ❤️ ❤️ ❤️ ❤️ ❤️ ❤️ ❤️
YOU CAN VISIT THEIR GIFT SHOP!!!
VISIT IN PERSON, ORDER ON LINE FOR SHIPPING OR PICK UP AT THEIR SHOP LOCATED AT 4400 Silver Ave. SE, Suite A, Albuquerque, NM
(505) 268-4400 www.keiandmolly.com keiandmolly@gmail.com 
New, primarily single color designs are created in-house.
THEIR SEMI-ANNUAL MISPRINT SALE IS SOMETHING TO BE WATCHED FOR ON THEIR WEBSITE!
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Here are some of the products you will find at Kei & Molly Textiles in the Gift Shop and On Line!
Items brought in by other makers are carefully curated by their Gift Shop Manager.
Items brought in by other makers are carefully curated by their Gift Shop Manager.
Their original thought for the business was could it be "food" oriented or a "silk-screened
product line" |
They have joined their love of
food with the products that they create and those they carry from other makers. |
Gift Boxes are available for both occasional holidays, i.e.
Valentines Day and for an everyday special gift. |
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Q U E L L E Z I N E
Number Twenty Five
Number Twenty Five
July 21, 2022
ANNE VICKREY EVANS
Tierra Amarilla, NM
ANNE VICKREY EVANS
Tierra Amarilla, NM
From the Editor: Northern New Mexico, along the Colorado border is full of space, nature, sheep, wool, and the home,
art works and business of Anne Vickrey Evens and her husband Don. Felt is a major focus for both Anne's fiber art works,
and their business, Feltcrafts, which manufactures the FeltCrafts® Rolling Machine for Wet Feltmaking along with Table Top Felting Machines. Anne's first encounter with a pair of felted books in Norway at the home of her grandparents, has led to her creation of many felted garments, five books and two video programs about felting. Anne's new felted works are included in this QZ article. When was the last time you had the perfect opportunity to see a Tuffet!
art works and business of Anne Vickrey Evens and her husband Don. Felt is a major focus for both Anne's fiber art works,
and their business, Feltcrafts, which manufactures the FeltCrafts® Rolling Machine for Wet Feltmaking along with Table Top Felting Machines. Anne's first encounter with a pair of felted books in Norway at the home of her grandparents, has led to her creation of many felted garments, five books and two video programs about felting. Anne's new felted works are included in this QZ article. When was the last time you had the perfect opportunity to see a Tuffet!
Photo Image: The Taos News
The 38th Annual Taos Wool Festival 2021
TAOS NEWS
Wool Festival recap
by Haven Lindsey Oct 7, 2021 Updated Nov 11, 2021
Following rain showers and snows in the highlands, the sun welcomed the fiber artists to Taos for the 38th Annual Taos Wool Festival and the colorful, whimsical atmosphere was downright poem-inspiring. For the range of arts that come from spinning, roving, felting, weaving, knitting and more, there seems to be fiber art for everyone. Beginners learned about rug punching and experts compared qualities and colors of dyed fabrics while noticing intricacies that only trained eyes could see. Creativity abounds. Anne Vickrey Evans and her husband build felting machines from their home in Tierra Amarilla that felt artists use. Evans noticed the metal they order for their machines was delivered in cylindrical tubes and she asked her husband to save them "I wasn't sure why but I knew there was something there I could eventually use," she explained. As creatives often experience, within time those tubes sparked an idea and the brightly colored, felted 'tuffets' were the result. When asked what a tuffet is, Evan smiled and responded,
"You know…Little Miss Muffet sat on a tuffet."
Whimsical Tuffet
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Felted Rug
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Whimsical Tuffet
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Connect with Anne Vickrey Evans
annevickreyevans.blogspot.com 
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Q U E L L E Z I N E
Number Twenty Four
Number Twenty Four
June 30, 2022
LINDA CAPERTON
Lincoln, NM
LINDA CAPERTON
Lincoln, NM
From the Editor: I would like to talk about Nuno Felting for those who would like a more in depth description. The Nuno Felting technique bonds loose fiber (usually sheep's (or other) wool which has barbs on the hairs, easing attachment) into
a sheer fabric such as silk gauze, creating a lightweight felt. Other fibers are also used to create different surface textures. This technique is often used to form layers using moisture and pressure. Linda Caperton is a master fiber artist.
a sheer fabric such as silk gauze, creating a lightweight felt. Other fibers are also used to create different surface textures. This technique is often used to form layers using moisture and pressure. Linda Caperton is a master fiber artist.
Visit Linda at the:
LINCOLN COUNTY ART LOOP STUDIO TOUR 2022 Tour Dates: July 1-3, 2022 Hours: 10am to 5pm. On this self-guided tour spend the day enjoying the majestic mountain views while taking your time visiting each artist's studio. Download the Map HERE 
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NUNO FELTED GARMENTS & SCARVES
BOTANICAL PRINTING ON NATURAL FIBERS, DYED & NUNO FELTED 
I mix professional grade dyes into beautiful sunset colors using multiple layers on silk. The fabric
is then steam set. After dying the silk, I use merino wool roving laid out on the silk. The wet wool and silk are "Nuno" felted together into one-of-a-kind
Ponchos, Capes & Wraps. I also create botanical prints on natural fibers. Leaves and flowers are placed on natural materials & steam set, leaving their image behind. The fabric is then dyed
and "Nuno" wool felted. 
Linda Caperton
CONTACT is a respected member of the New Mexico Fiber Arts Directory New Mexico Artist Directory |
Visit Linda at the:
ALTO ARTISTS TOUR Tour: August 5 - 7, 2022 Friday & Saturday 10:00am-5:00pm Sunday 12:00 pm - 4:00 pm Preview Party: August 4, 2022 JOIN US, meet the artists, and enjoy an exhibition featuring a representative sample of the art at our Spencer Theater Artist Preview Party. Thursday: 5:00 pm - 7:-00 pm. Cash bar. altoartists.com 
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Q U E L L E Z I N E
Number Twenty Three
Number Twenty Three
June 2, 2022
JOHN GARRETT
Weaving and Textile Constructions
Las Cruces, NM
JOHN GARRETT
Weaving and Textile Constructions
Las Cruces, NM
From the Editor: I worked with John Garrett as Curator in order to produce this truly extraordinary exhibition.
A kinder, more creative and truer artist, than John is rare.
Although most of the fiber artists on NMFAD may be described as such.
John Garrett exhibits
TRANSFORMING SPACE - TRANSFORMING FIBER at the LAS CRUCES MUSEUM OF ART
www.transformingspacetransformingfiber.com
www.newmexicofiberartsdirectory.com/fiberartinstallationartists
A kinder, more creative and truer artist, than John is rare.
Although most of the fiber artists on NMFAD may be described as such.
John Garrett exhibits
TRANSFORMING SPACE - TRANSFORMING FIBER at the LAS CRUCES MUSEUM OF ART
www.transformingspacetransformingfiber.com
www.newmexicofiberartsdirectory.com/fiberartinstallationartists
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John Garrett has been working with the application of
textile technologies and imagery to various materials for the past forty years. Currently a full time studio artist in Las Cruces, New Mexico, he taught for many years at colleges and universities in California, including Scripps College and UCLA. He now teaches workshops nationwide on creativity and the use of textile methods to create sculpture. John Garrett has exhibited throughout the United States for over thirty years in hundreds of exhibitions, as well as in Europe, Africa and Asia. His work has been widely acquired by museums and collectors.
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The National Endowment for the Arts awarded
Mr. Garrett fellowships in 1983 and 1995. ***** In 2010, he was elected a Fellow of the American Craft Council College of Fellows in recognition of his outstanding artistic achievement and leadership in the field. ***** In 2013 he was given the Lifetime Achievement Award by the National Basketry Organization. 
Denver Sweets (Detail)
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Garrett has continually explored one dimensional and sculptural forms, allowing us to take notice of everyday
materials that are often discarded or ignored. His masterfully executed techniques are evident in a multitude
of materials, including pieces that are woven, tied, nailed or riveted. These everyday materials have included
crushed and rusted metal, painted aluminum, aluminum tabs, crushed cans, plastic buttons and plastic flowers.
materials that are often discarded or ignored. His masterfully executed techniques are evident in a multitude
of materials, including pieces that are woven, tied, nailed or riveted. These everyday materials have included
crushed and rusted metal, painted aluminum, aluminum tabs, crushed cans, plastic buttons and plastic flowers.
Bubble Up
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Installation
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Denim as in "Blue Jeans"
*****
www.johngarrettarts.com John Garrett is a respected member of the New Mexico Fiber Arts Directory New Mexico Artist Directory |
Q U E L L E Z I N E
Number Twenty Two
Number Twenty Two
March 17, 2022
Cheryl Janis, Taos, NM
Modern Felt Maker
Cheryl Janis, Taos, NM
Modern Felt Maker
Visit The Cheryl Janis Exhibition at Alchemy Studio's Spring Jubilation
Alchemy Studio
2859 State Hwy 14
Madrid, NM 87010
828-246-5899
lucy@alchemystudiomadrid.com
Alchemy Studio
2859 State Hwy 14
Madrid, NM 87010
828-246-5899
lucy@alchemystudiomadrid.com
From the Editor: A visit to Cheryl Janis thru her studio website in Taos, NM, a visit to her exhibition at Alchemy Studio in Madrid, NM (on line), and a conversation with her on the phone is a soothing experience. Cheryl and her husband moved to Taos from northern California where she has found a new way to attend to her inner nature.
Cheryl’s textile art is a radical act of healing; a return to nourishment and self love. Through the alchemy of wet felting, transforming the individual wool fibers into a solid cloth, the pain of separation is transmuted and we are returned to the unconditional love of the Mother, akin to the drop of water who is finally reunited with her ocean. The integration of dry needle sculpting the feathery fibers into the work evokes the soft iridescent qualities of nourishment—the clouds, the rainbows, the heavenly realms of all that is—into a unified structure.
"I prefer drawing outside of the lines so to speak, by not following the tradition of European wet felters. This means I wet felt the base in a thicker more organic way and I embrace the natural lines that result the process... The lines are deeply meaningful as they represent the lines in the earth. Then I wet and needle sculpt the wool and plant fibers to create the “feathers” you see in the wool’s natural form. This creates a feeling in the body that is not unlike a cloud or a rainbow or
a sunset."
Cheryl’s textile art is a radical act of healing; a return to nourishment and self love. Through the alchemy of wet felting, transforming the individual wool fibers into a solid cloth, the pain of separation is transmuted and we are returned to the unconditional love of the Mother, akin to the drop of water who is finally reunited with her ocean. The integration of dry needle sculpting the feathery fibers into the work evokes the soft iridescent qualities of nourishment—the clouds, the rainbows, the heavenly realms of all that is—into a unified structure.
"I prefer drawing outside of the lines so to speak, by not following the tradition of European wet felters. This means I wet felt the base in a thicker more organic way and I embrace the natural lines that result the process... The lines are deeply meaningful as they represent the lines in the earth. Then I wet and needle sculpt the wool and plant fibers to create the “feathers” you see in the wool’s natural form. This creates a feeling in the body that is not unlike a cloud or a rainbow or
a sunset."
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“Art heals. It is an invitation to transformation, deep nourishment, and joy; a path to our center. Art heals.” — Cheryl R. Janis | Modern Felt Maker |
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Archangels Uriel - Fhelyai - Zadkiel
Natural, cruelty-free, Teeswater fleece and natural New Zealand Merino wool. Polished agate stone infused with angelic frequencies. 17" x 32" 
Archangels Uriel - Fhelyai - Zadkiel
Detail With a background in color and interior design, Cheryl became a certified Feng Shui Designer in
2001 and opened her firm, Sacred Surroundings. It was here she devoted her work to creating nourishing and healing environments for her residential clients, and later her healthcare clients in the private sector. Cheryl Janis is a
respected member of the New Mexico Fiber Arts Directory New Mexico Artist Directory |
Angel - Serenus
Ethically sourced natural New Zealand Merino wool and US Polwarth wool. One sliced and polished agate crystal embedded with the frequency of Angel Serenus. 35" x 36" 
Angel - Serenes
Detail 
Passion Flower
Organic, ethically sourced natural white New Zealand Merino wool, natural sliced agate geode infused with Reiki energy. 16" x 16" |
Spiritual Sovereignty
Natural white, organic, cruelty-free New Zealand Merino wool. Natural white, cruelty-free US Polwarth wool. Hand dyed blush and mink Corriedale wool with ecologically-safe Oeko-Tex compliant dyes. 29" x 60" 
Spiritual Sovereignty
Detail Cheryl began to notice her designs played a significant role in helping her clients and their patients heal from stress, anxiety and physical pain. Seventeen years later, Cheryl began her journey into the tactile world of fiber arts after her niece introduced her to the art.
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Q U E L L E Z I N E
Number Twenty One
Number Twenty One
From the Editor: During the summer of 2018 we visited fiber exhibits, studios, shows, trails – following maps thru New Mexico cities, into the countryside and to outliers along the northern border. The first year of the Fiber Art Trail, sponsored and organized by the New Mexico Fiber Arts Center in Española, NM, was on our list. We met the delightful Karen Waters and were fortunate to spend time with her to learn about her work. Since that time we have been in touch often as I have followed along with her artwork and her Santa Fe Wool & Supply Co, which I, myself, and friends have
found to be a friendly and superb supplier.
found to be a friendly and superb supplier.
Karen Waters
February 17, 2022
Karen Waters Art
Santa Fe Wool & Supply Co.
February 17, 2022
Karen Waters Art
Santa Fe Wool & Supply Co.
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Contemporary
Handmade Felt Working with wool, soap, and rainwater, I create one-of-a-kind wet felted vessels, wearables, and a variety of other art pieces. My use of rainwater not only reflects my stance on environmental issues, but the pH is perfect for wet felting,
as the wool responds to it beautifully. Making handmade felt is mainly
about tangling wool fibers. The wool has tiny scales on each strand that latch onto each other when moistened and agitated. The more they’re agitated, the tighter they tangle, creating a strong felt fabric that can’t be torn, and won’t fray when cut. Karen Waters is a
respected member of the New Mexico Fiber Arts Directory New Mexico Artist Directory |
I love working with wool because
it’s sustainable, renewable, and biodegradable, with a very low environmental impact. If I have any leftover bits, they go straight into the compost without a second thought. Workshops
Traditional Feltmaking for Beginners is an online course that I’m currently offering. It teaches the fundamentals of 2D and 3D feltmaking, and is designed for those who are new to wet felting. |
Fiber Art Supplies
I also sell supplies to fellow makers through my studio-based business, Santa Fe Wool & Supply Co., which specializes in eco-conscious non-mulesed Merino wool, specialty fibers, and felting tools. I feel honored to have had my
wool featured as scene props in the movie ‘The Harder They Fall’, made into mats for children at The New Mexico School for the Deaf, and most recently at Meow Wolf in Santa Fe. Online orders for shipping and curbside pickup are currently available on the
Santa Fe Wool website. |
