Handwoven black cottolin and handspun wool from 1991 naturally dyed with wild madder root. 36 X 36 inches. 2024.

Bedstraw is an invasive plant in Vermont and much of the Northeast that grows in fields and ruins grass for hay. It is poisonous to most grazing livestock so the plant is avoided and grows abundantly. I spent all of Fall, until the ground froze solid, digging up bedstraw for the roots. The roots of this bedstraw plant are wild madder and produce orange to red clay colors when used in natural dyeing.

Photography by Marie Machin.

Handwoven black cottolin and wool naturally dyed with “invasive” plants of buckthorn berries, dock seed, jewel weed, and bedstraw roots. 10 X 36 inches. 2024. Woven during the summer time at Insitu Polyculture, Vermont.

Photography by Marie Machin.

Handwoven painted warp of natural dyes on raw silk. 25 X 90 inches. 2024.

Daffodils are one of my favorite flowers and the first flowers to pop up on the farm as a sign for Spring.

Photography by Marie Machin.

Handwoven cotton from Johnson Woolen Mills VT, handspun wool from 1991, and pecan and pomegranate with iron natural dyes. The warp is striped and is woven in a monks belt overshot pattern with rya knots. 36 X 72 inches. 2024.

Photography by Marie Machin

Handwoven snake skins, sparkles, and time. These skins are from rat snakes that come into our basement through the French storm drains when it's cold. Woven by hand onto picture frames from my Grandmother.

*No animals were harmed in the making of this artwork.

Photos by Marie Machin

In the collection of Porcelyn Headen.

Handwoven film photos, red thread, and time. 38 X 42 inches. 2023. Most of these photos were taken on my many artist residencies in Vermont. This work is about nostalgia, memory, time, and of course Vermont.

Photos by Marie Machin

Handwoven second-hand fiiber, ethically foraged raspberry canes, Gihon river rocks, and time. 25 X 30 inches. Vermont Studio Center, 2023.

Woven my last morning at Vermont Studio Center as a love letter to the land, truly known as Abenaki lands.

Handwoven second-hand fibers from Johnson Woolen Mills, sparkles, handspun wool, and time, 26 X 13 inches. 2023.

Woven during the March snowfall at Vermont Studio Center.

Handwoven and handspun natural wools from 1991, linen, onion food scraps, and time. Vermont Studio Center 2023.

My first weaving from my time at Vermont Studio Center. This “mudcloth” was heavily inspired by mud season and the pounds of snow falling from the sky our first week there. Since everything outside was asleep, I collaborated with the kitchen staff at VSC to collect food scraps for dye.

Double-woven raw & cultivated silk, mohair loopies, and wool dyed with fresh leaf indigo stuffed with homegrown marigolds, cosmos, coreopsis, & Black Hopi sunflower seeds, madder root, and time. 30 X 30 inches. 2023.

Featured in the Woven Into Our Fibers Exhibition at the Center for Visual Artists of Greensboro, NC in 2023.

Photos courtesy of the CVA.

Handwoven organic cotton, handspun pygora fiber, chia seeds, foraged wild goldenrod, cultivated fresh leaf indigo, and time. 45 X 10 inches. September 2022.

Text and textile come from the same root word, texere, Latin for “to weave.” The Grass is an exploration in this connection: text and textile. The text growing in chia seeds stating “the grass is always greener,” is a reference to the Greek phrase from first century B.C. “the harvest is always richer in another man’s field.” I have pygora goats at home in Maryland and no matter how high and luscious the grass is on the inside of the fence compared to the outside, they always stick their heads out of the fence to graze, as if the grass truly is always greener on the other side. This textile is handwoven cotton hand dyed naturally with wild, foraged goldenrod and handspun pygora fiber hand dyed naturally with fresh indigo I grew myself. The idea to grow a chia weaving of text is an attempt to create a natural piece of art even the animals will enjoy!

Featured in MdW Art Fair for Unpacked Mobile Gallery at Mana Contemporary of Chicago, IL in 2022.

Site-specific chia weaving for Abstract Acres, a day-long art event at Fluffybutt Farm in Fennville, MI, by Abstract Lunch, even the animals enjoyed.

Handwoven organic cotton, handspun hemp by Joanna Crosby, organic chia seed, and time. 15” X 15” square. 2022.

I planted the chia seeds in a design inspired by weaving draft patterns used to determine the weavers pattern to thread on the floor loom.

Handwoven second-hand mohair and time. 25” X 55” inches. April 2022.

Made in correspondence with the 2021-22 Weavers Guild of Greater Baltimore mohair challenge.

I wanted to make an homage to honor a little fawn that was lost. Thinking about vegan animal rugs, this is a shaped tapestry in a summer winter structure that is mostly weft-faced. This shaped tapestry is woven with the brown and white mohair fiber in the shape of a fawn rug. I finished the weaving with a wool brush, so the textile appears furry.

Featured in Abstract Acres at Fluffybutt Farm of Fennville, MI in 2022, Foot Fault Exhibition at Richmond, VA in 2022, the Fall Seasonal display window at Lovelyarns of Baltimore, MD in 2022, and in Terrain Exhibitions Art-in-Place, 2022 of Chicago, IL and beyond.

Handwoven second-hand tencel, foraged pine needles, and time. 9.5” X 16” inches. March 2022. Annmarie Sculpture Garden, MD.

Featured in the Artist in Action program and the Heart of it All Exhibition at the Annmarie Sculpture Garden in 2022; World Wide Web, solo exhibition at TAG/The Artists Gallery in Frederick, MD in 2023. In the permanent collection of Natalie Clapp.

Handwoven 30% hemp/70% cotton blend silver, all grown and processed in North Carolina at the One Acre Exchange, handspun by Weavers Guild of Greater Baltimore member, Joanna Crosby, and handwoven and naturally dyed with wild, foraged mullein flowers and rusty chains by Noelani Jones in the Catoctin Furnace of Maryland. 24 X 22 inches. July 2021.

Also made in collaboration with the Piedmont Fibershed.

Featured in the Weavers Guild of Greater Baltimore annual exhibition Weaving in the Times of Covid at the Howard County Arts Council, MD in 2022 and the Invitational Exhibition at the NOMA Gallery of Fredrick, MD in 2022.

First photo by photographer, Dan Goodrich.

Handwoven cotton, rayon, tencel, scrubby sparkle, madder, avocado, indigo, and time. 19X38 inches. May 2020.

There’s no place like home, good or bad. The text was woven without the use of a cartoon or outline in an effort to reflect the uncertain times we collectively find ourselves in. Taking it day by day, thread by thread.

Featured in the Art-in-place initiative by Terrain Exhibition in Chicago and beyond in 2020, A Year Apart Virtual All Media Show at Gallery 5 of Richmond, VA in 2021, Keeping it Together at the Julio Fine Arts Gallery of Loyola University Maryland in 2021, and the Invitational Exhibition at the NOMA Gallery of Frederick, MD in 2022.

In the collection of Amy Warfield.

Summer and winter handwoven, rug cotton, wool, cutch, weld, Osage orange, madder, and time. 8 X 8 feet. May 2019. Penland School of Craft, NC.

Vegan tiger skin rug, no animals were harmed in the making of this rug!

Paired with “A Net To Hold,” Sisal rope, madder, sandalwood, time. March 2019. Penland School of Craft, NC.

‘Upena (the net) represents all the stars in the night sky, because in Hawai’i fishing is done at night.

Featured in my solo show PENELOPE at the Rump Gallery of Richmond, VA in 2019, and in Foot Fault Exhibition at Richmond, VA in 2022.

Photos by Kim Peters at Rump Gallery.

Handwoven cotton, recycled wool from sweaters, goldenrod, indigo, madder, and time. 50 X 90 inches. July 2019. Lazuli Residency, Vermont.

The handwoven monks belt pattern is derived from the natural growth patterns of a wildflower field I found in rural Vermont.

Featured in my solo show PENELOPE at the Rump Gallery of Richmond, VA in 2019, and in Abstract Acres at Fluffybutt Farm of Fennville, MI in 2022.

Photos by Kate Smith at Abstract Acres and Kim Peters at Rump Gallery.