Jacksonville IL
© Joyce Surbeck-Harris
2021 Booth #66
Each of my pieces is one of a kind and made in the tradition of my ancestors. Each is hand burnished with a stone smoked, fumed or embellished with horse hair. Due to the nature of the processes no two pieces can be identical. Approximately one third of the display will be carved and polished. My clay body is my own recipe that produces a porcelain-like finish. All sculptured pieces are done individually and by hand..
St Louis Park, MN
© Cheri Meyer
2023 Booth #95
Hand Woven, free from design bead weaving; I create various tapestry forms by weaving seed beads. I use meaningful stones, metal, fiber, found & handmade objects in my wearable jewelry art designs.
Key West FL
2021 Booth #
© Regina To
Traditional metal-smithing methods such as hand sawing, drilling, soldering, cold-forging, and riveting are used on sterling silver, copper, and brass to fabricate elegant botanical-themed jewelry. Most pieces are matte-brushed to produce a satin finish that elucidates form, while others are oxidized to offer contrast to the metal's natural hues. Organically shaped seaglass in rare colours, high lustre baroque pearls, and vintage finds are often used as accents.
Los Angeles, CA
© Amos Amit
Booth 2023 #52
Original batiks on Egyptian cotton hot wax and dyes process. The technique is a difficult one and takes years to perfect to control the hot wax on the fabric so to get fine clear details.
© Anna Repke
Made from my dyed wool, at a distance, the pictures actually look like paintings. Then as people do a double take, they realize these pictures have incredible texture and life! I lay out the dry fluffy wool into my desired design, sometimes I will include other fibers such as silk, bamboo, flax, camel, buffalo... you get the idea, and then get it wet, massage it, turning it into felt. After it is rinsed and dried, I will poke tiny fibers into it to create the desired details. Some of the pieces have added machine stitching to give even greater texture and design. I then stretch them over a frame just like you would with canvas.
Most of my work is based on nature and landscapes. However a fairy has been know to sneak in at times. Coming from an oil painter background, I find such delight in being able to paint, sculpt, and play with fibers all at the same time. I truly have found my passion.
© Holly Keller
2023 Booth #96
I want kiddos to experience the magic of rainbows, make-believe and sweet dreams. I want to be kind to the earth and use what already exists. I want big people to know childhood doesn’t have to end just because they’ve grown up. My toys, plushies and wee confections are handcrafted from secondhand and eco-friendly materials, then designed with whimsy, vibrant colors and happy details in order to make all of these dreams come true.
I sew with secondhand materials like wool or cashmere sweaters, tweed suit jackets and striped cotton tees, or some green fabrics like organic cotton fleece. My designs are machine and/or hand sewn with hand-embroidered details, while my patterns are hand-drafted in order to capture the charming irregularity of the handmade. My toy designs range from dolls to plushies (sizes range from teeny match-box-sized to 20+ inches) to toys inviting creativity, like felt design books. I design for little people & the little people inside of big people. Come play.
© Claire Weyrauch
I make traditional art using ink and marker, with a primary focus on local themes, such as icons, wildlife, locations, and more. Prints, stickers, buttons, cards, and enamel pins are all handmade and designed by me.
Oglivie, MN
2021 Booth #69
I make hand welded designs on thin gauge stainless steel sheet. Every piece is cut, polished, prepared, drawn, and welded by hand, by me. I use very precise welding techniques and heat control to allow oxidation to create a variety of colors as a result of the welding process. Although this material is as unforgiving as it is challenging, the result is worth the effort, and my knowledge and skills continuously evolve and improve through every piece that I make.
® Rita Morris
We create functional, handmade stoneware and porcelain pieces decorated with imagery from the natural world. Each piece is thrown on the wheel and hand painted with the native flora and fauna of this region. We strive to bring beauty into the simple every day experience through form, function and detail.
Sue Rowe Studios
Stillwater, MN
2023 Booth #134
© Sue Rowe
I use soft pastels or other drawing materials on a wide variety of surfaces to create fanciful creatures. Often text is used as well. Surfaces range from fine rice papers to Masonite board prepped with gesso, pumice, and acrylic paint.
Roseville, MN
2022 Booth #68
I use watercolor on paper, building multiple layers to create realistic landscapes and still lifes.
© Christina Hankins
Each piece is created using a combinaton of acrylic paint and pastel on sanded paper.
Cedar, MN
2020 Booth
© Isaac Theobald
I use both hard and soft glass to create utilitarian and sculptural work. I try to meld traditional techniques in torch and furnace working with more modern designs. I work extensively with color and pattern using many ancient Venetian techniques such as encalmos, canework, and murrini, renewing them with modern forms and uses in mind. I also do some glass fusing, mostly fusing metal foils between sheets of glass, and sometimes including these elements in blown work.
Minneapolis, MN
© Pat Parnow
I am the Director of the Loring Park Art Festival and one of the original founders.
I'm not exhibiting this year but my photos are still available for sale - contact me through my website - www.patparnow.com
My color photographs include subjects from intimate flower portraits to the old world charm of European scenes. The photographs are printed with a conventional RA-4 process-- although the way I print is far from conventional using many self-devised darkroom techniques.
© Pat Parnow
© Hironobu Nishitateno
I create Japanese-style functional pottery from stoneware on the potter’s wheel. My shapes and designs reflect Japanese simplicity as well as elegant functionality. My glazes are all handmade and tested, the main ingredient being hand-processed natural ash, which complete my pieces with an organic look. I enjoy including rare details in pieces, such as the time-consuming mishima stamping process and hand-built fine-holed ceramic strainers in the spouts of my teapots to catch tea leaves.
Decatur, IL
© Darren Miller
2020 Booth
My work engages contemplations of the dance. The interconnected and spacial working together to form a symbiotic whole. Juxtaposing intractable metal with fluidity of motion.
© Mark Kuhn
Travel photography with an emphasis on shape, line, texture, and in particular color; I use digital techniques to capture the world as I see it and then print on Aluminum, Canvas, and Archival Paper.
Avon, MN
Gourd-geous Arts
© Tanya Allen
2020 Booth
My typical process for creating my art pieces is as follows. I get my gourds from Georgia. Once I have a basic design I do a rough sketch of the overall design. The image starts on the gourd in pencil that then goes onto the gourd with a wood burner. I then make what ever cut necessary to open up the inside. I clean out & sand the inside, then paint the inside if the design warrants it. The carving is what comes next, mostly I make luminaries. I then take it into my finishing studio to dye or paint & embellish it. I use a special gourd dye for my pieces & I love to incorporate stones and gold leaf where ever it enhances the design. Finishing is a coat of poly and if it's to become a luminary it will get attached to a base. Working with gourds is a very unique process that is a combination of drawing, woodworking and other processes similar to working with clay. In fact my work gets most commonly confused as being ceramic, people are genuinely shocked when they find out it is a gourd.
© Michael Lamers
Medium format camera with traditional photographic techniques are used to create unique fine art imagery with only minor adjustments made outside the moment. Photos are printed by the artist using archival ink on transparent paper & face mounted onto acrylic. The transparent quality of the paper allows the texture & luminosity of the print to glow under different lighting. All artwork is signed and numbered.
© Tara Locklear
I am inspired by industrial and social culture materials but driven by my love affair with color. My material choices have unique graphic and color qualities in which exploring and forming them are the heart of my studio practice. All of my material choices have inherent beauty and strength beyond their functioning identity. Pushing boundaries of color and pattern with the existing worn, street patinas of the broken, recycled skateboards that I use paired with handmade sterling silver designs, creates playful but powerful jewelry. These dual factors are the reasons why the jewelry resonates memory, time, and place to anyone who encounters it. Harnessing every day with a unique sense of self is what my work strives to aide. My focus is to create fine hand crafted jewelry that empowers individuality and brings a refreshing point of view to contemporary jewelry. This is my idea of what everyday jewelry should be.