Presented by the Handweavers Guild of America
Small Expressions is an annual juried exhibition showcasing contemporary small-scale works using fiber techniques in any media. Small in scale but visually compelling, the Handweavers Guild of America Inc.’s (HGA) exhibit features work that speaks to the intricacy of expression, intimacy of design, thoughtful communication, and visual excitement. The artists in this exhibit create a big impact through small works.
Works juried into Small Expressions do not exceed 15 inches (38 centimeters) in any direction, were completed within the last two years, and are not previously published. The artists whose works are exhibited skillfully use a variety of textile techniques, incorporating both traditional and nontraditional materials, while paying special attention to the limitations involved in creating small-scale works. Artworks have consisted of diverse fiber techniques such as weaving, interlacing, basket making, bead weaving, embroidery, felting, and mixed media.
The purpose of Small Expressions is to increase awareness for the fiber arts by educating and showing the general public an exhibit of works while providing exhibition opportunities and exposure for artists; and to increase the perceived value of this art form by showing that traditional techniques of handweaving can be applied to any type of media in a modern way. Small Expressions appeals to the general public who as a result of viewing the show gains a greater appreciation to what fiber art can represent; art enthusiasts who appreciate sculpture and contemporary art; and individuals with an interest in the sciences and mathematics drawn to this type of artwork due to the repetition of pattern.
“What a joy to view the submissions for Small Expressions 2026! The challenge was eliminating some wonderful pieces to reach the number of pieces that could be included in the exhibit. So many pieces reflected the deep meanings of each artist’s concept, their excellent technical skills in the making of the pieces, and their strong application of color and design principles. The exhibition will reflect the exuberance, concern for social justice and cultural awareness, the vitality of self-expression, the playfulness, the importance of sustainability, and the spiritual beliefs and world views held by their creators.”
Ellen Hess, juror, Small Expressions 2026
Case 1
Red Jellyfish
Phoebe McAfee, 2024
Artist Statement:
I wove this tapestry from a photo I took at the Monterey Bay Aquarium during a Conference of Northern California Handweavers conference in 2007. I used some soumak and some shiny perle cotton along with wool weft. Woven on a copper loom.
Tangled
Peggy Widemann, 2025
Artist Statement:
As a contemporary fiber artist, I have a strong preference for natural fibers and materials. Their shapes, designs and colors inspire the artwork. I sometimes like to combine these natural elements with found objects. I start with an idea. Then the play among mind and materials continually stimulates the creative process and leads my work in new directions. Using traditional materials in sometimes unusual ways, I want to create designs, shapes, and styles that stretch the imagination and react with the senses.
Chroma
Mary Ann Proia, 2025
Artist Statement:
Chroma is the result of a visit to a small town in Italy during the winter months. It originated as a way to pass the time using children’s watercolor pencils that were left behind.
Escape Too
Peggy Widemann, 2025
Artist Statement:
As a contemporary fiber artist, I have a strong preference for natural fibers and materials. Their shapes, designs, and colors inspire the artwork. I sometimes like to combine these natural elements with found objects. I start with an idea. Then the play among mind and materials continually stimulates the creative process and leads my work in new directions. Using traditional materials in sometimes unusual ways, I want to create designs, shapes, and styles that stretch the imagination and react with the senses.
Alterum Vocare
Karen Clements Schmidt, 2026
Artist Statement:
I began this piece wanting to explore pulled warp tapestry. My initial concept completely left my mind once I took the piece off the loom and pulled the warp. It came alive for me at that moment with an energy I could feel… one of a still protection, while the undulation of the weave inside the opening, with its mouth-like quality, actively calls out to the others.
Water, Water, Water
Annetta Kraayeveld, 2026
Artist Statement:
Glacier National Park is a triple continental divide: the water from the peaks in the park flow west to the Pacific Ocean via the Columbia River, east to Gulf of Mexico via the Missouri and Mississippi, and north to the Hudson Bay via the Saskatchewan River. The water from these peaks is important to thousands of people in two countries. Each spring, snow melts on these high peaks and begins the journey to our oceans. Along the way, the water brings life. Water is life. This piece is a celebration of water, the water that comes from the rare triple divide in my backyard.
Case 2
Feathered Muse
Leslie Bruch, 2024
Artist Statement:
The Cedar Waxwing comes alive in this piece with its short crest, black mask, and red markings on its tail feathers. The natural world with its intricate patterns, textures, and rhythms serves as a constant source of inspiration and fuels my creative process. I am drawn to the beauty that surrounds us, finding endless possibilities for interpretation and expression in nature’s forms. I love to watch and identify the birds that frequent my wooded yard. Bringing them to life on the loom is my way of acknowledging the joy they give me.
Ksts’aa’wnu Hanaa’na̱g̱m G̱a̱tgyet/I Am Surrounded by Women’s Strength
Ruth Hallows, 2025
Artist Statement:
Part of a dance ensemble which debuted at the Center for Craft’s 2025 exhibit Archives in Practice, this dance bag employs ancient and contemporary weaving patterns to record inherent strength carried in Haida, Tsimshian, and Tlingit women. On one side, the striking pattern Swirling Lightning conveys immense strength held and passed from generation to generation of women whose hands are represented on the reverse by the pattern representing traditional women’s hand Tattoo. An adaptation of Sisters flows around the base of the dance bag where it is woven in the round – unbroken and eternal.
Raven Woman Dream 2 – No One is Listening
Jane O’Riordan, 2025
Artist Statement:
I dream very vividly, in color, and generally the dreams include landscapes. In the fall of 2024, I was disturbed by our divisive political environment and wars throughout the world. I dreamed of walking through a dusty landscape to meet with some people who would not talk to each other until a Raven Woman appeared and asked them to listen.
Lichen 4
Alicia Bailey, 2025
Artist Statement:
Since my toddler days I’ve been fascinated by lichen; intriguing bits clinging to granite and tree stumps first encountered during family mountain excursions. The fascination persists, now enriched by curiosity and by knowledge both researched and observed. Having noticed that lichen is often described using weaving metaphors and learning that weavers used lichens to dye wool for many centuries, I began a series of artists books that combine lichen and weaving both physically and conceptually.
Hope from a Raven
Jama Watts, 2026
Artist Statement:
This two-sided feather and inkwell were influenced by the works of Emily Dickinson and Edgar Allen Poe: “Hope is the thing with feathers” by Dickinson, and “The Raven” by Poe. This work was initially created for and juried into a show called Fabulous Forgeries: The Renaissance as both of these poets were part of the American Renaissance.
Case 3
Undulating Moons
Rebecca Grass, 2025
Artist Statement:
I was inspired by the sinuous patterns created by magnetic fields on the moon’s surface. I chose a silvery grey color scheme and painted a pattern on a glossy mercerized cotton warp to reflect the woven pattern in the structure of the fabric. Since beginning my practice of making art on a floor loom I have been drawn to the connection between the concepts of the repetitive cycles of natural systems, like those of the moon, and the inherent repetition found in producing textiles on the loom.
Interstellar I
Andrea Blackmon, 2026
Artist Statement:
I work across several fiber practices and always have multiple pieces in motion. This series grows from a commitment to using the materials already in my workspace. I transformed earlier doubleweave samples, layering them with fabric and beads from my existing collection. The work reflects both resourcefulness and the ongoing evolution of my making process.
Market Day in San Miguel
Louise Halsey, 2026
Artist Statement:
This wedge weave tapestry is an abstract version of the colorful, vibrant scene on the streets and in the marker on a Saturday in San Miguel. Using both wedge weave and slit tapestry I wanted to convey the lively reality I experience. A visual representation of the energy generated by the placement of vegetables, fruits, and other items was my focus.
Circuswirl
Dona Rozanski, 2024
Artist Statement:
This traditionally coiled basket showcases a carnival of color and pattern with a circus ‘big top’ pattern on top and a pinwheel swirl of colorful arms encircling basket bottom. Sides feature bands of classic repeat patterns updated with a riot of coordinating but high contrast color. My goal was to infuse as much color and pattern as possible into this small vessel, delivering eye candy hues, tones, and shapes, yet delivering a cohesive whole when done.
Two Faced
Becka Rahn, 2026
Artist Statement:
Two Faced is an art book with the handstitched profile of a Gila monster on each cover. The Gila monster is a near-threatened species in the Americas and is one of a group of venomous “beaded lizards,” recognized by their pearl-shaped scales and blue-black forked tongue. The title Two Faced is a play on words, referring both to the faces on the covers and also the idiom meaning someone who is insincere and speaks ill of others behind their back while being nice to their face. Made in response to an unexpected conversation, the book pages are black to hint that the story has been redacted.
Illuminknit: December 1-5th, 2025
Lisa Urban, 2026
Artist Statement:
The works in this portfolio act as tactile records of time. Each begins with handspun yarn, inked during spinning to embed my presence as “fingerprints.” Across the school week, I track eight class periods from calm to chaos, translating them into stitch patterns knitted into spherical forms. Uniform stitches mark calm, ordered holes suggest control, and frayed areas reflect disruption. Perforations and base patterns further map time. In a digital age, this slow process preserves personal history in material form, inviting reflection on memory and record-keeping.
Case 4
Growing Pomegranates (Hope)
Ayelet Lindenstrauss Larsen, 2025
Artist Statement:
The pomegranate’s flower is pretty, and a fully mature pomegranate has a lovely sculptural form: generously round, with a gently flattened crown. But to me, the most visually exciting stage is when several young pomegranates are maturing together on a branch, hanging at angles to each other, with their calyxes already well-developed but the fruit itself still far from maturity. The shapes they form are beautiful, and the growth suggests hope.
Birthday Sangria
Kathy Spoering, 2026
Artists Statement:
I keep a sketchbook habit, and I generally begin and end each sketchbook with a self-portrait. As most of my tapestries come from my sketches, I began a series of Selfie tapestries. This is the 4th in that series. It is of a birthday celebration, which included my favorite drink, which is a rare treat.
Scorched Earth
Paula Ann Baumann, 2025
Artist Statement:
Scorched Earth interprets the angst that I feel for our future given individual and national lack of commitment to reducing global warming. It represents my fear that the beautiful trees in my backyard forest will be devoured by fire should a lightning strike hit during a drought. Of course, it also speaks to the agony of those who experience lost homes due to fire and floods as well as those whose livelihoods are crushed by fire across the world. It also exemplifies my concern for those with poor health due to coal burning and pollution.
Velveteen Rabbit
Katherine Manfre, 2026
Artist Statement:
It started with a desire to showcase Acadian Brown Cotton, which has been an interest of mine for years. In musing the color, I thought of
The Velveteen Rabbit – a story from childhood about a beloved stuffed toy that eventually becomes real. The brown shade was perfect for a rabbit, velveteen was an enticing challenge to handweave, and who hasn’t loved a soft plush toy at some point in their life? This plush toy is a mix of the love from generations keeping the Acadian Brown Cotton alive, my own family’s past few white cotton plants, and the time and effort that goes into something handmade.
Case 5
Portrait 5
Jina Jamison, 2026
Artist Statement:
Images mark our passing—hints of memory left in the wake of experience. My work explores solitude and space through recognizable, figurative forms. While these pieces are rooted in specific moments and emotions, I try to leave some elbowroom for people to have their own experience. By translating these memories into the tactile language of tapestry, I invite others to find their own resonance within the threads, creating a place for shared experience rather than a closed story.
Reconstructions
Kathie Hollingshead, 2025
Artist Statement:
With all of the destruction taking place in our country, it is important to remember that it is possible to rebuild. Practicing mindfulness, I restore a sense of imperfect order to the chaos of deconstructed, tea-dyed linen. While visible evidence of the damage serves as testament to the destruction, each square holds my hope that we can reconstruct a more caring future. The piece is framed in willow; a strong wood that will bend without breaking. These reconstructions bring me hope, if only in the moment. Hope that we can rebuild, can improve, can turn towards a renewed sense of compassion.
Resist Statement Bangle
Jenny Schu, 2025
Artist Statement:
I have never been particularly outspoken, but I am becoming a bit more so as decisions out of my control are directly affecting me. I am trying to be gentle with myself as move through these days, I’m not interested in arguing with anyone and in a lot of ways I have shut down which makes it difficult for me to focus on my larger artwork. I am reaching for that which is comfortable for me and I can say my peace though my beadwork. Distilling my words down to exactly how I’m feeling helps, and with Resist Statement Bangle I feel that I’m standing with many others from the safety of my studio.
Woodpecker
Helen Leaf, 2025
Artist Statement:
I often hear woodpeckers in the forest, and I watch them as they hunt for their food in the trees. In this particular year I found woodpecker feathers – the same feathers in two different places, including tiny red feathers. This piece acknowledges and honours the spirit of woodpecker, and the message it brings.
Case 6
American Roots
Elizabeth Bennett, 2026
Artist Statement:
Life in the 21st century has accelerated change and chaos exponentially. Rapidly developing events, news stories, 15 second sound bites and social media posts proliferate like bright shiny objects. It’s hard to keep track of what’s real and what’s not. This piece reflects my concern that our country is losing focus on the values and principles that underly our way of life.
San Gimignano Collage #15
Virginia Fitzgerald, 2025
Artist Statement:
During an artist retreat, I was drawn to the detritus left behind. Much of my art practice celebrates the everyday, transforming ordinary objects and moments into the extraordinary. As an artist I like to bring attention to the overlooked and elevates it to the sacred, inviting others to observe, reconsider, and rediscover the world around them. For this collage, I was inspired to celebrate the found materials using embroidery.
Needle house ornament – Taking care of precious needles in traditional Korean style
Donna (Kyunghee) Kim, 2026
Artist Statement:
My Baneuljip Norigae (Needle House Ornament) explores the intersection of aesthetic beauty and daily function. In the Joseon Dynasty (Korea), needles were highly precious; these practical storage cases evolved into exquisite decorations for women to keep their tools close. I crafted this piece while studying traditional Korean patchwork to trace back my cultural roots as a person residing in NYC. As a contemporary fiber artist, creating this ornament is a meaningful way to honor my heritage while cherishing the essential tools of my trade, bridging the past with my present practice.
Polar Lights, The Aurora Borealis
Vicki Aspenberg,
Artist Statement:
Watching the Aurora Borealis into the wee hours of the morning is one of my favorite memories of a few summers spent in New Brunswick, Canada. The night sky lit up, brilliant colors glowed and danced and I was entranced. I’ve been weaving tapestry for around eight years, and my designs are often inspired by both memories and nature and the Aurora experience was one I wanted to capture. I took the class “Weaving with Wire and Beads” with Rebecca Smith at Convergence 2024, and I used this method to make a three-dimension tapestry supported by wire to show the beauty of the Aurora Borealis.
Case 7
Self-Portrait 2025
Courtney Cox, 2025
Artist Statement:
Self-Portrait 2025 is a 3/4 profile of the artist looking directly at the viewer. The hair was merely hinted at, with outlining to suggest length and texture, but left unfilled to direct all attention to the face. A mix of wool and acrylic yarns as well a embroidery floss was used to stitch this larger-than-life portrait. The subject’s facial expression seems neutral, but the intensity of the gaze portrays thought and connection to the viewer. The piece was made to acknowledge significant changes in the artist’s life and identity.
Imbricate
Rama Ganesan, 2025
Artist Statement:
I am inspired by plant morphology viewed in a scientific perspective, particularly to access deep underlying patterns. In the Fall of 2024, the okra I had planted grew well into November and the cold temperature highlighted the flower bud’s unfolding in a dramatic manner. I was mesmerized by the specific overlap of the petals, their gradual pink color, and striking maroon veining. I researched aestivation, or arrangement of petals within a flower bud. This, together with the closely related ptyxis or leaf folding, has become one of the enduring influences on my fiber art.
Lucifer
Rae Gold, 2025
Artist Statement:
Sometimes when what is happening politically in the country causes me to express my anger with my work. I have used a variety of techniques over time: felt, basketry, and Joomchi. I become cathartic to express them this way. Joomchi is the way I produced this one. The colors of the paper are on the dark side and the window is disintegrating on purpose.
Case 8
Gathering 2
Nancy Taylor, 2025
Artist Statement:
In a shattering world, this piece is a hope for coming back together. All of the colors in Gathering come from local, wild-growing plants, gathered from close to my home. The local reaches out to the global, hoping to pull us together.
Silos
Kyle McKeown Mansfield, 2025
Artist Statement:
I created this tapestry during a period of reflection about the current political impasse in the U.S. Inaccurate media input fosters doubt and distorts perceptions. We have sorted ourselves into silos of perspective; some have turned pessimistic while others remain hopeful. But I feel we have more in common than we realize: a desire for fundamental rights, health, and economic stability. These can be the foundations upon which we reach out within our communities to reconnect and finally turn the page on this precarious chapter in American history.
Abandoned Nest
Kathy DeOrnellas, 2025
Artist Statement:
This tapestry commemorates a robin’s nest in my backyard dogwood tree. Throughout the summer, I observed the parents tending to the next until the fledglings departed and the adults moved on.
Renmants of Use
Arushi Sharma, 2026
Artist Statement:
Remnants of Use treats discarded packaging as material record. Woven on a frame loom with naturally dyed cotton warp, each fragment carries marks of use and circulation. The layered surface reflects life—each layer like a new day, building a timeline of experiences and challenges. Varied materials create shifts in texture, reinforcing this sense of accumulation. The painted grid represents memory: some moments are held and remembered, while others are covered or forgotten. The work follows this cycle of holding on and letting go, preserving what would otherwise disappear.
Socks and Sandals
Laicee Blackwell, 2024
Artist Statement:
I draw on personal experiences, influenced by my midwestern upbringing, interwoven with queer cultural tropes and historical aesthetic lore to navigate popularized ideas of what the queer experience is or is expected to be. This practice of making has allowed opportunities for me to heal through the use of humor and the deconstruction of old, closeted woes. This piece was woven on a TC-1 Jacquard Loom. It is part of a set of woven patches exploring queer crush characters and coded iconography.
Exhibit Programming
Stay tuned for details.