Fibers

2002

Apprenticeship with Fern Bosin Sluder, Kiowa master beadworker, Albuquerque, New Mexico; Judy Chicago collaborative workshop and exhibition, Santa Fe, New Mexico; department head, visual arts, Woodside Priory School, Portola, Valley, California; co-founder, Loop it Up Savannah community arts program, Savannah, Georgia

Surface Design Association; Textile Society of America; annual Think Tank participant, Center for Craft, Creativity and Design (CCCD), 2011

• "Zozobra: Obras en Fibre de Cayewah Easley," X Galeria de Arte, Valdivia, Chile
• "Architecture of Fear," edited by Nan Ellin, Princeton Architectural Press, New York, New York, 1997
• "Crossing Boundaries, Maintaining Traditions: Teaching Artists of the Southeast," traveling exhibition
• "ReOrder," Red Gallery, group exhibition, Savannah, Georgia

"My father, sisters, teachers, colleagues and my students. I believe that passionate engagement with art, craft and design can forge relationships with and possibilities for our local, national and international communities."

• FIBR 101 Introduction to Fibers
• FIBR 308 3-D Fibers
• FIBR 401 Advanced Fiber Arts I
• FIBR 403 Advanced Fiber Arts II
• FIBR 716 Fiber & Fabric Exploration
• FIBR 745 Studio Issues in Fibers I
• FIBR 772 Studio Issues in Fibers II
• FIBR 775 Studio Issues in Fibers III

"Gather, listen, respond.
"Repeat process based on new information.
"Materials will vary."

1986

Completed Jacquard and advanced Jacquard workshops at Montreal Centre for Contemporary Textiles

Established Jacquard weaving program at SCAD

Textile Society of America, Surface Design Association

• "From Upholstery to Installation: Educating Designers and Artists using an Electronic Jacquard Loom," paper in juried panel, "Computerized Jacquard Weaving: Exploring Options and Issues for Textile Artists and Designers," Textile Society of America's seventh biennial symposium
• "High Tech Tools Meet Historic Textiles," field session, National Trust for Historic Preservation annual conference
• Catalog essay for SCAD exhibition "Parade," Paris, France, July 2004
• "e-textiles," Jacquard woven work included on CD-ROM produced by Montreal Centre for Contemporary Textiles

"The opportunity to help students develop their voice and vision."

• FIBR 315 Computer-aided Woven Design
• FIBR 401 Advanced Fiber Arts I
• FIBR 403 Advanced Fiber Arts II
• FIBR 406 Fibers Portfolio Preparation
• FIBR 414 Computer-aided Jacquard Design
• FIBR 455 Advanced Computer-aided Jacquard Design
• FIBR 704 Surfaces and Structures
• FIBR 726 Digital Dobby Design Studio
• FIBR 733 Digital Jacquard Design Studio I
• FIBR 743 Digital Jacquard Design Studio II
• FIBR 745 Studio Issues in Fibers I
• FIBR 765 Seminar in Fibers
• FIBR 772 Studio Issues in Fibers II
• FIBR 775 Studio Issues in Fibers III

"line: drawn, woven, constructed, found.
"slow accretion, building density.
"a seed, a shrub, an abstract garden."

2011

2009

Freelance artist and designer featured in solo and group exhibitions Australia, Japan, New Zealand, Scotland, South Korea and the United Kingdom; commissioned for numerous public art projects in Australia; included in permanent collections in Scotland and Australia; conducted various workshops on textile design throughout Australia; associate lecturer, University of Southern Queensland, 1999-2000; textile instructor, Mt. Gravatt College of TAFE, Brisbane, 1989-90; head of textile department, National Arts School, Papua New Guinea, 1986-89; design lecturer, Duncan of Jordanstone College of Art and Design, Dundee, Scotland, 1980-85

Jean Clarice Searle Research Award, University of Southern Queensland, 2006; Design Excellence Award, Queensland Design Awards, Design Institute of Australia, 2005; Award of Merit, Public Art Collaboration, Queensland Design Awards, Design Institute of Australia, 2005; Australian Post-graduate Award Scholarship, 2005-08; Churchill Fellowship, 2004; First prize, Images of Queensland, textile design competition run by Woven Image, 1996; First prize, swimwear category, Design FX Awards, 1995

Fellow, Design Institute of Australia; fellow, Churchill Fellows' Association of Queensland

• "Wendi Choulai," foreword essay, edited by David Tenenbaum, Melbourne Books, Melbourne, 2009
• "Committed to memory," essay for "Avant Garden," edited by Beverley Bloxham, Ann-Maree Reaney and Jill Kinnear, published by Arts Council Toowoomba, Australia, 2009
• "kibung; textiles from graduates of the National Arts School, Papua New Guinea," edited by Ross Searle, published by the University of Queensland, 2003
• "The Ratio of Distance: mapping the landscape in drawings and textiles," author and artist of this 70-page full-color book with drawings, textiles and diary text, published by the University of Southern Queensland, 2001
• "Australian drift seeds," more than 100 pen illustrations for book by Jeremy Smith, published by the University of New England, 1998
• "Diaspora: textiles as paradox," artist and author of this 48-page full-color book with 6,000 word essay, 2008
• "Diaspora: textiles as paradox," paper delivered at the American Comparative Literature Association annual conference, New Orleans, April 2010

"I am inspired by excellence and the process that helps students to attain it."

• FIBR 204 Repeat-pattern Design
• FIBR 312 Screen Printing
• FIBR 707 Fabric History as Source
• FIBR 746 Pattern, Motif, and Image

jillkinnear.com

2006

Design consultant, Very Vineyard; costume designer, "Stolen Generation," performed in the United States and Australia by the University of Georgia's Core Concert Dance Company; hand-dyed fabric and quilts exhibited nationally

Surface Design Association, American Craft Council

Presentations

• "Fine Art Embroidery," presentation and workshop for visiting art educators and prospective SCAD students, Pepe Hall, Savannah, Georgia, 2011
• "Repeat-pattern Design," workshop given to prospective SCAD students, Pepe Hall, Savannah, Georgia, 2009, 2010
• J.C Lewis Health Services of Union Mission's AIDS Memorial Quilt Project, series of eight workshops, Savannah, Georgia, 2009
• "Repeat-pattern Design," workshop given to public school art teachers, Gordon Hall, Savannah, Georgia, 2009
• "Master the Art of Repeat," workshop, Georgia Art Education Association's Fall Professional Learning Conference, Athens, Georgia, 2008
• "The Repeat Flip," workshop, Georgia Art Education Association's Fall Professional Learning Conference, Augusta, Georgia, 2007

Selected exhibitions

• 2nd Annual FAAA Fine Arts Exhibition, quilts, Beach Institute, Savannah, Georgia, 2010
• "Design Thinking: SCAD Juried Summer Sales Exhibition," quilt, Red Gallery, Savannah, Georgia, 2009
• "AIDS Memorial Quilt Project," Live Oak Public Library, Savannah, Georgia, 2009
• Georgia Art Education Association 2008 GAEA Members Juried Exhibition, Lyndon House Arts Center, Athens, Georgia, 2008

"My philosophy of education is based on the welcoming atmosphere one feels when one first steps into a classroom. The type of classroom I feel most at home with is Montessori classroom and their philosophy of education. Because Montessori classes contain more than one class level, there is also a good deal of peer tutoring going on. Montessori also agrees with Piaget's belief that the environment has a role in development. Montessori's prepared environments are designed to allow children to grow and not be overwhelmed beyond their normal schedule of development. Rheta De Vries notes that Montessori's 'Four Planes of Education' are similar to Piaget's different stages of development, and they both see certain children's actions as central to cognitive development. They also believed that development cannot be taught and that education must be guided by the way the student thinks and the natural laws of development." - John Chattlin-McNichols

• FIBR 101 Introduction to Fibers
• FIBR 201 Introduction to Weaving
• FIBR 204 Repeat-pattern Design
• FIBR 310 Images on Fabric
• FIBR 328 Textile Rendering
• FIBR 342 Embellished Surfaces
• FIBR 344 The Art Quilt

"In creating art, one explores different avenues. The result of this exploration is an adventure, a surprising glimpse into the unknown. When I am making one piece, I am exploring the possibilities. There is more than one solution and more than one direction. My work is developed in layers using a variety of techniques."

• employeepages.scad.edu/~skroehnk/
• sallygeorgia.com

2001

Textile advisor, Peace Corps volunteer, restorer of Navajo textiles, workshop leader, studio artist, assistant professor at East Tennessee State University

Surface Design Association, American Craft Council, Handweavers' Guild of America

"I see my role of educator to be as catalyst - to inspire, challenge and make information limitless that plants the seeds for individual perspectives to take hold."

• FIBR 101 Introduction to Fibers
• FIBR 201 Introduction to Weaving
• FIBR 321 Intermediate Weaving
• FIBR 340 Natural Dyes and Dyeing

"An interest in architecture, social experience and the interior mind has led me to explore language within the framework of textiles and its metaphors. I attempt to create a circumstance in which we take a closer look at the human predicament in the context of history and the inter-relationships to cloth and the written word."

2007

Full-time product and textile designer for Milliken, Absecon Mills and Target Corp.; independent design consultant and freelancer for a variety of companies

From concept development to final product, Noonan focuses on examining the relationships between color, pattern and texture as surfaces for everyday use. His interests include bridging the gaps between handmade and mass-produced, vintage and contemporary, and virtual and tactile.

• FIBR 204 Repeat-pattern Design
• FIBR 312 Screen Printing
• FIBR 318 Computer-aided Surface Design
• FIBR 418 Advanced Computer-aided Surface Design
• FIBR 406 Fibers Portfolio Preparation

"Recipe for surface design success: Pattern with nostalgic familiarity sprinkled with zeitgeist, submerged in texture and smothered in color. Flavored to taste. Enjoy!"

2006

Practicing textile designer and artist for nearly 20 years; designer of Jacquard fabrics for contract market and developed custom programs with clients such as The Knoll Group, Henry Calvin Fabrics and Sina Pearson Textiles

As a studio artist, installations have been exhibited at the Museum of Art & Design in New York and the Textile Museum of Canada

Exhibiting work part of Metropolis magazine editor's picks; traveling to the International Furniture Fair in New York and Neocon World's Trade Fair in Chicago

"As an artist and a designer, I believe my role as an instructor is to offer and to impart the knowledge and information I have gained thus far in my own experience and career. My goal is to teach students how to develop their own art practice and how to maintain that practice. Most importantly, I create an environment of learning by discovery and exploration. A defining element in the development of an artist is to find a course of self-inquiry and to form the ability to direct oneself towards a continuing process of invention and innovation within that discipline.

"Through my own experience, I am able to expose a student to many techniques and processes that can inspire and motivate one to continue an art practice. My intent is to encourage a student to take a process beyond its current boundaries.

"Additionally, I hope to convey to the student an awareness of contemporary issues of art and design and to provide an environment where critical dialogue can take place. In contemporary fiber today the methods and materials we use are constantly shifting, as is the definition of the field itself. Challenging students to continue this evolution is a practice and responsibility I place on myself.

"In this sense, my intent is to consider each student as an individual, and to be aware of that student's distinct challenges relative to his or her own progression as an artist. To allow one to evolve through one's own self-investigation, rather than imposing my own or others' practice or theory will permit greater innovation and diversity in the field of fiber arts."

• FIBR 308 3-D Fibers
• FIBR 326 Advanced 3-D Fibers
• FIBR 401 Advanced Fiber Arts I
• FIBR 403 Advanced Fiber Arts II
• FIBR 406 Fibers Portfolio Preparation
• FIBR 728 Structural Materials and Processes
• SDED 490 Collaborative Experiences

"My work is an observance of a past process or series of actions performed on or to a specific material, the progressive evolution of an object as it is brought into and exists in the world. As an artist I then alter these existing forms by my own acts, as I attempt to make a shift in a continuing process. The act may be additive or subtractive, as I perform an action of subtle opposition to what has come before. I work to merge these oppositions, in order to investigate industrial, commercial and individual acts of creation as they integrate with unintentional effects of use and wear of the object. Through these methods, I am marking and simultaneously examining the ideas brought to my attention through these procedures, gauging the impact of similar operations on our consciousness, our physical bodies and our environment.

"I am interested in the displacement of an activity; wear through manufacturing, creation through individual use. Exposing a technical mystery through a traditional craft technique, or by revealing the flaws of a manufacturing process as an expression of an idea, I try to shift back and forth between these ways of working. The contrast, then, between deliberate actions and thought and acts of randomness are manifested in the physical object. The object or material itself becomes a tangible archive, on which actions are inscribed that resist the fleeting nature of memory. What is stained, exhausted, deteriorated or fatigued combines with the contemporary, enduring, flawless and manufactured to create a fragmentary whole. By the acts of destroying and recreating, undoing and doing, tearing apart and reproducing, the elements of a fabric are transformed as I provide a small disruption to an ongoing cycle. Maneuvered between 2-D and 3-D space, the structure of a material is exposed as temporal, fixed in a moment in time ready to be re-assimilated into another incarnation."

lizsargentartist.com

2007

Designer of textiles used in the home, which are both hand and digitally printed, as well as Dobby and Jacquard woven, specializing in the redesign of historic conversational motifs with a subversive twist; wallpaper patterns licensed to Studio Printworks, LLC

Invitation to the Cooper-Hewitt National Design Triennial, Design Life Now

SCAD Presidential Fellowship, Summer 2010; ICFF Editors Award for Best Design School, 2008, "Designed Conversation," lead faculty for student collaborative project with Union Mission, Savannah, Georgia; WOO Grant, Leway Foundation, Philadelphia, Pennsylvania, 2004

Design History Society, Textile Society, SECAC

Transnational Artisan Partnership (TAPS) in Cambodia, a three-year collaborative project presented in parts at the Society for Economic Anthropology's annual conference in 2009, "Weaving Across Time and Space: The Political Economy of Textiles," and at the Design History Society's 2009 conference, "Writing Design: Object, Process, Discourse"

"Students."

• FIBR 306 History of Fabric
• FIBR 310 Images on Fabric
• FIBR 312 Screen Printing
• FIBR 318 Computer-aided Surface Design
• FIBR 416 Digital Textile Printing
• FIBR 738 Contemporary Theory in Fibers

domesticelement.com

1990

Head stylist/lead designer, W.F.R. Ribbon and Trim; FUSE Design Collective, New York City; props/soft goods, Broadway and Off-Broadway productions including "Phantom of the Opera," "Aspects of Love," "Grand Hotel," "Les Misérables" and the New York City Ballet; freelancer, Anthropologie

Teaching at SCAD

SCAD Presidential Fellowship 2004

Surface Design Association, American Craft Council

"The teachers, friends and strangers who taught me how to see."

• FIBR 325 Garment: Metaphor and Function
• FIBR 342 Embellished Surfaces
• FIBR 344 The Art Quilt
• FIBR 345 Studio Production

"There is nothing like a good blanket."