STUDENTS

Katayoun Bahrami (MFA 2022)

Kira Dominquez Hultgren (MFA 2019)

Diedrick Brackens (MFA 2014)

Tali Weinberg (MFA 2013)

Kate Nartker (MFA 2012)

Bean Gilsdorf (MFA 2011)

Julia Goodman (MFA 2009)

Amy Keefer (MFA 2009)

Travis Meinolf (MFA 2008)

Ali Naschke-Messing (MFA 2007)

LJ Roberts (MFA 2007)

Angela Hennessy (MFA 2005)

Christy Matson (MFA 2005)

Sarah Wagner (MFA 2005)

Sasha Duerr (MFA 2003)

Anna Von Mertens (MFA 2000)

Image Collections

For generations, weavers have experimented with the unique graphic potential of building by units within the framework of a grid. In the Grammar of Ornament (originally publishedin 1856), nineteenth-century architect and designer Own Jones hypothesizes that weaving played a central role in the cognitive development of humans and shaped the "first notions of symmetry." These mathematical structures simultaneously shaped structure and materialized on the surface as flat pattern--each a visual code of how the threads were assembled. Fiber construction developed into more than a technology; it became the fertile matrix for an entire aesthetic tradition--the geometric aesthetic, the indigenous language of textiles. 

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