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    Paper-Thin Porcelain Works by Mark Goudy Balance on Folds Inspired by Origami

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    All images courtesy of Mark Goudy, shared with permission

    Paper-Thin Porcelain Works by Mark Goudy Balance on Folds Inspired by Origami

    June 10, 2025

    ArtCraftDesign

    Kate Mothes

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    From delicately folded paper, Berkeley-based ceramicist Mark Goudy draws inspiration for an ongoing series, Origami. He describes his work as “minimal forms with hidden complexity,” building on a love for simple yet elegant forms that reflect nature’s inherent geometries.

    In meticulous sculptures that merge form and function, Goudy pulls from his experience as a 3D graphics hardware design engineer. Using algorithmic 3D software, he creates objects that nod to the art of Japanese paper folding. “Many of these forms are designed to balance on the folds—when set on a flat surface, they rock back and forth, naturally settling into their inherent point of equilibrium,” he says.

    Goudy’s thin, translucent, slipcast pieces are made from black or white porcelain, which he occasionally colors by painting metallic salt watercolors directly onto the surface after they have been bisque fired. Salt soaks up and redistributes the pigment, which is further influenced by the texture and permeability of the material.

    “As the metal salts soak into the porous clay body, they move and interact with each other,” the artist says. “And during the drying process, they naturally gradate and concentrate on the edges, highlighting the folds and ridges of my forms.”

    Using only three metal salt pigments: gold, cobalt, and chromium, Goudy achieves various shades of red, blue, and green. “I am especially drawn to cobalt blue, a reference to the ineffable blue of water and distance,” he says. “I think of these objects as containers for light and atmosphere.”

    Goudy’s work will be on view in the 63rd Faenza Prize for the International Biennial of Contemporary Ceramic Art in Faenza, Italy, from June 28 to November 30. See more of the artist’s work on his website and Instagram.

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      Color Therapy: Explore the Colossal Shop’s New Summer Collection

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      Color Therapy: Explore the Colossal Shop’s New Summer Collection

      June 5, 2025

      ArtBooksColossalCraft

      Jackie Andres

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      Blazing orange sunsets linger upon lush green trees once again, marking longer days and the vibrant arrival of summer. The Colossal Shop’s new collection, Color Therapy, sets the tone for the warmer months ahead by celebrating radiant hues reflective of the season.

      This edition of new products has been carefully curated to uplift your spirits and space, bringing you feel-good and functional products designed and conceived by talented creatives. Whether you’re eyeing jammy egg candles and risograph matchboxes for patio dinner parties, or you’re after beach day games and a journal to take along on vacation, there’s something for everyone.

      We’re also happy to introduce a new way to skip shipping fees altogether for our Chicago folks. If you’re nearby, simply choose the “pick up in store” option at checkout to receive your items at Joy Machine. We’re always more than happy to say hi and reduce packaging waste (plus, you can spend some time with the art on our walls!).

      Dive into some our fresh picks below.

      Fill Your Space with Bright Summer Energy

      If detail-oriented domestic goods are your jam, you’ll love our new homey additions. Handcrafted ceramic pieces, locally made matchboxes, and artist-designed storage systems are just the tip of the iceberg! We’ve got an entire trove of small luxuries for you to explore.

      Brushstrokes and Bulletpoint Lists

      Handmade in their Des Moines, Iowa studio, each of Moglea’s notebooks are truly one-of-a-kind. Every A6 journal features hand painted front and back covers, high-quality wire binding, and an elastic closure. They’re truly perfect for for on-the-go adventures.

      Handy Tools for Budding Artists

      Alongside a restock of our building block pocket crayons is a new stamp kit! Layer forms, stack, overlap them to create landscapes and subjects, or apply them abstractly and rhythmically to conjure patterns. Inspire the young artist in your life to see the world through shape and color with these adorable art supplies.

      Pressing Petals in Your Pocket

      Whether you’re taking up flower pressing as a new summer hobby or you’ve been practicing the craft for years, Studio Wald’s pocket flower presses will make your life easier. Flatten and dry your favorite flowers as you roam during your evening walks and extensive backpacking journeys.

      Chromatic Competition

      Leisure time means game time. Pack your beach bag with a set of waterproof playing cards and a stowable game of Four-in-a-Row, while donning a striking bandana that doubles as a Snakes and Ladders game board. Functional and fashionable!

      Share the Sky with Someone Far Away

      Before you embark on your travels, don’t forget to pack these postcards from artist Macarena Ruiz-Tagle. Simply hold the Cyanometer, Sunset, or Air Pollution postcard up to the sky and peer through, mark the corresponding hue, and share a thought or two before dropping it in the mail.

      Lunch or Lists?

      Deli slices, eggs, toast, pasta, olives…. sounds a lot like your grocery list, doesn’t it? Make errands more fun with these sticky note samplers from artist Mel Andrel, who blurs the lines between productivity and play.

      As always, visit the Colossal Shop for more.

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      Kandy G. Lopez Embroiders Striking, Life-Size Yarn Portraits Highlighting BIPOC Narratives

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      Detail of “City Girls” (2025), yarn, acrylic, and spray paint on hook mesh canvas, 102 x 168 inches. All images courtesy of the artist and ACA Galleries, shared with permission

      Kandy G. Lopez Embroiders Striking, Life-Size Yarn Portraits Highlighting BIPOC Narratives

      May 8, 2025

      ArtCraft

      Kate Mothes

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      On large swaths of colorful mesh, Kandy G. Lopez embroiders large-scale portraits of people from historically marginalized communities. “Her works are created out of the necessity to learn something new about her people and culture,” says a statement.

      Drawing on her Afro-Caribbean ancestry, the Fort Lauderdale-based artist celebrates the style, culture, and heritage of individuals as a way to build connections and generate dialogue around representation.

      “R² – Roscoe and Reggie” (2024), yarn and acrylic paint on hook mesh, 90 x 60 inches

      Lopez began working with mesh and fiber almost ten years ago, but she began to approach it more seriously as a major tenet of her practice in 2021 while an artist-in-residence at The Hambidge Center in Georgia. “As a painter, my backgrounds were minimal. Sometimes they would have monochromatic cityscapes,” Lopez tells Colossal, “So, leaving the background rare is something I’m familiar with.”

      Visibility, presence, and representation are vital to the artist’s work. In each composition, she centers vibrantly dressed, life-size figures so their gazes directly meet the viewer. Through the use of material and metaphor — like layered threads suggesting how BIPOC individuals “disappear and reappear” — she intertwines notions of community, resilience, and narrative. “I love the connections and stories that the individuals tell but also how the stories narrate the material,” she says.

      The gridded backgrounds evoke associations with neighborhood street patterns and the overlapping layers of woven warp and weft. “I also love the metaphor in transparency, layers, and vulnerability,” the artist says, sharing that she sometimes still incorporates cityscapes painted onto the mesh.

      Lopez is represented by ACA Galleries. See more on her website and Instagram.

      “Reyna” (2025), yarn and spray paint on hook mesh canvas, 96 x 60 inches

      “City Girls” (2025), yarn, acrylic, and spray paint on hook mesh canvas, 102 x 168 inches

      “Rohan” (2023), yarn and acrylic paint on hook mesh, 96 x 60 inches

      “Miami” (2025), yarn and spray paint on hook mesh canvas, 96 x 60 inches

      “Rohan” (2023), yarn and acrylic paint on hook mesh, 96 x 60 inches

      Detail of “Reyna”

      Installation view of “Tayina”

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      Isabelle D’s Lush Crocheted Landscapes Intertwine Pain and Pleasure

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      From the ‘Bruise’ series. All images courtesy of Gallery Nosco, shared with permission

      Isabelle D’s Lush Crocheted Landscapes Intertwine Pain and Pleasure

      May 6, 2025

      ArtCraft

      Grace Ebert

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      At seven years old, Isabelle D learned to crochet as a means of supporting her family. Taking lessons from her grandmother, the young artist crafted various items to sell at local markets and set herself on a path she continues to follow today.

      From silk, cotton, viscose, and other fibers, Isabelle D crochets innumerable forms evocative of coral, sea sponges, anemones, flowers, molds, spores, and more. Each work comprises a diverse array of sculptural pieces, which nest together in broad landscapes brimming with myriad colors and textures.

      “A Officinalis”

      The artist’s childhood ingenuity has instilled a commitment to care and resilience that appears both materially and metaphorically in her practice. In her new A Officinalis series, the medicinal, anti-inflammatory properties of the marshmallow plant become a symbol for healing and regeneration. Soft, supple forms in pale pinks and blues are met by fuzzy structures in creamy white yarn, creating a quiet, meditative garden for recovery.

      Composed of vibrant reds and purples, the Bruise series takes a converse approach. Color is always critical to Isabelle D’s practice, and these works rely on vibrant, saturated reds, purples, and blues to mimic a damaged body. While the pieces evoke injury, they’re markedly beautiful and a sort of homage to the strength that emerges from trauma.

      In the way that crochet requires an even tension to achieve stitches that aren’t too loose or too tight, Isabelle D strives for a similar balance in her practice and rejects the fast pace at which today’s world moves. Instead, she crafts each piece by hand without the help of assistants, immersing herself in the slow, methodical process of inserting the hook and looping it through the yarn.

      If you’re in Brussels, stop by Gallery Nosco to see the artist’s solo exhibition, Hanging by a Thread, which runs through May 24.

      From the ‘Bruise’ series

      From the ‘Bruise’ series

      Detail of “A Officinalis”

      Detail of “A Officinalis”

      Detail of “Mensonge et Vérité”

      Detail of “Mensonge et Vérité”

      “Mould”

      From the ‘Bruise’ series

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      ‘Of Salt and Spirit’ Celebrates the Legacy of Black Southern Quilters

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      Hystercine Rankin (1929–
      2010), “Memory Quilt” (ca. 1994), fabric; appliquéd, hand-embroidered, and hand-quilted, 88 x 82 inches. All images courtesy of Mississippi Museum of Art, shared with permission

      ‘Of Salt and Spirit’ Celebrates the Legacy of Black Southern Quilters

      April 23, 2025

      ArtCraft

      Kate Mothes

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      You may have heard of the remarkable quilters of Gee’s Bend, but do you know about the Crossroads Quilters, like Gustina Atlas? Or Hystercine Rankin? Mary Mayfair Matthews? You’re in luck if you have a chance to visit Of Salt and Spirit: Black Quilters in the American South at the Mississippi Museum of Art, which shines a light on dozens of incredible Black Southern quilters and takes a celebratory approach to showcasing their myriad styles and techniques.

      MMA is home to one of the South’s largest collections of quilts, from which more than 50 handmade and machine-stitched examples were drawn for this expansive exhibition. Merging research, interpretation, and community engagement, curator Dr. Sharbreon Plummer aimed for “a cohesive, experiential study of American art through a Black feminist lens.” The show parses cultural narratives around the art form, spotlighting the impact of the craft across generations and geography.

      Emma Russell, “Star Quilt” (1978), cotton blend; hand-pieced, appliquéd, and hand-quilted, 81 x 77 inches

      A wide range of contemporary and historic pieces converge in Of Salt and Spirit, including figurative and narrative works alongside vibrant geometric compositions. Many of the works were acquired by the museum from Roland L. Freeman (1936-2023), a photographer who documented African-American craftspeople and guilds in his work as a stringer for Time magazine and Magnum Photos.

      Freeman collected more than 100 quilts, made several of his own, and published a couple of books on the subject. “Quilts have the power to create a virtual web of connections—individual, generational, professional, physical, spiritual, cultural, and historical,” he says in his second book, A Communion of the Spirits (1996).

      In conjunction with the exhibition, the museum also highlights the large-scale, ongoing AIDS Memorial Quilt project, which was initiated in 1985 at the height of the epidemic. Paralleling Of Salt and Spirit’s focus on creative expression, identity, and strength, the AIDS quilt—which will be on display at MMA for a two-week period beginning May 5—honors quilting for its role in resistance and remembrance.

      Of Salt and Spirit continues through May 18 in Jackson. Plan your visit on the museum’s website. You may also enjoy a look back at Souls Grown Deep Like the Rivers, a monumental survey recognizing the artistic traditions of Black artists.

      Mary Mayfair Matthews, “Folk Scenes Quilt” (1992), rayon, cotton polyester blend, lace, lamé, and buttons; hand-pieced and appliquéd, 86 1/4 x 74 inches

      Annie Dennis (designed by Roland L. Freeman), “Voodoo Quilt” (1987), fabric; hand-pieced, appliquéd, hand-embroidered, and hand-quilted, 83 1/2 x 64 inches

      Detail of “Voodoo Quilt”

      Gustina Atlas, “Variation on Dresden Plate Quilt” (1998), cotton; machine- pieced and hand-quilted, 81 1/2 x 80 inches

      Clancy McGrew, quilted and appliquéd by Jeraline Nicholas, “Storytime at the Library” (2004), fabric; machine-pieced, appliquéd, embroidered, and hand-quilted, 41 3/4 x 83 1/8 inches

      Mabel Williams, “Improvisational Strip Quilt” (1968), cotton, polyester, wool, twill; hand-pieced and hand- quilted with appliquéd and embroidered backing, 85 x 65 inches

      Clancy McGrew, quilted by Tammy McGrew, “Clancy’s Beauty Salon” (2004), fabric; machine-pieced, appliquéd, and hand-quilted, 67 5/8 x 49 1/2 inches

      Roland Freeman, “Maya Angelou, Author, Educator, and Quilter (top left and bottom right); Dolly McPherson, Maya Angelou, and Beverly Guy-Sheftall (top right and bottom left), Winston-Salem, North Carolina, November 1992” (1992), Chromogenic print with quilted mat (1996) by Anita Knox, 36 x 36 inches

      Roland Freeman, “Catherine Gill with Sunburst Quilt (left) Made by Her Mother, Classy Blaylock, fromDecatur, Mississippi, Flagstaff, Arizona, April 1993″ (1993), Chromogenic print, 27 x 38 inches

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    • 150 Shares169 Views

      in Art

      Reviving an Ancestral Hawaiian Tradition, Lehuauakea Reimagines Kapa in Bold Textile Works

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      “Since the Beginning and End of Time” (2024), hand-embroidery, bells, and shell buttons
      on hand-stitched indigo-dyed kapa (barkcloth) garment, approx. 50 x 44
      inches. All images courtesy of Lehuauakea, shared with permission

      Reviving an Ancestral Hawaiian Tradition, Lehuauakea Reimagines Kapa in Bold Textile Works

      April 22, 2025

      ArtCraftHistory

      Kate Mothes

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      “My favorite thing about kapa is that it is simultaneously ancestral, ancient, and contemporary,” says Lehuauakea (Kanaka Maoli), who recently received the Walker Youngbird Foundation grant for emerging Native American artists. Kapa, the Indigenous Hawaiian practice of clothmaking, uses the inner bark of the wauke, or paper mulberry tree, to create garments and textiles. For Lehuauakea, the technique forms the foundation of a practice rooted in the artist’s Hawaiian lineage and material traditions.

      Softening the fibers enough to create cloth requires a labor-intensive method of soaking pieces of bark. Through an arduous process of beating and stretching with tools like the iʻe kuku, a thin, pliable fabric emerges. “It is a very malleable material that reflects the current state of the natural environment, and the surrounding community and personal hand of the maker,” Lehuauakea tells Colossal. “It requires a level of patience and perseverance while also paying close attention to the nature of the bark and pigments you are working with.”

      “Still Finding My Way Back Home” (2025), kapa (barkcloth), reclaimed Japanese fabrics, indigo and madder root dyes, ceramic beads, bells, earth pigments, hand-embroidery, and metal leaf, approx. 18 x 9 feet

      Kapa is derived from ancient Polynesian practices—it’s called tapa in other parts of the Pacific—and Hawaiians elaborated on the custom by incorporating watermarks, natural pigments, and fermentation.

      Traditionally, kapa possessed both practical and spiritual qualities, as it was used for everyday apparel and bedding but also served as a carrier of mana, or healing life force. When the U.S. controversially annexed the territory and the import of cotton amped up in the late 19th century, the practice all but died out.

      Lehuauakea’s interest in kapa emerged when their family relocated to Oregon when they were young. Over time, the artist felt increasingly disconnected from their home and sought a way to conjure a link to their Hawaiian ancestry.

      “I remembered learning about kapa as a child and how we’d use patterns to tell stories, so in my junior year of college I taught myself how to carve ʻohe kāpala, or traditional carved bamboo printing tools used for decorating finished kapa,” the artist says. Then it was onto learning how to make the barkcloth itself, with the help of artisan and mentor Wesley Sen, spurring Lehuauakea’s passion for the medium.

      “Puka Komo ʻEkahi: Portal to Grant Permission” (2024), earth pigments and metal leaf on kapa (barkcloth), 28 x 28 inches

      Fascinated by the potential to not only continue a time-honored Kanaka Maoli art form but also to experiment and push the boundaries of the material, Lehuauakea makes large-scale installations, hand-stitched garments, mixed-media suspended works, and hand-painted two-dimensional compositions— “in other words, forms that you wouldn’t see in ancestral samples of pre-contact Hawaiian kapa,” they say. The artist continues:

      As an Indigenous cultural practitioner and artist, I believe it is important to have a solid foundation in the traditional knowledge of the practice before attempting to expand on it or experiment with more contemporary expressions of the medium because I am not singular in this work; I am simply building on a tradition that was passed down through many generations before me, and I can only hope that I am able to inspire future generations to continue it.

      Lehuauakea is currently working toward solo exhibitions at the Center for Contemporary Art Santa Fe and Nunu Fine Art in New York City, exploring ideas around Native Hawaiian cosmology, celestial cycles, and the relationship between Native Hawaiian language and pattern. Find more on the artist’s website.

      “Kūmauna” (2024), earth pigments hand-painted on kapa (barkcloth), 26 x 48 inches

      Detail of “Still Finding My Way Back Home”

      “I Walk With My Ancestors (1 of 2)” (2024), earth pigment and wildfire charcoal hand-painted on kapa (barkcloth), 29 x 61.5 inches

      “Night Eyes” (2024), earth pigments and wildfire charcoal hand-painted on kapa (barkcloth), 78 x 18.5 inches

      “Mele o Nā Kaukani Wai (Song of a Thousand Waters)” (2018), mixed mulberry papers, handmade plant dyes and mineral pigments, gouache, ceramic beads, and thread, approx. 11 x 8 feet

      Detail of “Mele o Nā Kaukani Wai (Song of a Thousand Waters)”

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      in Art

      With 60 Artists, ‘The Golden Thread’ Weaves Together a Survey of Contemporary Fiber Art

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      Ana María Hernando, “El intento del agua/The Intent of Water” (2025), tulle, wood, metal lattice, felt, velvet. All images courtesy of BravinLee, shared with permission

      With 60 Artists, ‘The Golden Thread’ Weaves Together a Survey of Contemporary Fiber Art

      April 17, 2025

      ArtCraft

      Grace Ebert

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      The monumental textile exhibition that took over an 18th-century warehouse last spring is back for a second iteration.

      In the South Street Seaport area of Manhattan, The Golden Thread 2: A Fiber Art Show returns with more than 100 artworks made by 60 artists from around the globe. As with the first iteration, this reprisal includes eight site-specific installations that respond to the former mercantile space.

      Tomo Mori, “(we) keep going” (2025), donated fabrics, used clothes and linens, acrylic and cotton fillings, and anodized aluminum wires

      Organized by BravinLee, The Golden Thread is a sweeping survey of contemporary fiber art encompassing a vast array of materials, aesthetics, and subject matter. Several artists connect textiles’ historical association with femininity and domesticity, including Ana María Hernando’s pair of cascading tulle works. Frequently working with the gossamer fabric, Hernando sees her sculptures as an act of rebellion in which “softness becomes less a discreet quality and more a function of power, both formally and symbolically.”

      Similarly, Diana Weymar presents “American Sampler,” a collection of embroidered, typographic works made during a five-year period. Created to showcase a woman’s skill and literacy throughout the 18th century, samplers have a long history as sites of feminine expression. Weymar draws on this legacy for this patchwork tapestry, which is part of her ongoing Tiny Pricks Project created in 2018 in response to Donald Trump’s tumultuous first term.

      Colossal readers will recognize several artists in this second exhibition, including Caitlin McCormack, Rima Day, Willie Cole, and Ulla-Stina Wikander. The Golden Thread is on view through May 16.

      Tiny Pricks Project (Diana Weymar), “American Sampler” (2020-2025), vintage textiles and cotton floss

      Detail of Tiny Pricks Project (Diana Weymar), “American Sampler” (2020-2025), vintage textiles and cotton floss

      Caitlin McCormack, “Babylon Rec Room,” vintage wallpaper on salvaged drywall with crochet cotton string and glue embellishment

      Ali Dipp, “Concession No 3 (Trumbull, Capitol)” (2024), manually stitched threads on denim jeans, 79 x 117 inches

      Left: Fran Siegel, “Medicine Wheel” (2020), cyanotype, scrim, embroidery, sewing, string, and mounted on bar, 90 x 60 x 10 inches. Right: Manju Shandler, “The Elephant in the Room” (2024), mixed media soft sculpture, 6 x 6 x 9 feet

      Traci Johnson. Left: “Lil Femme,” yarn on cloth, 12.5 x 22 inches. Right: “Love Me in a Place Where There’s no Space or Time” (2023), yarn on cloth, 7.5 x 7.2 feet

      Sam Dienst, “Clutter Conundrum” (2024), hand-woven tapestry with yarn, beads, paint, and felt, 56 x 57 x .25 inches

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      in Art

      Melding Craft and Sustainability, Richard Haining Sculpts Sleek Vessels from Reclaimed Wood

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      All images courtesy of Richard Haining, shared with permission

      Melding Craft and Sustainability, Richard Haining Sculpts Sleek Vessels from Reclaimed Wood

      April 11, 2025

      ArtCraftDesign

      Grace Ebert

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      Renewal is at the center of Richard Haining’s practice. The Brooklyn-based artist and designer (previously) sculpts supple vessels and functional goods from reclaimed wood sourced from local workshops or buildings destined for demolition. Intrigued by signs of wear and former uses, Haining has a deep reverence for the material and its history.

      In his ongoing STACKED series, small offcuts nest together in intuitively laid grids. An angle grinder and hand tools help to smooth any jagged edges and create the soft, sleek forms Haining is known for.

      The artist shares that his inspiration comes from a wide array of sources, “from Classical Antiquity to East Asian design (to) 17th-century European Craftsmanship.” His holy trinity, though, is beauty, craftsmanship, and mindfulness for the environment. He adds:

      By juxtaposing repurposed ‘low-value’ materials with ‘high-art’ forms, I invite viewers to reconsider what is truly valuable. Ultimately, I hope to spark a conversation about sustainability, showing that art, craftsmanship, and environmental responsibility can coexist—and that beauty can emerge from the most unexpected places.

      Haining is participating in two group exhibitions in New York, one at Lyle Gallery through April 20 and Paraphernalia Exhibition: Desire opening on May 7. Follow the latest on Instagram.

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      in Art

      A Years-Long Collaboration Sees a Traditional Tlingit Tribal House Return to Glacier Bay

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      All images courtesy of the National Park Service

      A Years-Long Collaboration Sees a Traditional Tlingit Tribal House Return to Glacier Bay

      March 31, 2025

      ArtCraftDesignFilmHistory

      Kate Mothes

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      People have lived in the area around modern-day Glacier Bay National Park, along Alaska’s rugged southern coastline, for at least around 3,000 years. Nearby, in Groundhog Bay, evidence of human habitation extends back a mindboggling 9,000-or-more years.

      In the mid-18th century, advancing glaciers forced ancestral Huna Tlingit people to abandon their homes. While they could visit certain areas occasionally to hunt and fish, the evolving conditions and ice prevented them from living there. And when the area was designated a national monument in 1925, it seemed possible the displacement would be permanent.

      “I never, ever thought that I would ever see the day, in my lifetime, that Tlingits could return to the Homeland,” says local resident Jeff Skaflestad in the opening of the National Park Service’s short film, “Sanctuary for the Future.” But in 2016, thanks to many years’ work and a collaboration between the National Park Service and the Hoonah Indian Association—the tribal government of the Huna Tlingit clans—Xunaa Shuká Hít marked a momentous homecoming.

      Both a space for tribal ceremonies and a nexus of living history, the house is a sacred place for the Indigenous community that also provides visitors the opportunity to learn about Huna Tlingit culture, history, and oral traditions.

      Xunaa Shuká Hít, which roughly translates to “Huna Ancestors’ House,” was brought to life by three Tlingit craftsmen: Gordon Greenwald, Owen James, and Herb Sheakley, Sr., who spent countless hours carving their ancestors’ stories into meticulously selected trees and wooden panels.

      In a large carving shed in nearby Hoonah, Alaska, the artisans, along with occasional help from friends and neighbors, worked on totem poles, boats, oars, and architectural details. “Having Elders come in and talk with us, just to share with us, that was a highlight of my days,” James says. Sheakley adds that as they began carving, it was an obvious decision to make their own tools, too, as a way of connecting to time-honored traditions. More