Exhibit curator Zan Popp (left) shows a viewer the process of spool knitting. This activity was open for any viewer to try.

This display features a variety of different tools and supplies to make fiber art. It included mold, wool, felting needles, a crochet hook, linen thread, wax and much more.

“Worlds Vanish, Writing Remains (2017)” by Dora Agbas represents their favorite late father’s sayings. It was made from nylon thread, white thread and steel hoop, where the fragility of the lace represented the inevitable loss of time.

“Timekeeper” by Jo Stealey hangs on the wall. It was made out of overbeaten flax paper, wood and reed.

“Thought Droplets” by Elise Flatland on display in case. It was made from paper silk, thread and wire.

“Rhythm No. 2A (2015)” by Rachelle Gardner-Roe hangs on the wall. It was made out of resin, pigment and machine-embroidered lace.

“Primordial (2020)” by Leandra Spangler hangs on the wall. It was made with encaustic paint and rust-dyed cotton cloth.

“Nomad (2021)” by Lissa Hunter features a basket made from paper, wax, linen thread, drywall and acrylic paint. The panel is drawn and painted on a fiberboard.

“Final Sturgeon/Sturgeon with Barbels (2018)” by Winifred Lutz on display in case. It was cast and coiled with high shrinkage unbleached flax paper.

“Flora Meshell #6 (2019)” and “Flora Meshell #7 (2019)” by Lanny Bersteel hangs on the wall. It has steel mesh cut into shapes and the flame design is created with a torch, hand models and stitches.

“Gravity Vessel No. 4 (2015)” by Rachelle Gardner-Roe hangs from the ceiling. It was made from lace, resin, pigment and acrylic paint.

“Janus (2015)” by Leandra Spangler hangs from the ceiling. It was sculpted with paper, gold leaf, wire and paint. It is named after the Roman god of beginning and transitions, who was also depicted as having two faces, similar to the concept of yin and yang.

“Mother Memory (2016-2022)” by Ana B. Coddington features many fiber supplies on wall display. It included knitted wool, twisted linen and much more.

“Core Remains Series: Diatom Series, #315 (2022)” by Betsy Knabe Roe represents a skeleton of a microscopic, diatom creature that highlights the importance of environment conservation. It was made from cast bleached Kozo paper, gold leaf and pastel.

“Calling Crows” by Lissa Hunter features crow baskets made out of coiled wire-centered paper cord, waxed linen thread, paper and encaustic wax. The crow box is made of acrylic paint, charcoal wax pencil drawn fiberboard and drywall.