Thank you to

Forrest General
Spirit of Women

for sponsoring
this event.

Artist statement

The catalyst for my art is mythology, the common experience of a
people told in story, song, dance and image, the variations of this
experience from culture to culture, and its recurring archetypal
theme that we all share.  Although I work in paint and clay, my
creative vision begins in story, how the telling of then is truly
speaking of now, and how the telling is a shared one from
peoples to peoples and heart to heart.  The image emerges
from the telling of the tale.

My work in clay is figurative in form, realistic but stylized, the
imagery mythic in theme and narrative in content.  The source
influences of my aesthetic iconography have three interwoven
strands: tales from my family’s Celtic heritage, told by my
grandmothers, of the other-worldly Siadh, the fey fairy folk of the
British Isles, of their enchanted lands within the Hollow Hills,
and especially stories of the crafty, mischievous Phookas,
fey who could shape-shift into cat, dog, horse or even human
being.  These were the favorite friends of my childhood, my wild
things, boisterous, rowdy, and even a little dangerous.

Of the six work samples included here, the first four come directly
from the Celtic tradition: Woman with Eyes in Her Hair, Horse
Phooka, Oak King’s Son and The Shy Griffin. These four figures
are part of a larger work in progress depicting magical elders
who open their story circle to a human storyteller in order to share
their wisdom and warnings.  When complete, the work will
comprise nine figures, seated on daises of varying heights,
facing each other.

During my university studies, I began a scholarly search
for the Lost Sacred Feminine, that female face and divine aspect
of the great mystery. I would discover traces and transformations
of the goddess in story and image in every land and culture.  

The female figures in my work are interpretations of Her many
manifestations. Since one of her most frequent titles is Lady
Unique: Mistress of the Wild Things, in my work She is often
accompanied by Phookas of various forms.  In the Cassandra’s
Question (Goddess Figure with Phooka), and Lady Kitsune-Hime
and Her Friends (Asian Goddess Figure with Phooka).

The works submitted here were originally constructed of solid
Cone Six red stoneware. When somewhat stiffened and almost
completed, each was then cut in sections, hollowed until interior
walls were one half inch thick, and then reassembled.  The
modeling of the piece was then finished and set aside to dry.
The first firing was a bisque at Cone 04, followed by multiple
layered glazings with matte gloss opalescent or crystalline glazes
to achieve the desired effect.  Most pieces also display beaded
adornments inspired by the work of African women artists that are
inserted through holes molded into the piece. Each figure can
take up to two weeks to complete.
During the Teapots exhibit,
a pencil drawing artist, will be present.
During the Teapots exhibit,
of Fine Arts, will be present.

last two decades. She did her undergraduate work in Sociology,
English, and History and graduate work in Comparative Literature and
Semantics. She has studied at Parson's School of Design in
New York City, The Pacific Basin School of Textile Arts in Oakland,
California as well as numerous workshops. She is the recipient of
several grants for the production and installation of her work as well as
study. She is a fellow of the Mississippi Craftsmen's Guild, involved
with the Arts Alliance League, the National Museum of Women in the
Arts, and also a supporter of the Partners in Art.

She has recently studied with Sha Sha Higby in the Fall of 2007,
selected as part of five textile artists to show in Wacoal Ginza
Art Space in Tokyo, Japan and was assistant set designer/coordinator
to a theatrical production at the University
of Florida. In Spring of 2008, she was the recipient of the
Samuel and Flora Taylor Foundation to install "Glass Weavings"
for the Pavillion in Indianapolis, Indiana.

Her work has been shown in both solo and group exhibitions since
the early l980's. She has also taught surface design and textile
workshops at universities thru out the South. Her work is installed
in commercial galleries as well as private collections across the
U.S., England, France and South America.

Artist Statement

I have been in love with art and textiles since childhood. My
grandmother and mother's great love of color, texture, design--as well
as art and nature had a tremendous influence upon how I
viewed the world around me and my responses to it as I grew.

In 1974, I was introduced to my first loom by a master weaver.
Since that time, I have been devoted to the study of weave
structures and the great complexities of color and light. I like to
weave undulating surfaces which shimmer with reflective materials and
create illusions of light thru the manipulation of values. I approach all
of my work with the perspective of it being a continuum that links fine
art sensibilities with textile techniques.

I am greatly influenced when doing workshops at the Museum of
Textiles in Washington, D.C. or in the Southwest by the great
amount of detail and embellishment for beauty's sake alone that
weavers of ancient civilizations put into their functional textiles.
Such textiles makes me strive for a feeling of age and antiquity
in my work. My current work is as close to my soul as any other
work I have done.

Their vision combined with nature itself with its purity and perfection
are the foundation of my creative all my failures which
have taught me far more than my successes at times. I work
in honor of my grandmother, my mother, all those weavers who came
before me---and especially the ones now working in such primitive
conditions producing such "shining cloths."

May you see in the thing you do the beauty of your own soul.
General Services: Commissioned Work, Workshops/Retreats, Public
Speakings/Readings, Panelist (Peer Review), Teacher/Professor

Classroom Experience:
Grade Level: College.

Experience in Public Art:
Type of art: Permanent Installation

Recipient of John Arthur Payne Grant for glass/fiber installation
in Fall 2007 Certificate of Excellence in Fiber Art show in San
Francisco 2001 Certificate of Excellence in Fiber Art show in San
Francisco 1999 Recipient of Peter R. MacArthur Grant to study
at Parson's at Lake Placid, New York in 1992. Achieved fellow
status with Mississippi Craftsmen’s Guild 1994. Recipient of the
Samuel and Flora Taylor Foundation in Spring 2008 to do
"Glass Weavings" for an installation. Received Honored Artist
of the year 2009 by Mississippi Chapter Women in the Arts.
textile artist, will be present.
Artie Club members, ages 5-12 will enjoy the fascinating art tour of  Teapots –Textiles –Drawings & Beads

After the tour, a creative art project will lure the children up the stairs
of the Cultural Center to a magical scene from a fairy tale dream.

Music and story telling will delight their imagination, while sipping tea with new friends
at a table that spans more than 80 feet. Whimsical silliness and door prizes will abound.

Artie Club membership information:    
Artie Club Happy Hatter’s Tea Party reservations:
During the Teapots exhibit,
B.F.A in Ceramics, will be present.
During the Teapots exhibit,
M.F.A. in Ceramics, will be present
May, 13th
May, 12th
Photos: Adolfo Pardo
Teapots - Textile - Drawings - Beads


Yoshi Fujii is a resident artist, instructor, and gallery manager at
Baltimore Clayworks in Maryland. Yoshi, from Fukuoka, Japan,
moved to U.S. in 1996 and received a B.A. in Foreign Language
and a B.A. in Anthropology in 2000 from the University of
Southern Mississippi. In addition, he received a B.F.A. in Sculpture
with an emphasis in Ceramics in 2002 and an M.A.T.L. in English
as a Second Language in 2003.

After a residency in Natchez, MS, he attended Southern Illinois
University Carbondale where he earned his M.F.A. in Ceramics
in 2008.

Yoshi was selected as a recipient of the 2008-09 Lormina Salter
Fellowship and invited to become a resident artist at Baltimore
Clayworks, and he also received 2010 Mary E. Nyburg Fund for
Artist Development for his 10-week residency at Tainan National
University for the Arts in Taiwan, ROC. In 2011, he won a b-Grant
from Baker Artist Awards for his excellence in craft. He shows his
work in national and international exhibitions and competitions,
and won several awards. He is a member of the Craftsmen's Guild
of Mississippi.

Artist Statement

Design and function of the work are influenced by my heritage.
Porcelain and translucent glazes, such as celadon, historically
sustain the value and also suggest the fascination toward
elegance and beauty. In the forms of function, I always reference
what I saw on the table as I grow up, the seasonal dishes served,
and even the relationships with viewer/user. Through the search
of my personal identity in the process of making objects, I project
myself in the surface designs and patterns extending my
from traditional wood-cut prints and textiles to wrapping papers,
advertisement and even tattoos. I am interested in the eclectic
inclusions of east/west and organic elements onto utilitarian
objects by capturing the seasonal nature beings through
carved surface decoration and also showing the appreciation of
production practice with thoughtful designs and keen

In Japan, especially among the high-class society in the old time,
it is a luxury to alternate dinnerware according to the season, and
it is my humble desire to share the beauty of this culture hoping
that my work can represent a season or even one special occasion
of life.

Alehandro Wooten is a multimedia artist and designer who currently
residing  in Pensacola, Florida. He earned a Bachelor of Fine Arts
degree with and emphasis in Three-Dimensional Design & Sculpture
from the University of Southern Mississippi in 1993.

His studies also included a semester in Italy as a participant in the
Georgia Studies Abroad Program. After college,
he moved to Atlanta, Georgia where he worked in the
commercial art and design industry for 17 years. During that
time, he also lived and worked in France, Spain and Italy for
extended periods. From 2000 to 2010 he served as Gallery
Director for Bobbe Gillis Gallery in Atlanta.

In 2005, he opened Bead Zone Jewelry, a web-based, mail
order business producing hand-crafted, high end beadworks
comprising fashion-forward accessories, religious and
ceremonial pieces, and beaded sculptures and objects.

As a Master Spiritual Jewelry Craftsman, Alehandro's work has
attracted the attention of many in the African-rooted traditions
of Ifá, Santería and Candomblé among others.

The internet portion of his business,
serves clients from all over the world including a growing list of
celebrity clients in the United States. With over 20 years of
beading experience, Alehandro provides classroom instruction on
master bead working techniques, design elements and color
theory. He has made presentations to variety of clubs and guilds
on the aforementioned topics.

He continues to receive praise for his dedication to keeping both
ancient African bead working techniques alive in his practice
but also for the high quality of the design and expert
craftsmanship of the pieces that he produces.