Appalachian Center for Craft

Kimberly English, Where The Line Falls Slack, fiber

September 1 – November 15, 2025, Joe L. Evins Gallery

Expanding upon her undergraduate textiles education from Savannah College of Art and Design, Kimberly English (b. 1994) earned her MFA from the University of North Carolina at Chapel Hill as a Carolina Digital Humanities Fellow in 2018. Kimberly has been awarded residencies at McColl Center, Woodstock Byrdcliffe Artist Colony, Virginia Center for the Creative Arts, University of Colorado at Colorado Springs, Penland School of Craft, Berea College, and The Gibbes Museum.

Tim Spurchise, On Monsters, glass

September 24 – November 17, 2025, Lakeview Gallery

Tim Spurchise, originally from Syracuse, New York, is a career glass artist focusing in hot glass sculpting. Tim’s glass work has been shown both nationally across the United States, and abroad in Germany, Bulgaria, Sweden, and China. He received first place for the exhibit in Sweden, and received an excellence work award for the exhibit in China. Tim’s current solo exhibition at the Appalachian Center for Craft in Tennessee  features a new series of sculptural glass monsters.

Laura Post, Lari Gibbons & Kate Lynn Aitchison, Fiber Under Pressure, printmaking

September 25 – December 2, 2025, Dogwood Gallery

Laura Post earned an MFA from Rhode Island School of Design in Printmaking and a B.A. from Swarthmore College in Studio Art and Asian Studies. She is currently Assistant Professor of Printmaking at University of Dallas. Her work is rooted in the traditional craft of printmaking and papermaking, yet expands the definition of print to include life casts and paper molds, along with traditional woodblocks and engraved plates. The work focuses on familial relationships or those that shape the community around her. Through workshops and events, she collaborates with the Fort Worth Botanic Garden, the Fort Worth Public Library, and the community to remove and process invasive plants which are used to create large-scale pulp paintings and prints.

Lari Gibbons explores new and traditional approaches to printmaking through inno- vative projects. She is a professor at the University of North Texas, where she teaches printmaking and served as a collaborative printer for renowned artists. Her work has been published in numerous books, including Bill Fick and Beth Grabowski’s Printmaking: A Complete Guide to Materials and Processes, Lynne Allen and Phyllis McGibbons’ The Best of Printmaking: An International Collection, and Stephanie Standish’s Contemporary American Printmakers. She has participated in residencies at Mokuhanga Innovation Lab (Japan), Banff Center (Canada), Penland School of Craft (North Carolina), and Morgan Conservatory (Ohio), among others.

Kate Aitchison is an artist steeped deeply in the landscape of the desert southwest. She expresses her vision through papermaking and printmaking. Each step of the multi-faceted process mirrors the complicated relationship of human beings with their landscapes–water, drying, pressure, erasure, movement. Beginning with the handmade paper substrates themselves, she harvests fiber from invasive plant species along with recycled textiles. Formed into sheets of multicolored paper, they are imbued with place-based specificity. The paper represents the physical act of cleaning up harmful plants and textile waste that negatively affect biodiversity and landscape resiliency. Within the paper she embeds stencils from previous prints along with other memorabilia to add physical interventions within each sheet, creating representations of how humans mark the landscape.

Kevin Vanek, Memento Mori: The American Way

December 8, 2025 – February 4, 2026, Dogwood Gallery

My current work gives attention to the unheard voices across the world, screaming for aid and assistance to live their lives. As our world continues down a path of self-destruction, we face greater disasters that shake the foundation of our existence. From planetary destruction to local community failings, humankind continues down a destructive path. The negative effects of anthropogenic world events are felt most by those underprivileged and unheard populations. BIPOC, indigenous, poor, disabled, queer, and neuro-atypical populations take the brunt of these world/community destroying issues. These same marginalized populations are historically given no voice in the discussion of how to mitigate these effects. I believe it is my job as an Artist, and the goal of my work to expose and challenge this flawed system. To bring into the light the issues that are being consistently ignored.

Millian Giang Pham, Subtle Vision

December 12, 2025 – February 15, 2026, Lakeview Gallery

 After trampling in the muddy rice fields of rural Vietnam then learning to readproduct labels in supermarket aisles in the United States, Millian Pham receivedher BFA in painting and printmaking from the University of Tulsa in Oklahoma. She further disappointed her family by doubling-down on her passion with anMFA in sculpture from the University of Florida. Pham uses her art practice to dismantle social and cultural expectations through the mediums of painting, printmaking, sculpture, performance, and installation. Her visual research hasbeen exhibited nationally and internationally in Canada, Pakistan, Korea, and across the United States. Pham was an artist-in-resident for the I-Park Artist Enclave, the Hambidge Art Center, ACRE, Santa Fe Art Institute, Virginia Center for Creative Arts, Connect International Residency, and Pollinator Coop. She iscurrently the Studio Art Foundations Coordinator and Assistant Professor of Art at Auburn University in Alabama, where she keeps her studio practice.

Jeff Repko, Echoes of Industry

December 13, 2025 – February 16, 2026, Joe L. Evins Gallery

Echoes of Industry reflects my ongoing interest in how industrial structures, labor, and memory persist long after the machinery has stopped. Growing up in Pittsburgh, I inherited a landscape defined not only by steel and fabrication, but by the psychological residue of production. The ways infrastructure shape identity, expectation, and even the body itself continue to resonate in my work. This exhibition brings together sculptures from my Echoes and Reverberations series alongside recent paintings, creating a dialogue between material, and historical references.

Elaine Quave, Fragments of Existence

February 19 - April 19, 2026

Elaine Quave currently teaches Ceramics and Drawing at the South Carolina Governor’s School for the Arts and Humanities. She received a BFA in crafts from University of the Arts and then earned her MFA in ceramics at Tyler School of Art, Temple University in 2009. In addition to experience as a 3-D and ceramics instructor at Tyler, SCGSAH, and the Greenville County Museum of Art in Greenville, SC, Mrs. Quave has also assisted for workshops at North Carolina’s Penland School of Craft and Pilchuck School of Glass in Washington. She is the 2015 and 2023 recipient of the Regina Brown Teacher Development Award through the National K12 Ceramic Exhibition. Mrs. Quave's work has been exhibited nationally at venues including the Arrowmont School of Arts and Crafts, Baltimore Clayworks, the Franklin Park Conservatory and Botanical Gardens, and the Lee Gallery of Clemson University.