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Heck Yes Craft

Black, White, and Full of Light

There's something so timeless in the quiet, calming forms of Brooks Barrow's basalt and limestone tea light holders. And that's no accident. The Wisconsin-based sculptor and stonemason collects natural glacial stone from a deposit in his home state dating back to the last Ice Age.

Black, White, and Indispensible

Streamlined, elegant, supremely functional: That's the work of Appalachian blacksmith Marc Maiorana. Give one of his home accessories to a friend and you'll make life easier without infringing on personal style. Traditional, contemporary, or something else altogether - Maiorana's work suits it all. The bottle opener (so reasonably priced at $15) is my new favorite hostess gift.

Michael Scarborough's Asian-inspired Work

Michael Scarborough took the long road to becoming a craft artist. After college, he spent 25 years as a professional opera singer, where he was exposed to a lot of different ideas about art and craft. But, he says growing up in Japan in the 1950s had the greatest influence on his craft, which, as you can see, has a distinctly Asian feel. Much of his work is done in wood and on the lathe, and he experiments quite a bit with traditional Japanese forms and finishes.

Littleton's Legacy at SOFA Chicago

For a few weeks, we've been working on a big story on the 50th anniversary of studio glass in the United States. As a result, when my crew and I went to SOFA Chicago last week, I had glass on the brain - and especially the seminal work of studio glass pioneer Harvey K. Littleton. Glass artists have come a long, long way since 1962, and the evidence was everywhere at SOFA.

Jeff Zimmer's Shadows and Light

Peer into these shadowy landscapes. Or better yet - find a way to do it in person. Each piece in Jeff Zimmer's atmospheric new series Whitewash is made out of 7 to 19 layers of enameled, sandblasted flat glass - which the artist layers to create a three-dimensional image, gently lit from the back. "What the photos don't convey is the depth of the pieces," Zimmer says. The elements near the horizon are further away from the viewer than those in the foreground. "They shift in relation to each other as you move around the piece."

Koji Tanaka's Organic Sculpture

Koji Tanaka's wooden sculptural pieces are subtle, yet eye-catching, and they beg to be touched ("My pieces are as much a visual experience as they are a tactile one," he says). I love the smooth lines and organic shapes paired with the inherent beauty of wood. Tanaka is a relative newcomer to the fine craft world, though he's been honing his craft for years, most recently as an apprentice to master woodworker Victor DiNovi.

Pete Goldlust's Sculptural Crayons

Behold the humble crayon - and the intricate forms it takes in the hands of Pete Goldlust, an Arizona artist whose materials include not only crayons but also polymer and recycled clothing. A carved crayon takes Goldlust about 20 hours to complete. He uses simple tools like X-Acto knives and drill bits, along with a citrus-based solvent. His designs come from many sources – tramp art, woodturning, peeling fruit, among them. Goldlust says he thinks of each crayon "as a sort of tribute to a particular form."

Hugo Franca's Giant Wood Casulos

In order to truly appreciate Hugo Franca's work, you need to sit inside of a massive tree. The Brazilian designer carves giant casulo (cocoon) sculptures out of reclaimed wood, largely from Pequi trees that grow in Brazil. These jaw-dropping works are part of his exhibition at R 20th Century gallery in New York, and I was lucky enough to stop in there recently. Trust me, while these "environments" look fantastic in pictures, nothing compares to actually experiencing them firsthand.

Meredith Host's Perfectly Patterned Plates

I'm a sucker for two things in this life: certain cheerful colors and pesky details. So when I saw Meredith Host's Dot Dot Dash porcelain tableware - with designs that are somehow both freewheeling and perfectly precise - I couldn't stop looking. Feast your eyes, as they say, on variations like her Dot Dot Pinwheel espresso cup set and a Dot Dot Biscuit place setting – then stay tuned for a story about Host and her awesome work in our December-January issue.

Sonya Clark's Potent Material

Black hair has long been a thread in the work of Sonya Clark, as an astute statement of material and cultural otherness. In her latest body of work, hair is both medium and message. Clark applies her material of choice to historically loaded artifacts, in a wrenching intertwining. Hair has a corporeal presence that deepens the impact of the work. As curator Namita Gupta Wiggers says in discussing Black Hair Flag (2010), Clark "deliberately places the ‘body' of black slaves into the history of the Confederacy."

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