© Justin Hossle
My work draws inspiration from mid-century modern architecture and design, and I focus on revealing beauty in wood furniture and decor with simplicity and minimalistic ideals.
Cliff Matyszczyk
Wales, WI
2020 Booth
© Cliff Matyszczyk
Metal sculpture created by cutting, heating, bending & welding steel; often adding pieces of chiseled stone. Some powder-coated in bright colors, others left to naturally oxidize over time.
Wayne Trinklein
© Wayne Trinklein
In a unique process copper wire is hand molded and fused at high temperature with tin. Then alloys are applied, reheated, and worked for texture. The tree is mounted into rock and finished with patinas, resin, and/or metal leaf.
Emily Gray Koehler
© Emily Koehler
I work primarily with color-reduction woodcuts printed with oil-based ink on Rives BFK paper. All blocks and plates are carved and/or built by me. I also hand-ink and pull all of my prints. I do not create any reproductions of my work and my editions typically number 16 prints or less. Color-reduction woodcuts involve carving and printing the same woodblock in sequence for each layer of color on the print. This process is also called a “suicide print” because the block is destroyed through the action of successive carvings thus rendering the edition finite. I occasionally incorporate collagraph between the layers of my woodcuts to add textural elements. Collagraph is a process where I create a low-relief collage on a printing plate using materials that can be safely run through a press (plants, sand, gesso, etc.). I print collagraph plates in an intaglio method, where ink is wiped into the crevices of the collage and off the surface and then printed, transferring the ink and texture to the print.
In every print ever made, there is a history of process, a story told in wood and ink, paper and pressure. These mechanisms of printmaking guide my hand, while my heart is inspired by the wonder of nature. The marrying of these two passions has informed my art as I seek to explore the intersection of humanity and nature in a world where nothing is untouched by man or womankind.
Artist Bio
Emily Gray Koehler has spent over fifteen years developing her expertise in printmaking while delving artistically into themes of nature and the environment. Working out of her studio in NE Minneapolis, she holds a B.F.A. in printmaking and has art in public and private collections throughout the United States and in Europe.
Joel Friedman
Minneapolis, MN
© Joel Friedman
2020 Booth
Digital photography printed archivally. Computer used only for tone and color adjustments, minimal retouching.
Michael Stipek
© Michael Stipek
Traditional color photography from medium-format negatives. Printed on Fujicolor Crystal Archive paper using a wet process developer. Matting and framing are archival.
Mary Johnston
© Mary Johnston
The soft breeze, a magnificent sky, the cool water......All elements that drive my creativity along with a light touch of the paintbrush, feeling of peace and sense of place. As a child of the Great Lakes I grew up with a landscape of water, woods, rocks and a sense that everything around us is so much larger and more mysterious then we will ever comprehend.
Joyce Staley
© Joyce Staley
Original oil paintings painted in studio, and Plien Air paintings painted on location. All work is painted and framed by the artist. Any prints offered are also printed in studio by the artist.
Douglas Berg
© Doug Berg
Original Plien air ( Paintings that have been painted outside on location) and studio oil paintings representing Minnesota and Wisconsin landscapes and waterways. Any prints available have been printed by the artist's in our studio. Doug Berg And Joyce Staley have been painting together sense the mid 1980's our business name is Lakeside Studio.
Evan Abrahamson
© Evan Abrahamson
I use pastels, oil and charcoal to create realistic landscapes that I then smear with a squeegee, which gives the sense of velocity and the fleeting nature of things.
Hill Brin
Cotopaxi, CO
2020 Booth
© Hill Brin
Steel is fabricated using benders, welder and plasma cutter. Every piece is hand cut. once the steel is welded together, we inlay tiles which are created using clay, resin and our own 15 colors of glaze. Multiple firings create these unique tiles. Once completed, the tiles are cut and inlayed into the steel. The tiles are then grouted and sealed. The metal is then patina'd.
Beth Marcus
© Beth Marcus
Hudson, WI
2020 Booth
Copper- I imprint my original drawing on copper sheet & build in texture by tooling top& backsides . Aluminum - hand cut ,painted & textured & used in a combination of appliqué & inlay . Wood - main substrate & somtimes left uncovered & painted with a verity of teniques . Paints - acrylic,sprays & stains.
Melinda Wolff
© Melinda Wolff
Distinctive and one of a kind jewelry crafted with sustainability in mind from reclaimed wood scraps. These handmade pieces retain their natural character through a clear resin coating that accentuates the natural beauty of the wood.
Bernadette Johnson
© Bernadette Johnson
I hand fabricate one-of-a-kind designs that compliment the natural beauty in the unique gems, stones, and fossils that I love to collect. The precious metals I use include Argentium Sterling Silver and 14kt solid gold. I create my designs in my home studio by sawing, soldering, forming, forging, shaping, and polishing the metal. Then I skillfully set the carefully chosen gem or stone with a variety of traditional setting methods that include bezel, prong, and flush settings. I love to learn and am constantly working on new techniques to add to my designs. When a piece is complete, I love to share with customers the story of how Mother Nature created the unique gem, stone, or fossil and my part in bringing the beauty out in it to be seen by all.
Susan Field
© Susan Field
I enjoy working with the rich textures and colors of bead embroidery, combined with embossed leather and unusual gemstones and fossils. I have a background as a painter, so I usually first paint my designs onto beading foundation, then create a beadwork bezel for the focal item. Then I will embroider the design - many of my pieces have 5000 or more individually stitched glass seed beads intermingled with gemstone beads. Recently I have been accenting my beadwork with embossed leather, which also provides a beautiful backing.
Ken Patzoldt & Jo Manbeck
© Ken Patzoldt
Designs created by cutting, forming & shaping glass, rimming each piece with malleable copper, achieving a bondable edge via solder, allow 3-D assembly with torch & iron. Hand rubbed patinas & surface with inclusion of metal,wood & stone maximize the translucent & reflective qualities of these components
Samantha Cobos
© Samantha Cobos
All my bags and accessories are handmade by me in Minneapolis, MN using sustainable natural cork in custom prints and colors. Cork fabric is a great leather alternative and creates a durable, unique handbag. I use a variety of techniques using a sewing machine, as well as, 100% hand-stitched items.
Patti Berg
© Patti Berg
Hi I am Patti Berg creator of fine millinery. I have studied vintage and classic hat making techniques and have drawn from them my own unique process. I use many different fabrics including knits, cottons, wool, velvet, fleece and linen to name a few. I may use applique, sculpting, top stitching, shirring, pleating, trapunto, eyelet, weaving, crocheting, hand stitching, and anything else that gets the job done.
I have designed all of my own patterns of which there are many various shapes and eras represented.
I shy away from trendy styles and create hats that will not go out of style. My designs can appeal to a wide age range because they are classic.
Some of my designs are explicitly winter with warmth, comfort and good looks. Some are for keeping the sun off face and neck and some are just for fun.
My hats are comfortable and fit well. The hats are heirloom quality. They will hold up to be passed down as is traditional with hats.
Susan Koehler
Fairchild, WI
2021 Booth #119
© Susan Koehler
I make a wide variety of functional pottery mainly table/kitchen ware but also decorative pieces. I hand throw each piece using my own stoneware clay body. I formulate my own glazes & use the double dip method of glazing & I use a resist medium for designs. I fire electric to cone 9. All my pottery is food safe.
Kristin Hill
© Kristin Hill
Each of my works is created on a potters wheel or is hand built. The intricate sculptural work is done directly on the the pot while it is still damp. After drying very slowly, it is bisque fired as one piece. They are then hand brush glazed,to highlight the details and fired to cone 6 in oxidation.