Category Archives: hooked rugs

Retreating in the Mountains 2015

The 8th Retreat into the Mountains weekend is over with resounding “YES let’s do this again” from all. Coming in over the mountains fog slowed the progress into Peterkin Camp and Conference Center on Friday. Gathering with friends, settling into our nests, sharing the projects we wanted to spend our time on, and learning a variety of finishing techniques were how Friday was spent. Of course there was food in the dining hall and in-between, all with a healthy approach. Last person left the workroom at 12:30 Saturday morning….

: Roche Riverhouse design hooked by Deb Smith

: Kathy working on original design

: Dining hall conversations

Keri Sue Brunk lead two yoga sessions on Saturday. The first before breakfast and the second one introducing the practice just before lunch. She also loosened up the neck, hands and back muscles while we sat in our seats.

The finishing techniques we covered were triple whipping with cording conducted as a hands-on session by Nancy Parcels. Stumbles, success, and appreciation were the compliments we shared with our samples. Lori LaBerge showed the layering involved to present her work for gallery sales by stitching the hooked work to gray herringbone, stretched onto art board with clean wrapped corners, cloth covering the back all of which is then inserted into a gold rimmed shadowbox frame. A whipped mitered corner was demonstrated from handout by Germaine James of Canada. Debra Smith showed how a picot crocheted edge enhances a whimsical design.

Collection of pin looms

The Falls

We played with pin looms ranging in sizes from 2 inch square to 4″ x 6″ and using a variety of yarns and ribbons. The March/April/May 2015 issue of Rug Hooking Magazine includes an article about continuous weaving incorporating pieces into hooked art. The annual hike to the glen with waterfall and hemlock grove introduced the property at Peterkin to the new attendees on Saturday afternoon.

Jim, Paul, Andy, Rick and Joe

Saturday evening we stayed at Peterkin and all of our senses were exposed to a new experience. Within Hampshire County there are dozens of musicians who jam weekly playing old-time music. I called Paul Roomsburg and he networked with four others. Jim Morris brought instruments made from common objects telling us the history of music. Joe Hypes and Andy Agnew brought along their Rebel Union CDs and played guitar, fiddle and banjo during the evening. Rick Pegg played the entire three hours standing up with the bass. To say we had a good time would be far from enough compliments to this group of talent. By the end wooden spoons were tapping away on body parts, our clapping and stomping added to their strings. We all joined in with a rendition of John Denver’s ‘Country Roads‘ and ‘Amazing Grace‘.

: Cigar box fiddle by Jim Morris

: Foot tapping music

: Joe on fiddle, Rick at the bass

: sending a video clip to a friend

: Elaine rughooking with the music

: Playing the spoons

Taking photos, studying

2015 attendees

Sunday was filled with conversations including critiques; suggestions for equipment, material and other workshops; and several successful completed projects. We “throw down” works onto the wide porch each year and then get together for a group portrait. Lunch and packing up came too quickly but the dates are set for 2016 and cyberspace will keep us connected until then.

Finishing up the Study

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March 23 I finished the last month in the Year Study. That is not to mean every single square is completed but I can say there is an end in sight and the twelve panels will be ready for Sauder Village Rug Hooking Week August 11-15 in Archbold, OH.

Visit Year Study – Collection Gallery to see the months and individual squares. Over time the full project will be uploaded.

August 2014 nine squares

Lessons learned? Sketch and complete each subject at least within the month. I jumped around and when busy with teaching stopped working on the pieces until months later. The creative momentum was lost for a particular design or a techniqueI had suggested did not interest me when it came around to doing that square. So I changed it.

I still procrastinate. Although deadlines are met, I prioritize the projects and decide whether a commitment is worth pursuing or can be shelved. This one will be completed because I told many people, it has been accepted as an exhibit, I am happy with the results, the documentation will be useful in future articles, workshops and the direction of my artwork practices.

Color studies

Solution: Independent study with one person as student and advisor means goals or methods can be changed to meet the situation. Stay positive do not chastise, evolve. I changed some designs from original sketch. There were days with no sketches which I used to explore a series with pleasure. I got through by breaking the 365+pieces down into segments of a each month.

Results: When the project began I thought it would be rewarding to explore new techniques in surface design. Now 18 months later and counting, that goal was met and I have set another one: to educate. During the year photographs were taken when changes were made to a piece. I will write a series of articles describing the process, challenges and solutions. In future posts and the pages on the site under Year Study, mini courses will develop and a dialog with viewers. I found using social media helpful for encouragement, directed critique and developing an interested audience.

Progress in the Mountains, Susan L. Feller 2014

There is an urge to work on larger pieces finally. Abstract, geometric, simplified palettes, and environmental stories are the styles and subjects which will be developed.

To be continued. I am glad to be on this creative journey with you.

Virtual Studio Visit – Susan L. Feller

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Transfer design to linen backing

As a creative person I would love to stay in the studio and work, but no one sees the results unless they visit. These days a virtual visit can be arranged if some of that creative time is put into developing websites, blogs and social media avenues.

Here are ways you can view, learn about, and purchase some of that artwork:

We are revamping the website www.RuckmanMillFarm.com It is back up now. Hope you check it out regularly to see new and favorite rug hooking patterns, supplies, and my teaching schedule. Use the coupon FaceShip when checking out to receive free shipping until March 31. And please send me comments on the navigation and order process, we can improve with input. Here in the hills of West Virginia it is loading SLOWLY……

The site you are on now, www.ArtWools.com serves as my identity as an artist and also acts as a blog. If you are new to it, I invite you to look on the right sidebar and sign up for automatic posts . Search the pages to view Galleries and biographical details.

We are now on Facebook on two pages Ruckman Mill Farm , Susan L. Feller, Artwools , LIKE them for news feeds.

And I have several boards on Pinterest at Susan Feller at Artwools

Hoping to hear from you after “visiting” 24-7.

Progress in the Mountains

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Progress in the Mountains, Susan L. Feller 2015

After three years of muddling over this topic I created “Progress in the Mountains“, a seven foot by 27 inch hand hooked runner.

Envision the impact on geography, environment, culture and community the human drive for progress has had on the natural resources of West Virginia (a micro example of the globe).

1. Major interstate highways create jobs for the construction industry, allow quicker access to towns and destinations for tourism and commerce but disturb migration paths, feeding and lodging habitat for fauna and flora.

2. Corporate farming in the form of one breed of cattle, poultry buildings for thousands, and processing plants for each creates excess of waste which needs to be distributed by vehicles to wider destinations or processed into a stable by-product.

3. Lumbering of the forests, many of which were contract planted for the pulp or board feet affects the terrain. The undergrowth is necessary to keep erosion from happening, contributing to pollutants in the rivers. Slow traffic from lumber trucks is alleviated with the new highway system.

4. Coal mining strips the tops of mountains to find the veins, moving the waste often into headwaters of small streams which will run into the major river systems. But the coal is used to create electricity for the metropolitan population’s requirements to communicate, work, entertain. The power lines to distribute the energy create wide cuts in direct paths economical for the corporations taking years of negotiating with landowners, environmentalists, historians and politicians but eventually “for the good of the majority” being implemented.

5. Wind turbines line the highest ridge lines feeding the energy generated into those power lines again going out of our state to the metropolitan region. Although a regenerable resource (wind) the effect on birds’ migratory paths is being studied.

I find it interesting to use a traditional hands-on process of pulling one loop at a time, manipulating the fabric into shapes and directions (rug hooking) to depict these issues of the 21st Century. For months this design was drawn horizontally spreading the seven feet with layers of hills, roads and power lines intersecting the organic shapes. It did not seem to be the right format. Finally in my daily journal on June 27 I tried a vertical format and could see more layers allowing a longer trail to be able to tell more stories. The piece evolved easily from there.

Study for Progress in the Mountains

Working this runner was like reading a great book, each chapter and character held my interest. They built on previous sections with shapes, colors and values evolving along the path, progressing to the top and end. Imagine walking along, following the flow of road and hills then turning around and coming back down the mountain in your hallway.

Following are subjects taken along the Robert C. Byrd Highway system in Hardy County, WV and the rug in stages of completion.

: Robert C. Byrd Highway in Hardy County, WV

: Coal veins horizontal like the mountain shapes

: Power lines- value light to dark as progress back

: colors from below brought up into upper section

: Wind Turbines, power lines and farm land

: Road and power lines lead to interesting skyline

UPDATE: I wrote an article about the making of this rug for Rug Hooking Magazine Nov/Dec 2015.
After looking at the completed runner hanging in my studio for months I changed the perspective of one part of the highway and was satisfied enough to enter into the 2017 WV Bi-Annual Juried Exhibition. It received a purchase award and now resides in the archives of the State Museum, Culture Center, Charleston, WV.

Contemporary Fiber work at Schwenkfelder

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My responsibility as co-curator of the ‘Garden to Table’ exhibit at the Schwenkfelder Library and Heritage Center was to collect contemporary work incorporating rughooking. The pieces contributed by Carolyn Boutilier, Kris McDermet, Mary Jane Peabody and Darlene York Trout along with several of mine portray a variety of techniques within the traditional rughooking medium.

hooked and sewn pumpkin base, wool stem, stuffed by Carolyn Boutilier

Carolyn Boutilier from Harrisonburg, VA hooked and stuffed a 3-D pumpkin which complimented the wax fruit displays of the 1800’s. Exhibited under it’s own plexi glass box the humble object receives the respect it deserves. Candace Perry chuckled with glee when she saw the pumpkin.

Luscious Vermont
Kris McDermet 2014
Dummerston, Vermont

Kris McDermet’s braiding, hooking and felting exemplifies contemporary fiber art using traditional crafts. Living in Vermont the rug represents her generational family homes in a palette connoting the Green Mountain state. Kris is co-author of Combining Rug Hooking and Braiding published by Schiffer Publishing.

: Lucious Vermont, Kris McDermett detail braiding, hooking silk and wool hand dyed

: nuno felting detail of Lucious Vermont by Kris McDermett

Fruit and Flowers, Mary Jane Peabody (pattern by Jacquelyn Hansen)

Mary Jane Peabody from New Hampshire was inspired to learn an old technique – sculpting or the Waldoboro style. She began this piece in a workshop conducted by designer, author and expert Jacquelyn Hansen from Maine. The pattern Fruit and Flowers is by Hansen.

detail sculpting technique by Mary Jane Peabody

The 3-D effect is achieved by progressively pulling the loops higher as the shape is hooked from outline to center. Then the thin strips are each clipped at the loop and gradually TRIMMED to create the shape. Popularized in Waldoboro, Maine in the early 1900’s on rugs, this piece is beautiful finished in a burled frame.

Paisley Bouquet by Darlene York Trout

Darlene York Trout from Indiana is a designer willing to use any of the fiber skills she has accumulated to make a piece unique. This work was created specifically as a gift for her friend Patsy Jones which made it even more enjoyable to work on. I enjoyed a week at Cedar Lakes Rug Camp working with Darlene on the Paisley Bouquet and knew it would reflect the fruit compotes in the Schwenkfelder collection.

Embroidery skills are evident in the detailed cross hatch of the central flower and the quilted, appliqué corners. She also used beads and hooked in sari silk ribbon to highlight some accents and hand dyed all the wool.

: detail embroidery, Darlene York Trout

: detail corner, trapunto, appliqué, bead Darlene York Trout

: detail sari silk ribbons by Darlene York Trout

Haying Stages, Susan L. Feller

In Haying Stages I used several techniques to create the hay rolls, mowed fields, and scrabble of grasses. The rolls are made using a pin loom and continuous weaving. An addictive satisfying technique popularized in the 1940’s and seeing a resurgence in the crafts wave of the 21st C. The ends are closed with a plaited strip made from the wool I hook with.

detail plaiting, weaving by Susan L. Feller

I used a ragged approach to the ends, cutting them off higher in many areas to depict the grass. In the area where the rolls are there is hand dyed wool anchored by the same yarn used int the roll.

This piece was juried by Jane Dunnewold into an exhibit at Morehead State University, Kentucky titled 7Stitch.

Setting up an Exhibit

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Ever wonder how an exhibit comes together for opening day? Here are some behind the scenes shots as we set up ‘Garden to Table: hooked rugs and art from the collection at the Schwenkfelder Library and Heritage Center, 105 Seminary Street, Pennsburg, PA.

Delivery of hooked, sculpted and braided pieces

Works from Indiana, New Hampshire, Vermont, Virginia and West Virginia were collected by me complimenting the theme ‘Garden to Table’. I brought them into the Fraktur Gallery at the Schwenkfelder on Thursday and the fun began. The previous exhibit was off the walls but still in the room including a wooden cradle, cases and a cart filled with stuffing.

One exhibit down another going up

Candace Perry, Curator of Collections showed me items from their archives already on the walls including a flower wreath of feathers in a manner not known to her to be made in the 21st Century. We discussed adding redware flower pots, hand painted china from early 20th C, an oil painting by Walter Baum, Berlin work and Frakturs representing the 19th and 18th Centuries. Off she went into the archives and I began to intermingle the fiber work with the objects.

: Supplies to support exhibit items

: Potential arrangement

: Hand Painted China collection

: Walter Baum painting, Wool Flowers collage

: Redware Flower Pots

: Watercolor and Wax Flower Bouquet

Why did one item end up next to another? Sometimes it is color, could be shapes, maybe subject perhaps it is traffic flow. All of these options came into play today. The following two images show how moving an object slightly to the left and on an angle gives more space to the rug and flower arrangement.

: Column on left too straight

: New arrangement with space

Tomorrow we hang the rest of the work, bring in the large display case with four domed wax fruit compotes!, label the objects, sweep the floor and redirect the lighting just in time for the official opening on Saturday. This exhibit will be up through March 1. The Heritage Center is open Tuesday through Sunday visit www.Schwenkfelder.com for directions, exhibit descriptions, and hours.

Thanks to Darlene York Trout, Patsy Jones, Kris McDermet, Mary Jane Peabody, and Carolyn Boutilier for contributing hooked work to the collection.

Opening of ‘Hooked Art 2014’

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Entrance to UConn Gallery Hooked Art 2014

Opening Receptions are great opportunities to meet artists and view artwork and Saturday , October 25 was no exception.

Fifteen of the 18 artists were in attendance to discuss and enjoy the 55 contemporary textile works curated by Liz Alpert Fay in the 10th exhibit sponsored by Newtown Hooked Art Shows with Sherry Paisley.

Conversations between artists included topics on process, progress and future studio work while audience members were overheard saying their work would be influenced by the innovative directions they observed on the walls at the UConn Gallery on Stamford, CT campus.

: artists conversing with work by Mary Jane Andreozzi, Susan L. Feller, Lori LaBerge, Alice Rudell and Liz Alpert Fay

: previewing Hooked Art 2014

: work by Liz Alpert Fay, Mary Jane Andreozzi, Michelle Sirois-Silver, Leslie Guiliani and Molly Colegrove

Below are two images of work included in this exhibition of contemporary hooked art on view at UConn Gallery in Stamford, CT through November 29. Visit if you can and enjoy the scale of each interacting with the others.

: ‘Recovery Method 3’ by Michelle Sirois-Silver

: ‘Skyline’ by Beth Kempf

See www.NewtownHookedArtShows.com fora link about hours and directions. A review in Fiber Art Now magazine Fall 2014 issue includes an interview with Juror of Awards-Lee Kogan, Curator Emerita American Folk Art Museum, New York City.

I am happy to announce receipt of a travel grant from WV Div of Culture and History for my trip to the opening and a luncheon with fellow artists. The grant allowed me to meet with my peers, view their work and discuss future fiber projects outside of the State of West Virginia.

Portrait transformation

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Realism is the quest in my current studies. I decided to work a self-portrait close to life size using #3 strips (3/32″ wide) for detail. A group in Harrisonburg, VA brought instructor Donna Hrkman in for three days and I took advantage of her expertise to start the project. The lesson which stayed with me was to use line of pronounced value to infer shape, attitude, texture, form. Our brain will finish the picture based on its knowledge.

Susan L. Feller 2014

Lesson 1: PREPARE I sent this photo to Donna who created a pattern using a grid to enlarge the details. I also ran the photo through an app for iPad called uSketch and selected a washed out version with strong main lines.

Sketch for self-portrait

This image was enlarged to fit a 12 x 16 format and directly sketched using a lightbox. I then drew the portrait by eye (ending up with softer features than the direct sketch.) By drawing the pattern myself several times I was prepared to notice nuances and hook the shapes and lines.

Lesson 2: If the subject is close to you, draw the design yourself. I used Donna’s pattern and my guides trying to replicate what I was seeing not my mind’s interpretation of the subject. You will see the first image (worked on for two days) needs severe sculpting to become recognizable to my friends as me.

Day 2 Portrait Susan L. Feller, Donna Hrkman pattern

Lesson 3: Color can draw attention and lead the viewer to a conclusion. Glasses, hair, and background elements are in strong recognizable colors depicting me in 2014. I had brought along the actual drapery fabric from the photo as background but Donna suggested I use symbols to highlight my rughooking journey.

Personality coming through

I selected two award winning designs My Mountain State and Mountain Treeline. The abstract hooked blue/purple skyline reproduces the first and the appliquéd colored tree shapes infer the latter and my favorite season. One more element that describes me is living in a log home here in West Virginia. I decided to take the right third behind the face to show that structure. Simple horizontal lines of dark texture and natural linen became the logs.

Lesson 4: Simplify but complete the story. I almost forgot a major element in Ruckman Mill Farm’s pattern line is FRAKTUR designs. What motifs could I insert into this natural setting that would read PA German folk art? Of course! The circle from Baptism Certificate which has my birth date, parents and my name was printed and laminated to become a pin on the shirt. I signed the piece and added one more symbol all in one.

Symbols tell story Susan L. Feller

Lesson 5: If it is not right, fix it. All along you will notice I got closer to a recognizable rendition of Susan Feller except for the LIPS. Donna said the lower lip usually is lighter because it protrudes slightly. She suggested using one size larger cut for the lower lip and both larger than the #3 cuts for the face. I looked at the photo and convinced myself the reverse would be true in my case. Extreme light and dark values were chosen, wide cuts, narrower, slightly up turned, straight across all not quite right. I pulled out Anne-Marie Littenberg’s book Hooked Rug Portraits by Stackpole Books and read through it. There was one image similar to mine that used several different values to portray the light on lips. Posted that version on Facebook and received accolades. But it was not until I asked Roslyn Logsdon to critique the lips that I heard the answer: AGAIN—“the lower lip needs to be lighter!!!!!!”

: Hooked Rug Portraits by Anne-Marie Littenberg

: Susan L. Feller @ 60

Lesson 6: Use the right tools from your tool box. My life has involved textiles since childhood. Hand sewing, embroidery, dying fabric and using found objects often shows up in the wall art I create. No reason to restrict this historical portrait to just rughooking. I added my favorite linen shirt, sea glass jewelry, embroidery and appliqué to enhance the hooked features and intend to finish the piece with a tramp art frame. What fun!

Nature Lessons in Color Planning

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When I wanted to illustrate complementary partners in the book ‘Design Basics for Rug Hookers’, Stackpole Books 2011; I chose PURPLE asters and GOLDENrod along the highway near Albany, NY and ORANGE sassafras and a crystal BLUE sky here in WV.

Late summer brings on the subtle changes we glorify as Fall. These images are good studies in how amount of color and placement affect the motif . They represent RED with its complement GREEN.

: Sumac and Gooseberry leaves turning

: Blackberry leaves in Fall transition

This is is a ‘Daily Square’ from late October 2013 depicting a blackberry branch. These photos taken today will inspire several squares.

Look around your environment and select a new color plan.

Blackberry Branch, Susan L. Feller painted linen, hooked, embroidered, quilted

Collections at Sauder Village

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The 18th Annual Rug Hooking Week at Sauder Village, Archbold, OH is over, preserved in memories and digital snaps. THE event for fiber enthusiasts will happen again August 12-15, 2015. Bookmark SauderVillage.org and check in early November for schedule of workshops, vendors and featured exhibits.

Thank you to Rug Hooking Magazine and Sauder Village for sponsoring this show and congratulations to Event Coordinator Kathy Wright. Look forward to old and new friends next year.

These images capture my digital highlights, the mind is overwhelmed by hundreds more.