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Monday, November 4, 2024
Max Adrian: RIPSTOP
Nov 4 @ 10:00 am – 6:00 pm
Center for Craft
The Center for Craft is thrilled to announce the opening of Max Adrian: RIPSTOP. Adrian (he/they), a textile artist who was awarded a Windgate-Lamar Fellowship by the Center in 2015 and a Career Advancement Fellowship in 2022, will bring the playful, experiential, and provocative solo exhibition of textiles and inflatable sculptures to the Bresler Family Gallery beginning July 26, 2024 through March 29, 2025.

Pieces made from nylon fabric ripstop, which keeps tears from spreading, invite viewers into created, fantastical worlds, only to highlight the complex—even impossible—architectures of their construction. Before the pandemic, Adrian primarily focused on personal experiences and interrogations of queerness, identity, and sexuality. Since then, the work has zoomed out in its scope, still centering identity but placed in larger infrastructure and surveillance systems that mediate, manipulate, and control desire.

Adrian counts queer fiber art, BDSM and kink culture, theatre, camp horror, puppetry, and drag among his many influences. Works in RIPSTOP, like the modernist bounce house sculpture A Fallible Complex (2021), evoke spaces for play, beckoning visitors in through their alluring aesthetic and then blocking their entrance or revealing structural instabilities, like missing floors. Others, like The Sensational Inflatable Furry Divines (2017-19), use sensual materials, like faux fur, spandex, and pleather, which connect to theatrical performance and counterculture. The materials “play on people’s initial associations and serve as a gateway into greater conversations about identity construction, performance, desire, and technology,” he shares.Pieces also nod to the history of quilting, including the AIDS Memorial Quilt, another influence on Adrian’s work. “Even when pieces aren’t explicitly making quilt references, I want the history of quilting and sewing-based craft to be part of the conversation of the work,” he says. “Craft is so much about the processes and histories behind materials. It’s about connecting with communities of people who practice those techniques. It’s about material and technique being a doorway into a greater relationship with an object.”

Themes of transformation—of structures, identities, and bodies—run throughout the show. “What I love about drag and puppetry is the sense of transformation and play, specifically with bodies,” Adrian says. “Within these art forms, a body can become mutable and capable of performing and becoming in unexpected states.” The sculptures also transform throughout viewers’ experiences, going through stages of inflation and deflation and existing in many different states.

RIPSTOP’s constant interplay between surface and depth, assumption and reality, are all a part of what Adrian describes as “looking behind the curtain,” which they trace back to the theatre. “When I’m thinking about systems, and the systems desire fits into, I’m thinking of stage construction, the backstage, the things that go on behind the show, and performance of our desires,” they explain.

As a craft artist, Adrian’s philosophy “comes down to having an intentional relationship with material, process, and technique,” he says. “Those aspects of art making are just as – if not more – important than an intellectualized concept being illustrated by an artwork.”

“Broadened definitions of craft that highlight communities of practice are foundational for the Center for Craft’s new strategic direction,” explains Executive Director Stephanie Moore. “Max Adrian’s work in RIPSTOP exemplifies the expansive and meaningful forms craft can take.” The Center for Craft is an institution Adrian credits for their professional growth. “The Center for Craft has felt like such a supporting institution for me specifically and for so many other craft artists I know,” they note. “To be able to bring this amount of work to Asheville is pretty cool.”

See Max Adrian: RIPSTOP at the Center for Craft Beginning July 26. A reception will be held on August 15. RIPSTOP is organized by Houston Center for Contemporary Craft and curated by Sarah Darro.

# # #
ABOUT CENTER FOR CRAFT Founded in 1996, the Center for Craft’s mission is to resource, catalyze, and amplify how and why craft matters. As a 501(c)3 national nonprofit that increases access to craft by empowering and resourcing artists, organizations, and communities through grants, fellowships and programs that bring people together. The Center is widely acknowledged as one of the most influential organizations working on behalf of craft in the United States. For more information, visit www.centerforcraft.org.
Tuesday, November 5, 2024
Max Adrian: RIPSTOP
Nov 5 @ 10:00 am – 6:00 pm
Center for Craft
The Center for Craft is thrilled to announce the opening of Max Adrian: RIPSTOP. Adrian (he/they), a textile artist who was awarded a Windgate-Lamar Fellowship by the Center in 2015 and a Career Advancement Fellowship in 2022, will bring the playful, experiential, and provocative solo exhibition of textiles and inflatable sculptures to the Bresler Family Gallery beginning July 26, 2024 through March 29, 2025.

Pieces made from nylon fabric ripstop, which keeps tears from spreading, invite viewers into created, fantastical worlds, only to highlight the complex—even impossible—architectures of their construction. Before the pandemic, Adrian primarily focused on personal experiences and interrogations of queerness, identity, and sexuality. Since then, the work has zoomed out in its scope, still centering identity but placed in larger infrastructure and surveillance systems that mediate, manipulate, and control desire.

Adrian counts queer fiber art, BDSM and kink culture, theatre, camp horror, puppetry, and drag among his many influences. Works in RIPSTOP, like the modernist bounce house sculpture A Fallible Complex (2021), evoke spaces for play, beckoning visitors in through their alluring aesthetic and then blocking their entrance or revealing structural instabilities, like missing floors. Others, like The Sensational Inflatable Furry Divines (2017-19), use sensual materials, like faux fur, spandex, and pleather, which connect to theatrical performance and counterculture. The materials “play on people’s initial associations and serve as a gateway into greater conversations about identity construction, performance, desire, and technology,” he shares.Pieces also nod to the history of quilting, including the AIDS Memorial Quilt, another influence on Adrian’s work. “Even when pieces aren’t explicitly making quilt references, I want the history of quilting and sewing-based craft to be part of the conversation of the work,” he says. “Craft is so much about the processes and histories behind materials. It’s about connecting with communities of people who practice those techniques. It’s about material and technique being a doorway into a greater relationship with an object.”

Themes of transformation—of structures, identities, and bodies—run throughout the show. “What I love about drag and puppetry is the sense of transformation and play, specifically with bodies,” Adrian says. “Within these art forms, a body can become mutable and capable of performing and becoming in unexpected states.” The sculptures also transform throughout viewers’ experiences, going through stages of inflation and deflation and existing in many different states.

RIPSTOP’s constant interplay between surface and depth, assumption and reality, are all a part of what Adrian describes as “looking behind the curtain,” which they trace back to the theatre. “When I’m thinking about systems, and the systems desire fits into, I’m thinking of stage construction, the backstage, the things that go on behind the show, and performance of our desires,” they explain.

As a craft artist, Adrian’s philosophy “comes down to having an intentional relationship with material, process, and technique,” he says. “Those aspects of art making are just as – if not more – important than an intellectualized concept being illustrated by an artwork.”

“Broadened definitions of craft that highlight communities of practice are foundational for the Center for Craft’s new strategic direction,” explains Executive Director Stephanie Moore. “Max Adrian’s work in RIPSTOP exemplifies the expansive and meaningful forms craft can take.” The Center for Craft is an institution Adrian credits for their professional growth. “The Center for Craft has felt like such a supporting institution for me specifically and for so many other craft artists I know,” they note. “To be able to bring this amount of work to Asheville is pretty cool.”

See Max Adrian: RIPSTOP at the Center for Craft Beginning July 26. A reception will be held on August 15. RIPSTOP is organized by Houston Center for Contemporary Craft and curated by Sarah Darro.

# # #
ABOUT CENTER FOR CRAFT Founded in 1996, the Center for Craft’s mission is to resource, catalyze, and amplify how and why craft matters. As a 501(c)3 national nonprofit that increases access to craft by empowering and resourcing artists, organizations, and communities through grants, fellowships and programs that bring people together. The Center is widely acknowledged as one of the most influential organizations working on behalf of craft in the United States. For more information, visit www.centerforcraft.org.
Wednesday, November 6, 2024
Max Adrian: RIPSTOP
Nov 6 @ 10:00 am – 6:00 pm
Center for Craft
The Center for Craft is thrilled to announce the opening of Max Adrian: RIPSTOP. Adrian (he/they), a textile artist who was awarded a Windgate-Lamar Fellowship by the Center in 2015 and a Career Advancement Fellowship in 2022, will bring the playful, experiential, and provocative solo exhibition of textiles and inflatable sculptures to the Bresler Family Gallery beginning July 26, 2024 through March 29, 2025.

Pieces made from nylon fabric ripstop, which keeps tears from spreading, invite viewers into created, fantastical worlds, only to highlight the complex—even impossible—architectures of their construction. Before the pandemic, Adrian primarily focused on personal experiences and interrogations of queerness, identity, and sexuality. Since then, the work has zoomed out in its scope, still centering identity but placed in larger infrastructure and surveillance systems that mediate, manipulate, and control desire.

Adrian counts queer fiber art, BDSM and kink culture, theatre, camp horror, puppetry, and drag among his many influences. Works in RIPSTOP, like the modernist bounce house sculpture A Fallible Complex (2021), evoke spaces for play, beckoning visitors in through their alluring aesthetic and then blocking their entrance or revealing structural instabilities, like missing floors. Others, like The Sensational Inflatable Furry Divines (2017-19), use sensual materials, like faux fur, spandex, and pleather, which connect to theatrical performance and counterculture. The materials “play on people’s initial associations and serve as a gateway into greater conversations about identity construction, performance, desire, and technology,” he shares.Pieces also nod to the history of quilting, including the AIDS Memorial Quilt, another influence on Adrian’s work. “Even when pieces aren’t explicitly making quilt references, I want the history of quilting and sewing-based craft to be part of the conversation of the work,” he says. “Craft is so much about the processes and histories behind materials. It’s about connecting with communities of people who practice those techniques. It’s about material and technique being a doorway into a greater relationship with an object.”

Themes of transformation—of structures, identities, and bodies—run throughout the show. “What I love about drag and puppetry is the sense of transformation and play, specifically with bodies,” Adrian says. “Within these art forms, a body can become mutable and capable of performing and becoming in unexpected states.” The sculptures also transform throughout viewers’ experiences, going through stages of inflation and deflation and existing in many different states.

RIPSTOP’s constant interplay between surface and depth, assumption and reality, are all a part of what Adrian describes as “looking behind the curtain,” which they trace back to the theatre. “When I’m thinking about systems, and the systems desire fits into, I’m thinking of stage construction, the backstage, the things that go on behind the show, and performance of our desires,” they explain.

As a craft artist, Adrian’s philosophy “comes down to having an intentional relationship with material, process, and technique,” he says. “Those aspects of art making are just as – if not more – important than an intellectualized concept being illustrated by an artwork.”

“Broadened definitions of craft that highlight communities of practice are foundational for the Center for Craft’s new strategic direction,” explains Executive Director Stephanie Moore. “Max Adrian’s work in RIPSTOP exemplifies the expansive and meaningful forms craft can take.” The Center for Craft is an institution Adrian credits for their professional growth. “The Center for Craft has felt like such a supporting institution for me specifically and for so many other craft artists I know,” they note. “To be able to bring this amount of work to Asheville is pretty cool.”

See Max Adrian: RIPSTOP at the Center for Craft Beginning July 26. A reception will be held on August 15. RIPSTOP is organized by Houston Center for Contemporary Craft and curated by Sarah Darro.

# # #
ABOUT CENTER FOR CRAFT Founded in 1996, the Center for Craft’s mission is to resource, catalyze, and amplify how and why craft matters. As a 501(c)3 national nonprofit that increases access to craft by empowering and resourcing artists, organizations, and communities through grants, fellowships and programs that bring people together. The Center is widely acknowledged as one of the most influential organizations working on behalf of craft in the United States. For more information, visit www.centerforcraft.org.
Thursday, November 7, 2024
Max Adrian: RIPSTOP
Nov 7 @ 10:00 am – 6:00 pm
Center for Craft
The Center for Craft is thrilled to announce the opening of Max Adrian: RIPSTOP. Adrian (he/they), a textile artist who was awarded a Windgate-Lamar Fellowship by the Center in 2015 and a Career Advancement Fellowship in 2022, will bring the playful, experiential, and provocative solo exhibition of textiles and inflatable sculptures to the Bresler Family Gallery beginning July 26, 2024 through March 29, 2025.

Pieces made from nylon fabric ripstop, which keeps tears from spreading, invite viewers into created, fantastical worlds, only to highlight the complex—even impossible—architectures of their construction. Before the pandemic, Adrian primarily focused on personal experiences and interrogations of queerness, identity, and sexuality. Since then, the work has zoomed out in its scope, still centering identity but placed in larger infrastructure and surveillance systems that mediate, manipulate, and control desire.

Adrian counts queer fiber art, BDSM and kink culture, theatre, camp horror, puppetry, and drag among his many influences. Works in RIPSTOP, like the modernist bounce house sculpture A Fallible Complex (2021), evoke spaces for play, beckoning visitors in through their alluring aesthetic and then blocking their entrance or revealing structural instabilities, like missing floors. Others, like The Sensational Inflatable Furry Divines (2017-19), use sensual materials, like faux fur, spandex, and pleather, which connect to theatrical performance and counterculture. The materials “play on people’s initial associations and serve as a gateway into greater conversations about identity construction, performance, desire, and technology,” he shares.Pieces also nod to the history of quilting, including the AIDS Memorial Quilt, another influence on Adrian’s work. “Even when pieces aren’t explicitly making quilt references, I want the history of quilting and sewing-based craft to be part of the conversation of the work,” he says. “Craft is so much about the processes and histories behind materials. It’s about connecting with communities of people who practice those techniques. It’s about material and technique being a doorway into a greater relationship with an object.”

Themes of transformation—of structures, identities, and bodies—run throughout the show. “What I love about drag and puppetry is the sense of transformation and play, specifically with bodies,” Adrian says. “Within these art forms, a body can become mutable and capable of performing and becoming in unexpected states.” The sculptures also transform throughout viewers’ experiences, going through stages of inflation and deflation and existing in many different states.

RIPSTOP’s constant interplay between surface and depth, assumption and reality, are all a part of what Adrian describes as “looking behind the curtain,” which they trace back to the theatre. “When I’m thinking about systems, and the systems desire fits into, I’m thinking of stage construction, the backstage, the things that go on behind the show, and performance of our desires,” they explain.

As a craft artist, Adrian’s philosophy “comes down to having an intentional relationship with material, process, and technique,” he says. “Those aspects of art making are just as – if not more – important than an intellectualized concept being illustrated by an artwork.”

“Broadened definitions of craft that highlight communities of practice are foundational for the Center for Craft’s new strategic direction,” explains Executive Director Stephanie Moore. “Max Adrian’s work in RIPSTOP exemplifies the expansive and meaningful forms craft can take.” The Center for Craft is an institution Adrian credits for their professional growth. “The Center for Craft has felt like such a supporting institution for me specifically and for so many other craft artists I know,” they note. “To be able to bring this amount of work to Asheville is pretty cool.”

See Max Adrian: RIPSTOP at the Center for Craft Beginning July 26. A reception will be held on August 15. RIPSTOP is organized by Houston Center for Contemporary Craft and curated by Sarah Darro.

# # #
ABOUT CENTER FOR CRAFT Founded in 1996, the Center for Craft’s mission is to resource, catalyze, and amplify how and why craft matters. As a 501(c)3 national nonprofit that increases access to craft by empowering and resourcing artists, organizations, and communities through grants, fellowships and programs that bring people together. The Center is widely acknowledged as one of the most influential organizations working on behalf of craft in the United States. For more information, visit www.centerforcraft.org.
ALL ARTS OPEN MIC
Nov 7 @ 6:30 pm – 10:00 pm
Story Parlor

Held on First Thursdays, join this all-arts open mic presented by Story Parlor and Speakeasy Improv. Prepare a five minute original piece in whatever medium you so choose — storytelling, music, poetry, literature, comedy, dance — or simply come to enjoy and support the local arts community.

Friday, November 8, 2024
Artists Uniting
Nov 8 all-day
Asheville Gallery of Art

The Asheville Gallery of Art is pleased to announce its upcoming exhibition, “Artists Uniting: A Tribute to Asheville” showcasing works by local artists that capture the essence of Asheville, North Carolina. The exhibition will run throughout November, with an opening reception on Friday, November 8, 2024, from 5 to 7:30 PM at the gallery located at 82 Patton Avenue, Downtown Asheville.

Max Adrian: RIPSTOP
Nov 8 @ 10:00 am – 6:00 pm
Center for Craft
The Center for Craft is thrilled to announce the opening of Max Adrian: RIPSTOP. Adrian (he/they), a textile artist who was awarded a Windgate-Lamar Fellowship by the Center in 2015 and a Career Advancement Fellowship in 2022, will bring the playful, experiential, and provocative solo exhibition of textiles and inflatable sculptures to the Bresler Family Gallery beginning July 26, 2024 through March 29, 2025.

Pieces made from nylon fabric ripstop, which keeps tears from spreading, invite viewers into created, fantastical worlds, only to highlight the complex—even impossible—architectures of their construction. Before the pandemic, Adrian primarily focused on personal experiences and interrogations of queerness, identity, and sexuality. Since then, the work has zoomed out in its scope, still centering identity but placed in larger infrastructure and surveillance systems that mediate, manipulate, and control desire.

Adrian counts queer fiber art, BDSM and kink culture, theatre, camp horror, puppetry, and drag among his many influences. Works in RIPSTOP, like the modernist bounce house sculpture A Fallible Complex (2021), evoke spaces for play, beckoning visitors in through their alluring aesthetic and then blocking their entrance or revealing structural instabilities, like missing floors. Others, like The Sensational Inflatable Furry Divines (2017-19), use sensual materials, like faux fur, spandex, and pleather, which connect to theatrical performance and counterculture. The materials “play on people’s initial associations and serve as a gateway into greater conversations about identity construction, performance, desire, and technology,” he shares.Pieces also nod to the history of quilting, including the AIDS Memorial Quilt, another influence on Adrian’s work. “Even when pieces aren’t explicitly making quilt references, I want the history of quilting and sewing-based craft to be part of the conversation of the work,” he says. “Craft is so much about the processes and histories behind materials. It’s about connecting with communities of people who practice those techniques. It’s about material and technique being a doorway into a greater relationship with an object.”

Themes of transformation—of structures, identities, and bodies—run throughout the show. “What I love about drag and puppetry is the sense of transformation and play, specifically with bodies,” Adrian says. “Within these art forms, a body can become mutable and capable of performing and becoming in unexpected states.” The sculptures also transform throughout viewers’ experiences, going through stages of inflation and deflation and existing in many different states.

RIPSTOP’s constant interplay between surface and depth, assumption and reality, are all a part of what Adrian describes as “looking behind the curtain,” which they trace back to the theatre. “When I’m thinking about systems, and the systems desire fits into, I’m thinking of stage construction, the backstage, the things that go on behind the show, and performance of our desires,” they explain.

As a craft artist, Adrian’s philosophy “comes down to having an intentional relationship with material, process, and technique,” he says. “Those aspects of art making are just as – if not more – important than an intellectualized concept being illustrated by an artwork.”

“Broadened definitions of craft that highlight communities of practice are foundational for the Center for Craft’s new strategic direction,” explains Executive Director Stephanie Moore. “Max Adrian’s work in RIPSTOP exemplifies the expansive and meaningful forms craft can take.” The Center for Craft is an institution Adrian credits for their professional growth. “The Center for Craft has felt like such a supporting institution for me specifically and for so many other craft artists I know,” they note. “To be able to bring this amount of work to Asheville is pretty cool.”

See Max Adrian: RIPSTOP at the Center for Craft Beginning July 26. A reception will be held on August 15. RIPSTOP is organized by Houston Center for Contemporary Craft and curated by Sarah Darro.

# # #
ABOUT CENTER FOR CRAFT Founded in 1996, the Center for Craft’s mission is to resource, catalyze, and amplify how and why craft matters. As a 501(c)3 national nonprofit that increases access to craft by empowering and resourcing artists, organizations, and communities through grants, fellowships and programs that bring people together. The Center is widely acknowledged as one of the most influential organizations working on behalf of craft in the United States. For more information, visit www.centerforcraft.org.
Saturday, November 9, 2024
6th Annual Vessels of Merriment exhibition
Nov 9 @ 10:00 am – Dec 31 @ 5:00 pm
Grovewood Gallery

From wine and whiskey cups to flasks and goblets, the 6th Annual Vessels of Merriment exhibition at Grovewood Gallery will feature handcrafted drinking vessels by 17 potters from across the country. This ceramic invitational will kick off with an opening celebration on Saturday, November 9, from 2 to 5 pm, where guests can mix and mingle with some of the participating artists and enjoy complimentary offerings served by our friends at Metro Wines. This event is free to attend and open to the public. Vessels of Merriment will remain on view through December 31, 2024.

Max Adrian: RIPSTOP
Nov 9 @ 10:00 am – 6:00 pm
Center for Craft
The Center for Craft is thrilled to announce the opening of Max Adrian: RIPSTOP. Adrian (he/they), a textile artist who was awarded a Windgate-Lamar Fellowship by the Center in 2015 and a Career Advancement Fellowship in 2022, will bring the playful, experiential, and provocative solo exhibition of textiles and inflatable sculptures to the Bresler Family Gallery beginning July 26, 2024 through March 29, 2025.

Pieces made from nylon fabric ripstop, which keeps tears from spreading, invite viewers into created, fantastical worlds, only to highlight the complex—even impossible—architectures of their construction. Before the pandemic, Adrian primarily focused on personal experiences and interrogations of queerness, identity, and sexuality. Since then, the work has zoomed out in its scope, still centering identity but placed in larger infrastructure and surveillance systems that mediate, manipulate, and control desire.

Adrian counts queer fiber art, BDSM and kink culture, theatre, camp horror, puppetry, and drag among his many influences. Works in RIPSTOP, like the modernist bounce house sculpture A Fallible Complex (2021), evoke spaces for play, beckoning visitors in through their alluring aesthetic and then blocking their entrance or revealing structural instabilities, like missing floors. Others, like The Sensational Inflatable Furry Divines (2017-19), use sensual materials, like faux fur, spandex, and pleather, which connect to theatrical performance and counterculture. The materials “play on people’s initial associations and serve as a gateway into greater conversations about identity construction, performance, desire, and technology,” he shares.Pieces also nod to the history of quilting, including the AIDS Memorial Quilt, another influence on Adrian’s work. “Even when pieces aren’t explicitly making quilt references, I want the history of quilting and sewing-based craft to be part of the conversation of the work,” he says. “Craft is so much about the processes and histories behind materials. It’s about connecting with communities of people who practice those techniques. It’s about material and technique being a doorway into a greater relationship with an object.”

Themes of transformation—of structures, identities, and bodies—run throughout the show. “What I love about drag and puppetry is the sense of transformation and play, specifically with bodies,” Adrian says. “Within these art forms, a body can become mutable and capable of performing and becoming in unexpected states.” The sculptures also transform throughout viewers’ experiences, going through stages of inflation and deflation and existing in many different states.

RIPSTOP’s constant interplay between surface and depth, assumption and reality, are all a part of what Adrian describes as “looking behind the curtain,” which they trace back to the theatre. “When I’m thinking about systems, and the systems desire fits into, I’m thinking of stage construction, the backstage, the things that go on behind the show, and performance of our desires,” they explain.

As a craft artist, Adrian’s philosophy “comes down to having an intentional relationship with material, process, and technique,” he says. “Those aspects of art making are just as – if not more – important than an intellectualized concept being illustrated by an artwork.”

“Broadened definitions of craft that highlight communities of practice are foundational for the Center for Craft’s new strategic direction,” explains Executive Director Stephanie Moore. “Max Adrian’s work in RIPSTOP exemplifies the expansive and meaningful forms craft can take.” The Center for Craft is an institution Adrian credits for their professional growth. “The Center for Craft has felt like such a supporting institution for me specifically and for so many other craft artists I know,” they note. “To be able to bring this amount of work to Asheville is pretty cool.”

See Max Adrian: RIPSTOP at the Center for Craft Beginning July 26. A reception will be held on August 15. RIPSTOP is organized by Houston Center for Contemporary Craft and curated by Sarah Darro.

# # #
ABOUT CENTER FOR CRAFT Founded in 1996, the Center for Craft’s mission is to resource, catalyze, and amplify how and why craft matters. As a 501(c)3 national nonprofit that increases access to craft by empowering and resourcing artists, organizations, and communities through grants, fellowships and programs that bring people together. The Center is widely acknowledged as one of the most influential organizations working on behalf of craft in the United States. For more information, visit www.centerforcraft.org.
Artists + Writers Coffee
Nov 9 @ 10:30 am – 12:00 pm
Tryon Fine Arts Center

Saturdays from 10:30 AM – 12 PM

TFAC Pavilion (park/enter at rear of building)
Free drop-in event
Monday, November 11, 2024
Let’s Have Some Fun With Art!
Nov 11 @ 9:30 am
Tryon Fine Arts Center

Clara Rogers returns with another fun-filled art class. The one-week workshop is design to give the artist a taste of several art mediums. You will be painting using palette knives, creating mono-prints, printmaking, and working with  pastels on sanded paper.

This class is for beginners as well as accomplished artists who want to have the structure of a class to create artwork. All materials will be provided. Clara says, “Just come with a smile and open mind to explore the art world!”

Max Adrian: RIPSTOP
Nov 11 @ 10:00 am – 6:00 pm
Center for Craft
The Center for Craft is thrilled to announce the opening of Max Adrian: RIPSTOP. Adrian (he/they), a textile artist who was awarded a Windgate-Lamar Fellowship by the Center in 2015 and a Career Advancement Fellowship in 2022, will bring the playful, experiential, and provocative solo exhibition of textiles and inflatable sculptures to the Bresler Family Gallery beginning July 26, 2024 through March 29, 2025.

Pieces made from nylon fabric ripstop, which keeps tears from spreading, invite viewers into created, fantastical worlds, only to highlight the complex—even impossible—architectures of their construction. Before the pandemic, Adrian primarily focused on personal experiences and interrogations of queerness, identity, and sexuality. Since then, the work has zoomed out in its scope, still centering identity but placed in larger infrastructure and surveillance systems that mediate, manipulate, and control desire.

Adrian counts queer fiber art, BDSM and kink culture, theatre, camp horror, puppetry, and drag among his many influences. Works in RIPSTOP, like the modernist bounce house sculpture A Fallible Complex (2021), evoke spaces for play, beckoning visitors in through their alluring aesthetic and then blocking their entrance or revealing structural instabilities, like missing floors. Others, like The Sensational Inflatable Furry Divines (2017-19), use sensual materials, like faux fur, spandex, and pleather, which connect to theatrical performance and counterculture. The materials “play on people’s initial associations and serve as a gateway into greater conversations about identity construction, performance, desire, and technology,” he shares.Pieces also nod to the history of quilting, including the AIDS Memorial Quilt, another influence on Adrian’s work. “Even when pieces aren’t explicitly making quilt references, I want the history of quilting and sewing-based craft to be part of the conversation of the work,” he says. “Craft is so much about the processes and histories behind materials. It’s about connecting with communities of people who practice those techniques. It’s about material and technique being a doorway into a greater relationship with an object.”

Themes of transformation—of structures, identities, and bodies—run throughout the show. “What I love about drag and puppetry is the sense of transformation and play, specifically with bodies,” Adrian says. “Within these art forms, a body can become mutable and capable of performing and becoming in unexpected states.” The sculptures also transform throughout viewers’ experiences, going through stages of inflation and deflation and existing in many different states.

RIPSTOP’s constant interplay between surface and depth, assumption and reality, are all a part of what Adrian describes as “looking behind the curtain,” which they trace back to the theatre. “When I’m thinking about systems, and the systems desire fits into, I’m thinking of stage construction, the backstage, the things that go on behind the show, and performance of our desires,” they explain.

As a craft artist, Adrian’s philosophy “comes down to having an intentional relationship with material, process, and technique,” he says. “Those aspects of art making are just as – if not more – important than an intellectualized concept being illustrated by an artwork.”

“Broadened definitions of craft that highlight communities of practice are foundational for the Center for Craft’s new strategic direction,” explains Executive Director Stephanie Moore. “Max Adrian’s work in RIPSTOP exemplifies the expansive and meaningful forms craft can take.” The Center for Craft is an institution Adrian credits for their professional growth. “The Center for Craft has felt like such a supporting institution for me specifically and for so many other craft artists I know,” they note. “To be able to bring this amount of work to Asheville is pretty cool.”

See Max Adrian: RIPSTOP at the Center for Craft Beginning July 26. A reception will be held on August 15. RIPSTOP is organized by Houston Center for Contemporary Craft and curated by Sarah Darro.

# # #
ABOUT CENTER FOR CRAFT Founded in 1996, the Center for Craft’s mission is to resource, catalyze, and amplify how and why craft matters. As a 501(c)3 national nonprofit that increases access to craft by empowering and resourcing artists, organizations, and communities through grants, fellowships and programs that bring people together. The Center is widely acknowledged as one of the most influential organizations working on behalf of craft in the United States. For more information, visit www.centerforcraft.org.
Tuesday, November 12, 2024
Max Adrian: RIPSTOP
Nov 12 @ 10:00 am – 6:00 pm
Center for Craft
The Center for Craft is thrilled to announce the opening of Max Adrian: RIPSTOP. Adrian (he/they), a textile artist who was awarded a Windgate-Lamar Fellowship by the Center in 2015 and a Career Advancement Fellowship in 2022, will bring the playful, experiential, and provocative solo exhibition of textiles and inflatable sculptures to the Bresler Family Gallery beginning July 26, 2024 through March 29, 2025.

Pieces made from nylon fabric ripstop, which keeps tears from spreading, invite viewers into created, fantastical worlds, only to highlight the complex—even impossible—architectures of their construction. Before the pandemic, Adrian primarily focused on personal experiences and interrogations of queerness, identity, and sexuality. Since then, the work has zoomed out in its scope, still centering identity but placed in larger infrastructure and surveillance systems that mediate, manipulate, and control desire.

Adrian counts queer fiber art, BDSM and kink culture, theatre, camp horror, puppetry, and drag among his many influences. Works in RIPSTOP, like the modernist bounce house sculpture A Fallible Complex (2021), evoke spaces for play, beckoning visitors in through their alluring aesthetic and then blocking their entrance or revealing structural instabilities, like missing floors. Others, like The Sensational Inflatable Furry Divines (2017-19), use sensual materials, like faux fur, spandex, and pleather, which connect to theatrical performance and counterculture. The materials “play on people’s initial associations and serve as a gateway into greater conversations about identity construction, performance, desire, and technology,” he shares.Pieces also nod to the history of quilting, including the AIDS Memorial Quilt, another influence on Adrian’s work. “Even when pieces aren’t explicitly making quilt references, I want the history of quilting and sewing-based craft to be part of the conversation of the work,” he says. “Craft is so much about the processes and histories behind materials. It’s about connecting with communities of people who practice those techniques. It’s about material and technique being a doorway into a greater relationship with an object.”

Themes of transformation—of structures, identities, and bodies—run throughout the show. “What I love about drag and puppetry is the sense of transformation and play, specifically with bodies,” Adrian says. “Within these art forms, a body can become mutable and capable of performing and becoming in unexpected states.” The sculptures also transform throughout viewers’ experiences, going through stages of inflation and deflation and existing in many different states.

RIPSTOP’s constant interplay between surface and depth, assumption and reality, are all a part of what Adrian describes as “looking behind the curtain,” which they trace back to the theatre. “When I’m thinking about systems, and the systems desire fits into, I’m thinking of stage construction, the backstage, the things that go on behind the show, and performance of our desires,” they explain.

As a craft artist, Adrian’s philosophy “comes down to having an intentional relationship with material, process, and technique,” he says. “Those aspects of art making are just as – if not more – important than an intellectualized concept being illustrated by an artwork.”

“Broadened definitions of craft that highlight communities of practice are foundational for the Center for Craft’s new strategic direction,” explains Executive Director Stephanie Moore. “Max Adrian’s work in RIPSTOP exemplifies the expansive and meaningful forms craft can take.” The Center for Craft is an institution Adrian credits for their professional growth. “The Center for Craft has felt like such a supporting institution for me specifically and for so many other craft artists I know,” they note. “To be able to bring this amount of work to Asheville is pretty cool.”

See Max Adrian: RIPSTOP at the Center for Craft Beginning July 26. A reception will be held on August 15. RIPSTOP is organized by Houston Center for Contemporary Craft and curated by Sarah Darro.

# # #
ABOUT CENTER FOR CRAFT Founded in 1996, the Center for Craft’s mission is to resource, catalyze, and amplify how and why craft matters. As a 501(c)3 national nonprofit that increases access to craft by empowering and resourcing artists, organizations, and communities through grants, fellowships and programs that bring people together. The Center is widely acknowledged as one of the most influential organizations working on behalf of craft in the United States. For more information, visit www.centerforcraft.org.
Wednesday, November 13, 2024
Max Adrian: RIPSTOP
Nov 13 @ 10:00 am – 6:00 pm
Center for Craft
The Center for Craft is thrilled to announce the opening of Max Adrian: RIPSTOP. Adrian (he/they), a textile artist who was awarded a Windgate-Lamar Fellowship by the Center in 2015 and a Career Advancement Fellowship in 2022, will bring the playful, experiential, and provocative solo exhibition of textiles and inflatable sculptures to the Bresler Family Gallery beginning July 26, 2024 through March 29, 2025.

Pieces made from nylon fabric ripstop, which keeps tears from spreading, invite viewers into created, fantastical worlds, only to highlight the complex—even impossible—architectures of their construction. Before the pandemic, Adrian primarily focused on personal experiences and interrogations of queerness, identity, and sexuality. Since then, the work has zoomed out in its scope, still centering identity but placed in larger infrastructure and surveillance systems that mediate, manipulate, and control desire.

Adrian counts queer fiber art, BDSM and kink culture, theatre, camp horror, puppetry, and drag among his many influences. Works in RIPSTOP, like the modernist bounce house sculpture A Fallible Complex (2021), evoke spaces for play, beckoning visitors in through their alluring aesthetic and then blocking their entrance or revealing structural instabilities, like missing floors. Others, like The Sensational Inflatable Furry Divines (2017-19), use sensual materials, like faux fur, spandex, and pleather, which connect to theatrical performance and counterculture. The materials “play on people’s initial associations and serve as a gateway into greater conversations about identity construction, performance, desire, and technology,” he shares.Pieces also nod to the history of quilting, including the AIDS Memorial Quilt, another influence on Adrian’s work. “Even when pieces aren’t explicitly making quilt references, I want the history of quilting and sewing-based craft to be part of the conversation of the work,” he says. “Craft is so much about the processes and histories behind materials. It’s about connecting with communities of people who practice those techniques. It’s about material and technique being a doorway into a greater relationship with an object.”

Themes of transformation—of structures, identities, and bodies—run throughout the show. “What I love about drag and puppetry is the sense of transformation and play, specifically with bodies,” Adrian says. “Within these art forms, a body can become mutable and capable of performing and becoming in unexpected states.” The sculptures also transform throughout viewers’ experiences, going through stages of inflation and deflation and existing in many different states.

RIPSTOP’s constant interplay between surface and depth, assumption and reality, are all a part of what Adrian describes as “looking behind the curtain,” which they trace back to the theatre. “When I’m thinking about systems, and the systems desire fits into, I’m thinking of stage construction, the backstage, the things that go on behind the show, and performance of our desires,” they explain.

As a craft artist, Adrian’s philosophy “comes down to having an intentional relationship with material, process, and technique,” he says. “Those aspects of art making are just as – if not more – important than an intellectualized concept being illustrated by an artwork.”

“Broadened definitions of craft that highlight communities of practice are foundational for the Center for Craft’s new strategic direction,” explains Executive Director Stephanie Moore. “Max Adrian’s work in RIPSTOP exemplifies the expansive and meaningful forms craft can take.” The Center for Craft is an institution Adrian credits for their professional growth. “The Center for Craft has felt like such a supporting institution for me specifically and for so many other craft artists I know,” they note. “To be able to bring this amount of work to Asheville is pretty cool.”

See Max Adrian: RIPSTOP at the Center for Craft Beginning July 26. A reception will be held on August 15. RIPSTOP is organized by Houston Center for Contemporary Craft and curated by Sarah Darro.

# # #
ABOUT CENTER FOR CRAFT Founded in 1996, the Center for Craft’s mission is to resource, catalyze, and amplify how and why craft matters. As a 501(c)3 national nonprofit that increases access to craft by empowering and resourcing artists, organizations, and communities through grants, fellowships and programs that bring people together. The Center is widely acknowledged as one of the most influential organizations working on behalf of craft in the United States. For more information, visit www.centerforcraft.org.
Thursday, November 14, 2024
Max Adrian: RIPSTOP
Nov 14 @ 10:00 am – 6:00 pm
Center for Craft
The Center for Craft is thrilled to announce the opening of Max Adrian: RIPSTOP. Adrian (he/they), a textile artist who was awarded a Windgate-Lamar Fellowship by the Center in 2015 and a Career Advancement Fellowship in 2022, will bring the playful, experiential, and provocative solo exhibition of textiles and inflatable sculptures to the Bresler Family Gallery beginning July 26, 2024 through March 29, 2025.

Pieces made from nylon fabric ripstop, which keeps tears from spreading, invite viewers into created, fantastical worlds, only to highlight the complex—even impossible—architectures of their construction. Before the pandemic, Adrian primarily focused on personal experiences and interrogations of queerness, identity, and sexuality. Since then, the work has zoomed out in its scope, still centering identity but placed in larger infrastructure and surveillance systems that mediate, manipulate, and control desire.

Adrian counts queer fiber art, BDSM and kink culture, theatre, camp horror, puppetry, and drag among his many influences. Works in RIPSTOP, like the modernist bounce house sculpture A Fallible Complex (2021), evoke spaces for play, beckoning visitors in through their alluring aesthetic and then blocking their entrance or revealing structural instabilities, like missing floors. Others, like The Sensational Inflatable Furry Divines (2017-19), use sensual materials, like faux fur, spandex, and pleather, which connect to theatrical performance and counterculture. The materials “play on people’s initial associations and serve as a gateway into greater conversations about identity construction, performance, desire, and technology,” he shares.Pieces also nod to the history of quilting, including the AIDS Memorial Quilt, another influence on Adrian’s work. “Even when pieces aren’t explicitly making quilt references, I want the history of quilting and sewing-based craft to be part of the conversation of the work,” he says. “Craft is so much about the processes and histories behind materials. It’s about connecting with communities of people who practice those techniques. It’s about material and technique being a doorway into a greater relationship with an object.”

Themes of transformation—of structures, identities, and bodies—run throughout the show. “What I love about drag and puppetry is the sense of transformation and play, specifically with bodies,” Adrian says. “Within these art forms, a body can become mutable and capable of performing and becoming in unexpected states.” The sculptures also transform throughout viewers’ experiences, going through stages of inflation and deflation and existing in many different states.

RIPSTOP’s constant interplay between surface and depth, assumption and reality, are all a part of what Adrian describes as “looking behind the curtain,” which they trace back to the theatre. “When I’m thinking about systems, and the systems desire fits into, I’m thinking of stage construction, the backstage, the things that go on behind the show, and performance of our desires,” they explain.

As a craft artist, Adrian’s philosophy “comes down to having an intentional relationship with material, process, and technique,” he says. “Those aspects of art making are just as – if not more – important than an intellectualized concept being illustrated by an artwork.”

“Broadened definitions of craft that highlight communities of practice are foundational for the Center for Craft’s new strategic direction,” explains Executive Director Stephanie Moore. “Max Adrian’s work in RIPSTOP exemplifies the expansive and meaningful forms craft can take.” The Center for Craft is an institution Adrian credits for their professional growth. “The Center for Craft has felt like such a supporting institution for me specifically and for so many other craft artists I know,” they note. “To be able to bring this amount of work to Asheville is pretty cool.”

See Max Adrian: RIPSTOP at the Center for Craft Beginning July 26. A reception will be held on August 15. RIPSTOP is organized by Houston Center for Contemporary Craft and curated by Sarah Darro.

# # #
ABOUT CENTER FOR CRAFT Founded in 1996, the Center for Craft’s mission is to resource, catalyze, and amplify how and why craft matters. As a 501(c)3 national nonprofit that increases access to craft by empowering and resourcing artists, organizations, and communities through grants, fellowships and programs that bring people together. The Center is widely acknowledged as one of the most influential organizations working on behalf of craft in the United States. For more information, visit www.centerforcraft.org.
Friday, November 15, 2024
The Fifth Annual Asheville Tattoo Arts Festival
Nov 15 – Nov 17 all-day
Harrah's Cherokee Center Asheville

The original and best tattoo festival is back in Asheville once more for the Fifth Annual Asheville Tattoo Arts Festival! Hosted by Villain Arts at the Harrah’s Cherokee Center Asheville, this event will feature hundreds of tattoo artists, some from across the country, and a few from around the world, specializing in all different tattooing styles. Some artists you may already even know, like Anwon Boneface Johnson (Ink Master seasons 8, 9 & Grudge Match), Big Jaz (Ink Master season 12), or Charles Whitfield (VH1.) Attendees can enter their new or existing ink in tattoo competitions! Or shop among our numerous vendors selling everything from clothing and jewelry to oddities and more. The festival will also feature live entertainment, including sideshow acts and human suspension! There truly is something here for everyone to enjoy. So, don’t delay! Join the fun and get some ink this weekend at the Fifth Annual Asheville Tattoo Arts Festival!

Event Hours by Day:
Friday 15th 2pm-11pm
Saturday 16th 11am-11pm
Sunday 17th 11am-8pm

Tickets:
$25 for a 1-day pass
$50 for a 3-day pass
Free admission for children under 12

Max Adrian: RIPSTOP
Nov 15 @ 10:00 am – 6:00 pm
Center for Craft
The Center for Craft is thrilled to announce the opening of Max Adrian: RIPSTOP. Adrian (he/they), a textile artist who was awarded a Windgate-Lamar Fellowship by the Center in 2015 and a Career Advancement Fellowship in 2022, will bring the playful, experiential, and provocative solo exhibition of textiles and inflatable sculptures to the Bresler Family Gallery beginning July 26, 2024 through March 29, 2025.

Pieces made from nylon fabric ripstop, which keeps tears from spreading, invite viewers into created, fantastical worlds, only to highlight the complex—even impossible—architectures of their construction. Before the pandemic, Adrian primarily focused on personal experiences and interrogations of queerness, identity, and sexuality. Since then, the work has zoomed out in its scope, still centering identity but placed in larger infrastructure and surveillance systems that mediate, manipulate, and control desire.

Adrian counts queer fiber art, BDSM and kink culture, theatre, camp horror, puppetry, and drag among his many influences. Works in RIPSTOP, like the modernist bounce house sculpture A Fallible Complex (2021), evoke spaces for play, beckoning visitors in through their alluring aesthetic and then blocking their entrance or revealing structural instabilities, like missing floors. Others, like The Sensational Inflatable Furry Divines (2017-19), use sensual materials, like faux fur, spandex, and pleather, which connect to theatrical performance and counterculture. The materials “play on people’s initial associations and serve as a gateway into greater conversations about identity construction, performance, desire, and technology,” he shares.Pieces also nod to the history of quilting, including the AIDS Memorial Quilt, another influence on Adrian’s work. “Even when pieces aren’t explicitly making quilt references, I want the history of quilting and sewing-based craft to be part of the conversation of the work,” he says. “Craft is so much about the processes and histories behind materials. It’s about connecting with communities of people who practice those techniques. It’s about material and technique being a doorway into a greater relationship with an object.”

Themes of transformation—of structures, identities, and bodies—run throughout the show. “What I love about drag and puppetry is the sense of transformation and play, specifically with bodies,” Adrian says. “Within these art forms, a body can become mutable and capable of performing and becoming in unexpected states.” The sculptures also transform throughout viewers’ experiences, going through stages of inflation and deflation and existing in many different states.

RIPSTOP’s constant interplay between surface and depth, assumption and reality, are all a part of what Adrian describes as “looking behind the curtain,” which they trace back to the theatre. “When I’m thinking about systems, and the systems desire fits into, I’m thinking of stage construction, the backstage, the things that go on behind the show, and performance of our desires,” they explain.

As a craft artist, Adrian’s philosophy “comes down to having an intentional relationship with material, process, and technique,” he says. “Those aspects of art making are just as – if not more – important than an intellectualized concept being illustrated by an artwork.”

“Broadened definitions of craft that highlight communities of practice are foundational for the Center for Craft’s new strategic direction,” explains Executive Director Stephanie Moore. “Max Adrian’s work in RIPSTOP exemplifies the expansive and meaningful forms craft can take.” The Center for Craft is an institution Adrian credits for their professional growth. “The Center for Craft has felt like such a supporting institution for me specifically and for so many other craft artists I know,” they note. “To be able to bring this amount of work to Asheville is pretty cool.”

See Max Adrian: RIPSTOP at the Center for Craft Beginning July 26. A reception will be held on August 15. RIPSTOP is organized by Houston Center for Contemporary Craft and curated by Sarah Darro.

# # #
ABOUT CENTER FOR CRAFT Founded in 1996, the Center for Craft’s mission is to resource, catalyze, and amplify how and why craft matters. As a 501(c)3 national nonprofit that increases access to craft by empowering and resourcing artists, organizations, and communities through grants, fellowships and programs that bring people together. The Center is widely acknowledged as one of the most influential organizations working on behalf of craft in the United States. For more information, visit www.centerforcraft.org.
Saturday, November 16, 2024
Max Adrian: RIPSTOP
Nov 16 @ 10:00 am – 6:00 pm
Center for Craft
The Center for Craft is thrilled to announce the opening of Max Adrian: RIPSTOP. Adrian (he/they), a textile artist who was awarded a Windgate-Lamar Fellowship by the Center in 2015 and a Career Advancement Fellowship in 2022, will bring the playful, experiential, and provocative solo exhibition of textiles and inflatable sculptures to the Bresler Family Gallery beginning July 26, 2024 through March 29, 2025.

Pieces made from nylon fabric ripstop, which keeps tears from spreading, invite viewers into created, fantastical worlds, only to highlight the complex—even impossible—architectures of their construction. Before the pandemic, Adrian primarily focused on personal experiences and interrogations of queerness, identity, and sexuality. Since then, the work has zoomed out in its scope, still centering identity but placed in larger infrastructure and surveillance systems that mediate, manipulate, and control desire.

Adrian counts queer fiber art, BDSM and kink culture, theatre, camp horror, puppetry, and drag among his many influences. Works in RIPSTOP, like the modernist bounce house sculpture A Fallible Complex (2021), evoke spaces for play, beckoning visitors in through their alluring aesthetic and then blocking their entrance or revealing structural instabilities, like missing floors. Others, like The Sensational Inflatable Furry Divines (2017-19), use sensual materials, like faux fur, spandex, and pleather, which connect to theatrical performance and counterculture. The materials “play on people’s initial associations and serve as a gateway into greater conversations about identity construction, performance, desire, and technology,” he shares.Pieces also nod to the history of quilting, including the AIDS Memorial Quilt, another influence on Adrian’s work. “Even when pieces aren’t explicitly making quilt references, I want the history of quilting and sewing-based craft to be part of the conversation of the work,” he says. “Craft is so much about the processes and histories behind materials. It’s about connecting with communities of people who practice those techniques. It’s about material and technique being a doorway into a greater relationship with an object.”

Themes of transformation—of structures, identities, and bodies—run throughout the show. “What I love about drag and puppetry is the sense of transformation and play, specifically with bodies,” Adrian says. “Within these art forms, a body can become mutable and capable of performing and becoming in unexpected states.” The sculptures also transform throughout viewers’ experiences, going through stages of inflation and deflation and existing in many different states.

RIPSTOP’s constant interplay between surface and depth, assumption and reality, are all a part of what Adrian describes as “looking behind the curtain,” which they trace back to the theatre. “When I’m thinking about systems, and the systems desire fits into, I’m thinking of stage construction, the backstage, the things that go on behind the show, and performance of our desires,” they explain.

As a craft artist, Adrian’s philosophy “comes down to having an intentional relationship with material, process, and technique,” he says. “Those aspects of art making are just as – if not more – important than an intellectualized concept being illustrated by an artwork.”

“Broadened definitions of craft that highlight communities of practice are foundational for the Center for Craft’s new strategic direction,” explains Executive Director Stephanie Moore. “Max Adrian’s work in RIPSTOP exemplifies the expansive and meaningful forms craft can take.” The Center for Craft is an institution Adrian credits for their professional growth. “The Center for Craft has felt like such a supporting institution for me specifically and for so many other craft artists I know,” they note. “To be able to bring this amount of work to Asheville is pretty cool.”

See Max Adrian: RIPSTOP at the Center for Craft Beginning July 26. A reception will be held on August 15. RIPSTOP is organized by Houston Center for Contemporary Craft and curated by Sarah Darro.

# # #
ABOUT CENTER FOR CRAFT Founded in 1996, the Center for Craft’s mission is to resource, catalyze, and amplify how and why craft matters. As a 501(c)3 national nonprofit that increases access to craft by empowering and resourcing artists, organizations, and communities through grants, fellowships and programs that bring people together. The Center is widely acknowledged as one of the most influential organizations working on behalf of craft in the United States. For more information, visit www.centerforcraft.org.
Artists + Writers Coffee
Nov 16 @ 10:30 am – 12:00 pm
Tryon Fine Arts Center

Saturdays from 10:30 AM – 12 PM

TFAC Pavilion (park/enter at rear of building)
Free drop-in event
Monday, November 18, 2024
Max Adrian: RIPSTOP
Nov 18 @ 10:00 am – 6:00 pm
Center for Craft
The Center for Craft is thrilled to announce the opening of Max Adrian: RIPSTOP. Adrian (he/they), a textile artist who was awarded a Windgate-Lamar Fellowship by the Center in 2015 and a Career Advancement Fellowship in 2022, will bring the playful, experiential, and provocative solo exhibition of textiles and inflatable sculptures to the Bresler Family Gallery beginning July 26, 2024 through March 29, 2025.

Pieces made from nylon fabric ripstop, which keeps tears from spreading, invite viewers into created, fantastical worlds, only to highlight the complex—even impossible—architectures of their construction. Before the pandemic, Adrian primarily focused on personal experiences and interrogations of queerness, identity, and sexuality. Since then, the work has zoomed out in its scope, still centering identity but placed in larger infrastructure and surveillance systems that mediate, manipulate, and control desire.

Adrian counts queer fiber art, BDSM and kink culture, theatre, camp horror, puppetry, and drag among his many influences. Works in RIPSTOP, like the modernist bounce house sculpture A Fallible Complex (2021), evoke spaces for play, beckoning visitors in through their alluring aesthetic and then blocking their entrance or revealing structural instabilities, like missing floors. Others, like The Sensational Inflatable Furry Divines (2017-19), use sensual materials, like faux fur, spandex, and pleather, which connect to theatrical performance and counterculture. The materials “play on people’s initial associations and serve as a gateway into greater conversations about identity construction, performance, desire, and technology,” he shares.Pieces also nod to the history of quilting, including the AIDS Memorial Quilt, another influence on Adrian’s work. “Even when pieces aren’t explicitly making quilt references, I want the history of quilting and sewing-based craft to be part of the conversation of the work,” he says. “Craft is so much about the processes and histories behind materials. It’s about connecting with communities of people who practice those techniques. It’s about material and technique being a doorway into a greater relationship with an object.”

Themes of transformation—of structures, identities, and bodies—run throughout the show. “What I love about drag and puppetry is the sense of transformation and play, specifically with bodies,” Adrian says. “Within these art forms, a body can become mutable and capable of performing and becoming in unexpected states.” The sculptures also transform throughout viewers’ experiences, going through stages of inflation and deflation and existing in many different states.

RIPSTOP’s constant interplay between surface and depth, assumption and reality, are all a part of what Adrian describes as “looking behind the curtain,” which they trace back to the theatre. “When I’m thinking about systems, and the systems desire fits into, I’m thinking of stage construction, the backstage, the things that go on behind the show, and performance of our desires,” they explain.

As a craft artist, Adrian’s philosophy “comes down to having an intentional relationship with material, process, and technique,” he says. “Those aspects of art making are just as – if not more – important than an intellectualized concept being illustrated by an artwork.”

“Broadened definitions of craft that highlight communities of practice are foundational for the Center for Craft’s new strategic direction,” explains Executive Director Stephanie Moore. “Max Adrian’s work in RIPSTOP exemplifies the expansive and meaningful forms craft can take.” The Center for Craft is an institution Adrian credits for their professional growth. “The Center for Craft has felt like such a supporting institution for me specifically and for so many other craft artists I know,” they note. “To be able to bring this amount of work to Asheville is pretty cool.”

See Max Adrian: RIPSTOP at the Center for Craft Beginning July 26. A reception will be held on August 15. RIPSTOP is organized by Houston Center for Contemporary Craft and curated by Sarah Darro.

# # #
ABOUT CENTER FOR CRAFT Founded in 1996, the Center for Craft’s mission is to resource, catalyze, and amplify how and why craft matters. As a 501(c)3 national nonprofit that increases access to craft by empowering and resourcing artists, organizations, and communities through grants, fellowships and programs that bring people together. The Center is widely acknowledged as one of the most influential organizations working on behalf of craft in the United States. For more information, visit www.centerforcraft.org.