UnCon 2.0 Classes – Instructors
Linda Kay Benning
Linda Kay Benning has been on a fiber journey her entire life exploring work done primarily by women. She believes their fiber work enriched their lives with color and beauty. Often their skills provided supplementary income for the family, regardless of which continent they resided on. “I am an inch deep and a mile wide in the realm of fiber arts, focusing primarily on the heritage skills,” she recently explained. “My understanding and appreciation grows every time I try something new, often laughing when I examine my first attempt.” She is an active member of the EGA, Chesapeake Region Lace Guild, the International Organization of Lace, Inc., the Bobbin and Needle Lace Organization, and Smocking Arts of America.
Louise Colgan is a lacemaker, designer, and teacher with experience in a broad range of Bobbin Lace techniques. She began making lace in 1985 and has been teaching for over 30 years. Louise is an Honorary Member and Past President of I.O.L.I., now currently serving as the Proficiency Program Chair. She has taught Bobbin Lace classes at many I.O.L.I. Conventions, plus workshops for U.S. members of O.I.D.F.A. and a wide variety of regional guilds. She was invited to teach at the Australian Lace Guild’s National Conference in 2012 and for New Zealand’s Bridge Lace Group in 2019. In her capacity as a lacemaker and designer, Louise has exhibited her work both locally and internationally. She was also a participant in the renowned International Poppy Project. Her designs have been included in the I.O.L.I. Bulletin and Lace Express magazine. Additionally, she has published three books of original patterns and made an instructional video on Milanese Lace through Hensel Productions.
Elizabeth Correa has been engaged with Sol laces for almost 20 years as lacemaker, teacher and researcher. She began in 2004-05 to collect Teneriffe and nhanduti lace in her region of Brazil, but to learn about the technique, its history and its incidence in the world she traveled through Paraguay, Argentina, Venezuela and Colombia. Her research continued in the Canary Islands and Spain, the cradle of Sol Laces. Sol lace, the family of needle lace that is woven over a radial warp, is being forgotten, so each time she discovered something she shared it on the internet. Elizabeth’s Nhanduti de Atibaia blogs have become a major reference on these laces. On the 2020 June Solstice, Elizabeth organized a virtual meeting of over 40 Sol lace makers from 13 different countries.
Gil has been making lace since she learned to crochet as a child. She discovered bobbin lace as a young mum and this has become her main lace interest. She has been teaching since 1979, the year that her first book – Bobbin Lace Braid – was published, and has since written two other beginners’ books – Beginning Bobbin Lace and A Beginner’s Guide to Bobbin Lace (with Adrienne Thunder). For more than two decades Gil has been actively researching early bobbin lace, passing on what she has learned through articles, workshops, a series of books on sixteenth and seventeenth century lace and a website: earlylace.wordpress.com. A second website: gilslacemiscellany.com contains some of the information Gil has collected over many years.
Pierrre Fouché (b. 1977. Pretoria, but grew up in Koffiefontein) achieved his MA in Fine Arts from the University of Stellenbosch in 2006. He has been making bobbin lace since 2009 and it has come to define his art practice. In 2018 he was a featured artist of Escaldes-Engordany’s Textile Symposium in Andorra. Other notable group exhibitions include Lace/not lace at the Hunterdon Art Museum in Clinton, New Jersey; Crafted: Objects in flux at the Boston Museum of Fine Arts (2018), Women’s work at the Iziko South African National Gallery (2016), as well as the touring exhibition, Queer Threads: Crafting Identity and Community, first exhibited at the Leslie + Lohman Museum, New York (2015). His work is represented in the public collections of the Iziko South African National Gallery and the Artphilein Foundation, Switzerland, and numerous private and corporate collections. He is represented by Whatiftheworld Gallery in Cape Town, where he lives and works.
Sivia Harding has worked with fiber and art since she can remember. Obsessed since youth, by adulthood she had dabbled in weaving, spinning, and dyeing among other activities, and came to knitting in the year 2000. Almost immediately, she began to design. She is known mainly for her exceptional lace and bead designs. Her patterns also include accessories, garments, and imaginative Moebius creations. She has been widely published in books and collections, including Jared Flood’s Wool People series, online magazines such as Twist Collective and Knitty, and on Ravelry as Sivia Harding Knit Design. She has been teaching at larger venues since 2009.
Loretta has been doing some form of needlework since she was a small child. Sewing, embroidery, crochet and knitting were all learned at an early age. Needle lace came much later, in the 1970’s. She has been teaching needlework since the 1970’s too, at her needlework guild, a shop, and later at her lacemakers guild. Loretta enjoys opportunities to share what she has learned with others.
Veronika has been fascinated by the ability to create useful and interesting objects from something as simple as yarn for as long as she can remember. She learned to tat as a child and studied bobbin lace as a young adult. She is also driven by the beauty of math and the precision and complexity possible through computer algorithms. In her research, Veronika has combined these interests to develop a mathematical model for bobbin lace, which she then used to generate bobbin lace grounds using an algorithmic approach. From math, she has learned that there are an infinite number of lace ground patterns to explore and from computer science Veronika has been able to find millions of examples.
Carol James has been exploring sprang for more than 25 years, examining items in collections across North American and Europe, and making replicas. She has developed a pattern-writing system to accommodate the variety of designs encountered in her sprang explorations. She is the author of numerous articles, two DVDs and four books: Fingerweaving Untangled, Sprang Unsprung and two books of Sprang Lace Patterns. Carol is spending her Covid lockdown time reviewing her collection of sprang lace images and writing patterns and instruction sheets in order to make the technique accessible to others.
Michèle has taught a wide variety of handwork techniques, including bobbin lace, for over twenty years. Most recently, she has been teaching beginning bobbin lace online weekly. Michèle has been teaching traditional and modern bobbin lace to both adults and children since 1994, with an ever increasing interest in experimentation with stitches and fibers.
Facebook @TheresaKellyLace; Instagram @theresakellylace
Having grown up with threads and discovering Carrickmacross Lace in the 1980’s, Theresa Kelly carries on a tradition of lace making that evolved in the Carrickmacross area in the 1800s. Pushing the boundaries of the technique, Theresa has explored many new possibilities, creating her own distinctive style thus ensuring she is one of the most influential lacemakers in Ireland. Theresa has participated in many solo and group exhibitions and craft competitions throughout the world. Her work has been exhibited at the OIDFA International Lace Festival in Finland where she won the Sally Johanson Award. She has won the Muriel Gahan Award for Lace Innovation at the RDS Crafts Competition in Dublin. Theresa has been sharing her knowledge of lace for the last 15 years.
Elizabeth Kurella has studied the history, identification, and evaluation of lace throughout Europe and the US. for over forty years, and has evaluated and identified lace collections for several museums as well as private collections. She has studied bobbin and needle lacemaking in the US and in Europe. She is the author of Guide to Lace and Linens, The Secrets of Real Lace, Anybody Can Mend Lace and Linens, as well as assorted other books and articles on antique lace.
Jean Leader has been teaching lacemaking for about thirty years — weekly classes in Glasgow where she lives and weekend and longer courses further afield. She has taught for lace groups and The Lace Guild in Britain, and for lace groups and at IOLI conventions in the USA. She teaches most types of bobbin lace at the basic level, but Bedfordshire, Bucks Point, and Torchon, all of which she teaches to advanced level, are her main interests. She has written books on Bedfordshire and Bucks Point lace, and made videos on Bucks Point lace and using color in Torchon and Bedfordshire lace.
Allie Marguccio is a retired elementary school librarian, lacemaker, and lace teacher. She has recently begun designing her own lace patterns in the Idrija lace narrow tape technique. She was awarded a grant by the Pennsylvania Counsel on the Arts to study traditional lace making techniques in Slovenia under the tutelage of Master Teacher, Stana Frelih of the Idrija Lace School in Idrija, Slovenia. Allie teaches private classes in her home in West-Central Pennsylvania and has taught numerous workshops regionally and throughout the United States. Her work has been exhibited at The Bottles Works Ethnic Arts Center in Johnstown, Pennsylvania and at the Governor’s Mansion in Harrisburg, Pennsylvania. She has contributed articles to IOLI’s Lace Bulletin and has been featured in several local newspapers. Allie is one of four folk artists featured in the 2018 PBS documentary titled, “Pennsylvania Traditions: Woven Together.” Her video, “The Basics of Idrija Lace Technique,” filmed and produced by John and Kathy Hensel, was launched in October of 2020.
Textiles and social history are two of my main interests, and it was during my twenty years working in the museum industry that I discovered Dorset buttons. I am now in the lucky position of being able to combine both my love of textiles with the inspiration from this heritage craft, once a major cottage industry in Dorset. I have researched the history of this industry, including visits to museums to examine original Dorset Buttons in their collections. I now use the original methods to work my buttons using contemporary materials and vintage and ethically sourced yarns. I also try out new designs and ways to use the skills of the original buttoners who made these buttons for their livelihood over 200 year ago. Over the years, I have been lucky enough to work on commissions including film, stage and contemporary fashion and have received awards for my buttons. My most treasured award is the Dorset Shield for traditional Dorset Crafts, and I enjoyed making buttons for Carey Mulligan’s costumes in the film Far from the Madding Crowd.
Veerle Meersschaut lives in Ghent Belgium and has been a lacemaker for 38 years. She started her lace education in Ghent and in 2003 went to Bruges to follow the lace teacher training course. She obtained her diploma as a lace teacher in 2006 at the Lace Centre (Kantcentrum) in Bruges and since then has been teaching Bruges flower lace, Rococo lace, Florence lace, Chrysanthemum and Russian lace in the lace teachers training program there. She also teaches all Belgian bobbin lace and needle lace techniques in two lace groups in Ghent. If she makes designs purely for pleasure, Veerle works in Flanders lace or Chantilly lace.
Victoria Ong is a talented knotted lace artist from Chicago, IL who is known for teaching and writing about Turkish oya. Her first book, “Flowers in Threads: Needle Lace for Beginners”, was published in 2018. She published a second book, “Flowers in Threads: Intermediate and Advanced Patterns for Needle Lace” in 2019. She finishes her project with one final book “Flowers in Threads: Lace Edgings” out this year, 2021.
Her goal is to design new patterns and techniques and make it more accessible to learn this type of lacemaking in the 21st century. She has beginner’s videos on Turkish needle lace on her YouTube channel: Flowers in Threads, and a website where she posts her own creations and the work of her students online.
Elizabeth Peterson started making lace in 1985 and teaching in 1995. She teaches weekly, and some of the laces include Torchon, Beds, Bucks, Brugge, Russian, Flanders and Binche. She has expansive experience with numerous laces but has studied Bedfordshire extensively with Christine Springett for several years. She has won several awards for her lace at the local, state and international levels.
Josée Poupart is French Canadian, fluent in both French and English. She received diplomas in biology and interior design. Her interests cover a wide range from women’s handiwork to photography and travel. She started learning bobbin lace in 1990, following a trip to Bruges. Back home, she made her first pillow and bobbins, and religiously followed every exercise from the Kantcentrum’s Technique of Bobbin Lace. With time, she became passionate for the unique texture leaves and tallies bring to lace. Her teaching career started informally with the Ottawa Guild of Lacemakers. She feels privileged being able to share her passion, and techniques collected over the years.
I was introduced to tatting in 2012, and since I have enjoyed crafts my whole life, I was quick to pick up the basics of tatting. I started teaching friends and family to tat within a few months of picking up my first shuttle, because the easiest way for me to know that I have learned a new skill is to teach it. My first designs happened by accident as variations on patterns I was completing. Since those first few happy accidents I have enjoyed purposefully designing many tatted pieces. I actively participate in Shuttlebirds Tatting Guild of Spokane, Washington and have had the honor of teaching at the Shuttlebirds Workshops from 2014 through 2019. I also had the privilege of teaching at the 66th Annual IOLI Convention. I run tatyourownadventure.wordpress.com, which features tatting playing cards for guided free-form tatting.
For more than 37 years now Greet Rome-Verbeylen has taught Lier Lace, in Europe as well as in the USA. She started with traditional designs in white, made more modern coloured creations, and is always searching for other applications of this wonderful, versatile “tambour lace.” You can work this same chainstitch starting on tulle, (= Lier Lace), continuing on any fabric (= point de Beauvais ), and ending with “artistic beading” on organza for clothes, bags, etc. You can even use water soluble fabric to make “A’qua Lace.” In 2018 Greet and the members of the “ Living Lace vzw” organized the “World Lace Congress” in Brugge and 10 other cities in Belgium. It was unanimously called the best Congress ever with in total about 50,000 visitors in Belgium. In 2019 the group “Living Lace vzw” participated in the famous exhibition of “ the Phoebus Foundation” called “Pikant” with more than 80,000 visitors. The next event is planned for 2022.
Karen learned to do many types of handcrafts from an early age while growing up in Denmark. Bobbin lace was added in 1974 when she learned the basics from her mother, including how to draft patterns. Since then she has studied bobbin lace in the US and abroad. She has taught at IOLI Conventions and for local guilds, as well as being actively involved in several lace guilds in the US and internationally. In 2017 she published a book on The Lace Samples from Ipswich, Massachusetts, 1789-1790. A 12-Hour Introduction to Bobbin Lace booklet was added in 2020 in collaboration with Kim Davis and Linda Kay Benning.
Máire Treanor has been researching and reviving Clones lace, a style of Irish Crochet lace since the late 1980s. She has been teaching it in Ireland, Brittany France and many parts of the United States since the 1990s. She also researched how Irish Crochet traveled to many parts of the World including Umbria Italy, Hungary, Brittany France and Eastern Europe. Máire’s first book on Clones lace is available from The Lace Museum. The Lace Museum is publishing her second book on how Irish Crochet traveled around the world at the turn of the twentieth and twenty-first centuries. Máire has been teaching online workshops on Clones lace since summer 2020 and took part in the virtual IOLI UnConvention in July 2020.
Holly Van Sciver
Holly has been a student and teacher of lacemaking for over 47 years. Originally trained in England, she teaches a wide variety of bobbin laces, but specializes in 19th century English laces. Her most recent work features Lester and Floral Bucks designs as well as interpretive lacemaking of non-traditional designs. She has taught and lectured in the United States, Canada and Europe for the International Old Lacers, regional lace guilds, national lace conferences, museums, historical societies, universities and professional organizations. Holly is a leader in teaching the fundamentals underlying lacemaking theory and design. She is the founder of the Finger Lakes Lace Guild and owner of Van Sciver Bobbin Lace, which has served to promote lacemaking worldwide since 1981.
Louise is based in Derby, UK and she designs, makes and teaches bobbin lacemaking, both at home and internationally. She specializes in the English laces of Bedfordshire and Bucks Point, but is always learning other laces for her own enjoyment. Her aim in life is to infect everyone with the passion and enthusiasm for bobbin lace and to pass on her knowledge to keep lace alive for the future.
Annick Wils lives in Antwerp, Belgium. In 2009 she obtained her lace teacher diploma at the lace center (Kantcentrum) in Bruges. Now she is one of the lace teachers at the Kantcentrum in Bruges, at the CVO in Ghent (adult education center) and also at a local lace group, Artofil. Annick has also been teaching in Spain and Italy. Her specialties are Duchesse and Rosaline.
Martina Wolter-Kampmann studied textile design for the teaching profession in Dortmund Germany and then trained as a lace teacher in Belgium at the Kantcentrum. Her preferences are the classic Flemish fine laces but also contemporary, sophisticated solutions for beginnings and finishes, jewelry and all tricky problems on the bobbin lace pillow. She looks back on over 33 years of professional experience.