New England Weavers' Seminar: 2025 Instructors
Dawn Ahlert
O6: Weft Twining with a Twist : Weft Twining Techniques Inspired by Indigenous Peoples
Like many of us, Dawn began exploring the fiber arts at a young age. Her passion for learning and fiber arts has driven her to explore many areas of the medium and Dawn’s years as a hairstylist contribute to her deep understanding of fiber and color. Dawn received a Bachelor of Fine Arts in painting and drawing from the University of Central Florida and a Master of Fine Arts degree in painting from Montana State University in 2000. Dawn earned The Handweavers Guild of America’s Certificate of Excellence for Level 1: Technical Skills in Handweaving in 2020, and Level 2: Master Weaver in 2022. She has also received the HGA’s Award that honors outstanding exhibited works of fiber art and first place in HGA’s Wearable Art Exhibition at Convergence in 2024. Dawn is a member of the Southwest Montana Fiber Arts Guild, the Helena Spinners and Weavers Guild, and the current president of the Montana Association of Weavers and Spinners (MAWS). Dawn is excited to continue to share her knowledge through teaching and conducting workshops in weaving and spinning.
Suzi Ballenger
F2: Transforming our Tools and Weaving Wonders
L2: Using Color to Create Pattern with Turned Taquete
Born and raised in Indiana, Suzi Ballenger, MFA, is a Rhode Island fiber artist and educator known for thinking outside the box. She has a curiosity for material that stimulates her language of hand and craft; believing the fullest expression of a fiber can be realized through observation, repetition, and structure. Every fiber has a personality – it is up to listen to it.
Suzi’s work is recognizable because of the self-designed tools and techniques she often uses that contrast transparency with density. The meandering, pathways of rhythm, are an unexpected linear element that demonstrate the intention of thought and handwork.
Lucienne Coifman
F1: Rep Weave - Books, Bags and Boxes
M2: Beyond Rep Weave: Exploring Rep Weave and its New Variations
Lucienne Coifman has taught weaving for over 40 years at the Guilford Art Center, The Creative Art Workshop, and in her own studio. She also conducted workshops throughout the Northeast and the Midwest and participated in the last 4 Convergences. For the last 30 years Lucienne has been studying Rep Weave, experimenting with different fibers. Her main interest has centered on color interactions and patterns, using up to 8 harnesses and using pick-up techniques when needed. Lately she has researched many unusual ways to weave Rep Weave that do not follow the traditional path. Her weavings have appeared in Shuttle Spindle & Dyepot, Handwoven, and has been included in many juried exhibits. Her book, "REP, RIPS, REPS Weave" (2015), is a complete workshop for both beginning and advanced weavers.
Karen Donde
A1: Making the Numbers Work in Weave Design
N3: This Doesn’t Look Like Plain Weave
Karen Donde weaves wearables and home textiles for exhibit and teaches beginning-advanced weaving classes and workshops, in-person and online. Conference teaching experience includes HGA’s Convergence, Southeast Fiber Forum, Northern California Handweavers, Mid-Atlantic Fiber Association, Midwest Weavers, Intermountain Weavers Guild, New England Weavers Seminar, Contemporary Handweavers of Texas and Florida Tropical Weavers.
Karen is currently Immediate Past President of Complex Weavers, a juried member of Southern Highland Craft Guild and graduate of Haywood Community College’s Professional Crafts-Fiber program. With a journalism degree from the University of Missouri, she now writes for and about weavers.
Laurie Duxbury
M1: Summer & Winter Explorations
Laurie Duxbury lives at the foot of the Blue Ridge Mountains of Virginia. She has been weaving for almost 35 years and through the years has developed her own weaving voice. She teaches for guilds, conferences and weaving schools, including at Convergence, NEWS and MAFA. Laurie’s goal for each student is that they understand what they love about weaving and develop the tools they need to express themselves through weaving. Her favorite moments are when a student has an “aha” experience. Then she knows that a weaver is inspired to continue their growth as a craftsperson.
Deb Essen
N2: Twill Be Magic
Deb Essen lives, weaves, and runs her business dje handwovens in the Bitterroot Valley, nestled in the Rocky Mountains of western Montana. In 2004, Deb achieved the Certificate of Excellence in Handweaving-Level 1 through the Handweaver’s Guild of America. In 2011 she was inducted to the Montana Circle of American Masters in Folk and Traditional Art. Her book, Easy Weaving With Supplemental Warps, was published originally by Interweave Press in 2016. In 2022, the book was re-released as an expanded revised edition, with more projects and weave structures, by Schiffer Publishing. She has recorded five weaving videos, available through Long Thread Media, ranging from supplemental warps to profile drafting and has written multiple feature articles for Handwoven and Little Looms magazines. Deb is passionate about teaching about the wonders of weaving and teaches at shops, guilds, regional and national conferences and festivals.
Chris Hammel
F3: How to Finish Your Handwoven Projects
G4: Refresher Class for the Returning or Developing Weaver
L3: Six Structures - One Profile
In 1998, I completed Hill Institute’s Master Weaver Program, and in 2004, I became the Program’s Director. I produce household textiles, wall hangings, clothing, and accessories from my studio in Florence, MA. My work has been published in Handwoven, Complex Weavers Journal, and Ply Magazine. I teach workshops for New England guilds and at my studio in Florence.
I enjoy working with fiber in many ways: raising silkworms, cotton, and flax; spinning; Kumihimo braiding on the marudai and takadai; and knitting. I recently completed the Expert Knitters Program at Webs in Northampton, MA. I also enjoy papermaking and bookbinding.
Rebecca Jensen
A2: Introduction to Ply-Split Braiding
F4: Ply-Split Braided Mug Rugs
L4: Ply-Split Baskets
Rebecca Jensen started out as a multi-harness weaver but became attracted to ply-split braiding about ten years ago when seeking a portable weaving method. Each design begins with cords, 16 strands and 20 feet at a time. With a basic shape in mind, Rebecca’s three-dimensional pieces grow and morph into whimsical objects d’art that have been displayed on three continents and won awards in New England. She shares her skills spontaneously, teaching anyone who shows an interest (and doesn’t run away!). Ply-splitting taught Rebecca that unweaving is not only okay but often necessary and ultimately fulfilling!
Beth Ross Johnson
O5: Sashiko Ori
Beth Ross Johnson is a weaver, teacher, writer, and workshop leader living in Black Mountain, North Carolina. She grew up in Charleston, South Carolina and when she became interested in weaving and textile arts, learned initially from students from Norman Kennedy, later studying with him for many workshops. A lifelong fascination with Asian art led to an interest in Japanese textiles and she has had two extensive stays in Japan to study kasuri (ikat weaving and dyeing) and sakiori (rag weaving) with master weavers there. Other avenues of exploration have been sashiko stitching and nyoho-e (Zen stitching). Recent studies have been in the ikat traditions of Europe, and woven structures like sashiko-ori that mimc hand stitching. She has an MFA in textiles from Georgia State University and teaches weaving and textile related classes at colleges and universities as well as craft institutions and for other weaving organizations. She is a frequent contributor to Väv Magazine and other handweaving magazines.
Ruby Leslie
O3: There Must Be 50 Ways to Weave Your Color
Ruby Leslie is a full-time weaver and studio artist in Vermont, designing handwovens as Ruby Charuby Weavings. Using off the shelf commercial yarn, she has developed design techniques for creating stunning textiles that appear custom-dyed or hand-painted. Her deep-rooted enthusiasm for sampling, experimenting and designing swatches for Handwoven magazine’s ‘Color Forecast’ series, led to the development of her classes. Ruby has taught in northern Norway and Greenland, at Convergences, regional conferences and guilds throughout the US. She was one of three weaver/designer teams invited by the HGA to create a collaborative runway ensemble for the 2010 Convergence Design Fashion Challenge in Albuquerque, NM. The rhythms of her looms inspired her children to produce a rap music video “Getya Loom Goin” for their “Ma, the Weava”: www.youtube.com/user/WFLLTV
Annie MacHale
G2: Color, Design, and Weave on an Inkle Loom
H1: 3-Color Pickup for Inkle Weavers
J3: Speckled Pickup (aka Baltic Pickup) on the Inkle Loom
Annie MacHale first discovered the inkle loom at the age of seventeen, sparking a lifelong love affair. She built her first loom in 1976 with the help of her dad and a library book. Since then, she’s woven miles of bands. She loves to play with color and pattern and finds the inkle loom a very satisfying way to do this. Annie is known to many through her blog, ASpinnerWeaver.com. The popularity of her patterns shared there have led to the publication of a book, In Celebration of Plain Weave: Color and Design Inspiration for Inkle Weavers.
Gigi Matthews
G3: Sustainable Spinning
H2: Spinning & Yoga
J4: Creating Concept Yarns
Gigi Matthews’ deep respect for textile traditions is a result of decades of world travel to over 30 countries, from her native British Columbia to the souks of Syria, the pastures of New Zealand to the Swiss Alps. An award winning spinner, she has taught at guilds, the MidAtlantic Fiber Association, the Tatter Textile Library, and the John C Campbell Folk School and has published articles in Ply Magazine and Shuttle, Spindle & Dyepot. Gigi is on the Handweavers Guild of America board of directors where her focus is on sustainability and inclusiveness.
Deanna Moore
P1: Weaving for Beginners on the 4-Harness Floor Loom
Deanna Moore has been knitting, spinning, and weaving in the Pioneer Valley of Massachusetts for over 25 years. Deanna has a textile studio in Easthampton and regularly teaches spinning and weaving, sharing her love of making textiles with anyone in arms reach!
Stephanie Morton
N1: Krokbragd: Dressed Up in Rags
Stephanie Morton studied ethnic weaving in the early 1970’s through Friends World College, traveling to Mexico, Denmark, England, Norway, India, and Nepal to examine their weaving styles. This was the start of a lifelong pursuit of traditional handweaving on non-mechanized looms. She has (out of necessity!) focused on rag weaving, pushing the limits and perfecting her rug and catalogne weaving. After a long hiatus from teaching Tibetan knotted pile weaving, Stephanie resumed teaching rug weaving in 2012. She now teaches rug weaving and beginner 4-harness weaving in Guilderland, NY. Stephanie is a member of the Hudson Mohawk Weavers Guild and is a former member of the Handweavers Guild of Connecticut.
Rosalie Neilson
G1: Introduction to Kumihimo Using the Foam Plate & Disc
L5: Color and Design in Huck Lace Towels
Rosalie Neilson uses color and geometric design in her weaving and kumihimo braiding. As a designer and teacher, she publishes regularly in weaving and braiding journals and maintains an active teaching schedule throughout the United States, Canada, and England. Her published works include “The Thirty-Seven Interlacements of Hira Kara Gumi,” “The Twenty-Four Interlacements of Edo Yatsu Gumi,” “Kongō Gumi: A Cacophony of Spots—Coils--Zags—Lines,” and a two-volume book on block design, “An Exaltation of Blocks.” She is featured in a 2-hour rep weave video by Interweave Press (now owned by Long Thread Media).
Linda Rhynard
L1: Introduction to Tapestry Weaving
Linda has been passionately engaged in Fiber Arts for the last 20+years and is a Certified Weaving a Life instructor, has taken Tapestry Classes with Janet Austin, Susan Martin Maffei (ATA 2014)- Workshops: Color and Design Workshop with Rebecca Mezoff, Navajo Weaving classes through Weaving in Beauty in Gallup N.M (Gloria Begay and Jenny Slick) and multiple Navajo classes with Lynda Teller Pete and Barbara Teller Ornelas.
Linda’s work has been exhibited in several juried/non juried shows both locally and Nationally. She was also a contributor to the UMass Dartmouth Exhibit “Contemporary Textiles reflecting Abolition, Slavery and the Road North, Tapestry Weavers in New England Exhibit at Crafts and Arts Gallery in Leverett, Mass. She was also part of the Bristol Art Museum (Bristol, RI) exhibit- Tensions- a New Direction in Fiber arts. She has also been included in several ATA Exhibit. Publications.
Sarah Saulson
A3: Making Drafts Your Own
F5: Tour of Gallery Exhibit
L6: Share Your Weaving Wealth: Making Beautiful Cloth for Shows
Sarah Saulson has been weaving since childhood. After college at Wellesley, she started taking weaving classes at Beth Guertin’s shop in Arlington. Later, she attended art school at Syracuse University, eventually teaching weaving and textiles there. She has taught for guilds and conferences across the United States and has had the privilege of working with producer groups in Guatemala, India and Ghana. Sarah now makes her home in Providence and weaves Jewish prayer shawls for private clients at her studio at Hope Artiste Village in Pawtucket. She teaches weaving at the Rhode Island Weaving Center where she also serves on the board. NEWS was Sarah’s first conference and it remains her favorite.
Marilou Schultz
O1: Navajo Weaving
Marilou Schultz, of the Tábaahá clan and born for the Tsi’naajinii clan, is originally from Leupp, AZ and resides in Mesa, AZ. She is a textile artist presently specializing in wedgeweaves and digital/computer chip weavings using handspun Navajo Churro with special dyeing techniques. The dyeing techniques create variegated yarns and other effects with Indigo. “My traditional upbringing keeps me connected with my culture which influences my worldview as well as my interpretations of these views. As a textile artist, I strive to create a weaving that is unique and this requires deviating from the traditional designs although I will weave a traditional piece now and then.”
She participates in both the Heard Museum Indian Market and the Santa Fe Indian Market annually. Her work has been in exhibitions in the US as well as internationally. She currently has two Computer Chip rugs in the Woven Histories Exhibition and one in Munich, Germany. Marilou also teaches middle school math and Navajo style weaving when time permits.
Robyn Spady
A5: Great Weave Structures for Color and Texture using Novelty Yarns
B1: The Devil’s in the Detail
C1: Twills: The Basics and Beyond
D1: Four Shafts Aren’t Complex? Au Contraire!
E1: Tour of Fashion Exhibit
F9: Block Party
Robyn Spady was introduced to weaving at a young age and has been weaving for over 50 years. She completed HGA's Certificate of Excellence in Handweaving (COE-W) in 2004 with the specialized study Loom-controlled Stitched Double Cloth. Robyn is fascinated by the infinite possibilities of crossing threads and loves coming up with new ideas to create fabric and transform it into something new and exciting. She also thrives sharing with others through her classes and workshops. Robyn is also the founder and editor of Heddlecraft® magazine.
Laurie Steger
F6: Fabulous Fascinators: A Millinery Finale
L7: Weaving Enlightenment
Laurie Carlson Steger studied at the Worcester Center for Crafts in the 1970’s and at the University of Massachusetts Dartmouth, earning a BFA in Textile Design and MFA in Artisanry/Fibers. She explored weaving with fiber optic materials and consulted in the field of smart textile applications in the 1990’s. She works on 4-H, 8H and small tapestry looms, and the TC-2 jacquard loom. She taught Textile Science at Boston area colleges, and led workshops/lectures at weaving guilds, NEWS, Textile Society of America, Convergence, and Complex Weavers. Her work recent work received 2 Complex weavers awards 2023 and Best in Show at Complexity 2024. She exhibits locally at South End Woven studio in the SoWa (south of Washington St.) artist district of Boston, MA, and also in nationally promoted exhibitions. Her millinery has been featured at 3 London Hat week exhibitions in the UK and at MAFA. In 2017 Laurie co-curated Women Art and Fibers: Contemporary Responses to Abolition and the Journey North, at UMass Dartmouth, which was listed in top 10 impactful exhibits of the year, in the region. Recently she collaborated with Norma Smayda on several fiber art projects, winning 1st place award from HGA Convergence, Wind, Wagons and Wheat, multi-media exhibit. She is the current Dean of the Weavers’ Guild of Boston.
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Katie Strano
F7: Rigid Heddle Hand-Manipulated Techniques
J2: Log Cabin Coasters and Indirect Warping on a Rigid Heddle Loom
K1: Doubleweave Sampler on a Rigid Heddle Loom
"Katie is a full-time fiber artist focusing on woven cloth. She weaves art pieces and cloth for both the body and the home. When she's not working out of her home studio in Southbury, CT, she teaches floor loom and rigid heddle weaving at the Brookfield Craft Center, in Brookfield, CT. She is also the owner of Heddle Over Heels where she works as a production weaver partnering with local farms and small businesses to create custom handwoven goods. Katie has also designed weaving patterns and consulted for yarn companies.“
Melissa Weaver Dunning
O4: A Scottish Weaving Sampler
Melissa Weaver Dunning is a hand-weaver, spinner and knitter with over 40 years of experience working on antique and modern equipment to recreate 18th and 19th century home produced textiles. She began her textile study with Scottish master weaver Norman Kennedy in 1980, and carries on this rich tradition in her own teaching. Melissa is an avid tartan and linen weaver, a compulsive knitter and a lover of wool who enjoys sharing her passion for weaving and spinning with students. She is also a ballad singer, specializing in the ballads and songs of Ireland, Scotland and England from before Napoleon’s time.
Carolyn Wetzel
F8: Armenian Knotted Lace Edgings
J1: Needle Lace Fundamentals
K2: Introduction to Bobbin Lace
Carolyn Wetzel has studied bobbin lace, tatting, and needle lace techniques for over 40 years, both in the USA and abroad. She regularly teaches lace making workshops at lace conventions and for individual guilds. She has written lace-related articles for Piecework Magazine and The Bulletin of the International Organization of Lace, Inc. Carolyn is an active member of the New England Lace Group (outgoing President; https://nelg.us) and IOLI (former Eastern Director, currently head of the Virtual Events Committee). Aside from her lace life, Carolyn is a full-time college biology professor, raises and processes flax into linen, and recently completed the Hill Institute Master Weaver certificate.
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