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The article announces several grant and award winners selected by the Surface Design Association including Rena Wood, Cicelia Ross-Gotta, and Anie Toole.

The author discusses her installation art works titled "More Than A Sum of Her Parts" and "21st Century Altar" which use quilt motifs from New England. She cites the activity of engaging with the past and the present as one when creating a textile. She also describes the act of quilting as a dedication to labor and a commitment to time.

The author describes her textile-based art and artistic style which engage with motifs or mortality, mourning culture and object memory. She cites the incorporation of humor, cultural signposts and various media aimed at allowing audience accessibility and dialog about mortality. She also provides information on her surface designs titled "The General Foods Kitchens Cookbook" and "Lutheran Church Cookbook."

The author describes her textile-based art and artistic style which are based on her pictorial histories, gender politics, and ritualistic traditions from her Turkish upbringing. She claims that her textile craft was mainly influenced by Middle Eastern fiber craft which employs visuals derived from Islamic mythology. She also discusses the process involved in the creation of her series "Untitled Family."

The article describes the work of several textile-based artists and several award winners. They include Hale Ekinci who has strong ties to her Turkish heritage, Sarah Meyers Brent whose mixed media work uses space to bring her concepts to life, and Julie Gray who perfectly cross-stitched on tea-dyed fabric.

The author describes her textile-based art and artistic style which are inspired by modern design. She provides a background of her fascination with textiles due to the colors and textures of the yarn, thread, and fabric. She also discloses the role of her health problems in her decision to move into fiber art.

The author describes her textile-based art and artistic style which challenge female sentiments of docility by using found and forgotten materials, needlework templates, and a disregard for the guidelines. She claims that her art explores the concept of hysteria of women which was acknowledge in Freudian theory and stories. Her work also finds inspiration from an organic appearance which imitates the origins of motherhood and womanliness.

The author describes her textile-based art and artistic style which involve the creation of intensely textured and airy collages using burned, quilted, and embroidered photographs. She incorporates several themes that include exposure, absence, and memory and her series for "Family Matters" was aimed at celebrating and questioning familial values.

The author describes her textile-based art and artistic style which are based on motherhood and life in general. She cites materials that she uses in her art including old children's clothes, paint globs, rags, and gloves. She explains the process involved in the creation of her work "Beautiful Mess" in which she installed wood and drywall to cover over the end of a gallery wall at Kingston Gallery.

The article offers step-by-step instructions on how to perform spin-art techniques in surface design.

The author describes her textile-based art and artistic style which are based on her personal history and her obsession with textiles. She claims that her "Cross-Pollination" series integrates two types of fiber that intermingle and growth together, including hand-felted wool and industrial machine buffers. She also cites the role played by her family heritage in "Cross-Pollination."

The article announces three students who demonstrated excellence in fiber arts and won the journal's Outstanding Student Award, including Caroline Gerberick, Simone Saunders, and Amanda Whitaker.

The author discusses her installation art works including "There But Not There," "Veils of Logic," and "As I Sit I Knit." She cites her tendency as an installation artist to dig into the emotional core of what it means to be human. She also mentions the relationship between ambiguous loss and the current Covid-19 pandemic.

The author discusses her textile art work titled "(For the Trans Dykes Who Were Able to Feel Free and Fall in Love) Still From the TV Show Euphoria" featuring hand-embroidered sequins, imitation silk, and thread. She cites her use of the physical and time-intensive labor of fiber processes as a redemptive act. She also discloses that she sourced a still from the television show "Euphoria."

The author discusses her art work titled "In Our Own Language 3" composed of rescued tablecloth and embroidery floss. The art work features several drawings by her sister-in-law, who at the age of three suffered from neighborhood teens who hung her by the neck on a swing set that affected her brain. The author stitched 167 drawings by her sister-in-law who was then 53 years old.

The author discusses her textile art work titled "Compost Toile" which catalogs the continued clearing of the land. He considers the roadkill composting site managed by the state of Virginia as the inspiration behind the art work. He also used illustrations of flattened roadkill uploaded by civilians to the California Roadkill Observation System as his motifs.

The author discusses her art work titled "Not Forgotten" composed of porcupine quills, Worbla thermoplastic, leather, satin, cotton and wrapped quillwork. She cites the reason for her pursuit of textiles which has been driven by her devotion to preserve and pass along history and culture. She claims that the aim of the art work was to bring awareness to the missing and murdered Indigenous women.

The author discusses her art work titled "Sparrows & Swallows, Panel A" composed of embroidered beads, thread, and organza. She cites her purpose of creating an immersive tactile experience through the interaction of traditional stitching with various materials. She also mentions some references that she used including John J. Audubon's print Plate 98 "White-Bellied Swallow."

The author discusses his art work titled "Absolution" using an ultraviolet activated dye. He claims that the art work explores the ritual of confession and its relation to modern talk therapy. He also cites the inherent relationship between religious practices and the unity between the body and spirit.

The author discusses her installation art titled "Fold Themselves (Bathing Suit)" using indigo dye, swimsuit, and steel armature. She describes how she explores the inherent ritual of wearing clothes through textiles, performance, installation, and video. She also cites her aim to eliminate the gap between garments she makes as costumes and those worn on a daily basis.

The editor reflects on her experiences dealing with everything within the field of textiles. She acknowledges the important role of readers as the team at the Surface Design Association (SDA) in the success of the SDA. She also applauds the important contribution of writer and curator Danielle Krysa in the jurying process.

The article presents a showcase of work by members of the Surface Design Association (SDA) in various types of textile and fiber arts. Works presented include "Global Warming-Surviving Remnants" by Marie-Therese Wisniowski, "Cleaning House" by Andrea Graham, and "Stones From a Lesser Hand" by Saberah Malik.