• 2018 Windgate Fellowship Awards
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  • 2012 Windgate Fellowship Awards
  • 2011 Windgate Fellowship Awards
  • 2010 Windgate Fellowship Awards
  • 2009 Windgate Fellowship Awards
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  • 2012 Windgate Fellowship Awards

    In 2012, 114 nominations were given a thorough and thoughtful review by the panel which included: Helen W. Drutt English, educator/gallerist; Nate Moren, 2008 Windgate Fellow, co-owner and designer for Tandem Made, wood artist and furniture designer; Ann (Annie) Morhauser, founder of Annieglass; and Kevin Snipes, ceramic artist. The selection panel advanced 21 candidates to the final round for further consideration. During the in-person meeting on March 21, the panel reviewed each proposal by these 21 candidates, deliberated the online score results, and selected the ten Fellows. View press release.

    Rachel Columb, University of Georgia, Jewelery & Metals
    Patrick Aaron Decker, Maine College of Art, Metalsmithing & Jewelry  Website
    Brian Fleetwood, Institute of American Indian Arts, Jewelry & Metals  Website
    Eric Heying, Arizona State University, Ceramics  Website
    Adam Hill, University of Alabama, Metal & Sculpture 
    Joe Kraft, Alfred University, Ceramics  Website
    Tanner Price, Maine College of Art, Woodworking & Furniture Design 
    John Souter, University of the Arts, Ceramics  Website
    Kaii Tu, California College of the Arts, Mixed Media  Website
    Chris White, Indiana University, Ceramics  Website


    Rachel Columb, University of Georgia, Jewelry & Metals

    Artist Statement

    I create hybrid pieces that combine traditional metalsmithing with roadside trash, electronic components, and other materials that have little or no history in jewelry. In doing so, I attempt to highlight for others the beauty and inspiration I see in these materials. Conversely, I use traditional materials such as ivory and horn in unconventional ways to explore the subtle messages and metaphors that occur when these materials are reinterpreted and set against strange forms redolent of outer space or computer chips. Historically, ivory has been carved and scrimshaw used for linear details in many cultures, but nowhere has the material been shaped to mimic the warp of space-time in a black hole, or bound with little prongs and pegs seen on computer chips or haloed by a strange silver railing.

    I will attend the 2012 SNAG conference, visit museums and working jewelers in the US and England, and outfit a studio. Upon return, I will create a body of work that reflects my visual research on wunderkammern and curiosity. 


    Patrick Aaron Decker, Maine College of Art, Metalsmithing & Jewelry

    Artist Statement

    In this body of work I explore notions of sacred space. These pieces have two lives, that of the person looking at it seeing a cold white form seemingly banal, and the other more intimate and complex space on the inside for the wearer. I utilized the architectural structure of churches in wire on the internal underbelly while also folding and enameling structures reminiscent of religious places and objects In that way I use these brooches to explore the idea of intersection. The brooches create a space close to the body where the delicate and complex structures are hidden from viewers, a private space. Like all of us, we have a space inside us, one people cannot hear, see or touch, but we know its there. When the internal confronts the external world there is a point of friction, of dialogue and of communication. We can choose to let someone into the space, or we can keep them hidden.

    I shall expand my knowledge around notions of craft, tradition and cultural identity in relation to my work during artists residencies with both The Association of Contemporary Portuguese Jewelers and Turnov Garnet Symposium 2012.


    Brian Fleetwood, Institute of American Indian Arts, Jewelry & Metals

    Artist Statement

    I am currently finishing my undergraduate degree in Studio Art, with a Jewelry emphasis, at the Institute of American Indian Arts in Santa Fe, New Mexico, though I began my post secondary education at Oklahoma State University. I am now faced with the prospect of beginning my career as an artist. That is a daunting thing, and an exciting one.

    I am and thus my work is informed by craft theory, particularly the ethics of craft. Because of this I aspire to create particularly well made pieces. Also, this leads me to make work that responds to the materials I am working with, rather than impose my will upon them. Carving and casting are my primary techniques, and I use a wide variety of media, but focusing on organic media such as wood, shell, and bone contrasted with cast iron, silver, gold and other materials.

    Thematically and aesthetically my work draws upon a number of disparate sources, though there are a few that I feel should be noted. I draw upon the art practices of my people.

    I would use this award to obtain materials and tools I would not otherwise have the good fortune to use. I would work to push the technical and conceptual boundries of my art practice and experiment with new materials. 


    Eric Heying, Arizona State University, Ceramics

    Artist Statement

    My work is play; an honest and unassuming exploration of both materials and ideas. In my current body of work I examine simple ideas of repetition, color, form, and texture. Like a maestro managing sections in his symphony, I orchestrate these basic elements together and ponder the exchanges that emerge. Though complicated and time consuming processes are involved, it is my aim to operate within a level of simplicity. This allows for the resulting relationships formed, harmonious or not, to be enjoyed by all.

    I will use this fellowship to travel to New York visiting MOMA and Pace Galleries. The funds will then be used to outfit myself with equipment and supplies, and finally, finance a trip to the 2013 NCECA conference.


    Adam Hill, University of Alabama, Metal & Sculpture

    Artist Statement

    I use my observations of people as a tool to understand humans social interactivity which is the initial inspiration of my sculptures. The forms I create reference boats or vessels which signify containment, safety, and battle. I use these forms as metaphors to describe my observations of personality traits whether they’re aggressive, timid, or outgoing personalities. I try to direct viewers of my sculpture to think about certain qualities of interaction. For example, some of my sculptures depict human connection by showing ribbed structures, much like a boat, connected by welds or bolts. With these, I want the viewer to feel a sense of warmth and reassurance through strong connection. On the other hand, some depict disconnection showing holes and tears that reference wounds or physical and psychological damage. Understanding others is important to me because I am a socially active person and I genuinely care to understand why certain people act in certain ways.

    I will advance my practice by establishing a studio and by attending classes at Penland in blacksmithing with Shawn Lovell and casting with Suzanne Pugh. I will travel to California to participate in a Ron Young casting and patina workshop. 


    Joe Kraft, Alfred University, Ceramics

    Artist Statement

    I respond strongly to the action of a line. Through this reaction I move clay within a given context that constructs as well as limits form. The action can hold limitless qualities: subtle, tentative, abrasive; it can be defined by as well as resistant to a location. A built infrastructure a room- will restrain, separate and confine in space material brought into dialogue with it. In this way, the materials used within a bounded space can simultaneously create tension and cohesion. Perceptions of infrastructure configuration such as the limit and or shape of actual space in contradiction to imagined space are, as a result manipulated. The physical properties of wet clay conjunctive to its architectural construction can carry a quality of permanence in the material within the space, while still innately being susceptible to manipulation. The state of alteration traces the movement of the material recording a residue from the physical shift.

    I will travel to experience a series of celebrated “Earthworks” in order to deepen my awareness of space and material.  A body of work based on refreshed understanding regarding sculpture and the vessel will be made at Red Dirt Studios.


    Tanner Price, Maine College of Art, Woodworking & Furniture Design

    Artist Statement

    From supporting developments of the architectural world, to guiding creativity of poets, structures are integral to demands for a physical or theoretical system of building encompassing aspects of modern life. Architecture fused with a contemporary aesthetic influences and drives psychological and sociological elements of humanity resulting from its presence and ability to address a demographic larger than that of the individual. Focused in the region of residential constructions represented by a contemporary aesthetic, my work explores the sociological and psychological aspects of architecture. By manipulating materials, scale, and presentation I seek to question and investigate areas pertaining to function, practicality, necessity, and desire contrasted to implications and connotations of social and psychological structures. This combined with the concept of structures exploits hierarchies of society, and alterations elicited by architecture as an essential element to civilization.

    I will travel to Zurich, Valencia, and Tokyo to experience the works and studios of Santiago Calatrava and Tezuka Architects. Travel records will show architectures effects on diverse societies, and inform a body of work representing the language of architecture. 


    John Souter, University of the Arts, Ceramics

    Artist Statement

    I am currently viewing the construction and deconstruction of Gothic Cathedrals and Persian Mosques. It is the contrast between the vertical and horizontal, the simple and complex, and the similarity of grandiose splendor that serve as a way to question space, function, and one’s self. They possess the ability to instill hope, like a cup of water that represents the key to survival. They are simultaneously passionate yet humbling, unlike the automatic, contemporary world we live in. It is within the grey area of past and present that evokes the curiosity within me to produce porcelain objects for contemplation.

    I will travel to Paris to research how form relates to space, structure, and individual interaction in Gothic Cathedrals. I will also compare the color relationships in stained glass to Islamic tiling and create a hybrid body of ceramic work.


    Kaii Tu, California College of the Arts, Mixed Media

    Artist Statement

    My work investigates everyday rituals: our interaction with people and objects, the contexts behind rituals. This is my entry point for cultivating personal attachment to lasting, crafted objects in our otherwise disposable culture. I am passionate about furthering craft practice by blending it with advanced design technologies: a symbiotically potent way to create meaning in contemporary life.

    I will travel to Boisbuchet, France and Penland for workshops to advance craft skills, attend the once-every-five-year Documenta exhibition in Kassel, Germany to situate my artistic practice, and establish an independent studio.


    Chris White, Indiana University, Ceramics

    Artist Statement

    As artists, we are constantly influenced by our surroundings and personal experiences. For me, that influence comes from the interaction between humans and nature and how this interaction is undergoing a constant cycle of growth, decay, and re-growth. My work seeks to examine the interconnection between humans, nature, and technology through this cycle, while at the same time exploring our perception of reality through the use of trompe l’oeil.

    The pursuit of producing realistic representations of my subject matter has now led me to investigate the interaction that occurs when nature reclaims the decaying remnants of man-made structures. In these rich and diverse environments society’s past and present can be examined.

    With the fellowship I would travel to the International Museum of Ceramics and fund research ensuring my continued growth as an artist. This research will allow me to further my technical skills, as well as my artistic and cultural knowledge.


    Artspace Survey Launch: Counting Asheville Artists & Creatives for Affordable Housing Solutions

    The Center for Craft and Asheville Area Chamber of Commerce are pleased to announce the launch of a comprehensive community outreach campaign and survey to quantify affordable housing and space options for Asheville’s artists, makers, performers and creatives. The Arts Market Survey, with a tagline of “Keep Asheville Creative,” is the next step to addressing community need as part of a bigger project to develop live/work, mixed-use-model development for the creative sector in Asheville.


    VISIT: The Center for Craft, Creativity & Design | 67 Broadway Street, Asheville, NC 28801 | map it | Phone: 828.785.1357 Fax: 828.785.1372 | email us | Gallery hours: Tue - Sat 10-6