News and Events


Calamus anguis, wool and porcupine quills in glass dome, 9.5" x 9.5" x 7", 2017, on view at the San Jose Institute of Contemporary Art starting October 7.

Connect & Collect at SJICA

I've contributed a new wool and porcupine quill sculpture to the San Jose Institute of Contemporary Art's 37th annual Connect & Collect Auction and Exhibition, a highly anticipated Bay Area art event featuring the work of over 100 local, national and international artists. Calamus anguis is a serpentine form with dorsal quills, at rest inside a domed glass case. 

Silent Auction and Party October 7, Live Auction Gala Saturday October 21. For more information visit

Images of auction art can be found on flickr.


Large Flesh & Bone #2 (Serrated Soft Skull), wool & industrial felt, 30" x 40" x 36", 2013, on view at Works/San Jose starting September 1.

making it works: 40 years of artists behind the scenes

My time spent as Board President of Works/San Jose ten years ago qualifies me to join this exhibition showcasing the work of the artists who have run the downtown nonprofit art and performance space over the last four decades.  

Works/San Jose: 365 Market Street, SJ. Viewing hours: Friday 12 - 6, Saturday and Sunday 12 - 4.

Opening Reception Friday, September 1, 7 - 10pm

Exhibition: September 2 - October 15

Closing Party Sunday, October 15, 4 - 6pm


Flesh & Bone Panel Study #2 (Fold Valley), wool, industrial felt, 21" x 21" x 6", 2014. Currently available at Jack Fischer Gallery, SF.

Flesh & Bone Study #8 (Twisting Fin), wool, wood, 10.5" x 6.25" x 3.5", 2014. Currently available at Jack Fischer Gallery, SF.

Works currently viewable at Jack Fischer Gallery, SF

Two pieces can currently be seen in Jack's back room in his 311 Potrero Avenue Location: Flesh and Bone Panel Study #2 (Fold Valley) and Flesh & Boe Study #8 (Twisting Fin). Gallery hours are Tuesday - Saturday 11 - 5:30 and by appointment.


Previously on view in San Francisco

Jack Fischer Gallery presented Against the Grain, a two-person show featuring the work of Stephanie Metz and Kyong Ae Kim. The show ran through February 25, 2017.

Organic forms, unusual materials and process-oriented work create a dialog between the artists. Both undermine the structure of hardness by visually breaking it down in translucent layers or rendering it in soft materials. Hard versus soft, solid versus layered, strong yet delicate, both body of works contain opposing qualities creating an intrinsic contradiction that is visually engaging.

Stephanie Metz’s use of felted wool is an ongoing investigation into its potential for physical manipulation and conceptual redefinition. Her current body of work, Flesh & Bone, is a series of small studies and human sized sculptures that reference parts of the body, from soft weighty folds of flesh to the stripped down abstract architecture of bones.

Metz’s process is laborious and exacting: a slow, deliberate accumulation of fibers compacted into nearly solid and precise shapes through repetitive hand work with sharp, notched felting needles. Felt may be a ubiquitous material, yet few are familiar with its manufacture or its sculptural capacity.

Kyong Ae Kim’s recent work Paper Stroke and The Skulls directs us to study the symbiotic relationships of living creatures. While fragile and vulnerable they are constantly challenged by their surroundings to evolve and hybridize.

Kyong sculpts miniature figurines, which are photographed and digitally manipulated. Subsequently, the digital images are transformed into multiple layers to imply the time and evolutionary processes. Kyong’s latest work, The Skulls is sourced from photographs of endangered species such as the polar bear and elephant. The artist oscillates between the virtual and physical steps to amplify the images. These processes are vital to precisely eliminate, layer, simplify, and hybridize the forms to generate the complexity.


now on view in the U.K.

Black Sheep: The Darker Side of Felt was curated by Laura Mabbutt for the National Centre for Craft & Design in the U.K.; it is on its final stop at the Beacon Museum in Whitehaven from May 8 - July 2, 2017.  

Black Sheep explores the edgier side of the extraordinary and versatile material of handmade felt; showcasing seven artists from across Europe and North America who create technically-brilliant, surreal and sometimes unsettling artworks.

Felt is thought to be the most ancient constructed textile in the world and in its long and fascinating history it has been used for everything from military armour to housing, to cosy winter garments to conceptual art.

Black Sheep curator Laura Mabbutt, says:
“I hope this exhibition will give this unique and versatile medium the accolades it deserves as well as those working within the medium, and will highlight the many contemporary applications of this ancient material beyond its stereotypical ‘fuzzy felt’ reputation. Whilst in essence the act of turning raw fleece into a sheet of felt is a process simple enough for a child to learn, this exhibition presents exciting and sometimes surprising processes used by contemporary masters of the craft in producing innovative and inspiring and skilfully brilliant work. The exhibition includes a strong body of three-dimensional work, moving away from the idea of textiles as a sheet material and highlighting the seamless construction that is achievable with felt.”



Stephanie has been named a 2015 Artist Laureate by Silicon Valley Creates, the Santa Clara County nonprofit whose mission is to ignite investment and engagement in arts and creativity in Silicon Valley. Now in its 25th year, the Artist Laureate Program awards grants to artists in honor of their creative work and contribution to the community.