Artwork

Suzanne Mair (1956-2026), Master, Great Is Thy Faithfulness, Undated; Layered cut paper with antique marbled paper, birds eye maple, 24 x 19 3/4 inches; Courtesy of Robb Mair

Sue researched, designed and exhibited a body of work composed entirely of paper. Initially, she worked exclusively in classical paper cutting techniques. These pieces were effective in presenting hard edged, high contrast imagery suitable for illustration and commemorative works. Then, these pieces fell under the category of Scherenschnitte, a European art form brought to this country in the mid 1700’s. Her work has evolved into exciting, highly unique and complex statements and the term Scherenschnitte no longer completely describes her work. 

In response, to convey a more complex level of meaning and expression, she began to search for a way to incorporate varying paper techniques in a single work. This, coupled with her consuming interest in the science of papermaking and the historical use of paper, led her to explore many paths of paper manipulation and decoration. These paths have come together in many surprising and unique compositions. —Robb Mair

Thomas Pafk, Master, Roycroft Nouveau Tabouret, 2026; quartersawn white oak, white oak burl, Roycroft brown finish, 15 x 15 x 20 inches; Courtesy of the Artist

I design everything I make and usually do complete drawings for most commissions. Upon completion all pieces are signed and dated, and the Roycroft Renaissance mark is added. The common themes linking my works are uniqueness of design, commitment to high quality, and attention to detail.

In 1995, Album Sleeper changed my life and career by recruiting me into this great organization. I received Master Artisan status in 1998, and I have served three terms as RALA board president. —Thomas Pafk 

Ann PerrySmith, Revenge, 2026; White stoneware, slab built, carved, stamped, metal pins, clear glaze, cone 04, 18 x 18 x 8 inches; Courtesy of the Artist

As a past president and Master Artisan, I have had the privilege of participating in the evolution of the Roycrofters at Large Association for nearly half of its fifty-year history. The road has certainly had its ups and downs, but throughout those years, two principals have remained central to the focus and goals of this organization: excellence and education.

The greatest impact I have felt during my journey has been the passion to share ideas, solve problems, and collaborate with the like-minded individuals who form this group. My artwork has always been influenced by the intertwining, sinuous lines and natural forms of Art Nouveau. Gathering ideas, photographs, and pieces from the earth with the intention of assembling them into something much greater speaks to the importance of how RALA itself has evolved over these five decades. We gather individual talents, experiences, perspectives, and passions. Through that exchange, something greater emerges. —Ann PerrySmith 

Laura Wilder (b. 1958), Hiawatha Lake, 2026; Handmade signed block print, edition 160, 17 x 14 inches; Courtesy of the Artist

Howard Lehning, Master Emeritus (b.1951) and Ron VanOstrand, Master (b.1968), Jewelry Box; oak and copper; Collection of Beth Swift

Sylvia L. Rosen (1919-2022), Covered Jar, 1994; Porcelain with celadon glaze and incised decoration on lid, 3 1/2 inches high x 5 1/2 inch diameter ; Collection of Nancy Weekly

Sylvia L. Rosen (1919-2022), Untitled Vase, 1987; Glazed porcelain, 17 x 5 x 2 3/4 inches; Burchfield Penney Art Center, Courtesy of the artist

Robert Squeri (1923-2018), Sequent B, undated; ithograph, 26 ¾ x 26 7/8 inches; Burchfield Penney Art Center, Gift of the Artist, 2002

Karen Lee Lewis, Inkwell, 2012, Digital Photograph

Photo: courtesy of Christine Rusiniak