Newly Juried, February through April, 2017

In calendar year 2016, the League of New Hampshire Craftsmen juried in 29 new members, and in the first three months of 2017, we have already accepted 14 new members and juried another member in a new medium. In addition, we currently have a number of jury applications from individuals awaiting a jury session. We are thrilled to continue to grow and flourish as an organization of master craftsmen, both with traditional and innovative craft media.

We are sharing here the bios of our newly juried members from early 2017 – look for their work in our Fine Craft Galleries and our Annual Craftsmen’s Fair!


Sarah Fortin, a juried member in Weaving and one of the weaving jurors, is now juried in Baskets. She makes Ply-Split Baskets using paper raffia, waxed linen, and some cotton yarn. She must first make the 4 ply cord, and with a tool called a grip-fid, split the plies and pull the cords through the plies. One of her baskets received an award for Best Use of Linen at the New England Weavers Seminar Gallery Exhibit in 2013.

Jeffrey Gale makes hand pounded White Ash splint baskets. Every part of the process uses traditional techniques and 19th century tools. These baskets are made from a freshly cut Ash tree. A froe is used to split his logs into billets, and a mallet is used to pound the wood and get it to separate into splints for weaving. All the rims and handles are made using a shaving horse, drawknife, spokeshave, and small hand tools. The Smithsonian Museum acquired 8 of Jeffrey’s baskets in 2013.


Denise Kirk creates hand knit felted bags and other items. She hand knits her pieces using wool yarn and then the washing machine to felt the piece. She finds inspiration everywhere and sometimes uses beads and buttons for embellishment.


Diane Grotton had previously been a juried League member, juried in Dolls. Now, repurposed sweater bags and mittens are her main interest. All components of the bags and mittens are made by Diane, and repurposed materials are used as much as possible to do the entire product.

Joyce LeBlanc/Miriam Carter: Joyce has joined Miriam in a fiber/stitchery/felting partnership. Her work consists of precise, masterful stitching that is done mostly on a Pfaff 4.0 sewing machine. She also uses a Viking Diamond, depending on the fabric and final result wanted.


Louis Pulzetti’s work with wood and glass is the embodiment of his lifelong dream to design and fabricate beautiful objects. Louis particularly admires the ethic of the Arts & Crafts Movement … pride in work and pride in workmanship. In his designs Louis seeks aesthetic contrast, where his goal is to balance stronger lines and masses with contrasting curves and lighter, more delicate features. His materials have a natural weight, and with them he seeks to design with strength, balance and stability. He generally uses restrained color palettes. Many of his themes are organic and many borrow from flora.


Roger Brisson is an old style hand crafted/carved leather worker. His process begins by using a combination of sources to come up with a design best suited for the piece. He cuts the leather by hand using leather knives, and outlines the design using a swivel knife and textured leather tools. He pounds down the design into the leather to different depths, shading, etc., to create a 3-D effect until the detail of the image emerges. Roger sews everything by hand, occasionally using his leather sewing machine.


Gary LaRose’s work involves forged metal. His primary focus is on botanical pieces, and whimsical animals including his most popular Moose faces, fish, rams, elephants, and others.

Georgi Shishlov creates custom metal fabrication including furniture, railings, staircases, and interior and exterior furnishings. His work incorporates welding, brazing, and blacksmithing.

Metal Jewelry

Katherine Rudolph’s work is highly inspired by architectural forms. She enjoys isolating specific buildings and deconstructing them with an interest in understanding their logic and order. Her design process often begins with paper models which translate well into thin gauge sheet metal. It is through the direct manipulation of the materials that the possibilities of form and composition are truly discovered. Her jewelry ranges from easy to wear everyday adornment to sculptural art objects.

Mixed Media

Karen Roxby and Barbara Boucher make pysanky eggs by using the traditional method of wax and dye on a natural-blown egg (primarily chicken, duck or goose). Karen begins by pencil-sketching her design directly on the egg and then uses a kiska to “draw” with wax on the egg. When the first layer of wax is done, the egg is put in the chosen dye. The process is repeated until the design is completed. The egg is then held over a flame to allow the wax to melt off. The egg is finished with multiple layers of hand-rubbed varnish. Sources of inspiration include the shapes and colors of nature, and geometric designs and patterns.

Anne Dinan works with vitreous enamels and metal, and sometimes found objects. Copper is her main material to use with the enamnels but she also uses silver and steel. Imagery is a big part of her enamel work right now. Her process involves transferring her own photographs into a decal that is then fired in the kiln and fused into the enamel. Her inspiration comes from the contrast between nature and man made items.


John Drost turns wood bowls. His philosophy on woodturning is to keep it simple while concentrating on form, scale, proportion, and striving to show the best attributes of the wood in each piece. Embellishments are kept to a minimum. John likes to turn organic forms, specifically round bottom bowls, which has its origins from a gourd. As a wood turner living in Hawaii the Calabash form inspired him, and remains his favorite form to turn.


Matthew Sergeant’s work is described as large format black and white landscapes, contact printing in the darkroom to fibre-based paper; unconventional camera design and build Alternative process, contact printing to cyanotype.


Brian Cohen makes etchings from copper plates using techniques known and practiced since the start of the 16th century. Brian incorporates stencils, sandblasting, and airbrushing in his approach to printmaking. He works on several etchings at once. He wants to create images that viewers will take time to contemplate, that satisfy a desire for detail, presence, and fullness, with strong shapes and resolved compositions.