2020 Inside the Studio

Fiber artist Janet Jaffke works on burlap and gauze in her studio, a converted thread factory close to the border of Germany and France.

Laurence Elle Groux forges her new aesthetic of abstract sculpture between her home studio and BKLYN CLAY in Brooklyn.

Barry Anderson works across different mediums, from print to animation, from both his home studio and a shared studio space.

After forty years as an artist, David Provan has created a dedicated in-home studio where he creates and stores his work.

From her home studio in Mexico, artist Deborah Kruger creates her own feathers that make up her installations.

Assemblage artist Gale Rothstein works from her home studio in New York City, where she keeps found objects she’s collected over the years.

Mixed-media artist Etty Yaniv’s DUMBO studio allows her to find connectivity between disjointed parts in her paintings and installations.

Rachael Wellisch gets creative with space and materials in her home studio, where she creates her pieces of textile art.

Artist Howard Hersh calls an old barrack of the decommissioned Hunters Point Naval Shipyard in San Francisco his studio home.

Hans Schüle rebuilt a former machine hall into a family home and studio where he conducts his metal sculpting.

“Inspiration comes… from the items that I acquire.” Susan Tabachnick creates found object art in her historic home studio.

Fiber sculptor Sophia Ruppert recently moved to an industrial studio space in Lincoln, Nebraska.

“I had no idea how important it would be for my art practice.” Sculptor Mark Webber has no regrets moving his home and studio to Sag Harbor.

When access to his studio became sporadic during the COVID-19 pandemic, Joe Hedges completed a renovation of a shed on his property.

Fiber artist Tara Kennedy works in a number of inspiring places outside her home studio to draw inspiration create her installations.

Painter Frances Ferdinands moved to a more intimate cottage studio space on three acres of land, where she finds inspiration from surrounding nature.

In 2017, painter Richard Whadcock leased a workspace at Chartwell Road Studios in England’s south coast. “Not working on an easel makes the amount of wall space crucial for both the paintings in progress…”

Five years ago, painter Sandy Sokoloff left Boston to live in the more serene and isolated environment of Grand Isle, Vermont, in a Lake Champlain studio.

Five years ago, artist Alex Egan and her family moved into the Victorian house where she converted a dining room into a large studio.

Manuel Knapp, a German sculptor who works entirely in wood and string, shares his studio in a half-timbered historic building in Grossglattbach, Germany.

Through a single window in her home-based studio in western Maine, Maya Kuvaja gazes out on acres of pine and oak forests and visiting animals.

Five years ago, Joshua Enck found a perfect spot for his studio, in a former 1929 belt factory in Rochester’s north side.

Fiber artist Jo Stealey, whose work appears in the WTP summer magazine, speaks to her coming retirement, her recently renovated studio, and her creative process.

Fay Wood spent years living and working out of a large church space. Now, she and her husband renovated a new house to act as a studio space, home, and gallery for her collages and sculptures.

Catherine Eaton Skinner divides her time creating mixed media works between two studios in Seattle and Santa Fe, both built fifteen years ago.

For Krista Harris, her studio is her safe space. There she can breath and focus without interruption. See inside her renovated log-cabin studio in Bayfield, Colorado, and behind the process of creating her abstract paintings.

In Bo Kyung Kim’s home-based studio, she can easily do the technique of layering and sealing using Hanji, traditional Korean paper. For her artwork, she collects sands, rocks, leaves, and dust, and seals these objects from nature.

Artist Bette Ridgeway’s paintings, made from thin layers of acrylic poured on canvas, appear in March’s WTP magazine. She takes readers behind the scenes to her recently converted studio and working process.

Nancy McTague-Stock has worked in various studios, both here and abroad, including in an old castle in the Champagne-Ardenne region of France last October. She invites readers inside her different studio spaces to learn about her process.

Sculptor Margaret Swan takes readers inside her workspace and process. “My work day revolves around the evolution of my sculpture from its conceptual development of cardboard model-making to metal finishing processes.”

WTP artist Rosalyn Driscoll details her recent studio move and her new, custom-built studio space.

Monica Coyne takes readers behind the scenes of her blacksmithing studio, and how she forges using renewable energy.

Andrea Rae creates her fiber-based installation art, often including fabric figures, in her home studio in Indiana.

A tour of painter Dorothea Osborn’s home-based studio on the Normanskill Creek in Delmar, New York.

Emily M. Rangel-Cascio invites readers into her studio to learn about her process and her experience as a graduate student.

“In his work, he tends to improvise, to trust himself and honor his instincts.” Behind the scenes of David Criner’s paintings.

Michael Kesselman’s studio is at the Peninsula Museum of Art in Burlingame, California. See his sculptural process.

Installation artist Hanna Vogel invites WTP readers into her home studio in Philadelphia.

Froso Papadimitriou’s colorful, socially-driven work appears in WTP Vol. VI #6. Inside her studio at Beckenham Place Mansion.

Elizabeth Albert works from an artist studio building in Boston’s South End. What it’s like to work in such an environment, and more behind her photos.

“It’s equal parts rapture and slow tedious craft.” Behind the scenes of Chloe Hedden’s oil paintings.

Lorraine DeProspo opens the doors of her studio to WTP readers, explaining her process and her time as an artist.

Renae Barnard takes WTP to her shared studio in Los Angeles, where she creates her large installation pieces.

Tour sculptor Susan Clinard’s studio, a two-hundred-year-old, renovated barn. Clinard’s sculpture appears in WTP Vol. VI #3.

Josie Bell invites WTP into her studio, where she creates her paintings with layers of marble dust, sawdust, and stone.

Jodi Colella’s FiberLAB, a workshop started in 2015, allows students to experiment with different fiber mediums as well as other types of art.