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Contemporary Needle Lace
Maggie Hensel-Brown, Australia
Maggie Hensel-Brown is an artist and lacemaker working predominantly in needle lace techniques. Her lace takes techniques from punto-in-aria, Venetian Gros point, Aemilia Ars and Reticella traditions to create contemporary imagery.
Her works have been exhibited throughout Australia, the USA and Europe including “Lace, Not Lace,” Hunterdon Art Museum, New Jersey, USA in 2017; “Seeing Red,” Lockup Gallery, NSW in 2018, “Home Is More Than a Place,” Hamilton Gallery, VIC in 2020, and the “5th Australian Textile Triennial” currently on display until 2026. Her works feature in the collections of the Powerhouse Museum in Sydney NSW, Maitland Regional Art Gallery NSW, and The Denver Art Museum in Denver Colorado.
Maggie also teaches regular classes and is a frequent educator and panelist at lace making conferences, most recently the Festival of Lace in Sydney 2021, the Doily Free Zone digital conference in 2021, and Threads of Power at the Bard Graduate Center in New York in 2022.

Developing a Work Plan for a Bobbin Lace Project
Diane Morrissette, Canada

Diane began learning how to make bobbin lace in 1989, with Torchon lace, then Bruges Flower lace, and Flanders with Christine Boucher. In 1991, she participated in the creation of the Guilde des dentellières de Québec (Lacemaking Guild of Québec city). In 1997, Pamela Nottingham introduced her to Bucks Point. Since that time, Diane has been passionate about learning all she can on the Bucks Point technique, teaching it, and creating small patterns that she shares with her lace friends.

Glittering Gold and Shiny Silver, Metal lace from Norwegian folk costumes
Elisabeth Bjørklund Bøhler, Norway
Elisabeth has been making lace for about 35 years and teaching for 25 years. She attended classes with the Swedish Lace Association, the Danish teacher Karen Trend Nissen, and the metal lace teacher Ernst Olav Ziesler.  Elisabeth gives online and onsite classes for the Norwegian Lace Association in various lace techniques including Tonder, Bedfordshire and Bruges Flowerwork.  She keeps a focused eye on the traditional metal laces found on the Norwegian Folk costumes, with their – quite literally – treasure trove of patterns. Within the Norwegian Lace Association a tedious work is currently being done to preserve these patterns for future generations, and to teach the current generations to make this noble lace.

Slovenian Lace with an Italian Touch
Matejka Jakob Oven, Slovenia

Matejka has been making lace for more than 12 years and designing her own patterns for 9.  For the past 6 years, she has been involved in organizing the annual Ljubljana Lace Festival event. In the meantime, she also mentors a group of students from The Nurse and Midwifery Organization of Ljubljana.  Her lace group holds two annual exhibits of work in addition to participating in various competitions.  In 2023, she was a member of the organizing committee for the 20th OIDFA World Lace Congress and General Assembly 2024 in Slovenia and taught this successful lace course. 

Big Lace Installations in Public Spaces; from idea to action
Puntaires de Girona, Spain

The Puntaires de Girona association was created in 1996 to improve lace skills in their membership, to organize lace meetings, exhibits, activities around lace, to keep traditional lace making in the Girona (Catalonia) region and stimulate contemporary lacemaking among associates.

The association arranges training courses, 3-4 per year and lace lectures either online and in person. Since 2017 Puntaires de Girona has participated in street art events with big lace projects in Catalonia and other European countries.

Introduction to Aemilia Ars Needle Lace
Carolyn Wetzel, USA

Carolyn has been exploring needle-made lace techniques for over 30 years. She learned Aemilia Ars lace from print and video sources, then traveled to study its history and technique in Bologna, Italy, with members of the Cultural Association “I Merletti di Antonilla Cantelli,” Bianca Rosa Bellomo, Carla D’Alessandro and Luisa Monteventi. Carolyn is a member and past president of the New England Lace Group (USA), and member of OIDFA and the International Organization of Lace, Inc. (currently head of the Virtual Events sub-committee). Carolyn has written lace-related articles for Piecework Magazine and the IOLI Bulletin. Aside from studying and making lace, Carolyn is a full-time college biology professor, raises and processes flax into linen, and recently completed a Master Weaver certificate.

Introduction to Cluny Polychrome Lace
Geneviève OLLOIX, France

Geneviève Olloix, art craftswoman, holds the CAP Art of LACE, option bobbins 2011 and the Cluny polychrome N5 capacity certificate issued by Odette Arpin (creator) in 2018 (at HDLD Brioude).
For around ten years, as part of her activities within the HDLD management team, participated, among other things, in the realization of technical books on polychrome Cluny lace and Craponne lace.
Since 2022, she has been invited to teach courses on polychrome Cluny lace in Spain, give lectures and exhibit her laces in Bulgaria, in Kalofer and Sofia. In 2023, she has concretized France’s participation in the international collective work «A bridge that unites us» by presenting her creation to Rozlava in Slovakia.
Passionate, she likes to transmit her knowledge and bring the lace heritage to life. In 2023, she participated in the event organized by the Departmental Archives of Puy-de-Dôme “Les Archives font dans la dentelle” which was able to take place thanks to the outcome of a collective project.

Three Pairs Flanders
Rosita D’Ercoli, Italy

Since 1995, Rosita has been a pattern designer and a teacher of lacemaking and the history of lace. She is an archives researcher and author of numerous articles and books. She is a collector of ancient lace and tools. Rosita is a founding partner of Associazione Fuselliamo and is the editor of its magazine of lace patterns, “Fuselliamo.”

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