Amelia Everett (b. 1989) is an artist and writer from Asheville, NC, where her artistic practice grew from a devotion to the traditions of craft in the Appalachian mountains. She holds a BA in Sculpture from the University of North Carolina, and studied handweaving at Penland School of Craft, with continued material explorations at their sister schools Haystack and Arrowmont. She currently exhibits tapestries in Manuk Galería and Atelier Community in San Miguel de Allende where she lives, as well as at Alejandra Topete Gallery in Mexico City.
Across her practice, she considers how we are shaped through relationship, environment, and the structures that hold us, while also participating in their continual evolution. She explores the spaces where systems, identities, and languages meet — not as fixed boundaries, but permeable sites of influence and transformation. In this way, identity is not fixed, but relational: something continuously unearthed through the interplay of self and other. Like the cyclical rhythms that govern this reality, perhaps art, too, embodies a living, evolving process.
Or that is my intention, anyway — that my practice is always growing and evolving — that the deeper I am able to know myself, the more authenticity I reflect outwards.
Consolidation is likely the most difficult part of the process for me. At times, I've felt pressured to pick one thing, or even two or three. But since I feel so captured by all the diversity, I'll have to become a master weaver to find the coherence through all of these threads. I'm not quite there yet, but well on the way.
You can find some of my writings here. My poetry reflects the conversations informing my creative process. The meditations are what I'd like to tell myself. They are an exercise in neuroplasticity — the gentle repetition of returning to and inhabiting perspectives I'd like to strengthen.
Most recently I attended a residency in Mexico City to work on a project called Ondas Fronterizas. I 3D modeled a series of soft sculptures to incorporate into collaborative, experimental gatherings. This project is the first in which I've intentionally begun to explore the nature of collaboration across disciplines, and how the environments we design might cultivate the forms of connection we desire. The next phase of this project is currently in the works for 2027.
I'm still crafting tapestries on my floor loom using Theo Moorman's inlay technique, and using the same technique to, along with others, weave for Mel Chin's Never Forever installation (2028).