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 the relationships, environments, and the structures that hold us, while also recognizing our ability to participate in this ongoing evolution. She explores the spaces where systems, identities, languages and materials meet — permeable sites of influence and transformation. Within these exchanges, new identities and expressions find form, meaning emerges, and understanding creates possibility.
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 might be 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 just have to become a master weaver to coax coherence from all of these threads. (not quite there yet)
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. A series of soft sculptures invite play while also hinting toward something more precarious — an embodied exploration of how to integrate seemingly contradictory impulses, both within and outside ourselves. 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).