https://www.hunterlvelliott.com/tools daily 0.75 2025-08-16 https://images.squarespace-cdn.com/content/v1/5db619117138645ab5f5e7a9/1755315032755-FNP3MPYCMGD98DQXW3Q7/image-asset.jpeg Tools - Pencil cube https://images.squarespace-cdn.com/content/v1/5db619117138645ab5f5e7a9/1755315032755-FNP3MPYCMGD98DQXW3Q7/image-asset.jpeg Tools - Pencil cube https://images.squarespace-cdn.com/content/v1/5db619117138645ab5f5e7a9/1574620802119-7HGJSU3AE7XH3P19A2EE/tool+wall+installation.jpg Tools Tool sculpture collection from 'Give or Take' exhibition installation view 2017-2019 https://images.squarespace-cdn.com/content/v1/5db619117138645ab5f5e7a9/1574622916164-L3ZJLE1UNQRZA6SCVZRY/details.jpg Tools https://images.squarespace-cdn.com/content/v1/5db619117138645ab5f5e7a9/1574622893933-9VMWD8JH73IL3OGZBVXE/drawings+2.jpg Tools - Just about a yard (line drawing collection) Notebook with line drawings in ink, acrylic rod, pine hanging hardware. 2019 Each line drawing is produced with an either continuous of segmented length of line equaling approximately 1 yard. https://images.squarespace-cdn.com/content/v1/5db619117138645ab5f5e7a9/1574622903279-7R3OX4ROGGYV3DDYH587/fghjkl.jpg Tools - Just about a yard Altered yardstick, osb, whitewash finish, printed sticker with graphite and ink writing that describes the physical parameters of the work including measurements, weight and panel construction details. 2019 https://images.squarespace-cdn.com/content/v1/5db619117138645ab5f5e7a9/1574622965038-ZBECM4WJS5X6RGD4XRNG/levels.jpg Tools https://images.squarespace-cdn.com/content/v1/5db619117138645ab5f5e7a9/1574622936911-GEP0L4VU3XW26IG5BQRN/measure.jpg Tools - Just about a yard (variation) Altered tape measure hund from the ceiling and suspended 36 inches above the gallery floor 2017-2019 https://images.squarespace-cdn.com/content/v1/5db619117138645ab5f5e7a9/1574622964148-Z59FM1ALYH2S87ZF6RG4/stuff.jpg Tools - Just about a yard (variations) installation view. L>R cut and reconfigured yardstick, measuring longer than 36 in. Two yardsticks cut and assembled to equal 1 meter in length. 36 square inches of blue tape. Every marked interval from a commercial yardstick, removed and reassembled onto a wood panel with custom box. https://images.squarespace-cdn.com/content/v1/5db619117138645ab5f5e7a9/1574623105794-SMWJOFUTVSL0SZ001FJM/kg.jpg Tools - Kilogram painting Oil, oak, stainless steel 2019 It has been a long time since I've made a painting. It's been a long time since I've made anything that was traditionally two dimensional at all, and this work is no exception. With the desire to make a painting in mind, I decided to revisit my interest in the topic and history of the kilogram. The story of the kilogram was, until May of this year, unique, and beautifully metaphorical. The kilogram (as well as every other unit of measure in the metric system) was based on natural equivalents and made physical in the form of a platinum-iridium cylinder manufactured in France in 1879. Although several copies were subsequently made, the original Kilogram (aka the IPK [international Prototype of the Kilogram) has been the sole representation of the weight by which we know as the Kilogram. It was a measure that was defined by a thing. Not a measure of nature. Not a measure of the human body. A measure of a handmade object hundreds of years old, that despite best efforts, fluctuated in weight over time, the implications of which were taken in consideration as they happened, but seen through a historical, or artistic lense, this phenomenon was profound. As of May, 2019, the KG's mass has been replaced by an equation. This painting is an ode to the IPK. A 39mm cylinder of precious metals that was a guiding tool for the scientific and industrial world, which now is relegated to history and probably a museum. An object of mass historical significance, sitting on a shelf. I made this painting to represent (at 1:1 scale) the shining alloy cylinder, composed on a panel made with the proportions of the conversion from lb. to kg. (2.204:1). with the addition of the hardwood oak frame and stainless steel strips, the painting weighs exactly 1 kilogram (1000 grams as shown in the photo). This painting is both the depiction of a Kilogram as well as a functioning weight of that same measure. Magritte's 'Ceci n'est Pas Une Pipe' made the point of depicting a thing while pointing out the state of the object itself, establishing that it was not the thing, but an image of the thing. My work here is both the depiction, AND the thing. https://images.squarespace-cdn.com/content/v1/5db619117138645ab5f5e7a9/1574623197606-LCI10EM03QOC38E63NNY/IMG_0017.jpg Tools - 71 feet and a stucture to hold them properly Steel pipe, altered and connected rulers, acrylic spirit level. 2017 https://images.squarespace-cdn.com/content/v1/5db619117138645ab5f5e7a9/1574623200082-34CQWHF5HXVMUIDHGJ81/IMG_9788_lores.jpg Tools - Lay of the land individual spirit level vials, attached and laid over uneven ground. 2017 https://images.squarespace-cdn.com/content/v1/5db619117138645ab5f5e7a9/1574623199114-66L9M1BVGV3WNP20OCVL/IMG_9869_lores.jpg Tools https://images.squarespace-cdn.com/content/v1/5db619117138645ab5f5e7a9/1574623200336-QCKODPOLV52Z3GPIVPQF/IMG_9885_lores.jpg Tools - level Acrylic, water, dye, hanging hardware 2017 https://images.squarespace-cdn.com/content/v1/5db619117138645ab5f5e7a9/1574623200956-DLY37M90KA66TN3CF4IK/IMG_9888_lores.jpg Tools - level Acrylic, water, dye, hanging hardware 2017 https://images.squarespace-cdn.com/content/v1/5db619117138645ab5f5e7a9/1574623201936-90DJ9V3Q542SGJP23K5A/IMG_9893_lores.jpg Tools - Baton Level Acrylic, water, dye, hanging hardware 2017 https://images.squarespace-cdn.com/content/v1/5db619117138645ab5f5e7a9/1574623202592-YPLA217X9DLOKRF6PSFO/IMG_9896_lores.jpg Tools - Level Acrylic, water, dye, hanging hardware 2017 https://images.squarespace-cdn.com/content/v1/5db619117138645ab5f5e7a9/1574623341543-R5FS79CHZN7NVZ17WZ2H/IMG_5494.JPG Tools - Just about a yard (variation) one yard worth of gradations from a commercial yardstick on a panel built from part of the yardstick remnants 2016 https://images.squarespace-cdn.com/content/v1/5db619117138645ab5f5e7a9/1574623543533-YGBM85GXUOX6218TSNLY/71_feet_in_CM_lores.jpg Tools - 71 ft in CM Gradation lines from 71 12in rulers 2017 https://www.hunterlvelliott.com/connections daily 0.75 2019-12-08 https://images.squarespace-cdn.com/content/v1/5db619117138645ab5f5e7a9/1574623859050-VEOPAYNYA3SHXT1M8MLI/wood_glue_taped_together_lores.jpg Connections - two types of glue taped together and to a surface Glue, tape. 2016 One of my earliest experiments in using glue as a structural material in and of itself without the use of another substrate. it was also an opportunity to play with attachment and display techniques. Simple is good, and transparently utilizing a method is better. Because of the ephemeral nature of the materials used, over time, this piece darkened and cracked, and is no longer able to be shown. https://images.squarespace-cdn.com/content/v1/5db619117138645ab5f5e7a9/1574623859050-VEOPAYNYA3SHXT1M8MLI/wood_glue_taped_together_lores.jpg Connections - two types of glue taped together and to a surface Glue, tape. 2016 One of my earliest experiments in using glue as a structural material in and of itself without the use of another substrate. it was also an opportunity to play with attachment and display techniques. Simple is good, and transparently utilizing a method is better. Because of the ephemeral nature of the materials used, over time, this piece darkened and cracked, and is no longer able to be shown. https://images.squarespace-cdn.com/content/v1/5db619117138645ab5f5e7a9/1574624257735-NQBMIVSKYMSAFUGZ0L24/twopiece.jpg Connections - Two pieces of wood glued together wood, glue 11-3/8" x 2" x 2-7/8" 2018-2019 When I acquired the wood pictured here, there was a hairline crack traveling right through it's center grain. This was probably why it was discarded in the first place. I separated the pieces, built a mold around them and began filling the gap with glue to rejoin them. It took one year, but at long last, the separates are finally a whole again. https://images.squarespace-cdn.com/content/v1/5db619117138645ab5f5e7a9/1574624024150-MA3N6RYDY9VMW23WZUPE/IMG_9687.JPG Connections - wood glued (2017) Walnut, wood glue. Using traditional joinery techniques to a non-traditional end. A scrap of walnut with precisely cut dovetails was cast with a solid block of wood glue, filling the joints and extending out. https://images.squarespace-cdn.com/content/v1/5db619117138645ab5f5e7a9/1574624040157-KX2KAGXAWX8XPCFVTUGW/IMG_9921.JPG Connections - Two pieces of wood and two pieces of steel glued together Suspended over the gallery space during my solo exhibition Approximations at H Space in Cleveland, Ohio in 2017, this piece displayed the flexible qualities of glue, both by providing a hammock for a ball bearing and allowing itself to be held by itself, slung over steel wire, stretched from one side of the gallery to the other. https://images.squarespace-cdn.com/content/v1/5db619117138645ab5f5e7a9/1574624202024-RBH9XNE76WS6UTLUR61P/5+pieces+of+wood.jpg Connections - 5 pieces of wood glued together Pine, cast wood glue, hanging hardware 2018 Using hand-cut joinery, I built a panel that needed no glue or hardware to maintain its structure, then cast and cut a sheet of thick wood glue to fit in the frame. https://images.squarespace-cdn.com/content/v1/5db619117138645ab5f5e7a9/1574624040589-PD1HZC003M1FZC5R9ODI/IMG_9955.JPG Connections - Untitled Wood panel, wrapped and cast glue, acrylic, dyed water 2017 https://images.squarespace-cdn.com/content/v1/5db619117138645ab5f5e7a9/1574624055794-YCBOXQR0X08EGXFTH72H/IMG_9966.JPG Connections - two pieces of wood glued to each other oak, unknown exotic hardwood, chain made entirely from cast wood glue 2017 https://images.squarespace-cdn.com/content/v1/5db619117138645ab5f5e7a9/1574624111249-E4MWTXD7GSCJAPDJIXNJ/2_pieces+and+pigment.jpg Connections - two pieces of wood and some pigments glued together Plywood, inkjet printer ink, cast and wrapped wood glue 2018 https://images.squarespace-cdn.com/content/v1/5db619117138645ab5f5e7a9/1574624102474-0J0RQI1OFKWSSAQTOTYA/fasteners_right_lores.jpg Connections https://images.squarespace-cdn.com/content/v1/5db619117138645ab5f5e7a9/1574624180985-HXX43239C8YK0YT9GU39/place.jpg Connections - two pieces of wood glued to each other(variation) (Stop glueing yourself) incised plywood, cast wood glue 2018-2019 https://images.squarespace-cdn.com/content/v1/5db619117138645ab5f5e7a9/1574624201309-ODIPWZG5DINOWXZ57TV4/rope+floor.jpg Connections - Attaching (glueing) a floor to a ceiling rope made entirely from wood glue, gallery floor, gallery ceiling 2017-2019 https://images.squarespace-cdn.com/content/v1/5db619117138645ab5f5e7a9/1574624216220-UVWPBCHTIDQK35ZHMUES/stool.jpg Connections - glued to your seat Cast wood glue sheet draped over stool, participants were welcome to use the sculpture as a seat during the exhibition. 2017-2019 https://images.squarespace-cdn.com/content/v1/5db619117138645ab5f5e7a9/1574624227041-OJBKG91YXBAFC3NMQF6E/two+pieces+of+wood+chunk.jpg Connections - Two pieces of wood glued together pine 2x4 stud pieces, cast wood glue 2018-2019 https://images.squarespace-cdn.com/content/v1/5db619117138645ab5f5e7a9/1574624254783-YZPKHI4XTRL5TH94ZJ6O/zesty.jpg Connections - Zesty modernism v.2 Dehydrated Frank’s Red Hot, Listerine Breath Strips, saliva 2019 https://www.hunterlvelliott.com/outliers daily 0.75 2023-10-15 https://images.squarespace-cdn.com/content/v1/5db619117138645ab5f5e7a9/1574624730031-AI1697N274XMGYEXY8MD/edited.jpg Outliers - Untitled Skateboard piece My contribution to the exhibition Darkslide in 2017 at Tri-C Community College -an exhibition Brian Sarama. Prompted by an object - a bare skateboard deck, artists in the show were asked to respond to the form as they saw fit. Instead of using the deck as a canvas or surface, I decided to address the object through its form and function. By kerf-cutting the deck, I was able to completely flatten it, and by removing a slim triangle from the center of the board I was able to create roughly a 5 degree bend in the board. By veneering over the entire form, the deck appears nearly back to its original form. In flattening the plywood’s lamination and altering the potential alignment of the boards wheels, I impose not only an increased delicacy, but also a directionality. A curtail of the freedom suggested by the initial object. Freedom with a radius. https://images.squarespace-cdn.com/content/v1/5db619117138645ab5f5e7a9/1574624730031-AI1697N274XMGYEXY8MD/edited.jpg Outliers - Untitled Skateboard piece My contribution to the exhibition Darkslide in 2017 at Tri-C Community College -an exhibition Brian Sarama. Prompted by an object - a bare skateboard deck, artists in the show were asked to respond to the form as they saw fit. Instead of using the deck as a canvas or surface, I decided to address the object through its form and function. By kerf-cutting the deck, I was able to completely flatten it, and by removing a slim triangle from the center of the board I was able to create roughly a 5 degree bend in the board. By veneering over the entire form, the deck appears nearly back to its original form. In flattening the plywood’s lamination and altering the potential alignment of the boards wheels, I impose not only an increased delicacy, but also a directionality. A curtail of the freedom suggested by the initial object. Freedom with a radius. https://images.squarespace-cdn.com/content/v1/5db619117138645ab5f5e7a9/1575844203018-UFS0CMFB857I90P1XGLR/black_walnut_red_oak1_lores.jpg Outliers - Black Walnut and Red Oak Black walnut, White Oak, black and red dye pigment 2017 There’s something about being so close to the truth without actually being there. Finessing untruth, and diverting with subtle differences into an arena that seems reasonable. https://images.squarespace-cdn.com/content/v1/5db619117138645ab5f5e7a9/1574624803764-U99YW9SLT28H84BY2IRW/blank+example+installation1+_+Hunter+L+V+Elliott.jpg Outliers - o2o A4 project - CICA Museum (example images) The o2o A4 project for the CICA Museum in South Korea was an international project in which artists were invited to develop projects using standard A4 paper. My proposal included printing instructions and my artist bio, stapling it to the display wall, tearing it off, stapling it again, tearing it off, and repeating that process until that paper was reduced to nothing, as displayed in the next two photos. Displayed text from the actual installation: ”Hunter L. V. Elliott hunterlvelliott.com Instructions: 1. Print this statement in its entirety. 2. Designate a space for the work approximately 63 cm x 89 cm (3x the size of an A4 piece of paper). The work’s orientation can be horizontal or vertical depending on available space. If there is an abundance of extra space in the gallery location, the work area can be expanded in direct proportion to the A4 paper’s measurements. 3. Staple this printout once in each of its four corners in the direct center of the designated work space. 4. Tear the statement from the wall, leaving the staples and any bits of paper removed by the action. 5. Staple remaining piece of paper over and over in different locations, randomizing its location each time. 6. Continue tearing off and re-stapling page until scraps of paper are no larger than 3 cm². Statement: My work explores those systems that withhold – where something loses its stability, is lost in interpretation, or deleted, causing a reinterpretation. This lossy process occurs when we speak, when we write, when we record histories, when we upload a photo to the internet, even when we take a photo in the first place. Understanding how a message gets to the point in which we see it, hear it, or speak it, informs how we accept and absorb it. Exploring more transparent mode of communication could lead to a more empathetic way of living. By presenting and allowing my words to be dissected, and ultimately abstracted, I allow their meaning to be obfuscated and marginalized. Although the ideas still remain posted to the wall, they exist in their original literary form only to those who already know them. To those unaware this piece is a texture. It is a performance. It is a piece about language, but an unclear language. It could seem violent, and it is. While allowing this destruction and reformation of my ideas, I am still working within a system. A system built on art-historical foundations that are subverted to achieve a dissociative relationship to the prompt. Although encouraged to expand, my work aims to shrink. By shattering, it expands spacially, but by expanding it permanently loses its clarity. https://images.squarespace-cdn.com/content/v1/5db619117138645ab5f5e7a9/1574624804348-HG0I0I04OC5U4NKMZZ8T/blank+example+installation3+_+Hunter+L+V+Elliott.jpg Outliers https://images.squarespace-cdn.com/content/v1/5db619117138645ab5f5e7a9/1574624842544-RAVL8EAKNV5V9BTLYE2B/quarter+sawn+onion+lores.jpg Outliers - Quarter Sawn Onion Digital Photograph ’Quarter-sawn onion presented on quarter sawn oak board’ This unfinished/ongoing investigation utilizes techniques used in manufacturing and other fields, applied to unconventional objects like food. https://images.squarespace-cdn.com/content/v1/5db619117138645ab5f5e7a9/1574624851558-2UQTI3BCSH1S8Y0S1L3G/half+thirteen+carrot+LORES.jpg Outliers - 1/2-13 Carrot (threaded carrot) Digital photograph This unfinished/ongoing investigation utilizes techniques used in manufacturing and other fields, applied to unconventional objects like food. https://images.squarespace-cdn.com/content/v1/5db619117138645ab5f5e7a9/1574624871600-5MTMM5J93LD1WYP4N8DE/kerf+banana+w+peel+lores.jpg Outliers - Kerf-cut banana (straightened banana) Digital photograph altered banana (straightened) This unfinished/ongoing investigation utilizes techniques used in manufacturing and other fields, applied to unconventional objects like food. https://images.squarespace-cdn.com/content/v1/5db619117138645ab5f5e7a9/1574624899435-VCFXX1ADHZ8ARCVKL9GR/125x18x85x11+lores.jpg Outliers - Re-Standardized Acrylic, tape Starting with a standard-sized acrylic panel, a wide section of tape that matches the acrylic sheets dimensions is condensed into a smaller proportion within the frame of the sheet. https://www.hunterlvelliott.com/new-gallery daily 0.75 2019-12-08 https://images.squarespace-cdn.com/content/v1/5db619117138645ab5f5e7a9/1575840232144-2UA0HURMG0FBCQJLUVD8/4f9ff6e32102d8a6a845d8073708b2d5.jpg BFA - Raw Data BFA Exhbition installation view Statement: Lossy is a technical term used to describe a digital file format plagued by the loss of information in exchange for compressibility. Our methods of recording our own existence only subsist via a lossy format. Within memory, as with a physical or digital collection of information, something is always omitted. Through moderation and the introduction of preference and perception, documentation of experiences and “reality” is systemically flawed. Raw Data is comprised of a diverse set of works, each exploring facets of information loss caused by various modes of translation. I have used myself and my past artworks as subjects to explore the ways that reconfiguration alters, and in some cases diminishes the original presence and meaning of each work. These pieces explore the past, while other pieces explore the present, or rather our shaky perception and subsequent recollection of it. Raw Data is an interdisciplinary exhibit, showcasing both sculptural and printmaking practices. Papermaking was used to transform nearly every old or unsuccessful drawing, print, photograph and other paper work from my career as an art student and pre-college days into a volume of cast paper pages nearly seven feet long. Shredded inkjet prints of my artist’s biography, resume, and academic transcript line the wall, leading to Oeuvre, a series of 36 mezzotints documenting every recorded or personally remembered art project conceived since my birth, over 150 projects in total. The remaining pieces in the show consist of a file storage desk unit filled with cement, a live-feed camera system broadcasting a disrupted moment-by-moment perspective of the gallery, and a laptop computer running a speech recognition program which translates sounds and speech alike into text, resulting in an incomprehensible accumulation of words and phrases. https://images.squarespace-cdn.com/content/v1/5db619117138645ab5f5e7a9/1575840232144-2UA0HURMG0FBCQJLUVD8/4f9ff6e32102d8a6a845d8073708b2d5.jpg BFA - Raw Data BFA Exhbition installation view Statement: Lossy is a technical term used to describe a digital file format plagued by the loss of information in exchange for compressibility. Our methods of recording our own existence only subsist via a lossy format. Within memory, as with a physical or digital collection of information, something is always omitted. Through moderation and the introduction of preference and perception, documentation of experiences and “reality” is systemically flawed. Raw Data is comprised of a diverse set of works, each exploring facets of information loss caused by various modes of translation. I have used myself and my past artworks as subjects to explore the ways that reconfiguration alters, and in some cases diminishes the original presence and meaning of each work. These pieces explore the past, while other pieces explore the present, or rather our shaky perception and subsequent recollection of it. Raw Data is an interdisciplinary exhibit, showcasing both sculptural and printmaking practices. Papermaking was used to transform nearly every old or unsuccessful drawing, print, photograph and other paper work from my career as an art student and pre-college days into a volume of cast paper pages nearly seven feet long. Shredded inkjet prints of my artist’s biography, resume, and academic transcript line the wall, leading to Oeuvre, a series of 36 mezzotints documenting every recorded or personally remembered art project conceived since my birth, over 150 projects in total. The remaining pieces in the show consist of a file storage desk unit filled with cement, a live-feed camera system broadcasting a disrupted moment-by-moment perspective of the gallery, and a laptop computer running a speech recognition program which translates sounds and speech alike into text, resulting in an incomprehensible accumulation of words and phrases. https://images.squarespace-cdn.com/content/v1/5db619117138645ab5f5e7a9/1575840234431-WFQMM97A30MD6A95YOCP/a90c235b51df52d2b0ed74e5eb55a7ed.jpg BFA - Raw Data BFA Exhbition installation view Shredded document collages and artist book containing paper slabs made from the drawings and prints from throughout my childhood and early college career. https://images.squarespace-cdn.com/content/v1/5db619117138645ab5f5e7a9/1575840234750-LNJ6SNNRAI798NLJCTYT/b727dc7404396342307a20468fd58edc.jpg BFA - Raw Data BFA Exhbition installation view - 'Ouevre' series Installation of over 40 mezzotint intaglio prints containing imagery from every artistic project I had notated or thought of throughout my life until that point in time. https://images.squarespace-cdn.com/content/v1/5db619117138645ab5f5e7a9/1575840233346-XHDTIB1CAGZ60DPPXCO4/32b073ebb2d2c7f5a2d5ca1f871f6dd8.jpg BFA - Untitled artist book Cedar, Bronze, cast paper slabs 7’x6”x4” artist book containing paper slabs made from the drawings and prints from throughout my childhood and early college career. https://images.squarespace-cdn.com/content/v1/5db619117138645ab5f5e7a9/1575840234271-TDP6L8JN9HV2WB3QI930/235ec01155bce3724bcf3d33b116ebd0.jpg BFA - Dictated, not read Speach-to-text software running on a laptop during the duration of the exhibition. Text was translated into this document. 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https://images.squarespace-cdn.com/content/v1/5db619117138645ab5f5e7a9/1575840410629-AYWNNOJ1FOVQ3ZJ40HGI/fa7f10d6b41600287ddde02808fbd6b2.jpg BFA https://images.squarespace-cdn.com/content/v1/5db619117138645ab5f5e7a9/1575840411221-EB27HIL7O91LKXH5VHH6/fdfddc23abcd8da84437411fcc3f01a5.jpg BFA https://www.hunterlvelliott.com/brooms-and-brushes daily 0.75 2026-01-27 https://images.squarespace-cdn.com/content/v1/5db619117138645ab5f5e7a9/1727444867157-1XFZLKWJXYGZUOPJ9I56/image-asset.jpg Brooms and Brushes - wigglebroom A handbroom made specifically for the Arcola Craft Broom Competition. Leaning on playfulness and negative space, this broom was designed to push the limits of what broomcorn is capable of as a material, while still being a functional tool. https://images.squarespace-cdn.com/content/v1/5db619117138645ab5f5e7a9/1727444867157-1XFZLKWJXYGZUOPJ9I56/image-asset.jpg Brooms and Brushes - wigglebroom A handbroom made specifically for the Arcola Craft Broom Competition. Leaning on playfulness and negative space, this broom was designed to push the limits of what broomcorn is capable of as a material, while still being a functional tool. https://images.squarespace-cdn.com/content/v1/5db619117138645ab5f5e7a9/1697390886673-XR3DV55EWIT3JWUXCYKI/image-asset.jpeg Brooms and Brushes - Grab a broom (with me) Grab a Broom (With Me) 2023 Ebonized and natural ash wood, broomcorn, tinned broom wire, epoxy Brooms are always present and rarely seen. To many, brooms have an interchangeable quality that allows them to hide in plain sight. Their classic, time-tested, and effective form enforces a broom’s utility and, in doing so, relegates them as simple, cheap tools for moving dirt. Just because something touches dirt doesn’t mean it shouldn’t be celebrated. By tweaking forms and using traditional techniques where they would not normally be used, I have introduced asymmetry, negative space, and angular geometry where the broom would normally be smooth, dense, and even. Biomimicry is integrated as well, as it is in many traditional broom forms such as hawk tails and turkey wings, in this case from insects. The carved details on the broom handle are loosely based on patterns found on insect eggs and long, sharply bent angles of the broomcorn recall spider legs. The stand serves as a familial unifier, allowing the objects to hold hands. https://images.squarespace-cdn.com/content/v1/5db619117138645ab5f5e7a9/1697391363494-H77ZH9DPI6Z6P6BV778E/image-asset.jpeg Brooms and Brushes - Grab a Broom (with me) (detail) Grab a Broom (With Me) 2023 Ebonized and natural ash wood, broomcorn, tinned broom wire, epoxy Brooms are always present and rarely seen. To many, brooms have an interchangeable quality that allows them to hide in plain sight. Their classic, time-tested, and effective form enforces a broom’s utility and, in doing so, relegates them as simple, cheap tools for moving dirt. Just because something touches dirt doesn’t mean it shouldn’t be celebrated.By tweaking forms and using traditional techniques where they would not normally be used, I have introduced asymmetry, negative space, and angular geometry where the broom would normally be smooth, dense, and even. Biomimicry is integrated as well, as it is in many traditional broom forms such as hawk tails and turkey wings, in this case from insects. The carved details on the broom handle are loosely based on patterns found on insect eggs and long, sharply bent angles of the broomcorn recall spider legs. The stand serves as a familial unifier, allowing the objects to hold hands. https://images.squarespace-cdn.com/content/v1/5db619117138645ab5f5e7a9/1697389669466-9OH4P50WQFBLU9H02CP5/image-asset.jpeg Brooms and Brushes - Trochanter Broom Hunter L.V. ElliottTrochanter Broom with StandBroom: Broomcorn, tin wire, carved Osage orange nail, hemp chord, red oak, glue Stand: red maple, red oak, Danish oil, walnut pigment, walnut oil, glue2022Available for purchase at Log House Craft Gallery, Berea, KYA main component of my work is allowing material within a piece to be visible. I like to show my process and let the materials speak for themselves. Within most full-sized brooms, many internal components are invisible from the outside. Much goes into the construction of the deceivingly complicated object that is hidden from the user to produce a simple, effective, and functional form. In making this work, I challenged myself to create a broom that pushes the boundaries of what is physically possible with the natural materials traditionally used to make brooms, all while making a striking yet functional piece.By combining different construction tactics that I’ve adapted from commonly used designs in American and Japanese broom making, this broom stands full of intricate details. Its grand scale is broken up by windows of negative space that give the for room to breathe, but also demonstrate the immense tension that the broomcorn was subjected to in order to achieve the bends and pulls that make the shape. From the front view, it resembles a flat plane, with vertical and horizontal arms that weave over and under each other, conjuring an anthropomorphic, insect-like condition. This inspired the title for the piece, Trochanter, referring to the joints in spider’s legs. From the sides,this view is made even more clear by the alternating joints of each bundle, lacing then cascading groundward. Even the innermost core of the broom, an area that is never seen on a Western style broom, can be seen through the edges of the central portion of broomcorn. This broom is unique in the amount of texture it has from every angle. There is hard and soft geometry to be seen regardless of the perspective it is seen from.The broom is bundled and finished in wire, and that wire is finished with a nail, hand carved from Osage heartwood, one of the hardest and most rot resistant woods in North America - unlike the oak handle, which exhibits decay and holes from boring beetles. All the wood featured in the piece was sustainably sourced from the Berea College Forest and campus. The stand which holds the broom is made from red maple, an invasive species in this region. Removal of these saplings was a service to the land by allowing the understory to receive more light and giving slower-growing flora the opportunity to thrive. The symbolic act of using this invasive tree to uphold a rotted limb of an oak subverts this relationship. The stand is stained using walnut pigment, harvested from walnuts from the Berea campus and mixed with a walnut oil base.Brooms hold a special place within humanity. They exist everywhere that humans exist in one form or another, and every population has their own approach to the craft.Brooms appear as symbols in political campaigns and cartoons, as ceremonial objects,as good omens in some cases and bad omens in others. They are thought to strengthen, hurt, or even prevent relationships altogether depending on their use.They have their own etiquette that shifts regionally- when to use them, how to store them, and why. Brooms and their spiritual attributions encapsulate the creation of meaning. That meaning assigned to an inanimate object is reflective of one’s culture,experience, and geographical location. It can seem arbitrary and at times contradictory.Why should something that comes in contact with dirt have a central role in ceremony?The British anthropologist Mary Douglas made famous the phrase “Dirt is matter out of place.” This assertion gives agency to the common derogatory term dirt. Suddenly, dirt isn’t waste, but rather simply material – substance without social connotation. A common theme within many cultures in relation to brooms is their ability to clean,physically, but also spiritually. If Douglas’s perspective shift is applied to these cultural connotations, the broom as a tool to usher away bad luck and to attract good luck makes much more sense. Recognizing that an object means different things in different places erases those superficial contradictions. The broom becomes a neutral vessel. It is a tool capable of exerting force and intention in the direction one chooses. The“matter” either moved or held in this case could be luck, energy, a relationship, a connection to one’s environment, or any other meaning.From a secular perspective, to acknowledge intention, and act in that direction could be a personal ceremony or meditation. I made this broom with environmental concerns and artistic forms in mind - that is my meditation. It allowed me to reflect, and to distill my intentions. It allowed me to create a form and ascribe meaning to it. It allowed me to move some theoretical matter of my own. https://images.squarespace-cdn.com/content/v1/5db619117138645ab5f5e7a9/1697389985698-COVW1O3RZPQXMHB1GURA/image-asset.jpeg Brooms and Brushes - Trochanter Broom (detail) Hunter L.V. Elliott Trochanter Broom with Stand Broom: Broomcorn, tin wire, carved Osage orange nail, hemp chord, red oak, glue Stand: red maple, red oak, Danish oil, walnut pigment, walnut oil, glue2022 Available for purchase at Log House Craft Gallery, Berea, KY A main component of my work is allowing material within a piece to be visible. I like to show my process and let the materials speak for themselves. Within most full-sized brooms, many internal components are invisible from the outside. Much goes into the construction of the deceivingly complicated object that is hidden from the user to produce a simple, effective, and functional form. In making this work, I challenged myself to create a broom that pushes the boundaries of what is physically possible with the natural materials traditionally used to make brooms, all while making a striking yet functional piece.By combining different construction tactics that I’ve adapted from commonly used designs in American and Japanese broom making, this broom stands full of intricate details. Its grand scale is broken up by windows of negative space that give the for room to breathe, but also demonstrate the immense tension that the broomcorn was subjected to in order to achieve the bends and pulls that make the shape. From the front view, it resembles a flat plane, with vertical and horizontal arms that weave over and under each other, conjuring an anthropomorphic, insect-like condition. This inspired the title for the piece, Trochanter, referring to the joints in spider’s legs. From the sides,this view is made even more clear by the alternating joints of each bundle, lacing then cascading groundward. Even the innermost core of the broom, an area that is never seen on a Western style broom, can be seen through the edges of the central portion of broomcorn. This broom is unique in the amount of texture it has from every angle. There is hard and soft geometry to be seen regardless of the perspective it is seen from.The broom is bundled and finished in wire, and that wire is finished with a nail, hand carved from Osage heartwood, one of the hardest and most rot resistant woods in North America - unlike the oak handle, which exhibits decay and holes from boring beetles. All the wood featured in the piece was sustainably sourced from the Berea College Forest and campus. The stand which holds the broom is made from red maple, an invasive species in this region. Removal of these saplings was a service to the land by allowing the understory to receive more light and giving slower-growing flora the opportunity to thrive. The symbolic act of using this invasive tree to uphold a rotted limb of an oak subverts this relationship. The stand is stained using walnut pigment, harvested from walnuts from the Berea campus and mixed with a walnut oil base.Brooms hold a special place within humanity. They exist everywhere that humans exist in one form or another, and every population has their own approach to the craft.Brooms appear as symbols in political campaigns and cartoons, as ceremonial objects,as good omens in some cases and bad omens in others. They are thought to strengthen, hurt, or even prevent relationships altogether depending on their use.They have their own etiquette that shifts regionally- when to use them, how to store them, and why. Brooms and their spiritual attributions encapsulate the creation of meaning. That meaning assigned to an inanimate object is reflective of one’s culture,experience, and geographical location. It can seem arbitrary and at times contradictory.Why should something that comes in contact with dirt have a central role in ceremony?The British anthropologist Mary Douglas made famous the phrase “Dirt is matter out of place.” This assertion gives agency to the common derogatory term dirt. Suddenly, dirt isn’t waste, but rather simply material – substance without social connotation. A common theme within many cultures in relation to brooms is their ability to clean,physically, but also spiritually. If Douglas’s perspective shift is applied to these cultural connotations, the broom as a tool to usher away bad luck and to attract good luck makes much more sense. Recognizing that an object means different things in different places erases those superficial contradictions. The broom becomes a neutral vessel. It is a tool capable of exerting force and intention in the direction one chooses. The“matter” either moved or held in this case could be luck, energy, a relationship, a connection to one’s environment, or any other meaning.From a secular perspective, to acknowledge intention, and act in that direction could be a personal ceremony or meditation. I made this broom with environmental concerns and artistic forms in mind - that is my meditation. It allowed me to reflect, and to distill my intentions. It allowed me to create a form and ascribe meaning to it. It allowed me to move some theoretical matter of my own. https://images.squarespace-cdn.com/content/v1/5db619117138645ab5f5e7a9/1697392983958-LLVE3M08CXKUA80MPEGF/20210813_101947.jpg Brooms and Brushes https://images.squarespace-cdn.com/content/v1/5db619117138645ab5f5e7a9/1697393952511-Y82O3WQY1GT8GAZIJIYX/20230124_144220.jpg Brooms and Brushes https://images.squarespace-cdn.com/content/v1/5db619117138645ab5f5e7a9/1697393972599-KAPIBIJ4210IFWQ87DH9/20220814_172350.jpg Brooms and Brushes https://images.squarespace-cdn.com/content/v1/5db619117138645ab5f5e7a9/1697393144669-5ZJ5BSPE1HWCZH9ZN4L3/20210430_170612+resized.jpg Brooms and Brushes https://images.squarespace-cdn.com/content/v1/5db619117138645ab5f5e7a9/1630372280659-9ISJQVASOJDRGOQCV2IU/IMG_20201222_152348580.jpg Brooms and Brushes https://images.squarespace-cdn.com/content/v1/5db619117138645ab5f5e7a9/1630372280463-SOA7TILK71PHMLAID0LO/IMG_20210116_084736819.jpg Brooms and Brushes https://images.squarespace-cdn.com/content/v1/5db619117138645ab5f5e7a9/1630372464922-N9M215QCU8SE9PBWTVP3/IMG_20200402_174655_147.jpg Brooms and Brushes https://images.squarespace-cdn.com/content/v1/5db619117138645ab5f5e7a9/1630372957598-DT37PCCROTROE4P10KYU/IMG_20200904_232308_582.jpg Brooms and Brushes https://images.squarespace-cdn.com/content/v1/5db619117138645ab5f5e7a9/1630373754501-6265PEULQTUYR1ZH4SI3/IMG_20201114_115608_121.jpg Brooms and Brushes https://images.squarespace-cdn.com/content/v1/5db619117138645ab5f5e7a9/1630373929865-DWFTPJQVEYHH6JENC0SM/IMG_20201219_092839650.jpg Brooms and Brushes https://images.squarespace-cdn.com/content/v1/5db619117138645ab5f5e7a9/1630374051558-HDW2DTJQN7G5HJOLFX8Q/IMG_20210108_183710_862.jpg Brooms and Brushes https://images.squarespace-cdn.com/content/v1/5db619117138645ab5f5e7a9/1630374055769-H3S5S1924V1I8UHJFY99/IMG_20210110_160232863.jpg Brooms and Brushes https://images.squarespace-cdn.com/content/v1/5db619117138645ab5f5e7a9/1630375741495-66PG76M75VBKM2X74WP0/brushes+lores.jpg Brooms and Brushes https://images.squarespace-cdn.com/content/v1/5db619117138645ab5f5e7a9/1697392941987-JBMOG4MZGQIVE5G9Z5JB/20210623_203455.jpg Brooms and Brushes https://images.squarespace-cdn.com/content/v1/5db619117138645ab5f5e7a9/1697392999428-IW0S6SDPHXC3N2K9XE2W/20210401_112038.jpg Brooms and Brushes https://images.squarespace-cdn.com/content/v1/5db619117138645ab5f5e7a9/1697393942888-G7AZCA3UDTQ7KRZC7HFK/20210430_170612+resized.jpg Brooms and Brushes https://images.squarespace-cdn.com/content/v1/5db619117138645ab5f5e7a9/1697393944992-XDD46YHEUREP5D6IA061/20210307_115526.jpg Brooms and Brushes https://images.squarespace-cdn.com/content/v1/5db619117138645ab5f5e7a9/1697393946191-2AZSUCKTXOIH8RXS1V9F/20230520_105538.jpg Brooms and Brushes https://images.squarespace-cdn.com/content/v1/5db619117138645ab5f5e7a9/1697393949499-ZB8O46KUBLU9WE0XIZE7/20230407_170926.jpg Brooms and Brushes https://images.squarespace-cdn.com/content/v1/5db619117138645ab5f5e7a9/1697393956001-YB78HU0XBCYIJ15TVBAO/20220829_094944.jpg Brooms and Brushes https://images.squarespace-cdn.com/content/v1/5db619117138645ab5f5e7a9/1697393968928-54BU83CZ7PY7RLOI0Y8R/20220823_170819.jpg Brooms and Brushes https://images.squarespace-cdn.com/content/v1/5db619117138645ab5f5e7a9/1697393974575-MSZP7G8GOFJSMTW8XR0E/20220423_213835.jpg Brooms and Brushes https://images.squarespace-cdn.com/content/v1/5db619117138645ab5f5e7a9/1697393977710-QM3HEQIIOLXYRX2MKG1B/20210617_205145.jpg Brooms and Brushes https://images.squarespace-cdn.com/content/v1/5db619117138645ab5f5e7a9/1755314267308-WR68FWQEFYKC7C6XMLBL/image-asset.jpeg Brooms and Brushes - Broomcorn under magnification https://images.squarespace-cdn.com/content/v1/5db619117138645ab5f5e7a9/1755315228210-KQL36BLYOYAUXOIDXXCH/20230220_162223.jpg Brooms and Brushes https://images.squarespace-cdn.com/content/v1/5db619117138645ab5f5e7a9/1755315226013-JM4TIDACXCT4BEG82LTH/20230407_173202.jpg Brooms and Brushes https://images.squarespace-cdn.com/content/v1/5db619117138645ab5f5e7a9/1755315234665-BJ7PRBFSCL43YP5JQ59G/20230525_201356.jpg Brooms and Brushes https://images.squarespace-cdn.com/content/v1/5db619117138645ab5f5e7a9/1755315245911-93EHTWGB1JAA8A1N53XJ/20231024_210305.jpg Brooms and Brushes https://images.squarespace-cdn.com/content/v1/5db619117138645ab5f5e7a9/1755315249274-L7J4O4K2G3M9QC0YHG3P/20231101_190733.jpg Brooms and Brushes https://images.squarespace-cdn.com/content/v1/5db619117138645ab5f5e7a9/1755315255514-2LE473DSM4IABMZBKEGM/20231205_161954.jpg Brooms and Brushes https://images.squarespace-cdn.com/content/v1/5db619117138645ab5f5e7a9/1755315256131-A45RQ0IXS237I50D65FE/20231209_165520.jpg Brooms and Brushes https://images.squarespace-cdn.com/content/v1/5db619117138645ab5f5e7a9/1755315261817-UIK5ANP4DP20WU2AKEIQ/20231209_165856.jpg Brooms and Brushes https://images.squarespace-cdn.com/content/v1/5db619117138645ab5f5e7a9/1755315265527-39N4VY1G19TT4MPLQN72/20231209_165941.jpg Brooms and Brushes https://images.squarespace-cdn.com/content/v1/5db619117138645ab5f5e7a9/1755315274400-LSY0Q827G7YWVW2RPSKD/20240409_102924.jpg Brooms and Brushes https://images.squarespace-cdn.com/content/v1/5db619117138645ab5f5e7a9/1755315283791-1JR9TVHMR70YX3NI5SE9/20240607_084430.jpg Brooms and Brushes https://images.squarespace-cdn.com/content/v1/5db619117138645ab5f5e7a9/1755315285237-ANAJ806Z5M42XCLJOZLU/20241202_170320.jpg Brooms and Brushes https://images.squarespace-cdn.com/content/v1/5db619117138645ab5f5e7a9/1755315291835-V0U4RPR97CEGL6O6EF6F/20241202_170408.jpg Brooms and Brushes https://images.squarespace-cdn.com/content/v1/5db619117138645ab5f5e7a9/1755315296344-1XZAQWZQA2FYJF1WKJBX/20250130_170758.jpg Brooms and Brushes https://images.squarespace-cdn.com/content/v1/5db619117138645ab5f5e7a9/1755315299652-4FFUIEEGGKTH6Q2IMNZU/20250416_121108.jpg Brooms and Brushes https://images.squarespace-cdn.com/content/v1/5db619117138645ab5f5e7a9/1755315306252-NG81D9XT1P3PW1KKMQ8Z/20250416_121349.jpg Brooms and Brushes https://images.squarespace-cdn.com/content/v1/5db619117138645ab5f5e7a9/1755315316840-6P72Z36LMOBVZ1RTFPP8/20250504_161622.jpg Brooms and Brushes https://images.squarespace-cdn.com/content/v1/5db619117138645ab5f5e7a9/1755315315826-51YOM23YFU7UJK8A3M6D/20250504_163616.jpg Brooms and Brushes https://images.squarespace-cdn.com/content/v1/5db619117138645ab5f5e7a9/1755315329590-9F16WZ297HQP8U7MZLV1/20250714_100045.jpg Brooms and Brushes https://images.squarespace-cdn.com/content/v1/5db619117138645ab5f5e7a9/1755315327754-FVAEUQ6VPO5BH2FX6VZH/20250724_082334.jpg Brooms and Brushes https://www.hunterlvelliott.com/about daily 0.75 2023-10-15 https://images.squarespace-cdn.com/content/v1/5db619117138645ab5f5e7a9/80f9f990-ac30-4585-8a83-b722a62f635c/DO01040378-01.jpeg About - Make it stand out photograph by Justin Skeens https://www.hunterlvelliott.com/pagecv daily 0.75 2026-01-27 https://www.hunterlvelliott.com/home daily 1.0 2026-01-27 https://images.squarespace-cdn.com/content/v1/5db619117138645ab5f5e7a9/29d23cbf-e469-4f58-ad88-b8afbf781dd8/20251212_234743.jpg Home https://images.squarespace-cdn.com/content/v1/5db619117138645ab5f5e7a9/7d1e6100-6409-4558-af62-e4016746a785/20251212_234743.jpg Home - Make it stand out woven oak red oak, broomcorn, linen 2025 https://www.hunterlvelliott.com/contact-1 daily 0.75 2019-12-07 https://www.hunterlvelliott.com/not-an-occasion daily 0.75 2023-10-15 https://images.squarespace-cdn.com/content/v1/5db619117138645ab5f5e7a9/628110e9-dbd4-470b-904e-64344cb98646/20221028_091356.jpg solo exhibition: Not An Occasion - The Oak Gesso, oil on plywood panel, framed in White Oak (same as the tree depicted), cleat hanger This painting is a depiction of an oak tree at the top of the Brushy Fork trail in Berea, KY. I had seen and appreciated this tree before, but after my father passed in the summer of 2021, I sat on this tree for hours, journaling, and drawing, just taking things in and letting them go. After that hugely therapeutic session, I descended the small mountain, on a different trail to the one I climbed up, which was so densely populated by spiders and spider webs, it forced me to take over an hour and a half longer to walk down than it should have, allowing the time to gently brush aside huge webs and spiders. This was their space, and this was my choice to take that path. This to me, was a perfect encapsulation of what grief was. You experience something, get to a cathartic and reflective spot, then you contend with it for much longer than you expect. There was no turning back at that point. https://images.squarespace-cdn.com/content/v1/5db619117138645ab5f5e7a9/0f8fe2aa-7910-4b27-ab47-5309fe27ba42/plants.jpg solo exhibition: Not An Occasion - Blue Cohosh, Penny-royal, Parsley, Scotch Broom, Mugwort Relief carving in Basswood, painted in oil A carving I made and painted after the overturning of Roe Vs. Wade featuring abortifacient plants. Funds from the sale from this work will support access to safe reproductive healthcare in Kentucky. https://images.squarespace-cdn.com/content/v1/5db619117138645ab5f5e7a9/1c1c9c80-ae6a-4845-b003-e9666d9a1170/bone.jpg solo exhibition: Not An Occasion - Funny Bone Hand carved Silver Maple, pickling stain How often are working people expected to “work their fingers to the bone?” How often are they praised for doing so, and proud that they have? How often has productivity been held in higher regard than the wellbeing of the person facilitating that productivity? As someone no longer in their 20s who works with their hands on a daily basis, labor and physical longevity are increasingly prevalent topics that are inseparable and must be contended with. The pegboard motif, as with many of the other pieces in Not An Occasion, is used to symbolize utility, expectation, and order. By carving a humerus bone and drilling equally spaced holes reminiscent of pegboard, I’m referencing the deterioration that is forced upon us by sacrificing health for productivity, while making a tongue-in-cheek nod to the association between humorous and humerus, and how our sacrifice is funny, but not funny haha. https://images.squarespace-cdn.com/content/v1/5db619117138645ab5f5e7a9/ecbcc298-5e2a-4ed9-8a58-80f1144a36eb/20221016_162850.jpg solo exhibition: Not An Occasion - Laterality: R (June 9, 2022) Hard maple, acrylic primer, oil paint, danish oil Representation of a photo of the inside of my right eye. https://images.squarespace-cdn.com/content/v1/5db619117138645ab5f5e7a9/eade984b-353a-4506-9bc1-dfb357cca8ad/thorns.jpg solo exhibition: Not An Occasion - Thorns Hawthorn and locust thorns, Masonite, acrylic paint, wire Thorns are highly specialized leaves that evolved into the form they are now. As a tree, such as a hawthorn, or honey locust, or black locust evolves, it finds what works and what doesn’t, and in that process in turn grew defense mechanisms such as thorns. As humans took more control over the trees that were planted in “our” environments, we loved the flowers of the locust but hated its defense mechanisms, so we selectively bred them away. We assimilated the tree to what we wanted, not what the tree was. As an extension of nature, we do this to ourselves. We try to change people into things they are not to placate ourselves, instead of letting us be who we are. Some trees grow thorns unprovoked. Other trees, when wounded, infected, or infested will produce their adapted leaves. The thorns poke through the bark and make a clear statement. From the equal grid of holes in the pegboard of this piece grows thorns, in defiance - a reaction - a protest of the treatment, in defense of boundaries. In defense of the idea of defense. https://images.squarespace-cdn.com/content/v1/5db619117138645ab5f5e7a9/2647c26e-6472-4acd-84ff-c860e529b825/fir+blossom.jpg solo exhibition: Not An Occasion - Fir Blossom (pine box variation, not made with pine) Douglas fir, cleat with screw This is a classic Toe Pincher coffin design, multiplied by eight around a single point, reminiscent of a flower. I wanted to take a classic design, unmistakable and impossible not to relate to death and I wanted to lighten it. Make it sweeter. If nothing else should be taken away from the last several years of my own experience, death is terribly sad for the living to think about, certainly, but it’s not something to fear, and not something to dread. As Gandalf said, “Death is just another path.” https://images.squarespace-cdn.com/content/v1/5db619117138645ab5f5e7a9/7deaeaff-f9be-4279-859b-c82d40d0a826/spider.jpg solo exhibition: Not An Occasion - What is in my hair? (collaboration with Erin Miller) Silk, mulberry wood pulley, silk sandbag, shark teeth https://images.squarespace-cdn.com/content/v1/5db619117138645ab5f5e7a9/dbe8bd05-822d-45e2-871d-cb3654199dbf/lucky.jpg solo exhibition: Not An Occasion - Lucky Masonite, acrylic paint, wear https://images.squarespace-cdn.com/content/v1/5db619117138645ab5f5e7a9/dfb3ac8b-6f64-4e04-8a5e-ba12cb67f80d/tool+wall.jpg solo exhibition: Not An Occasion - Tool Wall Cherry, linen, Masonite, acrylic, oil, wire Not long ago, I had my first Tarot reading with a deck made to relate to Craft. During that reading, every card pulled was a “tool” card. Quite often I think about experiences and skills that I’ve accumulated as “tools in the toolbox.” Things to be used to make tasks easier, or more well-managed. This of course is not always applicable, and these experiences are not always the most useful things to take up space in what is certainly a toolbox with limited capacity. Sometimes the skills are learned less than correctly; sometimes an experience isn’t so useful at building, but each contextualizes the next. My work frequently focuses on perceived utility. How useful are any of these objects to the average person at this time, in this place? How should utility be defined? What is the connection between utility, and productivity? How can I show nothingness to be useful? The art trope that takes a useful thing and makes it unusable just leaves so much unsaid and can start and end with that act. I want to avoid this. I try not to make as a gimmick. I make work for therapy, to work through ideas, learn skills,and for laughs. This piece has aspects of all of the above. By taking objects and putting them all in the same scale I’m orienting them together, into an odd grid of like-minded eccentrics. Though the scale and material of these items have been homogenized, that doesn’t change how they work. It doesn’t change their own, unique characteristics. I think of these objects in two ways: as things that exist, their futures not yet determined by their form, but also as representations of their identities and their uses. Symbols of experiences, memories, locations, ideas, and dreams. https://images.squarespace-cdn.com/content/v1/5db619117138645ab5f5e7a9/0c637592-eb5c-40e5-bc89-3e93ae0bcfac/tool+wall+detail.jpg solo exhibition: Not An Occasion - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/5db619117138645ab5f5e7a9/a549ce22-309c-4836-9c52-8441b3361dbc/noelle+drawing+resized.jpg solo exhibition: Not An Occasion - Assembly guide for Tool Wall, drawn by Noelle Richard (IG) triptych, ink on paper statement from Noelle Richard: questions to ponder: what is the purpose of a diagram for something that's already been made? how much can a set of instructions guarantee a particular outcome? how can we (artists, craftspeople) make art that is accessible? is imitation the highest form of flattery? corporations and institutions are already stealing from artists and craftspeople, so what if we gave out instructions so at least our work could be accurately reproduced? this drawing provides (most of) the necessary views and measurements to reproduce and assemble tool wall. though the technical style of the drawing denotes pure utility, the small handmade objects bring their playfulness and humor to the front. through intensely, mathematically studying each tiny piece of for this drawing, i found a deeper, new appreciation for Hunter's approach to craft and art, how he mixed amulets with more traditional tools with domestic or even nostalgic objects. illustrating each of the 30+ objects of tool wall was an unexpected look in the mirror: the process revealed some of my own unconscious perspectives on the objects i surround myself with. if you were to recreate this piece using the assembly guide, i think you would create something more indicative of your own relationship with objects and craft than a simple reproduction of tool wall. consider this drawing a prompt to ponder the objects in your life and the labor of the people involved in their creation. https://images.squarespace-cdn.com/content/v1/5db619117138645ab5f5e7a9/dc8dcdbf-a5c2-40ea-9569-de6534649dcf/noelle+detail+2.jpg solo exhibition: Not An Occasion - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/5db619117138645ab5f5e7a9/af86684a-68e9-43eb-99d0-9817fbb22c35/axe.jpg solo exhibition: Not An Occasion - Untitled (axe) Ash, cast wood glue, apple wood https://images.squarespace-cdn.com/content/v1/5db619117138645ab5f5e7a9/27ce2c80-abc7-4398-ad52-8fca16bf630f/bowl+with+lid.jpg solo exhibition: Not An Occasion - Bowl with lid Vessel: Burnt ash, wax, cob web, the spider that spun it (died of natural causes) Shelf: Silver maple, oak, screws https://images.squarespace-cdn.com/content/v1/5db619117138645ab5f5e7a9/133d644f-8df5-4975-b6e6-4778179ab652/bugboard.jpg solo exhibition: Not An Occasion - Pegboard (ash and chestnut) Chestnut wood, ash wood, wire hanging hardware The American Chestnut was once the most plentiful tree in America. Its near-extinction, not so far removed from our current time, is echoed by the Ash. Ash is a common, but doomed tree that is quickly being destroyed by the emerald ash borer, an insect that was accidentally introduced by human involvement which we are incapable of stopping, we are merely slowing the spread. https://images.squarespace-cdn.com/content/v1/5db619117138645ab5f5e7a9/93a280ab-73d8-4f21-b26f-4a0f1e9f4fa0/emma.jpg solo exhibition: Not An Occasion - Untitled (collaboration with Emma Pavlik) Mixed media https://images.squarespace-cdn.com/content/v1/5db619117138645ab5f5e7a9/15efd6e4-e41e-42d7-b7b6-6cde252cff13/emma+detail.jpg solo exhibition: Not An Occasion - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/5db619117138645ab5f5e7a9/eb72563d-c5fc-4e38-9909-854d0ca8af45/tiny+treasures+bucket.jpg solo exhibition: Not An Occasion - Tiny Treasures (collaboration with Erin Miller) Mulberry wood, hand-spun glow in the dark yarn, shark teeth, 3 whiskers from Dirk the cat https://images.squarespace-cdn.com/content/v1/5db619117138645ab5f5e7a9/07745736-48ae-4605-9f08-74683a592007/tiny+treasures.jpg solo exhibition: Not An Occasion - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/5db619117138645ab5f5e7a9/31d8fa81-1f6a-418e-8843-89e553c795c3/pine+box.jpg solo exhibition: Not An Occasion - Pine Box Pine, glue A classic reference to humble existence, and humbler endings, Pine Box, with its outline of an unfolded Toe-Pincher coffin is a playful deconstruction of an object that represents death. This time in our global history is marred by trauma and loss. My own personal experience over the last couple years saw the loss of a parent, and some time before that, the loss of a close friend. I was lucky that it took so long for me to experience grief in an intimate, enduring way. So many lose people close to them so much earlier. And without hesitation, I can say that these experiences have significantly impacted me, in ways that I can only begin to express. This work is a way of expressing the deconstruction and analysis that comes after a loss, in learning to accept and embrace mortality and in navigating grief. When looking at the piece, it’s impossible not to look through it. It’s solid, yet light and delicate. It can be stepped through and around. It can move with wind and it can break. Yet it is present, and will continue to be present. After my father passed, the funeral director explained grief as a hole in the floor that you can’t cover, or fix. That you just have to live with it, and learn to navigate around it. You acknowledge it, you walk around it, and you just carry on. This piece is wide open, permeable, and present. https://images.squarespace-cdn.com/content/v1/5db619117138645ab5f5e7a9/cf8b3265-1aca-4d09-a0d4-db5ec03a1f5c/recliner.jpg solo exhibition: Not An Occasion - Recliner Cast wood glue (Titebond III) https://images.squarespace-cdn.com/content/v1/5db619117138645ab5f5e7a9/d83f943b-bb45-4a8d-85df-81ca762c080c/marked+for+removal.jpg solo exhibition: Not An Occasion - Marked For Removal (collaboration with Nic Skowron) Mixed media on cherry wood https://images.squarespace-cdn.com/content/v1/5db619117138645ab5f5e7a9/ccc541e4-33cc-4d3a-95cc-c4ec6eac4704/untitled.jpg solo exhibition: Not An Occasion - Removed and Replanted (Collaboration with Nic Skowron) Mixed media on pegboard https://images.squarespace-cdn.com/content/v1/5db619117138645ab5f5e7a9/8b24b8b4-8f9a-45e0-803a-fb81ec90461b/safe+passage+above.jpg solo exhibition: Not An Occasion - Safe Passage Mullberry wood, linen (reaches from floor to outside vent near ceiling) I wanted a symbol of invitation, of travel, though the creatures wouldn’t need it. I wanted the idea of the invitation to be known by visitors in their own right. I want to imply the joining of others to the party. https://images.squarespace-cdn.com/content/v1/5db619117138645ab5f5e7a9/f779c895-a36b-4755-a2cf-718f546fb042/safe+passage.jpg solo exhibition: Not An Occasion - Safe Passage Mullberry wood, linen (reaches from floor to outside vent near ceiling) I wanted a symbol of invitation, of travel, though the creatures wouldn’t need it. I wanted the idea of the invitation to be known by visitors in their own right. I want to imply the joining of others to the party. https://images.squarespace-cdn.com/content/v1/5db619117138645ab5f5e7a9/438ad324-a204-4334-97c8-240baadd5c7b/passenger.jpg solo exhibition: Not An Occasion - Passenger Plywood, maple, screws, motor, batteries, wire I’ve taken to foraging sticks and stems for brush-making. In doing so, I collected enough that I didn’t do anything with many of them for long periods of time. Months after I collected a particular batch of sticks, I started hearing clicking and scraping coming from…somewhere. A week went by, and I had no idea of where or what was making these intermittent sounds. Some sort of electrical malfunction? Was there something in the walls? Then a leg poked out of one of the sticks. There is life everywhere, and that’s how it needs to be. A healthy ecosystem supports so much, and supports us. The idea of a pest, and the term, is a cruel notion. Certainly, there are insects and animals that can be detrimental to an ecosystem that is out of balance, but so are humans. We are that pest that scratches its way through that bark to startle what’s around it. My initial “eek” and my case of “the willies,” was misplaced on that insect that I obviously stole away from its home for my own purposes. The closer one looks for life, the more one finds, and I decided to translate that into an object unquestioningly found in a gallery. Here sits an empty pedestal, rough in appearance, with signs of use, and if just walking by may seem odd, but inert. Pay attention though, and the object exposes itself more and more. Within the pedestal is a motor, fitted with pieces of wire that slowly scrape the inside. The result is a slow, irregular, unsettling sound of clawing and rattling. Tom Waits’s “What’s He Building In There” comes to mind, in which the listener is put into the position of a suspicious neighbor, convincing themselves that there is and unknown dangerous presence nearby, but without any real evidence to corroborate the motives of the subject except the viewer’s own paranoia. https://images.squarespace-cdn.com/content/v1/5db619117138645ab5f5e7a9/6c78fd85-0a82-4701-9db9-597e9412d720/Treeline+from+morningside.jpg solo exhibition: Not An Occasion - The Treeline From Morningside Oil on gesso on walnut This is a representation of the view from my apartment window from when I first moved to Kentucky. From that spot I struggled with what to do, where to go, who I wanted to be in this new place, while being comforted by the natural world. https://images.squarespace-cdn.com/content/v1/5db619117138645ab5f5e7a9/299a8994-d60c-4288-b261-408555fb5006/pegs.jpg solo exhibition: Not An Occasion - Plugs Oil on masonite peg board panel This was the first piece that I worked on with the pegboard motif. It is a depiction of the plugs placed within the holes of the board after they had been painted on and removed. The plugs were then placed in non-corresponding holes. https://www.hunterlvelliott.com/spoons daily 0.75 2025-08-16 https://images.squarespace-cdn.com/content/v1/5db619117138645ab5f5e7a9/1755311062754-NH5VBU5Q2LJFH6RI6490/several.jpg Spoons https://images.squarespace-cdn.com/content/v1/5db619117138645ab5f5e7a9/1755311031299-XBXKG4P2QTCIIXFYU81I/pastaaaaaaa.jpg Spoons https://images.squarespace-cdn.com/content/v1/5db619117138645ab5f5e7a9/1755311059904-Z115VQ2ZHON4Y4ZY6VGW/double.jpg Spoons https://images.squarespace-cdn.com/content/v1/5db619117138645ab5f5e7a9/1755311031273-NI3O4YI1935KKCOTC82J/long.jpg Spoons https://images.squarespace-cdn.com/content/v1/5db619117138645ab5f5e7a9/1755311073171-4MB6YH0JJBR9Z2B21NWL/many.jpg Spoons https://images.squarespace-cdn.com/content/v1/5db619117138645ab5f5e7a9/1755311040035-L9VS91IGV2P7DP10OYMW/a%26y.jpg Spoons https://images.squarespace-cdn.com/content/v1/5db619117138645ab5f5e7a9/1755311047979-3QVX3XTS6IB4JDLW0F48/jp.jpg Spoons https://images.squarespace-cdn.com/content/v1/5db619117138645ab5f5e7a9/1755311048878-E3WG9EDRD09DZYEEPHJ4/mb.jpg Spoons https://images.squarespace-cdn.com/content/v1/5db619117138645ab5f5e7a9/1755311071443-DJSRF1YQPCH2Y6VZF33X/spat.jpg Spoons https://images.squarespace-cdn.com/content/v1/5db619117138645ab5f5e7a9/1630372437006-W46CROLVE1G8VYQ0TBCS/IMG_20191012_170331_016.jpg Spoons https://images.squarespace-cdn.com/content/v1/5db619117138645ab5f5e7a9/1578270526024-ZNLSV9CQF71E3BOM9V4W/cherryserver2.jpg Spoons https://images.squarespace-cdn.com/content/v1/5db619117138645ab5f5e7a9/1575830488696-G5WZSGGBZYOWENRGUG9D/pine+spoon+hand.jpg Spoons https://www.hunterlvelliott.com/cutting-boards daily 0.75 2023-10-15 https://images.squarespace-cdn.com/content/v1/5db619117138645ab5f5e7a9/1630372157269-5HR9LDYO69KVOUGFFMJS/IMG_20201016_122903239_HDR.jpg Cutting Boards https://images.squarespace-cdn.com/content/v1/5db619117138645ab5f5e7a9/1630372157341-OW72LDG5AUVWGXCGEFEZ/IMG_20200830_100908044_HDR.jpg Cutting Boards https://images.squarespace-cdn.com/content/v1/5db619117138645ab5f5e7a9/1630373898064-UQKEFUAAAW7LWI6BJ5YM/IMG_20201212_084434372_HDR.jpg Cutting Boards https://images.squarespace-cdn.com/content/v1/5db619117138645ab5f5e7a9/1630372712362-LVRH43414OUJTNJZP4KA/IMG_20200717_075857_323.jpg Cutting Boards https://images.squarespace-cdn.com/content/v1/5db619117138645ab5f5e7a9/1630372633307-Q0R60V01LTSIGTA23YTW/IMG_20200624_084033_302.jpg Cutting Boards https://images.squarespace-cdn.com/content/v1/5db619117138645ab5f5e7a9/1630372489375-SJSBTJKNGNUZKTIBHDXP/IMG_20200412_175901_566.jpg Cutting Boards https://images.squarespace-cdn.com/content/v1/5db619117138645ab5f5e7a9/1630372600146-RNNKCIOEMM4N5W3KJMZC/IMG_20200620_082421_343.jpg Cutting Boards https://www.hunterlvelliott.com/vessels daily 0.75 2025-08-16 https://images.squarespace-cdn.com/content/v1/5db619117138645ab5f5e7a9/1755306375031-9GQN2DZJ2LK5GV7PRXP9/IXXX.jpg Vessels https://images.squarespace-cdn.com/content/v1/5db619117138645ab5f5e7a9/1755306411830-N74ZDIM25R94YMCW1K8J/IXXX_1.jpg Vessels https://images.squarespace-cdn.com/content/v1/5db619117138645ab5f5e7a9/1755306385980-V2NM5IO6E9KX7ZK2QYAC/cherry+megabowl.jpg Vessels https://images.squarespace-cdn.com/content/v1/5db619117138645ab5f5e7a9/1755306374035-C20WB969556GOPDSMVND/osage+vessel.jpg Vessels https://images.squarespace-cdn.com/content/v1/5db619117138645ab5f5e7a9/1755306379061-36NH5I9RWN5NXG9SLS12/ambrosia+1.jpg Vessels https://images.squarespace-cdn.com/content/v1/5db619117138645ab5f5e7a9/1755306384348-D9WTK1J6DGBUNN8ZCKWF/ambrosia+maple+bowl.jpg Vessels https://images.squarespace-cdn.com/content/v1/5db619117138645ab5f5e7a9/1755306378676-CM5YV4B97RF9BGDJ2KBT/cherry+cup.jpg Vessels https://images.squarespace-cdn.com/content/v1/5db619117138645ab5f5e7a9/1755306389542-8KRG5ZJ9APFHSJ4K7WTR/walnut+goblet.jpg Vessels https://images.squarespace-cdn.com/content/v1/5db619117138645ab5f5e7a9/1755306390398-4ZA3XTOXRTV1WWL34XK9/cherry+shot+glass.jpg Vessels https://images.squarespace-cdn.com/content/v1/5db619117138645ab5f5e7a9/1755306394118-7NO39TLPALK5ECBJBE2S/fun+time+box.jpg Vessels https://images.squarespace-cdn.com/content/v1/5db619117138645ab5f5e7a9/1755306395931-2XGZ4BJPLD67CZKHKGIL/twigbox.jpg Vessels https://images.squarespace-cdn.com/content/v1/5db619117138645ab5f5e7a9/1755306398562-I770LCIIONPV5YWI3AM4/burnt+vessel.jpg Vessels https://images.squarespace-cdn.com/content/v1/5db619117138645ab5f5e7a9/1755306402164-KP3T8R7YQA02384YRT3K/magnolia+bowl.jpg Vessels https://images.squarespace-cdn.com/content/v1/5db619117138645ab5f5e7a9/1755306403284-USAR1H7ZFTXPIE5XILA4/swoopyboi.jpg Vessels https://images.squarespace-cdn.com/content/v1/5db619117138645ab5f5e7a9/1755306407421-NY1LF3Q19KSQIMPJD0RI/oak+cutie.jpg Vessels https://images.squarespace-cdn.com/content/v1/5db619117138645ab5f5e7a9/1755306408686-QCQJPVOUWNAOJMTPXB1Q/walnut+box.jpg Vessels https://images.squarespace-cdn.com/content/v1/5db619117138645ab5f5e7a9/1755306417697-XYL631VJ1A7S5ON0A4D2/walnut+box+open.jpg Vessels https://images.squarespace-cdn.com/content/v1/5db619117138645ab5f5e7a9/1755306415895-EZUY0G910SSO8ZJTDQ0T/cutest+ash.jpg Vessels https://images.squarespace-cdn.com/content/v1/5db619117138645ab5f5e7a9/f68329f6-c3db-43d0-8426-d5f302293d15/hickory.jpg Vessels - Make it stand out Hickory bark basket https://www.hunterlvelliott.com/the-broommaker-residency-at-shed-projects daily 0.75 2026-01-27 https://images.squarespace-cdn.com/content/v1/5db619117138645ab5f5e7a9/da2194f6-6bce-4e0e-97b5-46a482bf96f6/splash.JPG The Broommaker (residency at SHED Projects)) - Make it stand out in-progress photo of one of the 6 broom classes taught during The broommaker https://images.squarespace-cdn.com/content/v1/5db619117138645ab5f5e7a9/c0b41e5d-75fe-4fbf-b8a4-4faa35e1e99f/IMG_2178.JPG The Broommaker (residency at SHED Projects)) - Make it stand out the first stage of the residency required tilling a plot in the back of SHED’s yard and adding nutrient-rich local compost prepare for the growing of broomcorn (sorghum bicolor) which would later be used in workshops and in special “home-grown” brooms https://images.squarespace-cdn.com/content/v1/5db619117138645ab5f5e7a9/46877114-2299-4d71-92fb-267a065d1b69/malena+crop.JPG The Broommaker (residency at SHED Projects)) - Make it stand out in the spring, Community members generously volunteered to help plant sorghum seedlings in the rain https://images.squarespace-cdn.com/content/v1/5db619117138645ab5f5e7a9/f94590d0-8dc4-498e-a3df-8ddc1fcf660b/IMG_4738.JPG The Broommaker (residency at SHED Projects)) - Make it stand out After several months, the broomcorn grew to full height and so the community banded together again to help harvest the crop https://images.squarespace-cdn.com/content/v1/5db619117138645ab5f5e7a9/d529b6ec-2115-4119-9d1a-90fb1698d86f/IMG_4733.JPG The Broommaker (residency at SHED Projects)) - Make it stand out Broomcorn is washed and laid out in the sun to dry for a couple days, then it is hung inside to finish the drying process https://images.squarespace-cdn.com/content/v1/5db619117138645ab5f5e7a9/a63f4937-4134-4822-86cb-abd0b0b04af7/IMG_6084.JPG The Broommaker (residency at SHED Projects)) - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/5db619117138645ab5f5e7a9/6b3e6c7d-2337-4f5b-b34d-db8e6ed84fa4/IMG_0450.JPG The Broommaker (residency at SHED Projects)) - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/5db619117138645ab5f5e7a9/b442000c-1f36-4c61-a66b-0eabc8f0fa59/IMG_0948.JPG The Broommaker (residency at SHED Projects)) - Make it stand out The other primary component of the broommaker was of course to pursue my own creative endeavors and forge new paths within my practice by taking the necessary time to experiment. To learn something new is to become a better educator. Without taking the risk to make something new, it becomes easy to stagnate, and no one wants a stagnating teacher. Below is a selection of work I finished during the residency. https://images.squarespace-cdn.com/content/v1/5db619117138645ab5f5e7a9/50d35b2e-911c-40bd-b8af-f02b51747279/THORN.JPG The Broommaker (residency at SHED Projects)) - Make it stand out Untitled Naturally dyed broomcorn, locust branch, nylon Thorns, depending on the plant, are simply stems or leaves that have evolved to have their characteristic rigid pointed shape. They are adaptations that have allowed locust trees, hawthorns, osage orange trees and other plants to have some kind of additional protection from those that would harm them. Thorns are defensive tools. The trees set boiundaries and nothing unexpected will result from overstepping those boundaries. A single line of stitching (an arguably controvercial move in the broommaking community) holds the broom into its traditional flat form. Only one line, though. Like many of us, it’s just barely keeping it together. https://images.squarespace-cdn.com/content/v1/5db619117138645ab5f5e7a9/ea9ccd86-e95c-48c1-a8d1-e2ede06778f0/ball+broom.JPG The Broommaker (residency at SHED Projects)) - Make it stand out ebonized oak, walnut, waxed linen, walnut dyed broomcorn, brass pin In a perfect world, everything I make would have its own custom hanger or bespoke storage box. In reality, this is a luxury I can only include with my most prized objects. This broom is another in a line of brooms designed to be different. It brings be great pleasure in reinventing the wheel - in making something so familiar so peculiar. If i can ever manage to make something I’ve never seen before, I know I’m on the right path. Integrating turned components has been an interest of mine for some time. I love turning. I love the process, I love the feel, and I love the ability to use even the smallest piece of what would otherwise be garbage to make something considered, beautiful, and in this case, ergonomic. https://images.squarespace-cdn.com/content/v1/5db619117138645ab5f5e7a9/07acffd5-fe5e-4122-94fd-71528e037615/20251201_225331.jpg The Broommaker (residency at SHED Projects)) - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/5db619117138645ab5f5e7a9/930d4093-470f-49e0-a012-f94f0b6bc65b/20251203_152154.jpg The Broommaker (residency at SHED Projects)) - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/5db619117138645ab5f5e7a9/3a224099-b6d2-4f25-a151-8563fd97272e/20251212_234743.jpg The Broommaker (residency at SHED Projects)) - Make it stand out woven oak ebonized red oak, broomcorn, waxed linen WHile turning wood allows one to easily shape wood however one desires, splitting wood allows the grain to separate and can reveal incredible characteristics and growth patterns that are harder to see. the handle as well as the supports for this woven broom were all split from a larger board, resulting in unique organic lines. working with wood in this way allows the maker to work in conversation with the material rather than simply imposing a design onto it. the tree that yielded this material is as much a collaborator as a provider. As a maker, it is my responsibility to make the sacrifice of the tree worthwhile. The process of building the actual broomhead was inspired by rope-making and cordage. by alternating twisting techniques, I was able to play with making a symmetrical broom on a clearly asymmetrical handle. bY BUILDING THE BROOM LIKE THIS, IT maDe the handle as integral in the design of the broom as my physical manipulation of the material WOULD HAVE. https://images.squarespace-cdn.com/content/v1/5db619117138645ab5f5e7a9/baf62a4b-cc37-4d62-a955-244cada12dda/20251213_112913.jpg The Broommaker (residency at SHED Projects)) - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/5db619117138645ab5f5e7a9/3118ef79-00c4-4446-b07f-2ffe84c05892/20251213_112958.jpg The Broommaker (residency at SHED Projects)) - Make it stand out Whatever it is, the way you tell your story online can make all the difference.