Artists of the Mountains

by

Features

Paint brushes and pencils, clay wheels and welding irons, wood, metal and more are the tools and materials for these 14 artists.

As we set upon a quest for expressions of creativity across the region, we were once again happily overwhelmed to rediscover the Blue Ridge teeming with talent. From across seven states, these exceptional artists use a variety of tools and techniques, represent a diversity of perspectives and purposes and holds themselves to the highest standards of integrity.

Through their work, we see the value of art as an expression of individuality, avenue for community engagement, a reflection on and reverence for heritage, commentary on culture and representation of the beauty found in nature and humanity.

Let’s meet them, state by state.

Georgia

Keith Burgess, Hiawassee. “I would describe the primal truth [of painting] as the direct spiritual connection with the common force that runs through the universe.”

After utilizing his creative talents for years as a graphic artist/illustrator with an Atlanta-based publishing corporation, Keith Burgess returned to his lifelong love of painting.

“As a child, the work of the French Impressionists had always fascinated me. The first painting I remember creating was as a teenager. I painted the view of the neighbor’s house across the street from my home. It was also my first time using oils so it was very challenging. I had been drawing up until then and I knew after that I was hooked on painting.”

Burgess then expanded the formal art education from his college days by studying with nationally renowned artists. Now he finds that representational art is his preferred means of expression. And “over the years, like many seasoned painters, my style or brushwork has become more abbreviated and I am constantly trying to say more with less detail—leaving more interpretation to the viewer.”

Beyond the skills, Burgess describes “the primal truth [of painting] as the direct spiritual connection with the common force that runs through the universe.”

In addition to exhibitions, one-man gallery shows and numerous honors and awards across several states in the region, Burgess teaches art. “The most rewarding part is that I learn from my students, as well. I usually teach adults, and I have even taught persons suffering from dementia which has its own special challenges. There has been much research about how art can help these patients.”

Moving forward: “My plans are to build my brand as an artist by entering national shows and competitions, and continue learning. I think the rest will fall into place.” keithburgessart.com

Eric Strauss, Ellijay. “Working with fire goes back to the dawn of time. So, my processes of working with metals are physical and spiritual experiences for me.”

From his home on a micro blueberry farm in the Chattahoochee National Forest, Eric Strauss mountain bikes to his studio on a secluded ridge overlooking the Cohutta Wilderness. Here, with fire and metal, his vision of art interplays with elemental science to create hand-forged, organic assemblage sculptures.

“My art is nature inspired. I am surrounded by majestic mountains and streams—this where I am my happiest,” he says.

“I start with a concept and direction (keeping a consistent organic theme). And I work without blueprints during the build. The parts and pieces I forge dictate the direction and look [of the final assembly] and are subject to change at any given time.” To create his massive sculptures and delicate details, he enjoys working with forged steel, bronze, copper and stainless steel.

“Working with fire goes back to the dawn of time. And I have an overwhelming need to create… So, my processes working with metals are physical and spiritual experiences for me. The heat, fire, excitement and an element of danger all at the same time – that’s what keeps me going back,” he adds with a smile.

In addition to an extensive traveling exhibit, Strauss’s sculptures reside in public spaces, galleries and private collections across the country (including a horse he created for Sir Elton John).

Moving forward: In addition to growing his equipment, techniques and craftsmanship to continue public and commission art pieces, Strauss plans to focus on “art education in order to inspire a younger generation to learn the skills of hands-on work.” ericstrauss-sculptor.com

Kentucky

Jeff Chapman-Crane, Eolia. “Art often illuminates our shared experience as members of the human race and helps us find common bonds.”

Following four years of high school art classes, Jeff Chapman-Crane continued (for 50 years) to “be challenged and inspired to exceed [his] own expectations and limitations” by his exceptional teacher, mentor and friend.

Chapman-Crane’s realism portraits and scenes of Appalachia are rich with detail, layered with feelings and possess unique dynamic qualities. “I think the people I paint tend to have something of a universal quality about them, as if they could be found in one’s own community or most anywhere in the world. I also believe the portraits I’ve done tell a part of the human story.”

He continues: “Life is dynamic. It’s in constant motion. Even when a person is completely still, there is a torrent of activity happening in every part of their body and even in the atmosphere all around them … even in a still moment of quite reflection.

Art often illuminates our shared experience as members of the human race and helps us find common bonds, bridging the expanse of differences that too often divide us. [It can] record the history of a particular place and help us better understand our place in that history. Simply stated, art is vital to our existence.”

Moving forward: “To do the work I’ve been doing for the past five decades—tell the story of Appalachia from my own unique perspective. I do want to try to identify what gaps may exist in that story and address that (paintings of children and portraits of people of Asian descent—they are a growing population in our region). Beyond that, I want to [pursue] artforms that are completely different from painting like dry stone masonry, mosaics using native rocks, small scale dioramas and found object assemblages.” jeffchapmancrane.com

Lacy Hale, Whitesburg. “Art is a way to speak to and with a higher power, to capture beauty, to create beauty. To address sadness, to conquer pain.”

“Art can be therapy. Art can be healing. Art is a form of self-expression,” says Lacy Hale, fine artist, printmaker and muralist. “Art is a way to speak to and with a higher power, to capture beauty, to create beauty. To address sadness, to conquer pain.”

She is also the creator of No Hate in My Holler and used block printing (a technique dating back 400 or more years) to make her initial designs. “I think I’m most proud of the love and message that it shares. I hope it makes oppressed populations feel safer to live in or visit Appalachia…and helps dispel stereotypes [about] people from our mountains. If I can highlight the fact that there are many people who live in our region who are open, caring, supportive and loving, then that’s a good thing.”

Hale has also earned accolades and acknowledgements as “the mural queen” (according to fellow Kentucky artist Jeff Chapman-Crane and others). For these public art pieces, Hale says, “I use many symbols that I find to be universal and nature imagery like a shining sun, hands reaching out to one another, thriving plants, flowers … and even happy baby possums,” she adds with a smile. “It’s all about listening to the property owners and/or organizations and trying to make their visions come to life.”

Moving forward: “I hope to keep moving onward and upward and making beautiful and uplifting things in the mountains of Appalachia. [Specifically], I want to grow No Hate in My Holler into a traveling exhibit. There have been many communities and organizations that have reached out to ask about it. I’m on the funding search right now.” lacyhale.com

North Carolina

Jody Bradley Lipscomb, Lake Junaluska. “I want people to hear and feel the story I tell through my paintings. And I want Cherokee women to be able to see themselves, their mothers and grandmothers in my work and be proud.”

Jody Bradley Lipscomb, a member of the Eastern Band of Cherokee Indians, proudly calls the Cherokee Indian Reservation her birthplace and home for much of her life. “Sometimes it amazes me that people do not know they live beside the reservation. I want to open their eyes to their neighbors through my art. I want people to think, to be amazed, to say ‘I didn’t know that.’”

Bradley Lipscomb’s first painting (and many since) focus on women. “I grew up loving and respecting Lucy Raleigh and Emmaline Cucumber. They always carried a Cherokee basket and wore dresses and red bandanas on their heads.” (“Women of the Red Bandana” series.) She continues, “They spoke Cherokee to each other and would laugh a lot.  I have painted over 60 paintings of these ladies for tribal members because we all loved them.”

This self-taught artist describes herself as a “quiet activist and secret educator.” She explains, “In every painting I try to teach something. I want people to hear and feel the story I tell through my paintings. And I want Cherokee women to be able to see themselves, their mothers and grandmothers in my work and be proud.

I want [people] to know Native American women are lost every day to violence. And it is a desire to convey that, regardless of the atrocities the Cherokee people have suffered, the Cherokee people are still here.”

Her work is seen in exhibits, shows, museums and galleries across several states and Bradley Lipscomb founded the “Start My Art” Collection program to allow children to purchase affordable art with Cherokee Syllabary for their families.

Moving forward: “I am remodeling my home studio and look forward to [working on] a long list of paintings. [Specifically], modern abstracts that include the Cherokee Syllabary.” jody.bradley763 on Facebook

Ansel Ringler, Green Mountain. “Nature is the actual artist. I’m just the messenger.”

“As a woodworker, I see many things when I look at wood,” says Ansel Ringler. “I analyze it structurally. What characteristics dictate its workability, the pattern of the growth rings, any warping, how dry it is, how strong it is. On the other hand, I view it for its beauty and figure and how it will work into a piece.

“I drive around these beautiful Appalachian Mountains and see the wide variety of beautiful trees growing everywhere and can’t help but imagine what the wood inside of them would look like. Yes, I’m that guy taking pictures of burled trees on a hike,” he adds with a smile.

Ringler says, “I view my work as bringing to life the character that nature has created over time in functional form. Nature is the actual artist. I’m just the messenger. And cleaning up a piece of wood, or milling a slab from a log, is like unwrapping a Christmas present.”

He works with small local family-owned sawmills for logs primarily felled due to natural causes to create pieces that now live in clients’ homes across the country and the world. “Woodworking is an engineering project with a whole series of decisions. In each one of those decisions is where the ‘art’ comes in… something more intuitive that you just feel is the right thing to do,” Ringler states.

“It may sound cheesy,” he says with a grin, “but you can ‘listen’ to the wood or the project and feel what may fit it best. I think there’s art in everything humans do. It’s something that is built and refined by your lived experience.”

Moving forward: “My next plan is to build and design unique cabins that are immersive in their natural environments.” estatoewoodworks.com

South Carolina

Allison Ford, Greenville. “Starting a new canvas is one of the most amazing feelings – so full of potential. And that feeling carries over to real-life. When things get hard, from deep down you gather that sense of ‘I can do this!’”

The dual careers of attorney and artist bring a balance to Allison Ford. “I enjoy using both sides of my brain. And I consider myself a lifelong creative.” She began her artistic pursuits in earnest following a six-week course “which was really a gathering of seasoned artists in town who enjoyed painting together and offering feedback on each other’s work. I was very much out of place but I came away with helpful guidance.”

Ford’s inspirations for her abstract paintings come from landscapes, waterscapes, scripture, color, the sky and her family history. “My ancestors are a part of who I am and their stories shine through my work, but I think it’s a subconscious thing. Because I tend to stay away from ‘real life objects’ (people, faces and places), I’ve had people question my approaches and motivations as an African-American artist. But my objective is always to capture feelings and joy—the joy of those who came before me—in my work.”

Juried exhibitions, shows and galleries have been the recipients of Ford’s work and students in her Hello Allison Art School continue to benefit from her skills and passion for teaching. Ford also brings into the community “a huge part of [her] story as an artist”—living with multiple sclerosis. “What a gift it is to be able to use my hands, brain and heart to communicate and to inspire others with medical differences and challenges to keep going.”

“Starting a new canvas is one of the most amazing feelings—so full of potential. And that feeling carries over to real-life. When things get hard, from deep down you gather that sense of ‘I can do this!’” She is currently working on a commission piece for the local unit of the National MS Society.

Moving forward: “I love all my jobs. So, my plans are to just keep going and doing what I am doing.” helloallisonart.com

April Hudgins, Easley. “When I throw that ball of clay on the wheel and it starts to spin, I can’t help but feel joy and total calm. I usually catch myself smiling … at nothing in particular.”

“I am a self-taught potter,” says April Hudgins. “I took one pottery class. After that, I learned on my own with the help of my mentor and YouTube whenever I wanted to learn a new technique. But more than anything, it was trial and error. You can’t rush clay. You must learn its characteristics and how to work with it, not against it. I swear it has a mind of its own.

My favorite part is when I throw that ball of clay on the wheel and it starts to spin.” She adds with a smile, “I can’t help but feel joy and total calm as I listen to the hum of the wheel and feel the cool clay. I usually catch myself smiling … at nothing in particular.”

Hudgins continues, “Most of my inspiration comes from nature. I grew up in the foothills of South Carolina and spent my childhood hiking, kayaking and learning native plants from my dad. My artwork on my pots reflects some of my favorite plants and places. Even my earth tone glazes and abstract patterns are sparked by my love for the outdoors.”

She continues, “I love learning about traditional southern pottery and the ways that I can apply it to my own work. Pottery was not always these luxury art pieces people use to decorate their homes. They were functional necessities.

“Art is such a wonderful thing. It brings us joy, allows us to express our thoughts and feelings and tells stories of a community for generations to come.”

Moving forward: “We are looking to build a brand new studio on our property. I also plan to do more markets/art shows farther from home. My long-term plan is to have a storefront where I can teach larger classes and sell pots.” (Website under construction.)

Tennessee

Allen Monsarrat, Knoxville. “There’s a lot to think about before pulling out a canvas.”

After a successful 24-year career in pottery, Allen Monsarrat put down the clay, sold his kiln and explored other artistic endeavors. His decorative wall finishes led to faux painting and cabinetry finishing, which coalesced into a refined set of fine art skills. “Trompe-l’oeil and photorealism styles appeal to me as very rational and intellectual approaches to painting.”

Monsarrat’s approach to painting “is very analytical. [There’s] a lot to think about before pulling out a canvas.” He continues, “My process really begins in constantly observing the world around me.  Most importantly absorbing the play of light. Always having my phone/camera with me, I can immediately make a photo note of it.”

He enjoys hopping on his mountain bike, “exploring some small pocket, scouting a scene and planning what time of day to return to capture it best.” He then reviews photos on a monitor, “crops images to a rectilinear format, previews the possible composition, converts color photos to black and white to see if there is enough value range (dark to light)” and other techniques prior to painting.

Monsarrat, whose pieces have been on display at juried shows and exhibits, recently added a new layer of talent to his body of work. He now also creates pieces with “soft pastels as a medium …to force myself to work more loosely.” His paintings “mostly feature subjects in Knoxville and surrounding areas. And people seem to appreciate my artistic take on something familiar to them.”

Moving forward: “Continue to evolve as an artist. I know for myself, working plein aire is certainly an area of weakness. Working outdoors in changing light and weather within a short time frame is a huge challenge. I’ve done a few. I need to do a lot more.” monsarratart.com

Jacqueline Rueff, Greenville. “I often refer to the sense I get from the forests surrounding my home as the spirit of the woods—a sense of calm, harmony and balance. It is this sense that I try to incorporate into my art and share with others.”

Inspired by nature and informed by the lives of her great-grandmothers, artisan Jacqueline Rueff incorporates natural elements into her “woodland spirits” art dolls and heritage art Appalachian brooms. “I often refer to the sense I get from the forests surrounding my home as the spirit of the woods—a sense of calm, harmony and balance. It is this sense that I try to incorporate into my art and share with others.

Rueff also had another ancestor, an Appalachian “wise woman,” who “lived in a cabin in the Blue Ridge Mountains of Virginia. She collected herbs and made natural medicines to treat her neighbors. Granny Stallard rode horseback from cabin to cabin treating those who needed her.” Her Granny Rexrode doll represents “those herbalists who lived off the land and used the healing arts.”

All Rueff’s creations incorporate natural elements responsibly gathered and sourced and often selected for their deeper cultural meaning. “The first broom I made was inspired by my great-grandmother, Mary. It was made of natural broom corn with green twine and was adorned with a jade turtle. Green represents new beginnings, while the jade turtle represents the Cherokee creation story of Grandmother Turtle.”

Her art (including a series of clay miniatures) has grown in popularity across the region via placements in galleries, shows, stores, exhibits and a welcome center. And her woodland spirits sculptures have “found their way” to homes in the Netherlands and Sweden.

Moving forward: “Short term, I want to continue creating my heritage brooms. Long term, I would like to add a studio on our property (four acres in the Cherokee National Forest) where I can work and display my art.” jacquelineyvette1.wixsite.com/mountainlaurelclaycr

Virginia

Greg Galbreath, Eggleston. “I’ve always liked digging down to the roots of things. So, I was drawn to the open-back banjo partially because of [its] deep history.”

More than 27 years ago, Greg Galbreath “discovered” a love of old-time music, learned to play clawhammer banjo “in exchange for working on a farm and in a woodworking shop” and constructed his first instrument during an “unofficial yearlong apprenticeship.” The rest, as they say, is history—which became an integral element in Galbreath’s love of the banjo.

“I think it’s very important that folks know banjos originated in Africa and were brought to the Caribbean and the Americas by enslaved Africans in the 1600s.” He explains that following “the appropriation of the banjo by white people [in the mid-1800s], it remained primarily a ‘white instrument’ until fairly recently, but is currently having a huge resurgence in the Black community.”

Galbreath says, “I’ve always liked digging down to the roots of things. So, I was drawn to the open-back banjo partially because of this deep history … and the driving, rhythmic, dance-oriented nature of clawhammer [heard in old-time music]. Also, the deeper, mellower tone of open-back banjos appealed to me more than the brighter, sharper tone of resonator banjos.”

With the help of his wife, Cindy, who “takes care of the financial side of the business, has a wonderful sense of design and is a [terrific] fiddle player,” Galbreath continues to “encourage folks that show an interest in instrument making … and help younger makers, if I can.”

Moving forward: “Rework my system for a bit more creative freedom to explore some ideas I’ve had for years but haven’t had time to try. Overall, I’m really excited to create a better balance in the instruments I make—hopefully a mix of custom banjos, simple workhorse spec banjos and the occasional weird, experimental banjo or fancier, more highly ornamented banjos.” buckeyebanjos.com

Brett LaGue, Fincastle. “To me, the brushstrokes are the soul of a painting, making them as interesting up close as they are at a distance.”

Brett LaGue’s focus for his American Impressionism paintings “is not on capturing specific details of an image, but more about sharing the emotion of the painting experience. Depending on someone’s mood on any given day, without precise details, they may view a painting differently than the day before. To me, the brushstrokes are the soul of a painting, making them as interesting up close as they are at a distance.”

LaGue works in oils, acrylics and watercolors with an eye toward “choosing the right medium for what I want to say. For slow drying acrylic, which is rather thin, the paint allows me create a more careful and focused design. Oils are usually best on location, using the texture and roughness of the paint to express things like wind, sound, distractions, etc. Watercolor is about setting up and painting quickly. The fun is in the push and pull of getting the paint to do what I need, yet letting its expressive nature work magic with loose marks, runs and puddles.”

He also has a variety of spaces to create including his studio, a workroom, a drawing table in the house and “several favorite spots on location. One of those is the Blue Ridge Parkway. If you can’t find a view to paint there, then nature’s probably not your thing,” LaGue adds with a smile. His works can be found in several galleries in Virginia and in private collections in the United States, England and France.

Moving forward: “Painting is a great excuse to go outside and play, but call it work. I’ve been very fortunate that I’ve never experienced a ‘creative block.’ There always seem to be more ideas available than I’ll ever find time for. I really have no interest in doing anything else.  Not something every adult gets to say!” brettlague.com

West Virginia

Ralph Cale, Morgantown. “An old rusty car covered with patina is so much more interesting to me than a shiny new one. People are no different… they have textures and a story to tell. You can see it on their faces. You can see it in their eyes.”

There are artists among us who have a gift for capturing “the extraordinary” within what some might consider “the ordinary”—a face in a window, a fishing lure, an old vehicle. Ralph Cale is one such fine artist. And in doing so, he tells us a story.

Cale’s inspiration is found in “things that are worn, weathered and old, and have a history that is unique to them. A history that is all their own. An old rusty car covered with patina is so much more interesting to me than a shiny new one. People are no different… they have textures and a story to tell. You can see it on their faces. You can see it in their eyes.

“Going through school, kids used blank paper bags to cover their books,” Cale shares. “My friends would ask me to draw things and I had a little side hustle drawing designs on their covers for a quarter,” he recalls with a chuckle. “As time went on, I developed a certain style and honed my skills. My first experience of being officially recognized for my drawing was an ‘honorable mention’ award for a portrait of my niece, April, in a local art exhibit.”

His works of “warm realism” are created with graphite pencils “for the precision. Harder and softer leads offer the control, the values, the tones and the details. I use all pencil strokes, no blending techniques, and build up layers.” Today, Cale’s work is displayed in finer galleries in our region and hangs in personal collections across the country.

Moving forward: “Unfortunately, this is not my full-time job … yet,” Cale says with a smile. “My goal is to reach a larger audience, touch more people’s lives with my art and bring them a warm feeling, a fond memory or just a smile.” ralphcale.com

Nichole Westfall (Coco), Huntington. “With public art, I may physically create it. But once I stop painting, it’s literally out of my hands … It becomes a showcase of the culture surrounding it.”

The large-scale muraling/painting of artist Nichole Westfall (aka Coco) is infused, inspired and informed by “the community that experiences it daily and has given it a place to live.” She states, “With public art, I may physically create it. But once I stop painting, it’s literally out of my hands … It becomes a showcase of the culture surrounding it. [The installation] becomes a tangible thing that people can interact with.”

Westfall, of Korean-American descent, grew up in a small town “holler” in West Virginia and says, “My art reflects what I find interesting and beautiful at a specific time – a little snapshot.” She incorporates different media for each project. “I have a multidisciplinary practice. I grew up making ornaments and decorations with my mother, and I’ve held onto that.”

Speaking about her multiple community projects, Westfall says, “Connecting with meaningful organizations really brings forward the best experiences of making public art. At Healing Appalachia, we painted a mural that now lives in Nashville with the Hello in There Foundation. The design was inspired by John Prine’s song ‘You Got Gold,’ and participants were able to paint, write and draw something they loved about themselves on the mural. These were intimate moments, and it was incredible to see everyone show up with vulnerability in a social setting.”

Moving forward: “I want to continue to make beautiful things, have a sustainable career and connect with people through art (which, in my mind, makes the most sense of the world). There are so many art forms that I’d like to explore and not enough time in a single life.” cocoispainting.com

Advice From the Artists

Keith Burgess, Hiawassee, Georgia: “My advice to anyone pursuing a career in the visual arts would be to not expect immediate rewards other than the personal satisfaction it gives.  You must have a passion for it. That will keep you inspired through the disappointing times. Be willing to put in the time, education and yes, money.”

Eric Strauss, Ellijay, Georgia: “A lot of [artist success] is the right place, right work, right time. So, I would say—commitment and grit at all times. Know your market and audience. Get proactive with networking, go to museums, participate in charity events and enter every exhibit you can. No one will do it for you!”

Jeff Chapman-Crane, Eolia, Kentucky: “The practical advice: Most of us live close to the bone. Find something that can provide a fairly dependable source of income. As to the art itself, you must believe in your work and remain true to your vision. Don’t be discouraged by rejections and failures. Simply tell your own story in the best way you know how. If you do this, your work will reflect the individuality of your own unique life and weave your thread into the tapestry of human existence.”

Lacy Hale, Whitesburg, Kentucky: “My way won’t be everyone’s way but… I have tried to stay true to myself, my vision, my audience and be as vulnerable and visible as I can online. I suggest that they be creative in the ways that they think of themselves as an artist and [as a] business [person]. Putting yourself out there with any work of art, especially public art, is scary. You have to kind of grow a tough skin when you’re an artist and learn to take constructive criticism.”

Jody Bradley Lipscomb, Lake Junaluska, North Carolina: “There are a lot of incredibly talented Cherokee painters who get discouraged because the visual art market is overshadowed by baskets, pottery, woodcarvings, beadwork, etc. Persevere!  I love this quote: ‘People don’t buy what you do. They buy how you make them feel and the story you give them to tell.’”

Ansel Ringler, Green Mountain, North Carolina. “Just go for it! You don’t need fancy tools and a huge workshop to build things. You’ll figure things out, make mistakes and build confidence. Those mistakes are your biggest teachers. I have basically taught myself everything that I know. I think most people are capable of far more than they think if they are just willing to try and fail. Most importantly have fun!”

Allison Ford, Greenville, South Carolina: “My advice is always, just go for it.  Take the first step.  No one becomes an expert overnight. But with time and effort, we’ll all improve.  Beyond that, it’s important to make the work that makes you happy. Not everyone will understand it, but you will find your people and your people will find you.”

April Hudgins, Easley, South Carolina: “If [art] is something you love and it’s a part of who you are, I would strive for that! We should all work to reach our goals as artists; and even if you cannot make a career out of your craft, always do your best to take time to make and create.”

Allen Monsarrat, Knoxville, Tennessee: “For anyone interested in a career as an artist, I would advise them to study art at a school with a reputation for having a great art department. Expose yourself to art through visits to museums where you can see it firsthand. Absorb as much as you can of what is out there in the larger world so you know what the standards are.”

Jacqueline Rueff, Greenville, Tennessee: “It’s hard being a career artist—there are lots of challenges: ideas, money, supplies, marketability and sales. Don’t expect a windfall. Create what you love—it’s a passion. Follow your dreams. Don’t be afraid to try new things.”

Greg Galbreath, Eggleston, Virginia: “I always tell prospective banjo makers, ‘If you plan on eating, be sure to plant a garden!’ I think it’s one of those professions that you do because you love the creative process and for the incidental rewards, like being your own boss, having control of your time and working with interesting people rather than making money.”

Brett LaGue, Fincastle, Virginia: “First, do something else for a while. [This will provide] more experiences to work from later. That being said, everyone is different. Also, it’s important to develop technical skills.”

Ralph Cale, Morgantown, West Virginia: “A wise man and good friend (an accomplished and respected artist) once told me ‘Whatever medium you choose, create what people are passionate about in your region.’”

Nichole Westfall (Coco), Huntington, West Virginia: “Creating is a sacred form of communication and the intention and process are important — it’s easy to get wrapped up in the end result or goal and it can darken your experience. That’s normal, but try your best to take care of yourself (both mentally and physically). Remember that everything that you make doesn’t have to be the best thing you (or anyone else) has ever done. And make good friends!”

The Yarn You Yearn For 

A scenic journey through the country roads of Greeneville, Tennessee, will lead you to one of the most sought after spots for artisans working with yarn—Two Roots Alpaca Farm and Fiber Mill. Owners Ruth Anne and Brad Goss love sharing their piece of paradise and give behind the scenes tours to show exactly how they create this luxurious yarn that is so yearned for.

Alpaca fiber is warmer than wool, and is also better at wicking moisture. It also doesn’t contain lanolin like you’ll find in wool, which makes this a more hypoallergenic option.

The fiber from the alpacas’ saddle area is used for the yarns created onsite, while the fiber from the neck, back haunches and chest is used for felting. With that felt, Ruth Anne and Brad create coasters, pre-felts for needle felting, and boot inserts.

There are several other items made with the fiber of the alpacas who call Two Roots home, including Christmas ornaments, scarves, rugs and cat toys. The most popular finished goods are hats and socks, though.

JoJo is one of the four-legged stars you can meet at the farm, and she has her own popular line of socks called JoJo and Friends. Two Roots also has another unique line called Funky Socks. These are made from leftover yarn that is left on the bobbins and no two pairs are alike.  

Learn more at tworootsalpacas.com.

—Brandy Jo Hastings

The story above first appeared in our November / December 2024 issue. For more like it subscribe today or log in with your active BRC+ Membership. Thank you for your support!