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Craft Around the Country

Craft Artists in a New Penland Exhibition Strive for a More Equitable Future

Borrowing its title from Marie Curie, the twelve artists in Now is the Time to Understand More, produced in conjunction with Craft in America, turn a mirror on America’s discontents.

By Robert Alan Grand
July 31, 2026

Photo courtesy of Penland Gallery

An installation view of Now is the Time to Understand More at Penland School of Craft's John & Robyn Horn Gallery in North Carolina.

Artists and craftspeople who act as both “the narrators and the canary in the coal mine of this time,” writes curator Kathryn Gremley, are the focus of Now is the Time to Understand More, a new exhibition running through August 29 at Penland School of Craft’s John & Robyn Horn Gallery.

The works produced by the dozen artists in this show, presented in partnership with Craft in America as a part of Handwork 2026, act as “a catalyst for insight,” she adds, a spark necessary as the nation reflects on two-and-a-half centuries of progress and the ongoing work needed to foster a more equitable future.

Works such as Shae Bishop’s Gilded Age and Robber Barron (both 2026)—detailed ceramic replicas of a cowboy hat and a top hat, respectively—express this sentiment with a wink and a wry smile. The crown and brim of the former are adorned with ostentatious gold ornaments that reference the Oval Office’s Trump-era décor updates, illustrating how symbols of elegance, prosperity, and power can quickly become gaudy; Robber draws parallels between 19th-century industrialists and today’s tech moguls, both of whom accumulated immense wealth by exploiting labor, flouting regulations, and reshaping the economy in their wake.

Photo courtesy of Penland Gallery

Detail of Shae Bishop's Gilded Age, 2026, ceramic, glaze, gold luster.

Other works in the show examine how grief can profoundly inspire reflection and transformation. Piper Shepard’s 2017 muslin wall hanging Silhouettes Twining appears as a 96-inch-wide veil, featuring a lacelike pattern of mourning flowers hand-cut by the artist. The work’s delicate appearance symbolically highlights how a material and feeling can be, as Shepard explains, “both fragile and enduring.”

In his 2024 series In the Service of Living: Black Hearts Medals, metalsmith and multidisciplinary artist David Harper Clemons honors Black lives lost in everyday moments that quickly turn tragic. Large heart-shaped medallions, made from copper, bronze, and red brass, feature black-and-white illustrations of moments that shouldn’t have prompted racially motivated, often fatal attacks—ranging from scenes of Emmett Till whistling and Eugene Williams swimming to depictions of Breonna Taylor’s bed and Ahmaud Arbery’s running shoes. The back of each medal is inscribed with the phrase “For Merit in the Battle of Existing,” highlighting how simply living in America can “as a Black person becomes, at times, a fight for survival,” the artist says.

Together, writes Gremley, these works provide viewers “with the vehicle to engage with concepts often outside our own understanding or comfort,” showing how art and craft practices rooted in empathy and understanding can be a powerful way to demystify the unknown, reveal commonalities, and, in turn, help eradicate prejudice and fear.

Photo by Dan Meyers

Piper Shepard, Silhouettes Twining, 2017, hand-cut muslin, gesso, graphite, wood and steel armature, 96 x 54 x 12 in.

Photo by LOAM Marketing

David Harper Clemons's 2024 series In the Service of Living: Black Hearts Medals honors Black people killed in everyday situations.

Robert Alan Grand is a writer and photographer based in Asheville, North Carolina. He received the 2025 Andy Warhol Foundation Arts Writers Grant to cover contemporary art in southern and central Appalachia.

Learn more about the exhibition on Penland's website and social media.

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This article was made possible with support from the Windgate Foundation.

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