Class sizes have been an issue this year. I know that others have it worse, but a large class size is a large class size. Students do better in smaller classes…FACT! We have four 2nd grade classes all at 25 students each. We have four 4th grade classes now(as of a week ago), but my special area team voted to keep the old schedule to avoid having a split planning time(I did not vote to keep the old schedule), and have the three 4th grade classes at 31, 31, and 29 come to specials. It is a struggle to restructure lessons and manage supplies when classes are large. Just 5 to 10 more students than “normal” can really through the balance of a class off. I have managed to do the coil pot lesson with 2nd grade, but there is more of a “rush” on my end of things in prepping for before class & firing. I also feel like my flying through clay!!! How do you all handle large class sizes? What are your biggest classes?(I’m coming at this from an elementary perspective.)
I started creating a Turkey-A-Day back in 2016 (I think..possibly earlier?). Each year I change up how I create the turkeys. I’ve done a paper doll turkey with a different outfit each day, class picture turkeys from different decades, art turkeys, media turkeys…..a little bit of everything! This year I created a cityscape and placed a turkey in the city each day. It got kind of crazy, but it was also a whole lot of fun.
We’re forever inspired by artists who dare to create works without traditional gallery spaces in mind. Textile art and ceramics are reshaping how we experience the modern home, offering objects that blur the line between functionality and fine art.
By Sophie Heatley | 02 Dec 2024
Two artists at the forefront of this movement, Heidi Lanino and Michelle House, bring unique perspectives to their craft, turning everyday items and spaces into expressions of creativity, connection, and cultural storytelling. In this interview, we bring together their insights on presenting statement pieces the artist’s way.
Heidi Lanino: “My work is meant to interact with its environment.”
Heidi Lanino, known for her figurative drawings and paintings, describes her transition from drawing to clay as a natural evolution. “Working with clay connects me to the earth,” she explains. “It’s a material rich with history, deeply rooted in functionality and beauty.” Her ceramic plates, adorned with calligraphic lines and sgraffito designs, often depict women, birds, and foliage inspired by mythology and nature. “I want my work to celebrate the fabric of life,” she says, “transforming domestic objects into poetic vessels that merge the natural and the philosophical.”
Detail of La Femme Bleu by Heidi Lanino (clay, slip, ceramic, glaze, 2023, 9 x 38 x 38 cm)
Lanino’s process is as meditative as it is expressive. “The act of hand-building allows me to shape, draw, and paint directly into the clay, creating works imbued with texture and symbolism,” she shares. For Lanino, making a statement isn’t just about bold designs but about creating a dialogue between the piece and its surroundings.
“Arranging plates in clusters on a wall creates dynamic compositions that feel like visual poetry,” says Heidi Lanino | Pictured above: ceramic display of handmade bowls by Heidi Lanino
“My work is meant to interact with its environment,” she adds. “Arranging plates in clusters on a wall creates dynamic compositions that feel like visual poetry, telling a story that changes with the viewer’s perspective.” Her advice to collectors? “Let the pieces breathe—use neutral tones or minimal décor to allow the details to shine.”
Heidi Lanino’s Studio
Michelle House: “Don’t be afraid to hang colourful works on dark walls.”
For Michelle House, textiles are an opportunity to infuse spaces with vibrancy and texture. Her bold, multi-dimensional works, often layered with geometric patterns and intricate details, aim to spark a tactile and visual dialogue. “Textiles have a unique power to soften a room while adding energy,” she explains. House encourages collectors to be adventurous: “Don’t be afraid to hang colourful works on dark walls. I saw a yellow piece of mine displayed on a deep grey wall—it was striking!”
Young Vic Series: No 1 by Michelle House
From left to right: Traces #2 , Traces #1 , Traces #4 – Editions of 50 (Archival Hahnemuhle Photo Rag 308gsm (100% cotton) printed with pigment inks, 2019 – 2020, 84.1 x 59.4 cm)
Lanino also believes in the power of experimentation, encouraging designers to embrace creative risks. This approach was recently highlighted by a collector who paired her swirling pencil and charcoal marks with their precisely lined walls. The result was a striking visual contrast that maintained a harmonious balance, enhancing the composition without overwhelming the space.
Figure No.1 (SOLD) by Heidi Lanino in a collector’s home (charcoal and pastel on paper, 2023, 119.4 x 88.9 cm)
Similarly, House emphasises the versatility of her work, noting how it adapts to different environments. “Some pieces are hung from wooden dowels to create dimension, while others are framed behind anti-reflective glass to highlight the texture of the linen. I’ve created curtains for clients before with my work! The possibilities are endless,” she says.
A unique curtain commission by Michelle House using her signature geometric designs
“Even in narrow spaces like stairwells, textiles can make a statement while dampening sound and adding warmth.” Beyond their visual appeal, House explains, textiles absorb sound, adding warmth and calm to a space—qualities that enhance their presence as both art and functional design elements.
“A statement piece isn’t just about standing out; it’s about bringing meaning to the everyday.”
Both artists draw immense fulfilment from their commissions, which often push their creativity in unexpected ways. Lanino recalls creating ceramic pieces for hospitals and healing centres. “Knowing my work could bring comfort and familiarity to such spaces gave the process a deeper meaning,” she says.
Fleur Blue Flower by Heidi Lanino (clay, ceramic, slip, 2022, 10.2 x 35.6 x 35.5 cm)
Similarly, House shares her experience designing textiles for a historic building. “The British Academy commission was a fascinating challenge,” she reflects. “Drawing inspiration from the architectural details, I created textiles that echoed the building’s history while complementing its grandeur.”
British Academy Commission | Photography credits: Benjamin Hutton
Their work is as much about storytelling as it is about craftsmanship. Lanino sees her plates and vessels as “reflections of cultural storytelling,” while House considers her textiles “artworks that live and breathe within a space.” Together, they illustrate why ceramics and textiles are becoming the new statement pieces for modern interiors. As Lanino puts it, “These aren’t just objects—they’re an invitation to connect with beauty and meaning in everyday life.” And House agrees: “A well-placed textile or ceramic can transform a room, creating an atmosphere that feels both grounded and alive.”
Statement Pieces for Modern Interiors
Whether it’s a single bold plate on a table or a series of textiles adorning a stairwell, the power of a statement piece lies in its ability to transform a space—and invite conversation. As Lanino aptly concludes, “A statement piece isn’t just about standing out; it’s about bringing meaning to the everyday.”
Red Reeds by Michelle House (Archival Hahnemuhle Photo Rag 308gsm printed with pigment inks, 2014, 50 x 40 cm)
Make a statement at home with our Statement Pieces Collection, full of works that inspire conversation and leave a lasting impression.
Op Art is so much fun to study with your students (I’d say 2nd on up!). There are so many interesting works to look through, and so much inspiration to be had. Think about things you are trying to cover (standards/skills/elements/principles), and focus your lesson in that direction. It really is so versatile.
If you need to bounce ideas off of someone, leave me a comment here or find me on my other social media. I’d be happy to help.
Eco-Expressions: Drop-In Letters and Art-Making Workshops with Michele Lorusso
jascencio
Wed, 04/09/2025 – 11:15
Join artist-in-residence Michele Lorusso for drop-in activities including letters to the world in the future, environmental chats, and hands-on art-making workshops inspired by the exhibition Nature on Notice: Contemporary Art and Ecology.
All ages are welcome to participate. All programs provided with bilingual translation in Spanish.
All education and outreach programs at LACMA are underwritten by the LACMA Education Fund and are supported in part by the Judy and Bernard Briskin Family Foundation, The Rosalinde and Arthur Gilbert Foundation, the William Randolph Hearst Endowment Fund for Arts Education, Alfred E. Mann Charities, The Ralph M. Parsons Foundation, Gloria Ricci Lothrop, the Flora L. Thornton Foundation, U.S. Bank, and The Yabuki Family Foundation.
If you want another op art style project with shading….try this one out. I did switch to using pencil this year instead of sharpie to draw it because I had so many students with anxiety. Was not worth stressing them out! All you need is pencil, paper, colored pencils, and patience!
Textile art is experiencing a remarkable resurgence, celebrated for its ability to infuse spaces with texture, warmth, and personality. In this exclusive feature, contemporary artists Alla Grande and Eni Pullumbi share their contrasting approaches and creative processes, offering a glimpse into the boundless potential of textiles in contemporary art and interior design.
By Cecile Martet | 12 Dec 2024
At the forefront of this movement are Alla Grande, renowned for her intricate, highly textural pieces, and Eni Pullumbi, who pushes boundaries with bold explorations of volume, colour, and unconventional materials.
Alla Grande: a new way of perceiving luxury
Alla Grande, a German artist and designer trained in architecture, sees her textile works as inner journeys translated into abstract compositions. Each piece is a superimposition of sensations and reflections. ‘My art is a journey through thoughts and emotions – each piece is an expression of the limitless nature of human creativity,’ she says.
Alla Grande,The Checkmate (2024, acrylic paint, cotton and glue on canvas, 80 x 80 cm)
Her training in architecture has had a direct influence on her work. The strong geometric shapes and play of light and shadow she favours give her work a sculptural dimension. They fit perfectly into a variety of settings, from luxury hotels to workspaces and private residences. For the Krefeld-based artist, textile art doesn’t just dress up a space; it invites an emotional and sensory experience.
Alla Grande, The Labyrinth 1 (2023, fabric sculpture, acrylic on canvas, 100 x 100 cm) | SOLD
‘The right lighting can accentuate texture and colour, making the artwork seem alive,’ she explains. Soft, directional lighting reveals the richness of folds and shadows, while carefully chosen framing can emphasise the elegance of a piece while protecting it.
Alla Grande also encourages people to consider the scale and placement of their works so that they find their rightful place in an interior. “Geometric or monochrome textile works create a modern, timeless aesthetic without overwhelming the space,” she says. This ability to create bespoke works in harmony with the surrounding architecture is an integral part of her approach.
Alla Grande,The Eye of the Ocean (2024, acrylic and glue on MDF board, 68 x 68 cm)
For Alla Grande, textile art is a medium that transcends traditional boundaries: “My works allow the viewer to engage in personal explorations and establish a connection with art.” This intimate relationship between work and space offers a new way of perceiving luxury, where aesthetics combine with a deeply immersive experience.
Eni Pullumbi: art that comes alive
Albanian artist Eni Pullumbi reinvents textile art through “wall sculptures” using unexpected materials. His practice, fuelled by an insatiable curiosity, leads him to experiment with elements such as expanded polyurethane, felt, and abrasive sheets. Each work is born of a meticulous observation of everyday life, transforming banal objects into captivating artistic pieces.
In Eni Pullumbi’s studio
“It all began with a banal moment: while washing up, a sponge caught my eye. Its duality– soft on one side, rough on the other–fascinated me, leading me to imagine how it could be transformed into art”, he recounts. From this intuition was born the SpongePop collection, a playful and colourful series that explores geometric shapes and chromatic contrasts.
Eni Pullumbi, Fourteen Curious Eyes (2024, woven mural, felt and mixed media on MDF, 83,5 x 83,5 x 7,8 cm)
Eni Pullumbi’s aesthetic evolves with each collection. SpongePop is suited to eccentric, modern spaces, where bright colours blend with pop-style interiors. Curious Eyes, on the other hand, with its pastel tones and delicate volumes, fits into warmer, more intimate environments. “Walls with natural imperfections, for example, add an authenticity that enhances the softness of this collection,” he explains.
Eni Pullumbi, Bonnie and Clyde (2023, polyurethane, abrasive sheet and acrylic artwork, 91 x 61 x 8 cm)
The interaction of his works with their environment is at the heart of his approach. “When choosing a location for one of my creations, I invite you to consider it as a living thing, capable of interacting with its environment and transforming its atmosphere,” explains the Milan-based artist. Under natural light, the materials reveal shifting shadows that enrich their expressiveness. That said, the artist also enjoys experimenting with artificial lighting to intensify volumes and textures.
Textiles and tapestries: immersive, tactile experiences
Textile art is capturing attention not just for its aesthetic appeal but for its ability to evoke sensory and emotional connections in an increasingly digital world. Alla Grande and Eni Pullumbi illustrate this beautifully—offering pieces that go beyond decoration to create immersive, tactile experiences. Their work reminds us that art can be both personal and transformative, grounding us in the materiality of the spaces we inhabit.
Discover their creations and more in our textiles and tapestries art collection—where innovation meets tradition, and every piece invites you to rethink the relationship between art and living.
Eco-Expressions: Drop-In Letters and Art-Making Workshops with Michele Lorusso
jascencio
Wed, 04/09/2025 – 11:15
Join artist-in-residence Michele Lorusso for drop-in activities including letters to the world in the future, environmental chats, and hands-on art-making workshops inspired by the exhibition Nature on Notice: Contemporary Art and Ecology.
All ages are welcome to participate. All programs provided with bilingual translation in Spanish.
All education and outreach programs at LACMA are underwritten by the LACMA Education Fund and are supported in part by the Judy and Bernard Briskin Family Foundation, The Rosalinde and Arthur Gilbert Foundation, the William Randolph Hearst Endowment Fund for Arts Education, Alfred E. Mann Charities, The Ralph M. Parsons Foundation, Gloria Ricci Lothrop, the Flora L. Thornton Foundation, U.S. Bank, and The Yabuki Family Foundation.
This made my heart so happy!! A few weeks ago I taught a lesson on the artist Romero Britto. A para-pro (someone who works with children that need extra assistance) loved the work I shared from Britto, and ordered a new phone case for herself. She had to share it with me!!
Narrative art tells a story. I love challenging students to create interesting original narratives. They have to truly think through what their story is, and how to best share it with the viewer. A narrative is at its best when it considers the setting (environment), characters (people that it involves), and plot (what’s happening). I ask students to periodically stop and share their work with their neighbor. If their neighbor is unable to convey what is going on in the story, then the artist knows they must reconsider/rethink what they are doing so that they can have their work tell the story more effectively.
But in your hearts revere Christ as Lord. Always be prepared to give an answer to everyone who asks you to give the reason for the hope that you have. But do this with gentleness and respect, keeping a clear conscience, so that those who speak maliciously against your good behavior in Christ may be ashamed of their slander. 1 Peter 3: 15-16
Have you ever been asked to share your “testimony”(your faith story)? For some, the idea of doing such a thing is extremely scary. Others might think they could do it with ease, but quickly realize when doing so that they lack direction/focus, and are unable to effectively share their journey of faith. No matter where you find yourself on this spectrum, being able to share your story is an important “tool” that the Lord wants to use in your life & the life of others. Like the narrative art work I have my students create, you must think through your story and consider how best to share it with others. You don’t want it to sound scripted/canned…but we must be ready in & out of season to give account for our hope! Writing it down, sharing it with a friend, and thinking upon what you are sharing will allow you to refine it & effectively convey your story I also feel it will allow you to reflect on God’s love & faithfulness in your life. That is a WIN-WIN situation.
The Easter Story is on our hearts & minds right now…. but I want to know how the
Easter Story has impacted your story!
Dear Lord…you have blessed me with a story to share. Thank you for the testimony you have given me. I know it your story of grace, love, and hope. Something our world needs to hear. Allow me to effectively & fearlessly share the reason for my hope. Help me to glory you through the story of my life. And may I see that it is not finished, but still unfolding as I go & grow in you.