(Howard) Terry Nicholson was born August 14, 1941, in a small four-room house on what is now known as Poe Lane off Coburn’s Fork Road near Jarvisville, West Virginia. His parents, Howard and Ethel, taught him their values of hard work, education, and service to others. He grew up in rural West Virginia running the hills, creeks and step mines with the five Lowe boys. It was a boy’s iconic dream. Terry graduated from Bristol High School in 1959 where he was a star basketball player. He married Bonnie Ritter in 1960 and graduated from West Virginia University in 1964 with an Agricultural Science degree. Together with Bonnie, he raised 3 children after moving to Wooster, Ohio that same year.
Terry’s long career in agriculture started at the dairy barn at the OARDC in Wooster, progressed to the Gotfredson ranch in Michigan before he moved back to Wooster to run a successful Holstein herd at the Logil Farm west of Wooster. After 33 years in the dairy business, Terry transitioned to work for the Wayne County Soil and Water Conservation District and retired in 2020 from the USDA/FA as a District Director after 33 years of service. Terry was a founding member of the “Old Dairymen’s Association” a group of friends that meet for breakfast on Saturdays, and have all been involved in farming in one way or another in Wayne, Holmes or Ashland County. Terry is probably best known for the lasting relationships he has built with the people he has come in contact with throughout his life. Whether in the workplace, business arena, casual encounter or family relations, Terry created bonds that lasted his whole life.
Terry and Bonnie were married for 46 years and fought a 15-year battle with kidney disease until Bonnie passed away in 2006. Terry met and fell in love with Cathy (Hochstetler) in 2010 and were married in 2022. Dad described Cathy as “my partner in love, in life and in business. Hard working, smart and the glue that holds us together. She has taken me places I never been and would have never gone.”
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Survived by his wife Cathy Nicholson of Wooster, daughter Terri Lynn (Rich) Brosseau of Wooster, son Howard Timothy (Robyn) Nicholson of Dallas, Texas, and son Andrew Mark Nicholson of Wooster, and two stepchildren Rachael (Rich) Fishburn and Jon (Jill) Hochstetler of Wooster. Terry had 13 grandchildren and one great granddaughter all of which he loved dearly.
A memorial service will be held Saturday, December 3, 2022 at 3:00 PM at Wooster United Methodist Church, 243 N. Market St., Wooster, OH with Greg and Jon Rumberg officiating.have arrived in the US from our publishing partner arnoldsche art publishers in Stuttgart, Germany. Order a copy on our website: http://browngrotta.com. Designed by Tom Grotta, with text edit assistance from Laky and Rhonda Brown, and featuring Tom’s photography and that of several other photographers, the book examines the career of renowned textile artist and sculptor Gyöngy Laky from three perspectives. First, is Laky’s personal story of immigration and education narrated by arts and culture writer, Mija Reidel. Second, is an assessment of the evolution and impetus for Laky’s artwork by David M. Roth, editor and publisher of
, a San Francisco Bay Area online visual art magazine. Third, are images of forms, vessels and wall works, 249 pages, divided into seven sections:
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Laky has been described as a “wood whisperer.” Her highly individual, puzzle-like assemblages of timber and textiles helped propel the growth of the contemporary fiber-arts movement. Laky’s art reflects an extraordinary personal story: Born amid the bombings of World War II, escaping from post-war, Soviet-dominated Hungary to a sponsor family in Ohio, attending grade school in Oklahoma, studying at the University of California, Berkeley and in India, then founding Fiberworks Center for Textile Arts in the 1970s and fostering innovations as a professor at the University of California, Davis. And, since the late 60s, she has been creating individual works and installations in the US and abroad.
Oeuvre, which reflects those experiences, “defies easy classification, ” writes David M. Roth. “It draws on the history of indigenous people using found or harvested objects to create art and basic necessities; the 20th-century tradition of using found objects in collage, assemblage and sculpture; and the design and engineering principles that undergird contemporary architecture.“ Symbols and three-dimensional words feature in much of Laky’s work— using wood in this way, Roth posits, is akin to learning a foreignlanguage, and Laky is conversant in more than a dozen, ”becoming conversant in the dialects‘spoken’ by each species.” Pieces like
Can be read in more than one way— in this case, as“Gal, ” a statement on the hiring of women faculty at the University of California.“[It’s] an intellectual kind of play, ”says Bruce Pepich, executive director and curator of collections at the Racine Art Museum, in Wisconsin.”It’s not aconventional sense of humor, but it’s the kind one gets from walking into various layers that existin objects …You can take them at face value, but the more questions you ask, the deeper your engagement goes.”
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The bookprovides insight into Laky’s studio practice, activism, and teaching philosophy, which champions sustainable art and design, original thinking, and the value of the unexpected.
(May 7 -15)browngrotta arts is delighted to introduce the work of two artists new to the gallery, Jennet Leenderste, Netherlands, US and Shoko Fukuda, Japan. Each of them creates sinuous and supple objects — Leenderste of seaweed and Fukuda of sisal, ramie and raffia.
Jeannet Leenderste crafted with fabric as a child. She studiedgraphic design in the Netherlands and at27left forNew York in search of an internship. After completingher degree
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She moved to the Boston area and became an award-winning book designer. In recent years, has turned her focusagain to textiles. Having grown up on the Dutch shore, her fiber work responds to the rugged coast of Maine, where she now lives and finds sculptural forms in the landscape and its creatures. As an immigrant, she says, her Dutch culture and heritage are always with her, while she continues to make this new environment her home. Exploring theconcept of belonging, she develops work that feels at home in this marine environment. Adaptation and reflection are ongoing. Her fiber process brings these outer and inner worlds together.
, Jeannet Leendertse, coiled-and-stitched basket, rockweed [ascophyllum nodosum], sugar kelp [saccharina latissima] waxed linen, beeswax, tree resin, 11″ x 13″ x 5.5″, 2021. Photo by Tom Grotta
“My work grows from coastal impressions and material experimentation, ” Leenderste explains. “It takes on a new life when moved out of the studio and placed back in its natural environment.” That feedback propels her process. “I feel a strong responsibility to consider my materials, and what my creative process will leave behind. She began foraging seaweed—in particular rockweed—to work with, and discovered the amazing benefits this natural resource provides. “Seaweed not only creates a habitat for countless species, ” she says, “it sequesters carbon, and protects our beleaguered shoreline from erosion as our sea levels rise. Rockweed vessels show the beauty of this ancient algae, while drawing attention to its environmental value.” Several examples of Leenderste’s seaweed works will be featured in
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Shoko Fukuda is a basketmaker and Japanese artist who holds a Bachelor of Design from Kyoto University of Art and Design, and a Master’s degree from Osaka University of Art, where she focused on research in textile practice. She has exhibited her work internationally for the past 10 years. Shoko Fukuda currently works as an instructor at Kobe Design University in the Fashion Design department.
At browngrotta arts, we were recommended to Fukuda’s work by noted basketmaker Hisako Sekijima. “I encountered Sekijima’s artworks about 20 years ago, ” Fukuda says. “Lines made with expressive plant materials were woven into an abstract and three-dimensional shapes. I had never seen such small artworks, like architectural structures before. I have been fascinated by the structural visibility and the various characteristics of the constructive form consisting, of regular lines ever since then.”
Fukudaconsidered how to create a multifaceted form from a flat surface. By making corners, shapes are formed based on intentional decisions that lead to unexpected tortuous and twisted shapes. By weaving and fastening as if making a corner, a rotating shape was created. The movement of coiling creates a rhythm, and the lines being woven together leave organic traces in the air. In
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Is made of cylindrical spirals stacked like layers. They were woven from different directions — up and down, left and right — to form a single piece. The work has a dense structure, dyed black and shaped like a tightly closed shell.
Fukuda is interested in “distortion” as a characteristic of basket weaving. “As I coil the thread around the core and shape it while holding the layers together, I look for the cause of distortion in the nature of the material, the direction of work and the angle of layers to effectively incorporate these elements into my work. The elasticity and shape of the core significantly affect the weaving process, as the thread constantly holds back the force of the core trying to bounce
