S T U D I O
Our studio is many things—
gallery, concept store, jewelry studio, tea room, and some-day-book-club.
Displayed in our front gallery are works by various artists, both local and those who have inspired Mary’s work.
We carry selection of photography books, hand-woven textiles, cashmere and wool sweaters, felted hats, and tea, alongside our newest jewelry collections featuring one-of- a-kind pieces. Our jewelry studio is in the back of the space, which is also open to visitors.
We welcome people in to have a look around, enjoy a cup of tea, and explore.
A R T I S T S
Alexandra Kohl is a textile artist specializing in weavings using cotton and horse
hair sourced from an equine rescue farm called Our Farm in North Salem, NY, that
rehabilitates and re-homes unwanted horses. Her minimalist aesthetic is inspired by the meditative pace of hand-craftsmanship, and the union of plant and animal
textures. Her pieces radiate a stillness and strength that is reminiscent of both Agnes
Martin and Anni Albers, but her style is wholly her own.
“I think of the loom as an ancient computer, one that insists on a different sense of
time than we are used to in daily life. Setting it up can take up to ten hours, and the
weaving hasn’t even begun...Art, in all forms, asks us to slow down: pouring molten
bronze into ceramic molds, mixing pigments of oil paint on a palette, or threading
the reed and heddles that hold a warp in place. I have apprenticed to all of these forms.
The work demands steady focus and attention— from the initial sketches to completion
— and even so, the final product is always a surprise. Hand-craftsmanship is an intensive
and meditative practice. It’s my intention that the healing nature of this art transmits to
those who enjoy these pieces.”
The woman behind ANK ceramics is Ariela Kuh, a dedicated ceramicist working out of
Lincolnville, ME. Her hand-crafted pieces are each turned on the wheel or hand-built, trimmed, sanded, and fired in an electric kiln. Her glazes are all mixed carefully in small batches.
Ariela has been called a “quiet trendsetter”; she works for herself, and has produced tableware for Hugo’s in Portland, Earth at Hidden Pond in Kennebunkport and Momofuku Ko in New York City.
Mary MacGill Studio currently represents ANK's one-of-a-kind vessels ranging from 5 inches to 2 feet tall and inspired by ancient Greek craters. Of her recent work, Ariela explains, “Lately, I have been looking at ancient Roman Glass bottles, George Ohr, the“mad potter of Biloxi,” and Matt Connor’s paintings, to name a few things.”
Starting out in London and now operating out of Brooklyn, Bellocq Tea offers carefully
selected, single-origin teas from estates in China, Japan, India, Nepal, Taiwan,
Sri Lanka, Vietnam, and Malawi. Their teas are full leaf and almost entirely organic, sourced from high elevation gardens. Several months a year the founders, Heidi Johannsen Stewart
and Michael Shannon, still travel abroad to revisit estates, source new teas, and ensure the quality behind the tea’s cultivation and its processing.
“Our selections are the result of rigorous sourcing and lengthy tastings. The unifying factor
is exceptional quality and a beautiful flavor profile,” says co-founder Heidi. “In Western
culture, tea so often falls prey to this drowsy, well-worn vision of a cup of black tea that’s
fashioned more by tradition than by exploration of the palate. That’s lovely in its own
way, but why can’t tea be more exciting? You don’t even need to look at our blends or our
more exotic herbals to get there—just take the tea. Tea by itself is already so invigorating, affecting—transformative. We want people to explore.”
Brookes Boswell founded her label in 2012 after an apprenticeship with one of New York City’s longtime milliners. Her background in architectural design, fine art and textiles gave Brookes a keen eye for precision, and an appreciation for the handmade aspects of the milliner trade. Her studio is in Portland, OR, where she and her team hand block and individually construct each hat, creating a product that mixes functionality with a classic aesthetic.
“I’m inspired and attempt to design for functionality. Other than the obvious reason that modern women are concerned with sun protection and comfort, I feel that we’re also becoming increasingly concerned with not just quality of our possessions but the maker behind the piece, especially in regards to accessories. Accessories are becoming a more important part of our wardrobe and women want to know the story behind each piece, as if they were pieces of art or are collectible, and tied to our identity. Though I make no claim to my hats being works of art or collectible (they’re neither) I think they do fit into my wardrobe of a woman who likes a story behind her accessories.”
D. Bryant Archie
Working with women-run cooperatives in Guatemala and Peru, textile designer D. Bryant Archie creates gorgeous handmade alpaca blankets and pillows. Bryant has traveled extensively to first seek out, and then establish respectful relationships with the makers themselves, as part of the movement for fair and dependable wages. D.'s work is a meticulous product of artistic, intelligent design, a deep understanding of color, and centuries-old, indigenous techniques.
Her initial inspiration for the company came to her on her honeymoon in Morocco in 2005.
“I woke up one of the mornings I was in Marrakech with the idea of starting with blankets. I saw blankets not only as textile fiber, but to also have an intellectual component to them, much like art has a component of intellectual thought and expression. It made sense to me. From there I started to focus on finding people to work with; I especially wanted to work with artisans and I was open to different places of the world.”
Demy Lee first launched her eponymous sweater line in 2007, after studying at Parsons School of Design and working at Calvin Klein and GAP Inc. Her first line was a collection of premium cashmere, and has since grown to include cut & sewn knit and woven essentials for women, as well as a men’s collection. Her work is luxurious, versatile, and fills a niche in the industry for classic yet current knits.
She says of her inspiration, “I wanted to design what I appreciated most in my own closet. Something I reached for everyday, sweaters.” She works out of her design studio in New York City, where she also raises her two daughters.
Jim works with raw materials—coal, rubber, leather, and steel—to create functional furnishings that give off a wildly creative and industrial feel. Zivic has created work collected by private and commercial clients such as Lou Reed, Yves Saint Laurent, Yoji Yamamoto and Tom Ford and is recognized in both the art and design communities as an innovator of materials.
On working with one of his favorite natural materials, Zivic expresses, "I could work with it for the rest of my life. I love shaping and wet polishing it! It’s brittle but soft, when honed it looks a lot like graphite…silvery and gorgeous. It’s so weird and wonderful – what the hell are we burning it for?! I’m a very tactile, sensual person so it works for me, but it’s also the history which makes it such a great material, it really digs into our industrial heritage.
Kiki Smith has been known since the 1980s for her multidisciplinary practice relating to the human condition and the natural world. She uses a broad variety of materials to continuously expand and evolve a body of work that includes sculpture, printmaking, photography, drawing and textiles. One of the most widely recognized contemporary artists and one of the most pro- lific, Smith is also credited with having forged her own unique path within Feminist art by concentrating on the human figure itself when abstraction and performance art were more popular. New York Times art critic Holland Cotter summed up Smith’s style perfectly: “This
is not fashionable style; for much of the art world it never has been. And maybe that’s why, more and more, her art seems to occupy a universe of its own, a floating world where art, like religion, is both high and low, gross and fine, and always about the only essential things.”
Michael Moran, a woodworker and tree lover, and his partner Celia Gibson have been designing and building modern yet traditionally crafted furniture since 2004.
Interested in the interaction of “natural and man-made worlds,” their pieces are both elegant and honest, paying homage to the unique characteristics of the wood itself. “We try to take what already exists in the wood’s inherent beauty and make it into a functional piece,” Michael says. The trees used for their custom and limited-edition furniture - as well as for Michael’s sculpture - each have their own story to tell. Working with domestic hardwoods in their workshop and home in the Hudson Valley, their designs often elevate and show an appreciation for the aspects of trees usually deemed ‘imperfections’ by furniture designers and consumers alike; each knot and curve and bark inclusion become part of their story telling. Such care and reverence for materials encourage us to reconsider the ways in which we interact with - and often take for granted - the natural world around us.
Mary MacGill Studio currently carries Moran Woodworked Furniture pieces as well as select sculptures from three of Michael Moran’s series.
Steidl books came about in 1967 when its founder, Gerhard Steidl, started printing posters for art exhibitions, which he soon expanded to include German literature along with translations from French, English and Icelandic. In 1996, Steidl started his own photo book program, which has grown to include some of the most renowned photographers and artists from around the world. His press (in Göttingen, Germany) publishes more than two hundred photography books a year, and Steidl oversees the production of all of them personally.
According to the New Yorker, Steidl is known for his “fanatical attention to detail, for superlative craftsmanship, and for embracing the best that technology has to offer.” He is “the printer the world’s best photographers trust most.”
Susan Paulsen's photographs contain a visions of ordinary objects made preternaturally interesting, and infused with charm. Her work is both painterly and dream-like, yet rooted in the every day experience of family, heritage, and place.
Paulsen has had solo exhibitions at Maison Européenne de la Photographie (Paris), Deborah Bell Gallery (New York, NY), and Arkansas Art Center (Little Rock , AR). She has published three books of her photography with STEIDL: Tomatoes on the Back Porch (2005), Sarah Rhymes with Clara (2011), and Wilmot (2012).
Photography critic Vicki Goldberg says of Susan’s work: “Life’s major moments and cataclysms generally arrive with fanfare, but existence tends to be daily, and days fill up with insignificant matters that mean more than they say. Paulsen’s life is replete with family, a house, a kitchen, a laundry line, a bed, several dogs, the sea, fruit, sunlight that steals a march on expectations, colors that reverberate, shadows that venture into the avant-garde, and a model who is perfectly comfortable doffing her clothes – Sarah, whose name rhymes with Paulsen’s grandmother’s and who stands in for the photographer.”