Goddard College MFAIA
Northern Michigan University BFA Fiber Art
University of Wisconsin, River Falls fine arts
University of Wisconsin, Madison liberal studies
Monday–Friday mid August to the beginning of May
Weaving and Off Loom Structures
Surface Design for Textiles
Studio Practices in Fiber Design
Technical Aspects of Fiber and Fashion
Color and Composition
Born in the Upper Peninsula, Phyllis Fredendall is professor of Fiber and Fashion Design at Finlandia University’s International School of Art and Design in Hancock, Michigan. She teaches weaving, spinning and off-loom structures; garment design; jacquard design using CAD software; dyeing and printing; and two- and three- dimensional design fundamentals.
Phyllis has studied weaving in Wisconsin, Michigan, Minnesota, California and British Columbia; garment design in New York City; and felt making and printing and dyeing in Finland. She has had the privilege to serve as visiting lecturer in Finland, Estonia, and Canada and has enjoyed artist residencies on Isle Royale National Park, Xanadu in Eagle Harbor, Michigan, and at the Huopakeskus (felt center) in Petäjävesi, Finland.
In her current art practice, Phyllis explores the relationship of memory to place working primarily in wool and silk and using the process of hand felting. The maps of the Quincy Mine whose shafts lace nearly two miles under her home in Hancock continue to inspire and inform her felt works which have been exhibited regionally and internationally.
I have had the privilege to travel to Finland through work at Suomi/Finlandia and with my husband to visit family. The culture, aesthetic, and art processes continue to influence me as an art maker and professor.
Place and memory have been the dominant forces in my work. Living in the heart of Hancock, the maze of the once thriving Quincy Mine is always under me. I seldom think about it, yet the complex structure of shafts and addits reaches deep under my home. And though the mine closed in 1945 I know that ultimately, I am here because of mining. My great grandfather Richard Rowe, his father and his grandfather worked underground as tin miners in Cornwall, England. The elder two died of “miners’ complaint.” But Richard was spared the fate of his father and grandfather when the tin mine closed while he was yet a young man. He immigrated to North America and eventually moved to Champion, Michigan where he worked in the mine there. Richard and Nellie Rowe raised their family of nine and Alvah, their third child was my grandmother.
How was it to come out of the mine everyday? That ascent to fresh air and light must have given some measure of daily renewal to the work-worn miners. These pieces attempt an understanding and celebration of those passages.
The entanglement of wool fibers in the felting process forms a strong cloth without an underlying structure. This ancient process originated in Central Asia, and is practiced throughout the world by contemporary artists and craftspeople.
Areas of Interest / Speciality
Fiber arts: weaving, feltmaking, spinning, knitting, crochet, beadwork, quiltmaking
Surface Design Association, Buellwood Weavers,
Michigan League of Handweavers
Winter 2003 Fibre Focus, “Finnish-style Resists”
pp. 12-13 an illustrated process article
Spring 2000 Surface Design Journal,“Transforming Useful Histories”
pp 19-21 a review of the work of Linda Lewis
Surface Design Winter 2010 “Phyllis Fredendall: Mining History in Felt”
Fascination with Fiber by Marie Gile and Marion Marzoff with photo on pp 145.
Artists of the Kewenaw: Phyllis Fredendall chapbook Vertin Press
Finn Fest 2002, 2006, 2011, Northern Ontario Weavers and Spinners 2005, Michigan League of Handweavers exhibition opening – juror’s talk 2016
Gallery of Artwork