Horse and Hare are me, Kerry Stavely, and my husband Neil Stavely. We started working under this name in 2008 when we opened our Etsy shop, pulling it from our Chinese Zodiac signs. I am the Horse and Neil is the Hare.
Neil and I met in Memphis, Tennessee while attending art school in the late nineties and have basically been together ever since. We later moved to Winchester, Virginia where we continue to work and live to this day. We do our work mostly out of our home but also have a gallery/handmade retail store here called Tin Top which serves as a home base for us to showcase our work as well as the work of other artists and crafters from around the U.S. We have some studio space there as well and our beloved letterpress lives there too.
Although our work is rooted in linoleum and wood block printing, neither of us focused on the medium very much in school; we came to it as a way to work on smaller projects that we could easily pick up or put away when our daughter was young. We started off just doing linocut prints but it grew from there and has since evolved; exploiting the medium in more experimental and playful ways, creating mixed media works and semi-sculptural assemblages and carved paintings. Now we do everything from commissioned design work, to our own prints, wearables and home goods to one of a kind fine art pieces.
The subjects of our are work are pulled from history, literature, occult/spiritual symbolism and iconography, and the natural world. We like to blur the line between art vs. craft, low brow vs. high brow. Despite the diversity of content, the work is tied together stylistically which primarily comes from the block printing medium but also from our approach.
A lot of people ask us if we work collaboratively on pieces. Usually we do not. Although we think of ourselves as team, our collaborative process is mainly on the conceptual level, whether it’s bouncing ideas off each other or giving each other constructive criticism. On occasion we might work on the same piece but it’s pretty rare – we both have a hard time relinquishing that control!Again our work is tied together due to the nature of the medium but our styles are pretty different. Neil’s work tends to be more controlled and illustrative whereas my work is rougher and more expressionistic. All in all though, I think we work pretty well together!
Neil and I, on average, only do a couple art fairs a year. This will be our first adventure to Art Star and Philadelphia together, we are really excited about it!
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Find Horse and Hare at our Upcoming Fall Art Star Craft Bazaar on Nov. 7th + 8th. or visit their website here
Mauro’s first solo exhibition at Art Star will feature a charming array of “Naughty but Nice” animal portraits. Yeah they may look cute and innocent on the surface but these cuddly animals have issues. The show will feature an all new collection of acrylic and ink paintings of Mauro’s cynical and bitter cast of furry friends. We will be celebrating the opening all day long during shop hours. Come ready to day drink with us, as we’ll have a boozy beverage or two to offer guests! Can’t make the opening? No worries, the show will be up in our gallery space through November 22nd.
Art Star artist and regular blog contributor, Christie Sommers of 
If you have stopped by our shop on a Saturday this summer, chances are you met our employee, Julia! Well, she is not only a super awesome shop helper, she is also an incredibly talented illustrator. She will be bringing along a selection of her original works and prints for you to peruse and shop.
When you are ready to dye:
Movers who partner with Move For Hunger collect unwanted, unopened, non-perishable food items and deliver them to local food banks. With this simple idea and growing network of 600+ moving companies, thousands of realtors, and corporate housing professionals, Move For Hunger has delivered over 5 million pounds of food to local food banks throughout North America, providing meals for more than 4.2 million Americans.
Wilder always had an eye for color and fabric. She originally started with knitwear but when their daughter came along she wanted to make timeless clothes that weren’t easily found in shops. Believe it or not she’d always been intimidated by sewing, mostly due to the half broken machines that she’d found in thrift stores and been working on. Her friend gave her some expert advice, buy a cheap, new machine with instructions (this is key) and learn the ropes on that. She did and with a few quick lessons from said friend, figured out sewing was not as terrifying as she’d first thought. It, in fact, was fun and liberating!
when i started making pots under Stanley Chester & Albert about two and a half years ago, i had almost 15 years working as a ceramic artist under my belt, including a BFA and an MFA in ceramic sculpture. i started SC&A with a very simple premise: to produce well made vessels that would be accessible to a diverse audience and appeal to a population of people who normally didn’t buy handmade pots. with that in mind, i decided to stick to simple forms like bowls and cups – things that could be used in a variety of ways and be at home in any domestic environment.
i’ve always been in love with vintage imagery, pop culture and snark, and the unexpected ways they can be combined. as for putting them on pots, it all started about seven years ago when i was still in grad school. i made a vase for a friend’s birthday: on one side was a dead flower, and the other said “BITCH PLS”. no one around me really got why it was funny, but i thought it was hilarious at the time (and still do). ceramics sometimes has a tendency to be overly formal and serious, so i love to disrupt that expectation.
most everything i make starts on the potters’ wheel, thrown by yours truly. i favor simple, elemental forms. everything is thrown generously and has a solid weight and heft to it. i want these pieces to stand up to daily use in your home, not put on a shelf only to be admired.
after the pots are trimmed and dried, they are bisque fired to 1860 degrees, and then glazed and fired again to 2232 degrees. almost everything i make is dipped in a clear glaze to allow the clay body (which is a really delicious speckled while stoneware) to shine through. i try to keep glazing very simple, mostly because i really hate glazing, but also because i’m more interested in using the vessel as a blank canvas for the images i apply.
i was introduced to the waterslide decal process by my colleague and friend, Sharon Bartmann. i immediately saw the possibility of decals and ended up running with it like mad. i source my images from copyright free and vintage websites and books, in particular the Dover series of illustration books, which compiles a huge variety of images in one place. after scanning or downloading, i play with the images in Photoshop a bit, adjusting contrast, brightness, proportion and orientation. because of the way the printer works, high contrast images without a lot of shades of gray work best.
once i have the image the way i want it in Photoshop, i print it out using a special printer and special decal paper. from there, i cut out the image, put it in water, and then affix the cellophane image to the vessel. it’s fired once more to permanently bond the image to the glaze. although the images are printed with black ink, once they are fired they turn a lovely reddish brown sepia color. with that aesthetic in mind, i gravitated toward imagery from the Victorian and Edwardian eras. i love anatomy and so skulls, hearts, bones and brains frequently find their way onto my work.
My process reflects how I try to live my life, figuring it out as I go and making decisions that look and feel right in the moment. I find amazing things happen when I let go of a plan and allow the moment to inspire me. It is this reason my designs are constantly changing and morphing into something new and current. It keeps me interested and excited about my work.
I love what I do and I hold that intention as I create, and in turn I believe my work retains those positive vibes.
I am constantly influenced, motivated and challenged by all the amazing makers and artists out there. Appreciating other people’s work and building relationships with those on a similar path really helps to keep me going. I am also continually moved by the support and feedback I receive from family, friends and fans. I truly love the opportunity to meet new, interested people when I am out at a show.
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