I made this fan to commemorate conclusions. I hand carved Arial lyrics to a personally relevant (though generally applicable) Bob Dylan song. It was better sang by Joan Baez. I was thinking about evolving forms of communication & connection, fans as a performing object and one that I love to carry. I revisited the Victorian sentimentality here and used my imagination. Think stalking your exes' spotify, a time rupture, and forgetting something in a swamp. Photographed by Hannah Love Oatman
A personalized chatelaine complete with a place to carry my favorite lip pencil, a hinged triptych-inspired container for found trinkets, velvet notebook for small sketches on the go, and detailed pierced ornaments for fun. Notice the pierced leopard detailing?...
A contemporary poison ring fit to hold RFK Jr’s favorite medicine.
Part of a larger collection of my framed and riveted experiments in jewelry. I was making a collection of colored velvet pieces, feeling sort of sappy, and wanted to make a piece for a mystique, unattainable, imagined "Sweetheart."
This piece is a progression from my first wearable metals project, in which I placed found leather samples between riveted metal frames. I wanted to intensify the contrast in "material" between one's skin, metal, and leather. The pendant is part of a collection of woven jewelry I created with influence from Victorian sentimental pieces. I ran small scraps of wire through the rolling mill to creative flattened strands, then created a variety of weavings to place between riveted frames. This pendant makes use of a magnifiying glass I was gifted by a huge inspiration of mine, the incredible Boston-based jeweler Michael Robinson.
Double sided and to scale of the original lace & cross-stitched bookmark. Tucked in the pages of some lucky oversized library books in Boston. I digitally overlayed my watercolor paintings onto the digital scan to add color.
Digital scan of a 3 foot long weaving I made on a floor loom. Multiplied and reoriented across the page.
An intuitive response to an intimidating screenprinting technique.
Email: kellnercassandra@gmail.com
Instagram: @dinghorseclassandra
SMFA Senior Thesis Showing
May 2026
2026 Class Action Suite
April 2026
Print & Paper Area Show
March-April 2026
SMFA ART Sale & SMFA Clay Cup Bazaar
December 2025
Keep Their Heads Ringin’ by Michelle Lopez and Austin Fisher
March 2026
Squares//Rectangles
March 2026
Recession Indicators
March 2026
Copenger x Happy Melon Press: Community Cookbook & Nhậu Dinner
November 2025
The Barn
November 2025
Placeholder by Copenger
April 2025
The Edge
April 2025
Vitrified
March-April 2025
Spaces to Be Human
April 2025
Alcove Shows: The Ache
February 2025
Nhậu Dinner
February 2025
Fracture & Mend
December 2024
My work is a collection of reimagined heirlooms that simultaneously represent my contemporary style and honor traditional craft techniques. As a multidisciplinary artist, I have a porous process that allows one craft tradition or medium to inform another. I apply techniques learned through fine metals to my ceramics and textile traditions to my metalsmithing. The finished objects– a ceramic hinged box, a bowl with a thousand hand painted leopard dots, a ceramic quilt– are a visual representation of the time and care that is hereditary to craft and the possibilities for experimentation across media.
I indulge in the time-consuming processes of traditional decorative and functional craft techniques. In Coleslaw Quilt, I brought the memory of a familial object to life using four hundred handmade, ceramic tiles. I sewed the tiles together and hung the work, weighing nearly 80 pounds, from a piece of lumber my dad milled for me back home in New York. This work spurred my exploration between textiles and ceramics.
Last Updated 6.1.26