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Olshan, Louise
#149 - Independence Hall
Location: American History (1st Floor Bedroom)
Division: Senior (70 years and up) | Exhibited by: In Stitches
Category: Commercial Design | Technique: Counted Thread: Cross-Stitch
Thread Count: 14
Artist Statement: After a visit to Philadelphia with my children, I felt this was a great piece of stitchery to
mark the occasion.
Olshan, Louise
#150 - Jamestown Settlement 1607 - 2007
Location: American History (1st Floor Bedroom)
Division: Senior (70 years and up) | Exhibited by: In Stitches
Category: Commercial Design | Technique: Counted Thread: Cross-Stitch
Thread Count: 18
Artist Statement: Visited Jamestown in 2007 and felt this was an appropriate piece of stitchery for the
occasion of the 400th anniversary of the settlement of Jamestown.
Olshan, Louise
#151 - Old North Church Boston - 1723
Location: American History (1st Floor Bedroom)
Division: Senior (70 years and up) | Exhibited by: In Stitches
Category: Commercial Design | Technique: Counted Thread: Cross-Stitch
Thread Count: 14
Artist Statement: I loved doing the Boston Freedom Trail and picked up this piece of needlework to
celebrate our visit to Boston.
Opalak, Simone
#878 - Duck on a Pond
Award: First Place
Location: Pets Room (2nd Floor, Blue Bedroom)
Division: Junior (up to 9 years old) | Exhibited by: Self
Category: Commercial Design | Technique: Surface Embroidery: Crewel
Artist Statement: I completed this project at the Nelly's Needler's 2025 Summer Camp. This is my very first
completed embroidered piece.
Opalak, Marguerite
#879 - Purple Heart Pillow
Award: First Place
Location: 1st Floor, Center Hallway
Division: Junior (10-13 years old) | Exhibited by: Self
Category: Commercial Design | Technique: Surface Embroidery
Artist Statement: This plump purple pillow was completed at the 2025 Nelly's Needlers Camp. The hearts
on the 4 corners of the pillow cleverly mimic the clover design at its center.
Opalak, Marguerite
#880 - Christmas Coasters
Award: First Place
Location: Winter Room (1st Floor, Dining Room)
Division: Junior (10-13 years old) | Exhibited by: Self
Category: Commercial Design | Technique: Canvaswork: Multi-Stitch (4+)
Artist Statement: These 4 coasters, worked in 4 different stitches, were made at the 2025 Nelly's Needlers
Camp. I love their festive colors!
Ossipov, Helene
#636 - Lafford Wedding Sampler
Award: Honorable Mention
Location: International Room (2nd Floor, Pink Bedroom)
Division: Senior (70 years and up) | Exhibited by: Self
Category: Commercial Design | Technique: Counted Thread: Sampler - Multi-Stitch (4+)
Commercial Pattern/Designer: Thea Dueck
Artist Statement: This piece was made as a gift to friends for their 50th Wedding anniversary. I had made
the original Victorian Wedding Sampler from Thea Dueck for their 40th anniversary. I made changes to the
design to make it more appropriate for 50, mostly by using a lot of gold. I changed the text from the original
to one provided by my friends.
Osterman, Sumira
#605 - 324
Location: Beach Room (1st Floor, Music Room)
Division: Adult | Exhibited by: Self
Category: Commercial Design | Technique: Counted Thread: Cross-Stitch
Thread Count: 18
Commercial Pattern/Designer: Works By ABC
Artist Statement: This piece uses 324 DMC colors.
Otto, Julianne
#741 - Laid & Couched Work Dragon
Location: Pets Room (2nd Floor, Blue Bedroom)
Division: Adult | Exhibited by: Self
Category: Commercial Design | Technique: Surface Embroidery: Crewel
Commercial Pattern/Designer: Tanya Bentham
Artist Statement: This piece was completed as part of an Embroiderer's Guild of America online class. It
was exciting to use the same types of material and fibers that were used centuries ago. The bright colors are
a reminder of how vibrant tapestries and linens would have been.
Otto, Julianne
#742 - “Ajisai Flower” Sashiko Scarves
Location: International Room (2nd Floor, Pink Bedroom)
Division: Adult | Exhibited by: Self
Category: Commercial Design | Technique: Surface Embroidery: Sashiko
Commercial Pattern/Designer: BeBe Bold (NSW, Australia)
Artist Statement: Sashiko is a traditional Japanese embroidery technique meaning “little stabs” and consists
of running stitches sewn in straight lines, motifs or pictures symbolizing various aspects of nature. The
Ajisai-sashi pattern on the main panel is stitched in the kuguri method. The pattern, named after the
hydrangea flower, symbolizes gratitude, heartfelt emotions, and, due to its changing color, the shifting
nature of the human heart. The kuguri method (to go under or pass through) does not pass through the
fabric, but the thread is weaved under stitched grid lines to create a floral or “blooming” effect. The end
panels use the hitomezashi style, one of the three main Sashiko stitching methods, uses a grid pattern to
develop forms from intersecting and crossing lines of stitches. This rice stitch variation includes lines
stitched across the entirety of the fabric in horizontal, vertical and diagonal directions. I was drawn to
Sashiko as a counterpoint to embroidery techniques that demand rigid counting or magnification. The
physical rhythm of stitching and the gradual emergence of a pattern from the thread creates a calm,
contemplative process. While I enjoyed working with the original kit design, its small scale prompted me to
reimagine the piece as a larger, more tactile work that integrates multiple techniques, materials, and color
relationships. The finished scarves reflect this exploration and embody the spirit of gratitude symbolized by
the hydrangea motif.