Field + Supply Virtual MRKT

A one-of-a-kind completely interactive digital fair experience

Photograph by Scott Rudd

Founded by award-winning interior designer and tastemaker Brad Ford, Field + Supply is a modern—accessible yet elevated— interpretation of a traditional craft’s fair. “I started Field + Supply eight years ago to celebrate the art of fine craftsmanship and provide highly skilled makers with a platform that provides exposure to a larger audience,” says Ford.

The bi-annual event at Hutton Brickyards in Kingston, New York is a gathering of talented artisans and makers from across the country. This year, due to the pandemic, Field + Supply pivoted to host its first-ever Virtual MRKT in July.

Ford explains, “The digital platform allowed us to connect our makers with an even larger audience, while recreating many elements from the live event that provided the sense of connection and intimacy that Field + Supply is known for.”

With the overwhelming success of the virtual event in July, Field + Supply will be holding their second-annual Virtual MRKT on Thursday, October 8 on The fair will run for the weekend in lieu of the live event that usually takes place over Columbus Day weekend.

Here, we highlight a handful of the makers—their stories and their craft.


Peg Woodworking

Photograph by Joe Kramm

Kate Casey established Peg Woodworking in 2014, and is the head designer and woodworker of the all-female Brooklyn-based company. Her intense material curiosity was born out of years as a sculptor and fabricator.

Approaching each design with attention to form and function, Peg Woodworking pays homage to the clean lines and intricate weaving found in Shaker and Scandinavian design. Peruvian and Native American patterns inspire the woven seats of the Fireside Benches. “The weaving really gives us a chance to showcase the possibilities of our multi-disciplinary studio and to truly provide one-of-a-kind unique pieces,” says, Casey.


Lowland Studio Lamp

Photograph by Matt Long

Kelly Storrs of Lowland Studio has always been fascinated by the relationship between fire and clay. “My love for ceramics was sparked 20 years ago, digging earthenware clay from the banks of the Winooski River in Vermont and creating glazes from raw materials for rough stoneware,“ says Storrs.

Discovering how the material transforms in the flame and heat of the kiln was a revelation for the Woodstock, NY maker. Her porcelain light fixtures display a “pure reflection of texture, form and shadow.” Storrs states, “lluminating it is unpredictable and exciting in the way I have always found clay and fire to be.”


Fern Basket
Fern was launched in 2009 in Brooklyn and has been located in Hudson, NY since 2011. The studio designs and manufactures bench-made furniture and useful leather objects with wood accents. The Bushel basket is a leather version of 19th century utilitarian baskets that were used in orchards to collect fruit. The basket is made from vegetable-tanned saddle leather and features a drop-in wood bottom in oak or cedar. “The focus of the design was to create an heirloom structural piece that’s as much useful furniture as it is a design object,” says founder Jason Roskey.


Atwater Designs Wallpaper
Sarah Bourne Rafferty of Atwater Designs creates cyanotype botanical art at her studio in West Chester, Pennsylvania. “I first experimented with cyanotypes and alternative process photography in college,” says Rafferty. “I immediately fell in love with the techniques. I’m drawn to how the process incorporates the chemistry of photography and the tactile quality of printmaking.” Each cyanotype is unique, depending on the sunlight, shadows, wind and time of year. She produces original and fine art prints, paper goods and wallpaper inspired by nature.


Heide Martin Closet

Photograph by Chris Pinchbeck

Based in Rockland, Maine, the Heide Martin Design Studio creates furniture and housewares with native hardwoods, leather, fiber and metals. Reflecting Shaker principles, each piece is a dedication to honest functionality and well-balanced form. “I like to study traditional techniques and materials and then reinterpret them in modern designs,” says Martin. “One of the favorite parts of my job is prototyping and designing new products and custom pieces. Each design is a chance to learn and explore new techniques and materials.”


“When it comes to my work,” says Katie Ridley Murphy, “I am a purist. Each piece of porcelain is carved by hand and exists quietly, as an individual object, not to be replicated or molded. It is important to me that my work be distinguished as truly one-of-a-kind sculpture.” Murphy hand shapes porcelain into simple forms from nature, carving and etching in the fine details before the piece is fired—the process can take from 8 to 28 hours to complete. The unpredictability of the firing process adds an element of surprise, explains Murphy, “Throughout the firing, fishers and cracks are revealed, giving each piece its unique character.”


Large Blue Bowl
Furbelow & Bibelot founder Kay Schuckhart dreamed of being an archeologist when she was young. Instead, she became a graphic designer specializing in book design, subsequently adding potter to her list of vocations. But the heart of that would-be archeologist is still beating. “I’ve always looked to the past,” says Schuckhart. “My ceramics are hand built from stoneware, drawing design inspiration from 18th and 19th-century utilitarian tableware to midcentury minimalism.” Moving full time to Narrowsburg, NY in 2008, she bought a used kiln and started experimenting. She still feels the thrill of discovery. “You never know what’s going to happen until you open the kiln lid. It’s kind of exciting.” says Schuckhart.


wooden Chair

Photograph by Benjamin Edwards

The German word fernweh means “to be homesick for somewhere you’ve never been.” Founder of Fernwek Woodworking, Justin Nelson is always exploring and pushing boundries in his work. Proclaiming himself as a self-taught designer/woodworker, Nelson is a former Marine officer and Hotshot firefighter, fighting wildland fires in Central Oregon. His aesthetic is rooted in classic Danish design, inspired by Sam Maloof, Hans Wegner and Charles and Ray Eames.

He employs time-honored techniques with a modern approach, and his signature is seamless joinery. “No matter how much you learn, you should always be overwhelmed and excited by the oceans of things yet to be discovered,” says Nelson. “I hope to do my small part to keep the craft of woodworking not only alive, but fresh.”


The print version of this article appeared with the headline: Out of the Box.