Join us for an artist talk by @_shagho (she/her) & @folk.lounge. Patterns have always carried more than decoration. In this presentation, Shagho traces the journey from open archives to studio — how the symbolic language encoded in ornamental traditions can be recovered, studied, and brought back into living practice. What if our ancestors also had advance technology? She explores what our ancestors embedded in ornament and how contemporary makers can use that knowledge to work with more meaning.
Join us with any Armenian textile work in progress, embroidery or needlework project of choice. Learn an Armenian stitch for beginners.
Litavie Art Gallery is a Glendale-based gallery dedicated to bringing the world's art to Los Angeles—showcasing original paintings, sculpture, and mixed media by artists across diverse backgrounds and cultures, and convening the creative community through solo exhibitions, opening receptions, and programming that celebrates the intersection of imagination, identity, and human connection.
On aesthetic mathematics, the geometry hiding in a 15th century shrine wall, and what opens up when artists and scientists start asking the same questions.
Some of the most important embroidery books ever written are free to read right now, in your browser. They exist in the Internet Archive's public domain collection — digitized, searchable, available to anyone. Most people don't know they're there.
Young women are driving from Orange County to learn their first stitch. People are returning from burnout to finish projects their grandmothers left behind. Folk Lounge founder Shagho is rebuilding what diaspora and acceleration erased—one workshop, one stitch, one archive at a time.
PASADENA, CA — Folk Lounge marks its second anniversary this March, celebrating two transformative years of gathering creative communities across Los Angeles County through contemplative craft practice, archival research, and connection with local landscapes. Since the first Embroidery Social on March 9, 2024, Folk Lounge has evolved from park gatherings into a recognized cultural infrastructure, forging partnerships with institutions including Pasadena Heritage, the Wende Museum, and securing its first municipal grant from the City of Pasadena.
When the Eaton Fire tore through Pasadena, Batchelder's century-old tiles were often the only fragments that survived. Folk Lounge founder Shagho is leading workshops at Pasadena Heritage asking his question: why did we stop embedding beauty into everyday objects? Made possible by the City of Pasadena Cultural Affairs Division.
In this conversation, Shagho explores cultural sustainability—the idea that culture functions as a fourth pillar alongside environment, economy, and society in sustainable development. She discusses her approach to designing cultural programs for institutions, and why textiles offer a vessel into intangible heritage that holds the capacity for joy and connection.
PASADENA, CA — Folk Lounge, in collaboration with Pasadena Heritage, is thrilled to announce a three-part workshop series exploring the ornamental legacy of Ernest Batchelder through hands-on creative practice, community engagement, and local ecological connection. Made possible in part by the Pasadena Arts & Culture Commission and the City of Pasadena Cultural Affairs Division.Led by artist and cultural sustainability practitioner Shagho, this series emerges from deep archival research and years of community-based embroidery practice.
What began informally in February 2023 as archival research of design patterns became Folk Lounge monthly park gatherings in March 2024, evolving from meet-ups into a fuller practice that includes workshops, archival research collaborations, and programming with cultural institutions. Shagho believes in the power of collective making to weave new connections between past wisdom and future possibility. In this conversation, she traces the origins of Folk Lounge from a spontaneous encounter at LA's Ararat Eskijian Museum to the circles of stitchers now gathering regularly across Los Angeles.
Rivers teach us about selective preservation—what flows forward, what settles into memory banks, what carves new channels through time. For those of us gathering at Folk Lounge to explore embroidery as cultural practice, this natural editing process offers a framework for examining how we carry forward ancestral knowledge while releasing what no longer serves our collective becoming.
When knowledge transmission breaks—whether through buried rivers, displaced communities, or interrupted traditions—the knowledge continues through different channels and methods. Recent research reveals how Indigenous river epistemologies, hydrofeminist frameworks, and community-based restoration offer alternatives to systems that treat water, culture, and memory as problems to be managed rather than relationships to be maintained.
I've been thinking about interconnectedness a lot lately—how the patterns we see in folk art, the wisdom embedded in traditional practices, and the way natural systems work all point to something deeper about how change actually happens. When I learned about systems thinking for research praxis at a recent California Institute of Integral Studies event, something clicked into place.
When astronomer Dr. Hilding Neilson looks up at the Big Dipper, he sees two stories simultaneously. The Western version: seven bright stars in Ursa Major, roughly 79 to 124 light-years away. The Mi'kmaq version: Muin the bear being hunted by seven brave birds through an eternal cosmic drama that teaches about courage, seasons, and the interconnectedness of all life.
Carl Sagan's "Pale Blue Dot" represents the latest chapter in humanity's oldest story: our attempt to understand our place in the cosmos. While the Voyager photograph gave us an unprecedented view of our world, the psychological and spiritual impact it created echoes themes that have resonated across cultures for millennia.
Every creative choice now involves actively mediating between seemingly opposed forces: planetary boundaries and human creativity, global networks and bioregional rootedness, AI efficiency and seven generations thinking. We are living through the end of late capitalism and the emergence of what we might call the Time of Regenerative Negotiation—the first period in human history where cultural producers must consciously work within planetary limits while building life-sustaining alternatives.
Philosopher Ernst Bloch's "The Principle of Hope" argues that human dreaming contains what he calls "anticipatory consciousness"—active projections of possibility that can shape reality. For those of us at Folk Lounge exploring ornament, culture, and nature, this insight reframes decorative traditions as repositories of collective longing.
Behind the embroidered rushnyky that grace kitchen tables and the geometric patterns that edge bedroom linens lies a visual language as rich as any written script. Across the Slavic lands—the vast territories spanning from Russia and Ukraine to Poland, Czech Republic, and the Balkans—women have stitched meaning into fabric, creating what appears to be simple household decoration but carries layers of cultural knowledge.
Every traditional medicine chart maps the same beautiful truth: invisible currents shape visible reality. Life force flows through pathways that modern anatomy can't locate, yet gentle interventions along these phantom routes measurably transform our entire being. What if our creative practices operate through similar hidden networks—energetic webs that connect individual making with collective flourishing in ways our culture has forgotten how to see?
Kristine Schomaker has connected 500+ artists through Shoebox Arts for 15 years. When she invited Folk Lounge founder Shagho into a community conversation, they unraveled creative shame, ancestral calls disrupting tech careers, and why loving yourself outside capitalism might be the most revolutionary practice of all.
Picture Owen Jones in 1851, standing before the Great Exhibition's glittering palace of iron and glass, watching the world's first global showcase of industrial might. While others marveled at steam engines and mechanical looms, Jones was studying something else entirely—the patterns carved into ivory combs from India, the rhythmic geometries of Persian carpets, the flowing curves of Chinese porcelain. These objects carried crystallized intelligence, ways of thinking made visible through centuries of human hands working with materials.
In glowing screens, pixels arrange into roses through simple repetition—the same principle medieval embroiderers knew when building flowers stitch by stitch. Yet long before pixels existed, artisans knew this truth: complex beauty emerges from simple repetition. From ancient sacred geometry to Soviet textiles, archetypal symbols travel across cultures and technologies, carrying spiritual meaning through the language of beauty.
In the shadowed depths of Russian forests, where mist weaves between ancient birch and pine, lives a figure both humble and profound—the Старичок-Боровичок, the Little Old Mushroom Man. Standing just two inches tall with a gray beard and a mushroom cap crown, this forest grandfather embodies thousands of years of Slavic wisdom about the delicate relationship between humans and the natural world. Far from mere folklore, these woodland spirits represent a sophisticated understanding of forest ecology, moral reciprocity, and the transformative power of respecting nature's hidden laws.
In villages across the globe, away from watchful eyes and social media, sacred rituals of self-adornment persist. A woman carefully wraps her gele in Nigeria; another applies henna patterns in Morocco; elsewhere, silver jewelry is positioned with reverence. These aren't acts of vanity but profound ceremonies—moments where adorning the body becomes an intimate celebration of one's very existence as worthy of beauty and care.
In a world of quick online tutorials and rapidly changing art supplies, there exists a timeless resource that has guided generations of artists through the material foundations of their craft. Ralph Mayer's "Artist's Handbook of Materials and Techniques," first published in 1940 and continuously updated since, represents not just a technical manual but a bridge connecting contemporary makers to centuries of accumulated wisdom about the physical substance of art.
Beneath the iconic palm-lined boulevards of Los Angeles lies a richer, more resilient botanical story—one of aromatic sages, sculptural manzanitas, and vibrant wildflowers that have evolved in perfect harmony with our Mediterranean climate. These native plants, adapted through millennia to thrive in our distinct cycle of wet winters and dry summers, offer more than just beauty—they conserve precious water, support local wildlife, and reconnect us to the authentic character of our region.
In the shadows of Pasadena's historic Craftsman homes and nestled among its native landscapes lies a forgotten language of pattern and place. The clay relief tiles of Ernest Batchelder—once adorning fireplaces, fountains, and facades throughout the city—represent not just architectural ornament but a philosophy of creation that connects human craft with natural inspiration. By exploring these traditional techniques in connection with the very parks that inspired Batchelder's designs, we can reimagine how craft traditions might once again become living practices.
