Sandra Harner
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Current Works


I experience the opportunity to explore symbol and meaning with a deep engagement of mind, message, medium and spirit, thorough textile art as an infinite adventure. Whether on an architectural scale or intimate, my hope is to evoke engagement within the viewer.

At the present time, I am exploring dense, compact color as well as the illusory nature of the shadow with its contradictory apparent density. The shadow as an immaterial and constantly shifting aspect of the apparently concrete fascinates me. The known and unknown, the aspirations and inspirations, meet in the confluence of the material and immaterial, the artist and the viewer. Connections and meanings merge on a plane common to both artist and beholder. That "conversation" is the ultimate gift each offers the other.

Bring to these works what you do and take from them what you wish. May they enhance your life.


Sandra studied decorative art and anthropology at U.C. Berkeley, California, and taught in the Design Department there, as well as at the California College of Arts and Crafts and the State University of New York at Purchase. She has maintained a textile art studio since 1964 and has written on fiber art as an expressive medium and cultural barometer. She studied textile art with Ed Rossbach, Mary Dumas, and Anna Gayton.

Sandra has an active psychotherapy practice in Marin County, California. Her orientation is an existential-humanistic one for adult women and men seeking meaningful change in their lives. She is on the Advisory Board of the International Institute for Humanistic Studies See this website and for information about this perspective.

In addition, she has worked together with her husband, Michael, to preserve, teach, and study shamanism through the non-profit Foundation for Shamanic Studies which they originated in 1985. See for more on this work.

Art Related Publications


“Shamanism and Creativity.” In Shamanism, Anniversary Issue, Vol. 18, Nos. 1 & 2, pp. 138-139. Mill Valley, California: Foundation for Shamanic Studies. (Orig. 1999.)


[Review] “Notable Events – The Books of Kay Sekimachi.” In Fiberarts, November/December, Vol. XXVII, No. 3, p. 22. Asheville, North Carolina: Altamont Press
[Review] Swatches: “By Their Own Hands.” In Fiberarts, March/April, Vol. XXVI, No. 5, p. 11. Asheville, North Carolina: Altamont Press.

1999 “Shamanism and Creativity.” In Shamanism, Fall/Winter, Vol. 12, No.2, pp. 24- 25. Mill Valley, California: Foundation for Shamanic Studies.
[Review] “Through the Gates: Pat Hickman’s Continuing Odyssey.” In Fiberarts, September/October 1999, Vol. XXVI, No. 2, pp. 54-61. Asheville, North Carolina: Altamont Press.

Profile: “Virginia Davis: Look Again.” In Fiberarts, Summer 1998, Vol. XXV, No.1, p. 12. Asheville, NC: Altamont Press.


“A Year of Cloth – Celebrating Textiles at the Phoebe A. Hearst Museum.” In Fiberarts, January/February 1997, Vol. XXIII, No. 4, pp. 54-57, Asheville, North Carolina: Altamont Press.


[Review] “An Exhibition of Lillian Elliott’s Last Works.” In Fiberarts, September/October 1995, Vol. XXI, No. 2, p. 54-55. Asheville, North Carolina: Altamont Press.


[Review] “Exhibitions – San Francisco Bay Area: Baskets by Lillian Elliott and Ed Rossbach.” In Craft International, January-February-March 1986, pp. 44-45, New York.
[Review] “Exhibitions – San Francisco Bay Area: Marion Weber.” In Craft International, January-February-March, 1986, pp. 45, New York.
[Review] “Exhibitions – Lausanne, Switzerland.” In Craft International, January- February-March, 1986, pp. 45-46, New York.


[Review] “Exhibitions – Sacramento.” In Craft International, July-August- September 1985, Vol. V, No. 1, pp. 44-45, New York. (with Joanne Segal Brandford)
[Review] “Three Living Treasures from California.” In Fiberarts, September- October 1985, Vol. XII, No. 5, p. 70. Asheville, North Carolina: Altamont Press. (with Joanne Segal Brandford)


“Woven Images: A Portfolio of Fabric Art.” In MS, January 1979, Vol. VII, No. 7, pp. 54-55, New York (with Barbara Danneman)
“An Early Intermediate Period Textile Sequence from Ancon, Peru.” In The Junius B. Bird Pre-Columbian Textile Conference, Ann P. Rowe, ed., pp. 151-163. The Textile Museum and Dumbarton Oaks. Washington, D.C.


1975 “North American Indian Art.” In The New Columbia Encyclopedia, p .1955. Columbia University Press. New York.


A Historic Review of Knotless Netting in South America. (Unpublished M.A. Thesis. University of California at Berkeley.)






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