ACE FEATURED

CAT HENRY ON PROVIDING A LIFELINE TO LIVE MUSIC VENUES

August 13, 2026 By Corey Aldrich

Recently I was privileged to be on a panel event in Hudson discussing the value of the creative economy as an economic and quality of life development tool for the city. This was primarily pitched to local business leaders and county based economic development corporations. Cat Henry, Executive Director of the Live Music Society, a NFP granting organization, was on the panel with me rolling out the 2026 Hudson Jazz Festival line up. I was impressed with her understanding not just of the music biz in general but her focus on supporting specific venues and educational initiatives to ensure a vibrant music ecosystem for this important creative economy market segment.

Cat Henry : Executive Director at the Live Music Society | Image: Provided

Please state your name, title and organization. Can you share a bit about your educational and career history?

Hello! I’m Cat Henry and I serve as Executive Director for Live Music Society (LMS). I’ve worked in music since I was a teenager, in a variety of roles that have included stage manager, production manager, talent buyer, concert producer, lounge/wedding singer and frequently, coffee maker and truck driver. Outside of this invaluable life experience, I also hold a BFA in Music Performance from The New School Jazz & Contemporary Music Program.

Prior to my role at LMS I served as Vice President Concerts and Touring, for Jazz at Lincoln Center, where I managed the organization’s concert seasons at Rose Hall, worldwide touring of the Jazz at Lincoln Center Orchestra, Dizzy’s Club programming, and concert marketing.

Although a resident of Brooklyn since 1990, my love affair with upstate New York was supercharged in 2020 when I began working with Hudson Hall in Hudson, NY, to program and produce the annual Hudson Jazz Festival. 2026 marks the ninth year of the festival, held the first weekend in October. (October 1-3, 2026)

Domi + JD and Beck at Music House DC | Image: Provided

What is the history and mission of Live Music Society?

Founded in 2020, Live Music Society’s mission is to recognize and protect small venues across the United States. We seek to empower venues through our various programs, including grants, tours, webinars and in-person convenings. Our goal is to have a long-lasting, positive impact on a community of music listening rooms that provide creative space for artists, affordable access to culture, and often operate as a gathering space for diverse and inclusive communities.

Suncrest at the Pie Shop | Image: reXplosion

Music and the venues that support them are a critical part of the Creative Economy. Can you share a bit about the importance of these spaces from a placemaking and ecosystem perspective? Also, how do you go about collecting impact metrics for the organizations you represent?

First, small venues offer an intimate experience between performer and audience that cannot be replicated by any other platform. They are where musicians hone their skills, build their fan base and develop into the artists we know and love! Many are also important community spaces that present a variety of affordable artistic experiences and some serve as a feeder system for the larger music industry. Despite being drivers of local economies, tourist destinations and creative hubs, they often struggle to receive the recognition and support they need.

We aim to shed light on their key role in the creative economy. Through our grantmaking, we award around $1 million per year to fund creative and practical projects from programming to community festivals and education. Since 2020, we have distributed $5.9 million in grants to 250 unique venues, supporting live music stages, emerging talents, established artists, staff and patrons, with a focus on engaging communities, expanding audiences, increasing representation, and enhancing the live music experience.

LMS was launched with a mandate to make the grant application process and reporting requirements less onerous than similar grant programs. Reducing barriers to participation involves addressing financial, logistical, and psychological obstacles. Impact measurement is often reflected in the improved financial stability of a venue and the key difference in our grant reporting is that we seek the stories behind the funds – although I should emphasize that we have strict financial reporting for compliance reasons. Anecdotes, testimonials, audience feedback, and video evidence of the projects are submitted along with audience or membership numbers or other metrics relevant to each project. We have partnered with many of our grantee venues to produce a YouTube series, American Road Trip, that provides a window into their experience as a grantee and allows us to make more people aware of the great work they do.

Grace Kelly at Caffe Lena | Image: Provided

How many organizations have you supported in the Capital Region? Can you list a few?

I am not sure whether all are in the Capital Region, but have funded a number of beloved spaces in NY State in addition to many in New York City. Some familiar names may be Caffè Lena (Saratoga Springs), Levon Helm Studios (Woodstock), No Fun (Troy), The Falcon (Marlboro), Earlville Opera House (Earlville), The Colony (Woodstock), Towne Crier Cafe (Beacon), Abilene Bar and Lounge (Rochester), Upper Jay Arts Center (Upper Jay), PAUSA Art House (Buffalo) and Old Songs (Vorheesville).

NYS Emergency Pandemic Funding
$5K The Colony : Woodstock (2020)
$35K Levon Helm Studios : Woodstock (2020)
$40K Caffe Lena : Saratoga Springs (2020)
$5K The Falcon : Marlboro (2021)
$5K Abilene Bar and Lounge : Rochester (2022)
$5K Old Songs : Vorheesville (2022)
$5K Upper Jay Arts Center : Upper Jay (2022)

NYS MiA and Toolbox Project Funding
$40K Caffe Lena : Saratoga Springs (2023)
$7K The Falcon : Marlboro (2023)
$5K PAUSA Art House : Buffalo (2023)
$25K Towne Crier Cafe : Beacon (2025)
$7K 443 Social Club : Syracuse (2025)
$8K No Fun : Troy (2025)
$40K Caffe Lena : Saratoga Springs (2026)

What tools do you have for readers interested in participating in or sharing the story of LMS programs and their value to the Creative Economy in general?

Follow us on socials! We very much value our social media community, and of course that’s how many venues and artists promote shows, share their work and create connections with others. We often do social collaborations with our grantee venues and the artists they present. You can find us @livemusicsociety and @onenightlivetour.

If anyone would like to make us aware of a venue that may be interested in our grant programs, please write to info (@) livemusicsociety.org. Eligibility criteria is on our WEBSITE.

Live Music Society Panel Discussion at Turner Hall Ballroom | Image: Provided

BONUS: Any projects or events coming up you would like to make us aware of?

Last year, we expanded our reach through One Night Live, a touring initiative in collaboration with D-Tour Live and artist support organizations including Salt Lick Incubator, Cleveland Rocks and Midtopia that allows a new generation of talented artists to tour, often for the first time. We recognize that presenting new talent is core to the mission of many small venues but it is so hard to take risks in the post-pandemic economic climate. However, small venues continue to be essential to working musicians’ careers and a pipeline for the commercial music industry. By touring venues 300-cap and under, artists understand whether they have what it takes to build a following. By offsetting the venue’s fixed costs and providing artists with support, we are making it possible for emerging talent to tour our growing venue network.

We have a One Night Live tour that began July 24 with Frail Talk, a Colorado-based duo. Frail Talk’s Alex Woodchek and Cor Wright released their sophomore album, Microspirit, in 2024, which was featured on NPR Tiny Desk’s ‘Top Shelf’ and Spotify’s ‘Fresh Finds’ and ‘Fresh Finds Folk’ playlists. They describe their dreamy folk-pop as “squiggly music for squiggly people,” so if this resonates with readers, this band is for you!

Remaining tour dates, locations and ticket links at ONE NIGHT LIVE TOUR and
IG: @onenightlivetour.

WEB: livemusicsociety.org | SOCIALS: @livemusicsociety

ADAM WEINERT IS WORKING AT THE EDGE OF ARTS AND ECONOMIC DEVELOPMENT

August 13, 2026 By Corey Aldrich

Hudson Hall is one of those institutions that anchor a town, and beyond. In a historic opera house dating back to 1855, it is home to New York State’s oldest surviving theater. In it’s current rendition, it is an important anchor for arts, culture and community in Columbia County. Current Executive Director, Adam Weinert has been there roughly a year. In that time has been bringing a focus on collaboration with a variety of stakeholders in the city and county to create an environment that supports a strong quality of life and tourism attraction. In turn, this benefits local businesses and residents. The outcomes are being accomplished by applying core placemaking methods and strategies.

Adam Weinert : Executive Director at Hudson Hall at the Historic Opera House | Image: Provided

Please state your name, title and organization. Can you share a bit about your educational and career history?

My name is Adam Weinert, and I’m the Executive Director of Hudson Hall at the Historic Hudson Opera House.

I’m also a choreographer. I trained at Juilliard and spent many years performing and creating dance before finding my way into arts administration. Before coming to Hudson Hall, I helped launch the summer festival series Waterfront Wednesdays in Hudson, founded Jacob’s Garden, a micro-farm and participatory performance project on the campus of Jacob’s Pillow Dance Festival, and served as Artistic Associate at Kaatsbaan Cultural Park, where I focused on artist residencies and performances.

Across those roles, I’ve always been interested in what happens around the art as much as the art itself. What do artists need to make work? How do organizations support them? How do cultural institutions become meaningful parts of the communities they serve? Those are the questions that led me here.

Hudson Hall at the Historic Opera House in Hudson NY | Image: Provided

What is the history and mission of Hudson Hall?

Hudson Hall was built in 1855 and is home to New York State’s oldest surviving theater. But it’s never just been a theater.

Over the last 170 years, it’s been an opera house, a town hall, a bank, a police station, a boxing ring, a performance venue, and a gathering space for the city. That history is part of what makes the building so special.

Today, Hudson Hall presents everything from jazz and opera to dance, visual art, film, literature, and youth programs. We commission and incubate new work, offer classes and workshops for all ages, and see ourselves as both a cultural home and a civic gathering place. At the same time, we’re committed to keeping the building welcoming and accessible to as many people as possible.

Giulio Cesare and Song Hee Lee with Ruckus Performing at Hudson Hall | Image: Provided

Hudson has a diverse socioeconomic set of demographics. How do you approach programming that reaches the varied communities you serve?

It’s hard to imagine one program or offering that’s going to speak to everyone, so we try to look at the season as a whole and offer a broad range of entry points, perspectives, and experiences.

Gallery Opening at Hudson Hall in Hudson NY | Image: Provided

We ask ourselves: Does the programming reflect the community we serve? Are we building relationships with schools, neighborhood organizations, artists, and community partners? Are there opportunities for someone who’s never been to Hudson Hall before to feel like they belong here?

That work happens one conversation and one partnership at a time.

What is Your Hand In This : Performance at Hudson Hall | Image: Provided

How do you see Economic Development funds playing a greater role in funding arts organizations?

Honestly, I think there ought to be more.

Arts organizations do much more than present performances. They bring people downtown, support local businesses, create jobs, and make communities places where people want to spend time.

The challenge is that those benefits are often taken for granted.

I think there’s an opportunity for economic development agencies and cultural organizations to think more intentionally together, and that’s why the work you’re doing with Upstate ACE is so important. If we can better demonstrate how arts activity contributes to downtown vitality, tourism, and quality of life, it becomes easier to see arts funding as an investment in the overall health of a community, not just support for individual organizations.

2026 Gala Attendees Head Up to the Performance Space | Image: Provided

I was thrilled to see you added “at the historic Hudson Opera House.” Will we see more connections to that history?

Definitely. I’m something of a closet history nerd. I used to work in the Juilliard archives, and it was basically my happy place. I was a terrible employee, though. I’m much less interested in archiving things than in taking them out, looking at them, and making them dance.

This place has such an amazing history that I’ve only just begun to uncover. One thing becomes clear very quickly: this building sat at the center of civic life for generations. I’d love to figure out what it means for Hudson Hall to occupy that role again today.

2026 Hudson Jazz Festival : October 2-4 | Image: Provided

BONUS: Any projects or events coming up you’d like to make us aware of?

I’m especially excited about this year’s Hudson Jazz Festival, October 2–4.

It’s become much more than a weekend of concerts. There are performances throughout downtown, partnerships with local businesses and organizations, free music in public spaces, and artists from around the world sharing the stage with local musicians.

What I love most is watching people discover Hudson through the festival. They come for the music, but they leave having experienced the city itself.

To me, it’s a great example of what Hudson Hall can do at its best: present outstanding artists while creating an event that belongs to the whole city.

WEB: hudsonhall.org | IG: @hudsonhallny

FRANCES TEPPNER ON MOTIVATIONS AND REWARDS AS A CAREER DANCER

June 3, 2026 By Corey Aldrich

I met Francis Teppner, Modern Dancer as part of my association with the Ellen Sinopoli Dance Company. Francis is a powerful yet nuanced performer with complete dedication to her craft. Watching her dance as well as having philosophical discussions with her is equally engaging. As such, after an especially interesting conversation with her at La Perla at Gregory House (affiliated with Arts Letters and Numbers), where she holds a part time gig. I felt compelled to talk to her a bit about what it’s like to support and sustain yourself in a notoriously challenging art form.

Frances Teppner : Modern Dancer with the Ellen Sinopoli Dance Company | Photo : Gary Gold

Please state your name and title and what you do. Can you share a bit about your educational and experiential background.

My name is Frances Teppner and I’m a Modern dancer with the Ellen Sinopoli Dance Company where I preform professional modern dance works and teach creative movement workshops across the capital region. Apart from the company I teach various levels of ballet at local studios and contemporary at RPI (Rensselear Polytechnic Institute). I received my BFA in Dance with a Minor in Psychology from Jacksonville University in 2024.

Frances Teppner : Modern Dancer / Teacher at the Ellen Sinopoli Dance Company | Photo : Gary Gold

Can you share a bit about when you knew you wanted to be in dance?

My body always knew. I can always remember dancing. I remember a letter my mom found, that I wrote her declaring that I would be a dancer and a dance teacher. Before I’d ever taken a lesson. I was drawn to it.

Frances Teppner : modern Dancer at Ellen Sinopoli Dance Company | Photo : Provided

Being a dancer is notoriously financially challenging; how do you make ends meet?

I’m lucky that a percentage of my income comes from rehearsing 4 days a week, performing, and teaching with the Ellen Sinopoli Dance Company. However, the bulk of my income comes from managing the Front of House at La Perla at Gregory House and teaching 7 dance classes throughout the week.

Our training and devotion in the studio strengthens technique and develops artistry but it also teaches us resilience and patience as we wait for the reward of practice turned progress; learning how to be uncomfortable, striving for but never reaching perfection. Dedication is what keeps the art alive despite the financial hardships. Dancers are programmed to work for their art.

Liv Butowsky and Frances Teppner of the Ellen Sinopoli Dance Company | Photo : Gary Gold

I see that in addition to your BFA in Dance you have a Minor in Psychology. How does that educational background inform your performance career?

Psychology attempts to understand and categorize the mind, what motivates behavior, while dance can encapsulate these thoughts, emotions, and responses and inform the body to connect to individuals and audiences in a way that words fail to describe. The two go hand-in-hand in my practice, understanding my thoughts and what I’m trying to experience through my movement helps me convey a similar experience to the audience that is shaped by their interpretation. It’s all psychology.

Frances Teppner : Modern Dancer at The Ellen Sinopoli Dance Company | Photo : Provided

If money was no issue, what would your ideal version of this career path look like?

I would want to continue to learn and share my passion as much as possible. In whatever form that takes.

Frances Teppner and Kyra Paulson (Back) of the Ellen Sinopoli Dance Company | Photo : Provided

SHAMLESS PLUG: Anything specific you would like to share with us about a project or opportunity you are participating in?

The company is going to be a part of a film “Slipping Into One” that will be releasing this fall. You can see me in that.

My mom Ginger Teppner also just published her book “Searching For Anthony Love: A History of Dust.” I plan on creating a dance work inspired by her work in partnership with her in the future.

Denver Based Musicians Vibe on a ‘Creative Pulse’ in Upstate New York

March 20, 2025 By Corey Aldrich

Late to the party, I just recently discovered this gem of performance space that opened up in early 2024 when I had the opportunity to see the amazing Buggy Jive open for the intellectual and well read storytellers, Nathan Meltz and the House of Tomorrow there. Transplants from Denver, Alana and Niek Velvis decided to land here in Upstate, Troy specifically, due to the creative pulse they felt on the street and the ‘unique mix of history, grit, and artistry, with a growing music and arts scene.’ Approachable and community minded, these creative entrepreneurs have made a space for local and regional indie artists to call home. Oh, and they have respectable baked goods, beer and coffee offerings!

Niek and Alana Velvis : Owners at Mojo’s Cafe and Gallery in Troy, New York | Photo: Provided

Please state your name and title. Also, can you share a bit of your backstory?

We’re Alana and Niek Velvis, the owners of MoJo’s Cafe & Gallery in Troy, NY. At our core, we’re musicians who love playing—that’s what brought us together, and it’s what drives most everything we do.

Alana: I am a classically trained percussionist, with years of experience as a session drummer, nationally touring musician, and recording engineer. I’ve played in a wide range of projects, but find myself especially drawn to the second line rhythms and deep funk traditions of New Orleans. I also handle accounting and keeping everything at MoJo’s running smoothly behind the scenes.

Niek: I am a bassist, recording engineer, and entrepreneur with a background in law and business development. Since 2012, I have focused on working with startups while staying active as a musician. My passion in building physical and virtual spaces that allow artists to create freely came to fruition in 2018, which was a start of what led to building MoJo’s here in Troy.

Music has always been at the center of our lives, and MoJo’s was built from that foundation.

Backyard Stage Vibes at Mojo’s in Troy, New York | Photo: Provided

What was behind your choice in locating in the capital region / Troy? Also, I believe I remember you saying originally you did not plan to open a venue like this…how did it all come about?

We moved to Troy because of a pull to the creative pulse we felt here. For us, the city has a unique mix of history, grit, and artistry, with a growing music and arts scene that felt like the right place to help contribute to something special while remaining authentic to our own journey.

Before moving to Troy, we owned and operated a recording studio in Denver. Recording, engineering, and producing music were a huge part of our lives, and when we made the move to New York, we brought most of the studio gear with us, thinking we’d continue focusing on recording and production. And then, we found the space!

When we walked into what is now MoJo’s, some lightbulbs turned on for us. The layout and the energy felt like the perfect place. Instead of just being a recording space, we saw the potential for a venue, an art gallery, and a gathering place for musicians and artists, so we dove in and MoJo’s became the live extension of what we had already been doing in the studio.

Interior Shot at Mojo’s Cafe and Gallery in Troy, New York | Photo: Provided

From the start, MoJo’s was envisioned as a music venue and art gallery first. The focus has always been on hosting live music and showcasing visual artists. The coffee side of things was the next logical step for us, inspired by the bones of the space and a desire to provide sober-friendly offerings for gallery and show attendees. Building out the coffee portion naturally led to opening the café during the daytime hours, and as the creative energy flowed, we started developing custom coffee offerings with Gipfel Coffee, who roasts all of MoJo’s coffee selections.

You’re right about the plan developing in real time, and we’re grateful for not keeping our feet as there’s never any telling where we’ll be swept off to next.

Buggy Jive – Live at Mojo’s Cafe and Gallery in Troy, New York | Photo: Corey Aldrich

Live music is a cornerstone of a vibrant city / community but is notoriously hard to make work economically…especially if you’re trying to compensate artist fairly. Can you share a bit about that side? How are you keeping the rent paid and making that all work?

This is a continuous challenge. Independent music spaces are fragile, especially when you’re committed to artist compensation. The reality is, ticket sales alone don’t cover costs, not in a room of our size. So for us, the key has been diversification. We treat MoJo’s as a multi-layered business with the cafe operating as a 3rd-Space during the day for food and beverage, Private Event Bookings, Art Sales, Custom Coffee Roasts, and Ticketed events.

Beyond that, it takes community commitment, which we are growing organically every day. We book shows for fans, so we work hard to curate a memorable sensory experience directed at an audience that values live music and understands that keeping a space like this alive requires active participation before, during, and after the show.

It’s also about efficiency for running a lean operation, keeping overhead low, and building relationships with artists and vendors where mutual support goes both ways.

Afternoon Music Break with groop.lab’s DJ Denada | Photo: Provided

Do you have any general comments that you would like to share regarding what we should be doing to ensure that this level of musical ecosystem is sustainable and thriving?

A thriving music scene starts with a dedicated and engaged audience. Show up often, even when you don’t know the performer. Live music and art aren’t nostalgic occasions, they should be part of your daily and weekly routines. The strength of a local music scene depends on people who are curious, open, and willing to experience something new. And when you do? Talk about it. Share what moved you, what surprised you, what made you think. Word of mouth builds culture, and the way we speak about music shapes the way our community values it.
Musicians and artists need to talk about one another as if we are each other’s heroes. Build up your fellow artists, speak about them as if you’re their biggest fan. The love and beauty you speak of is palpable and contagious. When people feel how much love you have for your fellow artists and musicians, they’ll become fans themselves, start going to shows, and spread that energy further. We can actively choose how we frame our community through our language. Your mindset is yours alone, yet when out in public, you are actively shaping the culture you are a part of. Don’t talk down about each other, lift each other up like the heroes we all are.
Respect process over product. Art and music are all part of a larger ecosystem where artists are manifesting their creative process in real time. Don’t judge a single performance as a finished statement. Artists are evolving, growing, and experimenting live, and the audience, you(!) are a real part of it! One experience at a show should never dictate whether you go to another, so keep showing up.
City and State Governments need to recognize the value of music and art spaces as cultural institutions through direct policy support. A municipality that boasts being a music and arts hub just because artists have chosen to live there while lacking direct policy to support music and art is just all smoke and mirrors.

Preshow Vibes at Mojo’s Cafe and Gallery in Troy, New York | Photo: Provided

EXTRA CREDIT: Anything you have coming up or are excited about that you would like to share?

This weekend show is not to be missed, if you haven’t heard Joseph Biss play guitar and sing yet, make it a priority for your Saturday, the musicianship is incredible.

Saturday, March 22nd – Joseph Biss w/s/g Alicia Macier VanScoy
$10 adv / $12 at the door | Doors: 6PM | Show: 7PM

Both nights will bring something special to the room—come through and be part of it.

WEB: mojoscafegallery.com | IG: @mojoscafegallery

Kayden Avery Fitzgerald : A Journey to Creative Practice(s)

February 20, 2025 By Corey Aldrich

As with many who are working full time in the creative economy, Kayden Avery Fitzgerald has a very round about path that he has explored to get to where he is today. The story felt familiar to me in that there were so many stops along the way, each informing a different aspect that led to their ultimate destination. I was especially surprised to find out Kayden had worked with a couple of companies I had in the past including Industrial Safety Supply Company Protective Industrial Products where I managed a large sales territory for a couple of years and previous Professional Dominatrix and Boudoir Photography Studio Owner Mistress Couple who brought me on for a guest room interior design project.

Kayden Avery Fitzgerald : Independent Artist and Craftsman | Image: Provided

Please state your name, job title(s) and share a bit about past work history and education. Are you a full-time creative?

My name is Kayden Avery Fitzgerald. I am an independent artist and craftsman; making hardwood furniture, indoor and outdoor signs, homewares, and cabinetry. Additionally, my current job titles include Woodworker and Historic Window Restoration Assistant with Flow Historic Windows, and Woodworking Instructor with the Arts Center of the Capital Region.

My past work history is vast and a bit all over the place. I was accepted to The College of Saint Rose but I deferred for a year because I enlisted in the Army National Guard at age 17 and served six years as a Motor Transport Operator. I was doing that and also working as a yard jockey with a CDL, working in the food industry and getting my BFA in Graphic Design. I interned at Engine7Design and Discover Albany, and worked as a Graphic Designer at the Albany Business Review. These were all incredible opportunities that fueled the energy and love I have for the Capital Region. I left ABR to work on rustic flooring production at a company formerly known as Square Nail Rustics in Glens Falls. That’s where I realized I liked working with wood, and wanted to learn more.

Kayden Restoring a Window Frame | Image: Provided

Can you tell us a bit more about how you transitioned from a graphic designer to a woodworking craftsperson / window restoration professional?

I took a job in Chatham at a custom woodworking shop but that was unsustainable, so I returned to the graphic design field when I was hired as a Graphic Designer for Protective Industrial Products, a global PPE company based out of Latham. Learning about the products I was designing marketing collateral for and prepping logos for placement on things like hardhats, safety vests and gloves was a cool segway into OSHA and safety ratings for various PPE. Prepping the logos for embroidery, screen printing, heat transfer, and other processes gave me a strong foundation in asset preparation that I was able to carry into my own CNC (computer numerical control) and laser engraving work.

After that, I was an HVLP (high volume, low pressure) spray finisher and production assistant at Alexander Butcher Block. I left Alexander Butcher Block to focus on my small business while I worked part-time at the Troy Public Library, Lansingburgh Branch. The library was fulfilling while allowing me the time to focus on custom woodwork and design like outdoor signs for local clients and businesses. I also participated in a handful of curated maker’s markets and pop-ups across the Capital Region, including A Big Gay Market, LARAC 40U40, and OpenBaar Market. These markets were actually where I met Leon of Flow Historic Windows. Leon eventually offered me the opportunity to apprentice under him, learning the trade of historic window preservation. I absolutely love it! It’s fun to bring my existing woodworking skillset into historic restoration, and gain more trade knowledge while bringing windows back to back life and comfort back into people’s homes. Seeing previous repairs that have been done over the years and knowing that my repairs and restoration will be part of what helps it keep on doing its job for another 100 years is a very cool thing.

KF Woodworking and Designs : Business Signage Examples | Image: Provided

I noticed you also are teaching as well…can you share a little bit about your motivation to pursue that that?

Yes! I am going to be teaching woodworking courses at the Arts Center of the Capital Region in 2025! As a trans man, navigating the trade environments and finding spaces to learn and grow has been an interesting experience. If I can foster a place where I can share the knowledge, skills, empowerment, and joy that woodworking brings, to those who don’t feel safe in traditional trade environments, then I’ll be doing something right.

KF Woodworking and Design : Custom Tables | Image: Provided

With the advent of AI design tools, there is a lot of concern about the future for graphic design, in fact design in general as a profession. Can you share some of your thoughts on that?

I think AI is a risk to the future of a lot careers. Whether it be design, administrative, manufacturing, etc. AI analyzes data and regurgitates; it can’t empathize the way humans can, and I think that’s a downfall. In terms of woodworking, I see how AI could be a helpful tool for streamlining design and production processes. I personally don’t use it because of the environmental impact it has, and the fact it takes the human touch out of it. I use technology where it makes sense for me and my craft. I design and make things because I enjoy the steps and interacting with the material on a personal level, and that’s where I find the joy. I use a combination of hand tools, power tools, a CNC and/or laser machine, depending on the task and goal.

KF Woodworking and Design : Product Samples | Images: Provided

What advice would you give someone just graduating to help guide them to find a way to sustain themselves with their creative practice?

This is going to sound cliche, but my past experiences have taught me that following my curiosities, staying open, and being willing to step toward my dreams is worth it. It has taken five years to get to where I am today. Consistency, being flexible, and staying willing to change trajectory when I need to have been massively helpful in my success. Remaining endlessly curious, finding mentors, and connecting with folks in the creative industry has also been invaluable; providing me with opportunities I never would have found otherwise.

JK Woodworking and Design : Custom Nightstand | Image: Provided

Anything coming up we should know about?

This year I’m focusing on an exploratory box series, as well as some personal projects to fuel my inspiration. The box series has been a lot of fun because it is going to be my first full body of work. I’m working on ways to incorporate more free artistic exploration into my practice moving forward.

I also have a handful of classes coming up at the Arts Center of the Capital Region in Troy, starting in the Spring of 2025! Make a set of coasters, a joiners mallet, or a luminary style wooden lantern with me! If you want to stay updated on class opportunities, check out what I’m making, and see all my goofy antics, give me a follow on Instagram!

WEB: www.kaydenfitzgerald.com | IG: @KF.woodwork