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Corey Aldrich

Elizabeth Waxes Philosophic on the Merits & Challenges of a Tech Driven Future

May 2, 2025 By Corey Aldrich

Happenstantially I ran across an old friend recently at Jamel Mosely‘s Whiskey Pickle and as frequently happens at night in such places, a deep conversation ensued. This one was on the merits and challenges of AI’s impact on creativity. So good it was, I had to invite Elizabeth Quinn Gray, who is currently the Associate Director of the AI and Society Research Center at the University of Albany to have a chat over the kitchen table about where she sees the technology going and its impact on arts, culture and the human condition.

Elizabeth Quinn Gray – Associate Director at AI and Society Research Center | Photo: Corey Aldrich

Please state your name, position and what you do. Feel free to include any relevant background info.

My name is Elizabeth Quinn Gray, my position is the Associate Director of the AI and Society Research Center at the University of Albany (AISRC). I’m currently finishing my doctorate, actually it’s really optimistic of me to say I’m finishing my doctorate…I’m in the dissertation writing stage of my doctorate in Philosophy. I also studied social justice theory.

As for my background, I studied at UAlbany, then started a school in Ecuador where I was asked to help found the Global Institute for Health and Human Rights as Assistant Director. Following that, I co-founded a Montessori school in Albany. After which, I was Assistant Dean at the College of Emergency Preparedness for Homeland Security and Cyber Security at SUNY when that was starting and then participated in a variety of startup projects at the Provost Office there (SUNY) as well.

Elizabeth Quinn Gray – Associate Director at AI and Society Research Center | Photo: Corey Aldrich

What exactly is the purpose of AISRC?

AISRC has a range of five different themes that we work on: human resilience, human solidarity, human connection, human imagination and human flourishing. In each of them, the idea is to look at those things which are essentially human and / or have to do with the human condition, then determine how we can leverage AI in order to support humancentric activity while also protecting those things against the undue influence of the technology.

Elizabeth Quinn Gray – Associate Director at AI and Society Research Center | Photo: Corey Aldrich

There is a lot of anxiety in the creative class about the impacts of AI. Maybe you could give us some hope for the future of human creativity…

I understand the initial reaction to people feeling fearful about the ways in which as AI is better able to, you know, massive air quotes here CREATE. There’s this fear that it will undercut or replace human creativity. My perspective on it is that there’s still necessarily a human creator in these scenarios. It is the case that AI can do some of the work for example, graphic design. But there still needs to be somebody who creates the concept for what the graphic should be. What makes it interesting is that somebody has an idea that they wanted to create a specified image. It’s bizarre and can be sort of disturbing and concerning, but I think that historically there’s always been these moments where new technologies or artistic tools have become available. Each time humans take the tools and find the path to make art while showing the mind of the creator. Art is not merely the visual or the verbal representation of a thing.

I think it’s going to actually be really fun and interesting to see what kind of art comes out through AI generated forms of creative arts because it just offers a new tool that people can play in. Then there’s an opportunity that sometimes is overlooked in areas like equity, inclusivity and expression. For example, historically in order to paint, you had to have access to paint. Originally only a really small group of people who had that access because you had to have like a chemist that could hand mix it an access to the minerals and then they would have to like make the paints and then, you know, if you were one of those lucky people, then you might become a painter. Eventually the paints became available in tubes that anybody could buy, and then everybody thought, oh no, now that everybody can paint, it’s going to make painting meaningless. But no, in fact, it just gave more people access to the medium. Then the caliber of painting, the expectations of what it meant to paint changed because there were all of these new artists in the field that were painting. I think that some similar things are already happening with AI. I think it just opens the field up for more art, more creation rather than narrowing the field.

In what way’s do you see the creative class having a critical contribution to the ongoing dialog?

Creativity and the creative arts are critical to human identity. There are opportunities and there are also serious challenges or threats. As you alluded to previously, there are the ones who hold the power and hold the purse and for the most part, that is not the creatives. On the other hand, it’s the creatives who hold power in wisdom and improvisation. So we have to figure it out how to align the money with that wisdom. This hasn’t been figured out yet in many respects. With the AISRC, we don’t want to invite in the humanists and the social scientists and the artists and other creatives to the AI discussion. We want the humanist, the social scientists, the creatives and the artists to lead the discussion, to identify those things that we need to be paying attention to, to understand what matters in order to know how to protect what matters. How do you engage with questions of art and creativity? Questions of ethics and of social impact can’t be an afterthought. Again, it’s the creatives that have that power and wisdom that those in positions of formal authoritative structural power don’t necessarily have. We can benefit from giving those minds a seat at the table at the outset, as all of this is unfolding.

Author Laila Lama – Photo: Beowulf Sheehan | Author Gary Rivlin – Photo: Kathy Ryan

Do you have anything to offer folks to help them engage in the ongoing dialog about AI and its ongoing impact?

One of the first things that we did when we started the AI and Society Research Center was to partner up with the New York State Writers Institute (EDITORS NOTE: the most recent installments included conversations with Author’s Laila Lalami and Gary Rivlin) to develop an AI and Society Conversation Series. Through this partnership we bring in authors who are working either directly or indirectly on questions related to AI technologies. Some are journalists, some are novelists who are just interested in questions of surveillance or creativity or any number of related topics. Some are pro AI, some are the skeptics that are questioning and concerned. The idea is to create a series that is fiction and nonfiction. Including play rights, filmmakers and others who are grappling with these questions in their in their particular formats. These are public events that are open to the public.

So part of what the AI in Society Conversation Series is doing is grappling with both the opportunities and the threats. We’re also looking at with this from a research perspective. So for those five themes that I mentioned earlier…in what ways can we leverage these emerging tools and technologies in order to further the things that we care about? How do we leverage AI as a tool to to support and enhance those things that we care about? And based on what we care about, based on what are what we want to value about what it means to be human, how do we protect against the threats? And finally, who even is the we?

Incidentally, I was joking that finally they are asking the philosophers what we think because, you know, philosophers of mind have asked questions about what it means to be an independent generative thinker for ever. Questions of ethics or questions of trust or explainability. These are what philosophers think about. Now suddenly there is not just a commercial but a societal, humancentric reason to be thinking about these things. I think we can look at it in the same way with arts and creativity. We have an opportunity for those who have been doing this, who have that in their nature, to lead and to have a hand in shaping the future of the technology. At it’s core, that is our hope with the research center.

WEB: AI and Society Research Center

Fabbro Industries Design Build Approach Spans Bespoke Bikes to One of a Kind Furniture Designs

May 2, 2025 By Corey Aldrich

Terence Musto and I recently were asked to be on the same crit panel for a group of student projects at Union College organized by Associate Professor Lorriane Cox PhD. His business acumen was evident in the feedback he provided to the project teams and when I found out what he did, a studio visit was destined to happen. The story of Fabbro Industries is highly relevant and emblematic of the current national narrative to bring more entrepreneurial manufacturing to our country. A renaissance creative, Terence has his hands in a wonderful diversity of projects including currently rolling out a touring bicycle design to machining specific parts for a project at the Metropolitan Museum of Art. All from his shop in Vorheesville, New York.

Terence Musto : Owner / Creator at Fabbro Industries | Photo: Corey Aldrich

Please state your name, title and business. Can you also give us a bit of background into how you got into what you do and any relevant educational or apprenticeship background info?

My name is Terence Musto, CEO / Creator at Fabbro Industries. I went to school at Babson College for business, concentrated in finance, worked in finance, and wanted nothing more than to get as far away from it as possible after my first internship. I had built a custom chopper (motorcycle) in my parent’s garage while in college and was instantly hooked by building. After graduating, I got an apprenticeship with a custom builder and my journey began. I apprenticed for about a year, then became his lead fabricator and then shop foreman. I eventually left that shop, and opened my own shop, knowing that I wanted to concentrate on R&D and product development for anything on two wheels.

Fabbro Industries Custom Bike Build | Photo: Michael Lichter

Can you tell us more about what market nitch FABBRO Industries fills and what your main focus areas are? Care to name drop a few clients / projects that you have worked with / on?

On its surface, we are a prototyping, design, and fabrication company. But we exist in a few main areas:

1. Custom motorcycles, cars, bikes (and associated parts) – namely the creation of our patented Type 57x® integrated suspension frame for bicycles and motorcycles.

2. Product development – from design, to bill of material generation, to small batch fabrication. We can take customers from hand sketch, or even just idea stage, to finished prototype ready for testing.

Fabbro Industries Designs : Bottle Opener and Tap | Photos: Provided

3. Finely machined home goods – we produce our own line of machined home goods including bottle openers, cutting boards, and cigar ashtrays (along with a few new products dropping soon).

4. Architectural metal fabrication – we work with general contractors for high end metal fabrication for things like: custom furniture, sinks, floating vanities, shower doors, etc.

5. Small batch, high quality manufacturing of goods.

We are set up to make one piece or a couple hundred. But more importantly, we’ll work with clients to find out exactly what they need – sometimes, what people think they need isn’t actual. Example: maybe you think you need your product to be made from solid aluminum, machined, and bolted together. In reality, we could save weight and time by using tubing and welding it together and achieving all the same design goals. We’ll sit down and talk the process through to make sure you get exactly what you need. Compare that to a traditional job shop: they make whatever you have on the print, even if that’s the wrong thing to make.

We’ve built a lot of stuff over the years – I’ve had bikes in many national and international magazines. One of the coolest moments for me was having our Type 57x® included in a book on the history of motorcycling in NYS, and the NYS Museum put our gold prototype on display for about 8 months in their lobby (highlight of my career so far for sure!).

Fabbro Industries Custom Interior Design Fabrications | Photos: Provided

We also had some of our architectural work in Architectural Digest in the September 2024 issue for a floating, mirror polished stainless steel vanity we built. We also machined some parts for a Lincoln Zephyr designed by Paul Teutul Jr. (American Chopper fame) and built by Speakeasy Motors. Current project clients include Iacona Custom Cycles and the Metropolitan Museum of Art.

Fabbro Industries One of a Kind Design and Production Prototyping | Photos: Provided

Running a design driven machine shop feels very much in alignment with what we are seeing promoted on a national scale for creating quality jobs. What do you see as some of the hurdles and challenges to growth in this market area? Any specific things that you have experienced in growing your company?

I think the biggest hurdle is that there’s a lot of focus on the supply side – which presents its own challenges (energy consumption, time required to build manufacturing infrastructure to name a couple). But the other side is on the demand front – customers need to be willing to pay more to have things made in America. It’s expensive to make things here. One of our biggest challenges, in addition to finding qualified labor, is being able to afford all of the required insurances and benefits that fabricators need which is tough.

We’ve been pushing our new marketing: #webuildheirlooms. Our products aren’t cheap. They are luxury items. But my mission is to inspire a feeling in our customers whenever they use our products. Even if it’s just a bottle opener, I want our customers to have the feeling of “I love this!” every single time they use it, or even look at it. When they are done with it, I want them to pass it on to the next generation. I think that on the demand side of the equation, customers need to embrace this mentality of “buy less, but buy better” and be willing and able to pay more for it.

Fabbro Industries : Terence Reviews Design Documents | Photo: Corey Aldrich

AI is being touted as something that potentially will take away many jobs in this country. I think you and I both have a more nuanced version of that future. Can you share some thoughts on AI and how you see it affecting your business?

There are applications of AI being rolled out already in my space – one major one that is exciting is in the CAM side of programming. For the uninitiated, CAM is the programming required to create the G-CODE that tells CNC equipment how to run the parts we design. It’s designed in CAD (computer aided design) then programmed using CAM (computer aided manufacturing). Traditionally, we use the CAM software to pick up geometries, lines, machining strategies, etc. It can take anywhere from minutes to hours. AI is being deployed on the CAM side to reduce programming time, even for complex parts, to under 5 minutes. There are trade-offs – these programs aren’t inexpensive, and you still need the g-code and programming knowledge to get the AI software to give you quality outputs. But this is definitely one place that AI is creating efficiency, even for small shops.

Fabbro Industries Type 57X Touring Bike Design | Photo: Provided

BONUS QUESTION: Share with us something you are especially excited about that you are looking to develop in your business over the next 5 years.

BUSINESS: it’s always exciting to see growth, be able to buy new equipment, bigger space, and add quality team members. We are finally hitting some of these goals and I’m looking forward to what the next year brings in this regard.

PRODUCTS: It’s the big one: we are reaching D-day with our Type 57x frames. We are getting ready to roll out two prototype e-bikes, and then finally wrap up our testing and get our product to market. We are looking for manufacturers to launch a pilot program so that we can get our frames out into the field and get people better riding bikes for every day use. Currently, there are no real full suspension options for bikes that aren’t mountain bikes. Our goal here is to license our patent portfolio to a larger company who has the efficiency to make our frames properly on a large scale.

ARCHITECTURAL: Last year was pretty good for us. This year we have a few good projects lined up, but the one I’m most excited for is a built-in wine cooler, with brass racking I am currently working on. It’s a large scale – 4 big doors. It’s a complicated project, but I think it’ll be a killer piece once it’s done.

WEB: fabbroindustries.com | IG: @fabbroindustries | FB: @fabbroindustries


Meg Mosca : Fashion Forward Design and Alterations in Saratoga Springs, New York

March 20, 2025 By Corey Aldrich

I recently reached out to Meg Mosca about helping out with a project ACE! is participating in this month with the NYS Art Teachers Association. I had worked with her back in 2017 where she participated in a fashion event that I did at the NYS Museum for Electric City Couture called IDENTITY. I was pleasantly surprised to find that she has grown and is now a fashion related entrepreneur working out of Saratoga Springs. Indie / custom fashion is a tough go. This is such a feel good and practical creative economy story, I just had to share. Additionally, who doesn’t need a good seamstress from time to time?!

Meg and Kevin Mosca : Owners at Mosca Alterations in Saratoga Springs, New York | Photo: Alexandra Eigo

Please state your name and title. Can you tell us a little about your educational / experiential background also?

My name is Megan Mosca, and I’m a fashion designer and small business owner. I completed my studies at Hudson Valley Community College before going on to study at the Fashion Institute of Technology. My education and experiences have shaped my approach to both the creative and practical sides of the fashion industry, allowing me to blend my passion for design with the skills necessary to run a business.

Starting at an existing business, WillFitUin in 2017, I eventually bought the business in August 2021.

2017 Electric City Couture IDENTITY Promo Shoot | Designer: Meg Kluball Mosca
Photo: (L) Doug Mitchell (R) Sarah Pezdek

What drew you to fashion and clothes making?

From a young age, I realized that clothing is like a second skin—it’s something I can choose for myself. It’s amazing how clothes can shift depending on your mood, how you want to present yourself to the world, or even how many times you want to change in a day. This realization sparked my interest in fashion. I quickly became fascinated by the power that clothing holds and how it can shape not just our appearance but how we feel and are perceived.

Mosca Alterations in Saratoga Springs, New York : Detail Work in Progress | Photo: Provided

Tell us more about your shop? Can you explain the types of work you do on a regular basis?

My husband and I own Mosca Alterations in Saratoga Springs, NY, where we specialize in women’s formal wear alterations, with a particular focus on wedding gowns. In addition to alterations, we also offer custom dresses, and we’re expanding into that market more and more. It’s really exciting to work on pieces that have such personal significance, and being a part of making someone’s day even more special is always incredibly rewarding.

Mosca Custom Wedding Dress Design | Photo: Michelle Lang

Are you still experimenting with producing original lines?

Yes, I’m currently working on developing a line of wedding veils called Opaline. I’m also focused on growing our custom gown offerings. One of the most rewarding parts of my work has been creating custom dresses for clients using vintage pieces, particularly wedding gowns from their families. Reworking these gowns—restoring them and giving them new life—has been such a joy, especially when you get to work with something so sentimental and meaningful.

Mosca Bespoke Garment Crafted From Heirloom Piece | Photo: Nicole Perfetuo

Running a business is a lot of work and a very different headspace from the creative. Can you tell us how you balance it? Also, anything you could share on the economics side of things? Any practical recommendations for fellow designers?

Balancing the creative and business sides is definitely a challenge. As a perfectionist, I often find it hard to let go of control, but being a business owner has forced me to rely on the strengths of my team. It’s an ongoing challenge to take my hands off certain tasks, but the growth that comes from collaboration has been invaluable.

In terms of practical advice, I try to keep a clear separation between work and life by setting boundaries. I “punch in” and track my hours to make sure I’m being as productive as possible during work hours. It’s also important to set times when I have to leave the studio. As someone whose brain never seems to turn off, I find it essential to create those boundaries to prevent burnout.

Mosca Opaline Veil | Photo: Amanda Irvine

EXTRA CREDIT: Anything you have coming up you would like to plug or that we should know about?

Yes! We’ve recently launched a collection of veils that are available via Etsy, and we’ll soon be adding them to our website as well. Be sure to check them out! It’s an exciting new venture, and I can’t wait for people to see the pieces we’ve been working on.

WEB: moscaalterations.com | IG: @moscaalterations

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?

  1. 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.
  2. 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.
  3. 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.
     
  4. 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 the 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

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