Born 1972 Glasgow, Scotland.
Lives and works in Portland, OR.

Glasgow School of Art, BA in Fine Art, 1993, Glasgow, Scotland.

Jo Hamilton: Knots in Time, Boise Art Museum, Boise, ID.
New Work, Russo Lee Gallery, Portland, OR.
Jo Hamilton: Intertwined, YaloRUN, Water Valley, MS.
Jo Hamilton, Cannon Beach Arts Association, Cannon Beach, OR
 Arthur Animated, Public Mural Animation, Toride Train Station, Japan.
Whom, Laura Russo Gallery, Portland, OR.
Our House of Portland: A Portrait in Yarn, SUM Gallery (October), Q Center (November), Our House of Portland (December), Portland, OR
Contemporary Oregon Visions, Jordan Schnitzer Museum of Art, University of Oregon, Eugene, OR.
Faces, Cafe Grumpy Greenpoint & Chelsea, New York, NY.
Pigeon Portraits, The Proper, Portland, OR.
I Crochet Portland, Downtown Stumptown, Portland, OR
Portland Portraits, Visage Gallery, Portland, OR.

Symmetry Breaking, The Art Gym, Marylhurst University, Portland, OR.
Selfie, The Schelfhaudt Gallery, Bridgeport, CT.
Group Exhibition of Gallery Artists, Laura Russo Gallery, Portland, OR.
Fiberart International 2016, Society for Contemporary Craft, Pittsburgh, PA.
Group Exhibition of Gallery Artists, Laura Russo Gallery, Portland, OR.
Face It: The Face in Contemporary Art, Onsite:Brooklyn, New York, NY.
A Likeness: Works in Contemporary Portraiture, 
Archer Gallery, Clark College, Vancouver, WA.
I’ll Show You Mine: Contemporary Artists Explore Family Portraiture, Palo Alto Art Center, Palo Alto, CA.
Quilt! Knit! Stitch! Oregon Convention Center, Portland, OR.
Art Beat Exhibition: Celebrating 15 Years of Creativity on OPB, Pioneer Place, Portland, OR.
Bodies, Juried by Elizabeth A. Brown, North Seattle Community College, Seattle, WA.
The Art of Craft, Gatehouse Arts, Harlow, UK.
Group Exhibition of Gallery Artists, Laura Russo Gallery, Portland, OR.
Against the Bias,
Joan Hisaoka Healing Arts Gallery, Smith Center for Healing & the Arts, Washington, DC.
New Views, Laura Russo Gallery, Portland, OR.
Bellevue Arts Museum Biennial 2012: High Fiber Diet: Juried by Elissa Auther, Elizabeth A. Brown, Stefano Catalani & Marci McDade. Bellevue, WA.
Ladies’ Choice
, Greg Kucera Gallery, Seattle, WA.
Thirteen, Sum Gallery, Portland, OR.
Part & Parcel: The Deconstruction of the Female Form in Contemporary Art, Arts Guild New Jersey, Rahway, NJ. Curated by Bonnie Gloris.
School 33 Art Center, Baltimore, MD, Curated by Rene Trevino.
Art in the Mayor’s Office, Portland City Hall, Portland, OR.
Lost and Found: The Art of Reuse, The Peoples’ Art of Portland Gallery, Portland, OR.
The 2nd Annual New Brow of Portland, Portland Center for the Performing Arts, Portland, OR.
BENEATH THE SURFACE: Flora, Fantasy & Fable in Surface Design, Curated by Pattern People, Nemo Design, Portland, OR.

Through the Fremont Bridge, Joe Sacco, Portland, OR.
Plastic Andy Panda, Grant Davis, City of Seattle Portable Works Collection.
Dr. ‘Sir’ Steven, Reckless Driver, Driver Under the Influence, Portland Art Museum Contemporary NW Collection.
Mannequin Mask No. 2, Private Collector, New York, NY.
Identity Thief,
Private Collector, New York, NY.
Homemade Man,
Peter Buck & Chloe Johnson, Portland, OR.
I Crochet Portland, Gift from 6 donors to the Jordan Schnitzer Museum of Art, University of Oregon, Eugene, OR.
Janet Echelman, Smithsonian Magazine. Commissioned work.
Illegal Alien,
Gift of Peter Buck & Chloe Johnson, Jordan Schnitzer Museum of Art, University of Oregon, Eugene, OR.
Portland/Paris/London Mania,
Printemps Haussmann, Paris, France. Commissioned site specific works.
Masks: Groucho Gia,
Alan Davis, Portland, OR.
Hawthorne Bridge Rising,
Holly Hudley, Houston, TX. Commissioned work.
Brighton Ray Bradbury,
Paddy Considine, Burton-on-Trent, UK. Commissioned work.
Hawthorne Bridge Variation,
Sabine Sexauer, Gengenbach, Germany. Commissioned work.
David Frierman
David Frierman, Portland, OR. Commissioned work.
Joe Cotter & the Original Outside In Mural,
Outside In, Portland, OR. Public Art.
DJ & Ursula,
Bill & Uma Kremers, Portland, OR. Commissioned works.
Andrew Fortgang,
Robyn Williams, Portland, OR. Donated to the Our House of Portland 2011 Charity Auction.
Marc & Katia Carter
Katia Carter, Los Angeles, CA. Commissioned work.
John, Karen, Riley, Owen & Wyatt Hoke,
John & Karen Hoke, Portland, OR. Commissioned works.
Paul Brady & Erik Van Kley,
Marc Riera & Kristen White. Portland, OR.
Hugo Habetz,
Brooke Lack & Tommy Habetz, Portland, OR. Commissioned work.
Gabriel Rucker,
Cara J. Frey & Jennifer K.T. Warner, Portland. OR.

Richard Speer, “Jo Hamilton at the Crossroads of Flesh and Fabric’, Surface Design Magazine, Summer Issue.
Elizabeth Rusch, “Two Threads”, American Craft, August/September.
Richard Speer, “Jo Hamilton- Our House of Portland: A Portrait in Yarn.” Willamette Week, November 12.
Ellen Bakker, “Textile Art Around the World” (Book), P19, Netherlands.
Max Kutner, “High Wire”, Smithsonian Magazine, November.
Judy Darley, ‘Hooking Tactile Fine Art”, Simply Crochet Magazine, United Kingdom, Issue 23.
Dorothé Swinkels, “A wire loose, the crochet paintings of Jo Hamilton”, Textiel Plus, Netherlands, Autumn 2014.
Angela Sanders, “String Theory”, Portland Monthly, July.
Scott Keith, “Vibrant Art, Rich History”, Portland Tribune: NW Portland Neighborhoods, June 26
Catherine Schickel, “Son crochet est un pinceau” (Her hook is a brush), Fait Main Magazine, France, Issue 34, May.
June Black & Jessi DiTillio, Jo Hamilton: Selected Works 2006-2014 (Eugene, OR: The Jordan
Schnitzer Museum of Art); catalogue made possible in part by a grant from the Oregon Arts Commission.
“Contemporary Oregon Visions: Jo Hamilton & Irene Hardwicke Olivieri,” The Jordan Schnitzer Museum of Art Members Magazine, Spring/Summer 2014.
Alex Notman, “A Tale of Two Artists,” Eugene Weekly, April 10.
Randi Bjornstad, “Crochet Artist Spins Amazing Yarns,” Register Guard, Eugene, OR, April 10.
Mark Jenkins, “D.C. gallery shows: ‘Against the Bias'”, The Washington Post, December 13.
Rhonda Fargnoli, “From Inspiration to Crochet: Artist Profile: Jo Hamilton”, Fiber Art Now Magazine, Summer Issue.
Judy Darley, “Threads of Splendor: Crochet As Art”, Simply Crochet Magazine, United Kingdom, Issue 7.
Lee Lewis Husk, “Oregon’s Creative Impact: 13 ideas that are changing lives”, 1859 Magazine, March/April.
Gayle Clemans, “Familiarity of fiber art rendered compelling at Bellevue Arts Museum’s Biennial”, The Seattle Times, January 18.
Sigal Namir, “Knitting Me Softly”, Signon Magazine, Tel Aviv, Israel, June 8.
Nilay Ornek,  “İtina ve tığla portreniz yapılır”, Aksam, Istanbul, Turkey, June 3.
Daryl Brower, “The Fine Art of Crochet: Six fiber artists blur the distinction between art and craft”, Vogue Knitting, May.
Bonnie Gloris, “Part & Parcel: The Deconstruction of the Female Form in Contemporary Art”, Exhibition catalog, Arts Guild New Jersey, April.
Andrew Farinov, “The Crocheted Art of Jo Hamilton”, The Culture of Transbaikalia, Russia, April 5.
Bee Clinch, “Interview: Jo Hamilton”, Inside Crochet, United Kingdom, Issue 8, June/July.
Christine Vitron, “Departures: About Faces”, Interweave Crochet, Winter Issue.

Arts District: Rocky Mountain PBS, Denver, CO, July 25.
LAart: PBS SoCal, Los Angeles, CA, July 13.
Artifex: WCNY Channel 24, Syracuse, NY, June 23.
Oregon Art Beat: OPB, Portland, OR, October 11.
Girls: HBO, Season 1, Episode 5, May 13.

Contemporary Northwest Art Awards Finalist, Portland Art Museum, Portland, OR.
People’s Choice Award, Bodies exhibition, Seattle, WA.
Project Grant, Regional Arts & Culture Council, Portland, OR.
Career Opportunity Grant, Oregon Arts Commission, Salem, OR.

Artist’s Talk, Surface Design Association Conference, Oregon College of Art and Craft, Portland, OR.
Lecture, Columbia Fiberarts Guild, Vancouver, WA.
Artist’s Talk, Contemporary QuiltArt Association, Seattle, WA.
Gallery Talk, “Contemporary Oregon Visions”, Jordan Schnitzer Museum of Art, Eugene, OR.
Workshop Instructor/Lecture, Arrowmont School of Arts and Crafts,  Gatlinburg, TN.
Panelist: Craft Perspectives, Museum of Contemporary Craft, Portland, OR.

I use crochet nontraditionally to create large-scale figurative art and to invest the craft with contemporary significance. My work filters the culture of fine art through traditional craft, reworking and transforming the classical categories of portraiture, landscape, and nudes, and in the process confronting past and present biases and shifts in gender roles and identity. I am interested in how Western preconceptions of social status and progress determine the meaning and value of an image and its subject: what is represented, what is ignored, and why. My portraits depict members of society who are less seen, such as residents of the local AIDS care facility where I volunteer; my landscapes reveal the so-called progress that is dismantling the city; and my giant, ambiguous male nudes reverse the gendered tradition of male artist/female reclining nude. My Masks series portrays anonymous masked women and girls with a superheroic subtext. Another ongoing series appropriates and softens mug shots of arrestees in order to restore the humanity that has been erased in a single negative moment.

Crochet is a method of making fabric using a hook. It has a distinct language, older than and unchanged by recorded art history. It speaks to and of generations of women, and universally to everyone who has ever handled textiles. I was taught to crochet as a child by my Gran. It became part of my studio practice in 2006, when a local textile exhibition inspired me to unite my love of crochet with my years of experience as a painter. I developed my technique through long hours of tying knots, and even more unraveling.

My process is unusual: I work from an image using no plans or sketches, and mix the yarns knot by knot, building tiers of color like brushstrokes to define my subjects. With each portrait I always begin with the eyes, using the rows of stitches like lines to define the facial structure, working outward until the person is captured in my knots. The subjects are created from and contained within the handmade fabric, and the knots suggest units of time and reveal the physical process.