贾尼斯·莱斯曼莫斯是肯特州立大学纺织艺术系的教授。 她从泰勒艺术学院获得美术学士学位，于密歇根大学获得美术硕士学位。 她的编织作品在全美及世界各范围内展览，她本人获得多次获得俄亥俄州艺术委员会的个人奖学金，并有一次且获得一次国家/中西部授予的手工艺品奖学金。 最近参加的展览包括：由当代社会协会和匹兹堡艺术中心举办的“国际纤维艺术2013”；林肯市内布拉斯加州大学谢尔登博物馆“新材料世界”；荷兰里基思维克博物馆“里基思维克纺织展2011”；韩国“第七届成又手工艺展”；加利福利亚圣何塞纺织与床单博物馆第一届（第二届）“国际科技艺术展”。
莱斯曼莫斯以很高的热情投身到纺织艺术和设计的教学中，并且在肯特州立大学艺术学院有反响很好的工作室。 学生们既有机会学习到传统的技术，也可以使用TCI扎卡德纺织织布机和Pointcarré软件学习数字设计。 作为纺织界的一员，莫斯在2006-2010担任过没过纺织业界的外部指导，而且她也是中西部纤维艺术教育者网络（MFAEN）的发起者之一。 她也曾担任过许多纺织展览的负责人，如：“俄亥俄州哥伦比亚莱夫美术馆“诗学的样式”；林肯市内布拉斯卡大学艾森塔格-霍华德美术馆“二进制编造：数字编织2010”；俄亥俄州欧柏林视觉艺术火境协会（FAVA）“圆圈，循环和结构。
我的编织反应了我根植于电脑抽象系统与纺织机共用的二进制语言互动的兴趣。 我编织图案的网络首先在电脑上以数码的形式被写出来，是源自于我对编织工艺过程的知识以及直觉和一瞬间的创意：它们基于正方形内的几何学，由网格间纵向，横向以及动态流动的曲线之间衍生出精密搭配的关系。编织品表面的图案显示出一种重心的转变及形态的复杂性，它传达出一种诗意的解释，这种解释即时而又永恒。在编织过程中，图案是不断自然重复的出现，我的作品就是承接了这种装饰性（且标志性）的历史。 同时让编织作品可维持其自身概念与特色也是非常重要的。 所有的这些形状、，颜色和纹理都是突出中心，又同时强调边缘，从而加强编织作品平面特征以及其固有的特色－－这积累成一个个小片段或成就一件件手工艺品。
Janice Lessman-Moss, Professor of Textile Art at Kent State University received her BFA from Tyler School of Art and her MFA from the University of Michigan. She has exhibited her weavings throughout the United States and internationally, and has received a number of Individual Artist Fellowships from the Ohio Arts Council and an Arts Midwest/National Endowment for the Arts Fellowship in Crafts. Recent exhibitions include: “Fiberarts International 2013,” Society for Contemporary Craft and Pittsburgh Center for the Arts, Pittsburgh, PA; “New Material World,” Sheldon Museum, University of Nebraska, Lincoln; “Rijswijk Textile Biennial 2011,” Museum Rijswijk, Netherlands; ”7th Cheongju Juried Craft Exhibition,” Korea; and the first (and second) “International TECHstyle Art Biennial,” San Jose Museum of Quilts and Textiles, California. Lessman-Moss is strongly committed to education in textile art and design and maintains an active studio in the School of Art at Kent State University. Students have an opportunity to learn a breadth of traditional techniques and explore digital design and production using TC1 jacquard looms and Pointcarré software. As a member of the textile community, Lessman-Moss served as External Relations Director for the Textile Society of America from 2006-2010 and is a Founding Member of the Midwest Fiber Art Educators Network (MFAEN.) She has also served as curator for exhibitions of textiles and pattern including: “The Poetics of Pattern,” Riffe Gallery, Columbus, Ohio; “Binary Fiction: Digital Weaving 2010,” the Eisentrager-Howard Gallery, University of Nebraska- Lincoln; and “Circles, Cycles and Structures,” Firelands Association of the Visual Arts (FAVA), Oberlin, Ohio, to name a few.
My weavings reflect my continuing interest in the interconnection of abstract systems rooted in the common binary language of the computer and the loom. Networks of patterns, composed digitally on the computer screen are informed by my knowledge of the architecture of the process combined with my own intuitive sense of order and improvisation. Based in the geometry of the circle within the square, a relationship is orchestrated between the stability of the horizontal and vertical axes of the grid and the dynamic fluidity of the curve. The field of motifs that comprise the surface of the weavings reveals a shifting focus and energized complexity – providing a vehicle for poetic interpretation that is both timely and timeless. Pattern is a natural outcome of the repetitive process of weaving and my work embraces and builds on this decorative (and symbolic) history. While at the same time it is important that the weavings assert their conceptual and concrete singularity. All systems of shapes, colors and textures are developed to acknowledge the center and emphasize the edge as a means to reinforce the physicality of the plane and the finite nature of the object – a fragment or artifact of accumulation.