Category: Art Textiles

Artist Focus: Marianne Kemp

Marianne Kemp weaving
Marianne Kemp weaving her Vibrant Conversation tapestry, horsehair, cotton, linen in 2018. photo by Tom Grotta

Textile artist Marianne Kemp is a specialist in weaving with horsehair. She is passionate about exploring unconventional weaving techniques in her art. That passion, combined with her craftsmanship, is clearly visible in the work she creates. “I’m fascinated by the movement of the weavings, how the horsehair manifests in the net of the weaving technique,” she says. 

Tube Waves
Detail of Tube Waves, Marianne Kemp, horsehair and cotton warp, 78” x 63”, 2015, Photo by Tom Grotta

Some creations, almost-mathematically precise, challenge viewers to become introverted and still. Other work is more extroverted and playful, displaying an exuberant cheerfulness. In either case, her work attracts the eye and stimulates an urge to touch For Tube Waves, for example, Kemp found her inspiration  in the rhythm of the waves. “The flowing colors, going from light silver to aqua, dark purple/blue to deep green, are rendered in the three-dimensional weaving technique I’ve created,” she explains. The ‘tubes’ flow in and over each other, which makes them appear to dance off the surface, depending on your position. From a distance, it’s a dynamic piece; upon closer inspection, there are many different details to discover.”

Vibrant Conversation
Vibrant Conversation, Marianne Kemp, horsehair, cotton, linen, 49” x 70” x 6 “, 2018, Photo by Tom Grotta

Kemp has combined an interest in an architectural weaving process with an appreciation for organic material, creating objects with elements that change space but are experienced as one. In Vibrant Conversation, the top and the bottom layer are embraced in a knot, showing an array of different perceptions in cultural traditions. The work endeavors to tie different generations together via storytelling, confronting collective knowledge with new experiences, prompting new insights.

Orchid
Orchid, horsehair, gold lures thread, wooden frame, 2018, Photo by Tom Grotta

In the stitched and woven Orchid, dyed red horsehair woven in between a delicate herringbone background highlights Kemp’s supreme eye for detail. For Kemp weaving is a form of meditation. “It is the only time of day that I do one thing at the time and think (solely) about one thing,” Kemp says. Weaving allows Kemp to give her brain a rest and explore her creative intuition — a good outcome for us. 

Detail Red Body
Red Fody, Marianne Kemp, cotton, horsehair, acrylic, 56” x 19” x 8”, 2013, Photo by Tom Grotta

Kemp’s work will be included in browngrotta arts’ 2022 Art in the Barn exhibition, May 7 – May 15, 2022.


You make it possible! Thanks to our Artists, Clients and Fans!

Thanks are due all around this year!

Adaptation: Artists Respond to Change
Social-distanced viewing of our spring exhibition Adaptation: Artists Respond to Change, photo Ezco Productions

At browngrotta arts, we hosted two 2021 exhibitions, Adaptation: Artists Respond to Change and Japandí: shared aesthetics and influences.   Each featured exceptional artwork — more than 75 artists from 18 countries were included. Both were open to the public, with proper covid protocols. We got great press — from Art in America online, to Architectural Digest online to Gessato and ArteMorbida in Italy. Our teams from Juice Creative, State PR and Ezco Productions helped us get the word out through emails and social media. They are probably the reason we had more people attend than any year before. We published a full-color catalog for each exhibition. Tom’s had to head to the basement to print more copies of Japandí five times since the show closed. 

Polly Sutton Facing the Unexpected
Facing the Unexpected, Polly Adams Sutton, western red cedar bark, ash, spruce root, coated copper wire, 11.5” x 18” x 32”, 2013. Photo Tom Grotta

Our artists gathered accolades and awards all year. Just a small sampling – Polly Sutton, whose recently acquired work, Facing the Unexpected, will be included in the Renwick Gallery’s  50th Anniversary exhibition, This Present Moment: Crafting a Better World, which opens in May; Adela Akers whose recently acquired work, Compostela, is featured in the Minneapolis Institute of Art’s current exhibition, Parallel Lines: New Textile Masterworks Inspired by Geometry (through August 28, 2022); Simone Pheulpin, whose 80th birthday is being celebrated by the Musée des Arts Décoratifs in Paris (Simone Pheulpin: Time Bender, through January 16, 2022) and the retrospective of Kay Sekimachi’s 70-year career at BAMPFA in Berkeley, California (Kay Sekimachi: Geometries).

Adela Akers Compostela
Compostela, Adela Akers, sisl, linen and wool, 60” x 180” x 6”, 1985. Photo by Adela Akers

Our charitable project for 2021 engaged hundreds of people. It involved our contribution of a early, accomplished work, Spatial Ikat 2, by Lia Cook, created in 1976. The work was the prize in a sweepstakes on the UncommonGood nonprofit platform. Hundreds of people entered the sweepstakes. The proceeds from their entries went to the Breast Cancer Alliance headquartered in Greenwich, Connecticut

Lia Cook Spatial Ikat III
Spatial Ikat III, Lia Cook, rayon, cotton; woven, 72″ x 48″, 1976.. Photo Tom Grotta

Great feedback was received from our clients, artists and fans: “Over these past years, I do not walk past any of the pieces you hung for us without appreciating how it enhances my life.” “We are so delighted with our sculpture.” “Thank you also for sharing all the rich documentation on the Japandi exhibition! It’s a real pleasure for us to discover this beautiful exhibition from afar.” “We so enjoyed seeing your fabulous show on display in your amazing home …. Thank you for sharing the art and your time.” “The new exhibition is such a thoughtful juxtaposition of the Japanese and Scandinavian.” “I am happy and proud to be a part of your family of artists.”

We have plenty of plans for 2022 — an exhibition April 29th to May 8th, a browngrotta arts produced book, scheduled for Spring 2022 publication. More on these to come in the next few months.

In sum, a heartfelt thanks to all of you for letting us live a life filled with art and to fill others’ lives with art, too!


Artist Focus: Mia Olsson

Mia Olsson portrait
Portrait of Mia Olsson by Kerstin Carlson

Agave sisalana, better known as sisal, is a cactus-like plant cultivated in Mexico and Central America. Known for its stiff fiber, most often used to make ropes, rugs and even construction materials, sisal fibers are yellow-white in their natural state. Through a kind of alchemy, Swedish fiber artist Mia Olsson manipulates the prickly sisal into airy, semi-transparent wall sculptures, dyed in richly saturated warm tones. “I am interested in exploring textile fibers, how they are, their properties and characteristics, and what I can do with them,” say Olsson. Sisal fiber is flat and shiny, reflecting light beautifully and strengthening the color. Olsson describes it as “so interesting to work with, especially when forming three-dimensional pieces. My work is experimental and I never know on which journeys the fibers will take me.”

Detail Pleated, Golden
Detail of 10mo Pleated, Golden, Mia Olsson, sisal fibers, 24″ x 20″ x 2.25″, 2020. Photo by Tom Grotta

Dyeing is an important part in the process. The last couple of years, Olsson has been working with natural dyestuffs to see if she can replace synthetic dyes with natural ones. “The most difficult fibers to dye natural is plantfibers. It´s hard, but I am working on it,” she says. “My goal is to have the same ‘paintbox’ with natural dyestuff as with my ordinary ones.”

Map of Warm Are by Mia Olsson
9mo Map of Warm Area, Mia Olsson, sisal, 24.75″x 19.75″, 2012. Photo by Tom Grotta

In creating her works, Olsson dyes the fibers, then organizes them into a kind of fiber cloth, making it possible for her to connect them on a sewing machine. “I save all fibers, even ones that are too short, fiberscraps and cut-off pieces,” she says. “They can lead me on to new exploring paths.” Even very short fibers can be formed into circles or other shapes that can be joined together and then formed to create bigger or smaller pieces. An example is the patchwork of sisal squares that make up Map of a Warm Area. The piece offers a textured topography mapped in a wanderlust hue of orange, red, yellow, rust and black. “When working with Map of a Warm Area I was thinking of a very hot place, hard to live in, too dry and sunny,” remembers the artist. “It was made 2012 and then I didn’t think about climate change in the same way as we do today, But it can absolutely be read as reflecting concerns about the environment.”

Blue/Purple Pleats by Mia Olsson
7mo Blue/Purple Pleats, Mia Olsson, sisal, 56″ x 47″ x 2″, 2008 8mo Orange Pleats, Mia Olsson, sisal, 55″ x 46″ x 4.5″, 2008. Photo by Tom Grotta

Olsson also works with larger sisal pieces, Her larger sisal banners, like  Blue/Purple Pleats and Orange Pleats, float effortlessly in space highlighting their dimensionality, bold color and tactile dynamics. She creates sculptural works from fiber as well, groupings of soft stones in jewel-colors. And, more recently, she created Together, a minimalist work,

5mo Traces 5 Relief, Mia Olsson, sisal and coconut fiber, acrylic glass, sisal on blastered acrylic glass, 14″ x 11.875″ x 1.25″, 2006

Other themes Olsson identifies in her work are clothes and their symbols, memory and time. and maps and game plans. Living part of her time close to nature also affects and inspires her work. She also credits Japan as an influence, “I am inspired by and fascinated of Japanese art and crafts. Their exquisite ways of using natural material, as well as synthetic material, their skilled dyeing techniques and the way traditions and innovations are combined in textile art is an inspiration,” she says.   


Check Out Our One-of-a-Kind Gift Guide: No Supply Chain Issues Here

2021 browngrotta Gift Guide

This year we’ve gathered our art selections into a clickable lookbook format. Whether you are gifting yourself, a friend or family member, a work of art makes a truly unique choice. Our curated collection includes art for every location, including crowdpleasing centerpieces (Rocking the Table) and coveted items to set on a bookshelf (Boosting a Bookshelf) or counter top (Counter Balancing)

Narrow wall art pieces

We’ve included art suggestions to fill special spots — including those often hard-to-fill narrow walls (On the Straight and Narrow). Our choices include a pleated fabric work by Caroline Bartlett of the UK and a hanging of hand-painted threads by Ulla-Maija Vikman, known as “Finland’s colorist.” Or have you got your eye on an empty space? The one that makes you think — “I wish I could find just the right piece of art for that spot.” We’ve got a batch of ideas for you there — from embellished photographs by Gyöngy Laky(US) to an intricate embroidery by Scott Rothstein(US) to a newsprint and lacquer collage by Toshio Sekiji of Japan.

Natural baskets

There are works at every price point, from the brightly colored abstract tapestry, Flow, by Jo Barker, a Cordis Prize winner from the UK to a basket sculpture of cottonwood by Christine Joy(US) to a new book about the innovative weaver Włodzimierz Cygan of Poland.

Take a look here: http://www.browngrotta.com/digitalfolios/HolidayFlipBook/Hoilday FlipBook 2021.html

The small print:

Order for the holidays by December 13th and we’ll ship by December 14th for domestic delivery by the holidays (though due to COVID and other delays, we can’t guaranteed the shippers’ schedule). If you’d like us to gift wrap your purchase, email us at art@browngrotta.com, as soon as you have placed your order. To ensure we know you want gift wrapping, don’t wait to contact us — we generally ship as soon as the orders are received. Quantities are limited.


Material Matters: Repurposed Objects as an Art Medium

Repurposing found objects in art has a long history. Long before recycling was a “thing,” Robert Rauschenberg was created his Combine series, works in which he intermixed paintings with items he found on the streets of New York. The works incorporated newsprint, cardboard, sandpaper, ladders, bellows and fuse boxes among other items. With the Combine series, the Rauschenberg Foundation observes, the artist “endowed new significance to ordinary objects by placing them in the context of art.”

Several artists that browngrotta arts represents or follows prove Rauschenberg’s theory that nearly anything can be adapted for an artistic purpose. In their works, however, the unconventional material takes center stage — not just as an inclusion but reinvented as a primary material. For example, early on in his art career, 

John Garrett crocheted videotapes
John Garrett, Dark Curtain, crocheted videotapes, 50” x 52” x 8”, 2020. Photo by Tom Grotta

John Garrett began exploring alternatives to traditional fibers. Developing unique personal methods based on needlepoint and embroidery techniques, he created flexible components that he manipulated into dynamic forms. Materials he uses are found in thrift stores, flea markets, yard sales, dumpsters, curbside on trash days, roadside and in empty lots. Using the varied detritus of an affluent society, he creates artwork that presages less abundant times and focuses attention on the beauty of the discarded and overlooked. 

Lewis Knauss photo slides
Lewis Knauss, Old Technology Landscape, woven, knotted linen, paper twine, photo slides, 16″ x 16″x 4″, 2021. Photo by Tom Grotta

Most recently, he has turned to a surprising, and soon-to-be-scarce, material  — VHS videotape. “Once out of the plastic container,” he writes, “the reels of tape leave behind their previous use. In fact, their stories are lost. They are there but can no longer be accessed. In my thoughts, this leads to a sense of mystery and melancholy, like finding an old photo album in the trash.”  Lewis Knauss found a similar inspiration when he began to go through decades of slides he had taken of landscapes as he travelled. He had planned to simply discard them, instead decided to hold on to some to create a small piece, a “landscape of landscape images” that he had used as reference in his work.

Gyöngy Lakás Coffee Break
Gyöngy Laky, Coffee Break, coffee stirrers, steel wire, 16.5” x 17” x 17”, 2011. Photo by Tom Grotta

 “All artists repurposing and upcycling materials challenge preconceived notions. When the eye recognizes a found object, it changes the meaning and the value of that object in the work. Whereas it may have been thrown away by someone else, it is now living a new life, no longer destined for the landfill but now in a place of preservation created by the artist, “ write Lori Gipson and Brooke Garcia (Repurposing and Upcycling Found Objects in Art – #EarthDay50). Preconceptions are are surely challenged by Gyöngy Laky’s Coffee Break, constructed of coffee stirrers and Fissures III,  by Karyl Sisson, made of nearly unrecognizable vintage paper straws, coiled in intriguing patterns.

Karyl Sisson straws
Karyl Sisson, Fissueres III, vintage drinking straws, thread and polymer, 16.5” x 16.5” x 1.75”, 2019. Photo by Tom Grotta

Plastic and metal are ubiquitous in landfills and our own trash. In Real, John McQueen draws attention to the problem of plastic waste. “Though we are not all that conscious of it, plastic containers are everywhere in our daily lives,” McQueen writes. “We are burying ourselves in them without seeing them.” The vertical, flat landscape in the work comes reflects the Chinese tradition of painting huge mountains with extremely small inhabitants almost lost somewhere in the composition, a contrast, he says, to the way the West believes humans rule the world and we believe we can do what we please.

John McQueen plastic bottles
John McQueen, Real, sticks and cut up plastic bottles, etc 55.5” x 36.75” x 3.5”, 2018. Photo by Tom Grotta

Harriete Estel Berman pulls ordinary material — in this case pre-printed steel from recycled tin containers — from the waste stream of society and recycles it, examining value and identity in our consumer society in the process. In her series, the Deceiver and the Deceived, Berman riveted together pieces of tin food containers, including SlimFast cans. The material looks plaited, quilted, or in the case of Figures in Fine Print, pieced. Through the text on the cans, the artist makes a potent statement about food and body image and the role advertising plays in our attitudes about both. Berman’s work is featured in the most recent episode of Craft in America, Jewelry which you can view online.

Harriete Estel Berman


Figures in Fine Print, Harriete Estel Berman. Framed wall piece constructed from recycled materials specifically tin cans and vintage steel dollhouses, aluminum rivets. Pedestal for a Woman to Stand On, Harriete Estel Berman. Printed steel from vintage steel doll houses and recycled tin cans, the green surface is covered with custom decals of $1.00 and $20.00 dollar bills. The cube shape used in the series A Pedestal for a Woman to Stand On is both a square (the basic structure of quilts) and a feminist response to minimalist sculpture. Photos courtesy of the artist.


Sailing Away: The Perpetual Artistic Appeal of Boats

Lawrence LaBianca's Boat installation
Lawrence LaBianca’s Boat installation, 2010: Skiff; Twenty Four Hours on the Roaring Fork River, Aspen CO. Day Two; Boat House; Trow. Photo by Tom Grotta

Boats and ships and time on the water are potent metaphors for the highs and lows of contemporary life.

As FineArt America says of “boat art”:”… whether you own a boat, grew up by the sea, or dream of sailing the wide-open ocean, boats have a way of making us feel a unique combination of calm and adventurous.”.

New York Bay 1884
Helena Hernmarck, New York Bay 1884, wool, 10’ x 13.5’, 1990. Photo by Tom Grotta

Artists at browngrotta arts explore the artistic potential of boats and boat shapes in widely divergent ways. 

Kayak Bundles
Chris Drury, Kayak Bundles, willow bark and cloth sea charts from Greenland and Outer Hebrides, 79″ x 55″ x 12″, 1994. Photo by Tom Grotta

Some, like Lawrence LaBianca, Helena Hernmarck, Chris Drury and Annette Bellamy, have referenced them literally in their work. Lawrence LaBianca creates experiences in which water is an integral part. In Skiff, an antique telephone receiver links viewers to sounds of a rushing river. Twenty-four Hours on the Roaring Fork River, Aspen, CO, is a print created by Drawing Boat, a vessel filled with river rocks that makes marks on paper when it is afloat. Annette Bellamy has lived in a small fishing village called Halibut Cove right across the bay from Homer, Alaska and worked as a commercial fisherwoman. Off season, she reflects on her day job, creating porcelain, earthenware, raku-fired ceramic and stoneware boats, buoys, sinkers and oars that float inches from the floor.

Floating installation at the Fuller Museum

Annette Bellamy, Floating installation at the Fuller Museum (detail), 2012. Stoneware, porcelain wood fired and reduction fired. Photo by Tom Grotta

Others, like Dona Anderson, Jane Balsgaard, Merja Winquist, Birgit Birkkjaer and Christine Joy, are moved to create more abstract versions. Boat is a part of new work of hers that is more angular, says Christine Joy. “The shape that occurs when I bend the willow reminds me of waves on choppy water, boats, and the movement of water.” Birgit Birkkjaer’s baskets contain precious amber that she has found washed up on the shore. The indigo-dyed baskets symbolize the sea that brings the amber to the shore – and a ship from ancient times, transporting the Nordic Gold to the rest of Europe. Boats and boat shapes conjure thoughts of water as a natural force, a spiritual source, or a resource for which humans are responsible — and not doing such a red hot job. 

Dona Anderson Boat
Crossing Over, Dona Anderson, bamboo kendo (martial art sticks); patterned paper; thread, 15″ x 94″ x 30″ , 2008. Photo by Tom Grotta
Nordic Gold comes from the Sea
Birgit Birkkjær, Nordic Gold comes from the Sea, linen, amber, plexi, 2.25” x 27.5” x 13”, 2016. Photo by Tom Grotta
Christine Joy willow boat
Boat Becoming River, Christine Joy, willow 14” x 31” x 10”, 2018. Photo by Tom Grotta

in each case the results are imaginative and intriguing. Enjoy these varied depictions and see more on our website.

Jane Balsgaard Boats
Paper Sculpture II-IV, Jane Balsgaard, bamboo, piassava, willow, fishing line, japaneese and handmade plant paper, 14” x 13.5 x 5“, 2020. Photo by Tom Grotta

The Japandí Catalog (our 52nd) is Available

Birgit Birkkjaer and Kay Sekimachi spread
Birgit Birkkjaer and Kay Sekimachi spread from: Japandí: shared aesthetics and influences

For browngrotta arts, documentation of the field of contemporary art textiles is critically important. Like a tree falling in the forest, if we don’t document an exhibition we’ve curated it’s a bit like if it didn’t happen. Generally, our exhibitions include catalogs that feature individual images of each artwork included, and often, an artist’s statement for each work. In addition, we typically feature essays by curators and scholars who take a broader look at the work or the exhibition theme.

Japandí: shared aesthetics and influences catalog cover
Japandí: shared aesthetics and influences catalog cover

For our latest catalog, Japandí: shared aesthetics and influences https://store.browngrotta.com/catalogs/ (our 52nd), however, we took a slightly different approach. Japandi is a term that refers to the aesthetic kinship one sees between art and design of Japan and the Scandinavian countries. To illustrate affinities, we created spreads — room- or wall-sized groupings of works from each region, rather than highlighting individual artworks. We included the artists’ recollections about how they discovered another culture or how other cultures have influenced their work. We added statements from designers, architects and authors about the similarities they have observed. 

Japandí: shared aesthetics and influences catalog cover
Works by Merja Winqvist, Naoko Serino, Kari Lønning and Yasuhisa Kohyama from Japandí: shared aesthetics and influences

Instead of commissioning an essay, we shared with you what we discovered about Japandi as we researched this exhibition. The introductory text, Mapping Affinities, explains that the roots of Japanese/Nordic synergy extend to the 19th century. It also explains that the trendy term, Japandi, refers to four elements, which the introduction describes: appreciation for exquisite craftsmanship and natural and sustainable materials, minimalism and respect for the imperfect (wabi-sabi) and the comfortable (hygge). The introduction also describes how the artists included experience the Japandi elements differently — some through study, some through travel. Still others describe recognizing these parallels in ways as something they were always aware of and acted upon.

textile by Chiyoko Tanaka, basket by Kazue Honma and wood sculpture by Markku Kosonen
Textile by Chiyoko Tanaka, basket by Kazue Honma and wood sculpture by Markku Kosonen from Japandí: shared aesthetics and influences

Not all the work that is in the catalog appeared in the exhibition — we included these works to further illustrate our sense of the regions’ common approaches.

Åse Ljones wall hanging and Ceramic by Yasuhisa Kohyama spread
Åse Ljones wall hanging and Ceramic by Yasuhisa Kohyama spread from Japandí: shared aesthetics and influences

We hope you’ll get a copy of Japandí: shared aesthetics and influences https://store.browngrotta.com/catalogs/ and see for yourself. 


Japandí: Shared Sensibilities, Side by Side

In curating and installing our current exhibition, Japandí: shared aesthetics and influences we paired works in which we saw similarities and parallels. Here are some examples of affinities we saw. Join us at Japandí through October 3rd and find your own.

Jiro Yonezawa, Ecdysis, bamboo, urushi lacquer, 27” x 8” x 5.75”, 2019; Mia Olsson, Together, relief, sisal fibers, acrylic, 17.75” x 15” x 3”, 2021. Photo by Tom Grotta

Minimalism is an aesthetic element appreciated by artists in Japan and the Nordic countries and listed as part of Japandi. Here, a minimalist work, Together, by Mia Olsson of Sweden sits aside an abstract bamboo sculpture, Ecdysis, 2019, by Jiro Yonezawa. Yonezawa uses bamboo strips to create a multitude of simple, nontraditional forms.  

Agneta Hobin Mica
Detail: Agneta Hobin, Claire De Lune II, Untitled, mica, steel, 18” x 27” x 2.5”, 2001-2

Meticulous craftsmanship is another Japandi element. Stainless steel fibers are masterfully incorporated into the work of three of the artists in this exhibition. Agneta Hobin of Finland weaves the fine threads into mesh, incorporating mica and folding the material into shapes — fans, strips and bridges. Jin-Sook So’s work is informed by time spent in Korea, Sweden and Japan. She uses transparent stainless steel mesh cloth, folded, stitched, painted and electroplated to create shimmering objects for the wall or tabletop. The past and present are referenced in So’s work in ways that are strikingly modern and original.  She has used steel mesh to create contemporary Korean pojagi and to re-envision common objects — chairs, boxes and bowls. Kyoko Kumai of Japan spins the fibers into ethereal, silver landscapes.

Kyoko Kumai Steel detail
32kk Memory, Kyoko Kumai, stainless steel filaments, 41” x 19” x 19”, 2017. Photo by Tom Grotta
Jin-Sook So steel mesh construction detail
Detail: Konstruktion B, Jin-Sook So, steel mesh, electroplated, silver, gold, paint and steel thread, 18.75″ x 19.75″ x 2.55″, 2007. Photo by Tom Grotta

Another aspect of the Japandi approach is an appreciation of natural and sustainable materials. Both Norwegian-American Kari Lønning and Japanese artists Kazue Honma work in akebia— a vine, harvested thousands of miles apart. Here are details of Lønning’s multicolored rendering of akebia and a plaited work of mulberry from Kazue Honma. Both artists highlight the wide variation of colors found in the material with which they work.

Detail: Kari Lønning, 74kl Akebia Tower, akebia, 10.5” x 4” x 4.5”, 2021
Kazue Honma Plaited basket
Detail: Kazue Honma, Capricious Plaiting, plaited paper, mulberry bark, 10.5″ x 18″ x 12.5″, 2016. Photo by Tom Grotta

Join us at our Fall Art in the Barn exhibition, Japandí: shared aesthetics and influences through October 3rd, see our parallel pairings and envision some of your own. 39 artists present more than 150 works. browngrotta arts, 276 Ridgefield Road, Wilton, CT 06897. 

We’ve expanded our hours during the week.

Wednesday, September 29th through Saturday, October 2nd: 10 to 6

Sunday, October 3rd: 11 to 6

Advanced time reservations are mandatory • Masks required • Covid protocols • No high heels please (barn floors). http://www.browngrotta.com/Pages/japandi.php

A full-color catalog, Japandi: shared aesthetics and influences, is available for order at: https://store.browngrotta.com/japandi-shared-aesthetics-and-influences/


We’ve been hard at work — come see the results. Japandí opens this week!

Our Japandí exhibition features 39 artists from Japan, Finland, Norway, Denmark and Sweden and over 150 individual works. Here are details about just a few of the artworks that the exhibition includes.

Ane Henrsen portrait
Ane Henriksen preparing the material for Reserve. Photo by Ole Gravesen

A striking wall work, Reserve, by Ane Henriksen of Denmark is featured in Japandí. Henriksen originally found the material covered with oil spots, washed up along the sea by the west coast of Denmark – fishermen use it, on the table in the galley, so the plates don’t slide of when they are on the high seas. The piece also incorporates webbed, rubber matting, colored with acrylic paint. The warp is silk glued together with viscose (from Japan). “Nature is threatened,” says Henriksen. “I hope this is expressed in my image, which at first glance can be seen as a peaceful, recognizable view of nature, but when you move closer and see the material, it might make you uneasy, and and spur thoughts of how human activity is a threat against nature. By framing the nature motif museum-like in a solid oak frame, I try to make you aware how we store small natural remains in reserves – in the same way we store exquisite objects from our past history in our museums.”

Birgit Birkkjaer portrait
Birgit Birkkjaer at work. Photo by Kræn Ole Birkkjær

Also included in the exhibition are baskets by Danish artist Birgit Birkkjaer. They are made of black linen and Japanese tatami paper yarn (black and hand dyed with rust). “The technique I used for the structure is rya,” she reports, “which was known in Scandinavia already in the Viking Age — and from the 1950s until the 1970s as a trend started by Danish/Finnish artist collectives. So, the baskets have roots in both Japan and Scandinavia.”

Norie Hatakeyama portrait
Norie Hatakeyama creating paper-plaited work. Photo by Ray Tanaka

Among the works on display from Japan are intricately plaited objects created by Norie Hatakeyama. The artist works with factory-made paper-packing tape to realize her geometric concerns. It is an experimental material that enables her to break free from traditional limitations.

“My work stems from an impulse to redefine both material and method,” says Hatakeyama. Her intricately plaited, three-dimensional works possess the energy of growing organisms. “The works ‘defy the viewer to imagine how they were accomplished,’”art critic and author Janet Koplos has observed.

Jiro Yonezawa at Haystack Mountain School of Crafts, Deer Isle, Maine. Photo by Tom Grotta

Jiro Yonezawa is also represented in Japandí with several works. Yonezawa is known for innovative bamboo basketry based on traditional techniques. He says that his recent baskets “represent a search for the beauty and precision in nature and a way to balance the chaos evident in these times.” The search for balance and harmony is one of the elements attributed to Japandi style.

Please join us!

The hours of the exhibtion are: 

Opening and Artist Reception: Saturday, September 25th: 11 to 6

Sunday, September 26th: 11 to 6

Monday, September 27th through Saturday October 2nd: 10 to 5

Sunday, October 3rd: 11 to 6

Advanced time reservations are mandatory; Appropriate Covid protocols will be followed. Masks will be required. There is a full-color catalog, Japandi: shared aesthetics and influences, prepared for the exhibition available at for pre-order at:  https://store.browngrotta.com/japandi-shared-aesthetics-and-influences/


Elements of Japandi: Hygge Meets Wabi Sabi

browngrotta arts’ Fall “Art in the Barn” exhibition, Japandi: shared aesthetics and influences opens on Saturday, September 25th at 11 a.m. and runs through October 3rd. The exhibition features 39 artists from Sweden, Finland, Norway, Denmark and Japan and explores artistic affinities among artists from Scandinavia and Japan. Artwork and design from these areas often incorporate several elements — natural materials and sustainability, minimalism and exquisite craftsmanship. In addition, some observers see similarities between the Japanese concept of wabi-sabi and the Scandinavian concept of hygge as making up a fourth aesthetic element that the regions share.

Writer Lucie Ayres notes that, “[i]n traditional Japanese aesthetics, wabi-sabi (侘寂) is a world view centered on the acceptance of transience and imperfection. The aesthetic is sometimes described as one of beauty that is imperfect, impermanent, and incomplete (rough and organic textures. worn and weathered objects, colors that mimic nature) …. Hygge is a [related] Danish and Norwegian word for a mood of coziness and comfortable conviviality with feelings of wellness and contentment (soft textures, sentimental items, comfortable environs).”  (“A Knowledge Post: The Difference Between Wabi-Sabi, Hygge and Feng Shui,” Lucie Ayres, 22 Interiors, March 26, 2020).

Subcontinet by Toshio Sekiji
Toshio Sekiji, 28ts Subcontinent, red, green, black, natural lacquer, Hindi (Delhi), Malayalam (Kerala State) newspapers, 77.25” x 73.25” x 2.625”, 1998. Photo by Tom Grotta

Several artists in the Japandi exhibition evidence an appreciation for repurposing and appreciating materials as wabi-sabi envisions. Toshio Sekiji’s works are made of newspapers from Japan and India; one of Kazue Honma’s works is of Japanese telephone book pages. Paper is a material that creates an atmosphere as well as art. Eva Vargö, a Swedish artist who has spent many years in Japan, describes how Washington paper, when produced in the traditional way, has a special quality — light filters through paper from lamps and shoji screen doors creates a warm and special feeling, in keeping with the sense encompassed in wabi-sabi and hygge.

Japan by Eva Vargo
Eva Vargö, 7ev Japandí, Japanese and Korean book papers, 23.5” x 22.375” x 2.5”, 2021. Photo by Tom Grotta

Vargö admires the way the Japanese recreate worn textiles into new garments in boro and recreate cracked ceramics with lacquer through kintsugi. That’s the reason she reuses old Japanese and Korean book papers and lets them “find ways into my weavings.” By giving them a second life she honors those who have planted the trees, produced the paper, made the books, filled them with words and also their readers.

Reserve by Ane Henriksen
Ane Henriksen, 30ah Reserve , linen, silk, acrylic painted rubber matting, oak frame, 93.75” x 127.625” x 2.5”, 2015. Photo by Tom Grotta

“Anything made by real craftsmanship – objects created out of wood, ceramics, wool, leather and so on – is hyggeligt …. ‘The rustic, organic surface of something imperfect, and something that has been or will be affected by age appeals to the touch of hygge,” writes Meik Wiking, author of The Little Book of Hygge: Danish Secrets to Happy Living (The Happiness Institute Series) William Morrow, 2017). Danish artist Åne Henriksen’s work uses the non-skid material from the backside of carpets and series of knots to create contemplative images that are engaging from a distance, and rough and textured up close. Jane Balsgaard, also from Denmark, uses wood and paper to create objects that reference boats and sails and wings, referencing the old as well as the organic by sometimes incorporating artifacts in her works.

Polynesian Boat by Jane Balsgaard
Janes Balsgaard, piece of Polynesian boat creates an artifact. Photo by Nils Holm, From Înfluences from Japan in Danish Art and Design, 1870 – 2010, Mirjam Gelfer-Jorgensen.

“I’ve never been to Scandinavia,” says Keiji Nio, “but I admire the Scandinavian lifestyle. The interior of my living room, furniture and textiles have been used for more than 25 years, but I still feel the simple and natural life that does not feel old.” Nio finds that artists from Japan and Scandinavia each have an affinity for calming colors. “When I saw the production process of the students from Finland at the university where I work, I was convinced that they had a similar shy character and simple color scheme similar to the Japanese.”

Join us at Japandi: shared aesthetics and influences to experience accents of wabi-sabi and hygge in person. The exhibition features 39 artists from Japan, Norway, Sweden, Finland and Denmark. The hours of exhibition are: Opening and Artist Reception: Saturday, September 25th, 11 to 6

Sunday, September 26th: 11 to 6

Monday, September 27th through Saturday October 2nd: 10 to 5

Sunday, October 3rd: 11 to 6 

20 people/hour; Advance reservations are mandatory; Covid protocols will be followed. 

There will be a full-color catalog prepared for the exhibition available at browngrotta.com on September 24th.