Category: Installations

Art Out and About – Exhibitions in the US and Abroad

With mask requirements and other safety protocols in place, museums worldwide are reopening with new exhibitions. From West to East — and a couple abroad — here are several worth traveling to see. Stay safe when you go!

International Fiber Arts X 
through September 21, 2021
Sebastopol Center for the Arts 
282 South High Street
Sebastopol, CA 95472 
info@sebarts.org
https://www.sebarts.org

Dolphin of the Ganges
Neha Puri Dhir’s Dolphin of the Ganges. Photo by Neha Puri Dhir

Our own Neha Puri Dhir took 2nd place in the International Fiber Arts X exhibition at the Sebastopol Center for the Arts in California. The winning work, Dolphin of the Ganges, was created in tribute to a sea creature that has become endangered. “I grew up on the banks of the River Ganges, in the picturesque town of Haridwar amongst lush forest and rich riverine life,” writes Dhir. “The Ganges Dolphin that once thrived in these waters has now disappeared – a victim of the pollution from indiscriminate development in this hilly region. This work is a memorial to a majestic creature and a warning against the irreversible damage caused by human activity.” Kyoko Kumai’s work, Moonlight Wind-L was also selected for the exhibition.

Kay Sekimachi: Geometries
through October 24, 2021
Berkeley Art Museum and the Pacific Film Archive
2155 Center Street Berkeley, CA
(510) 642-0808
bampfa@berkeley.edu 
https://bampfa.org/program/virtual/kay-sekimachi-geometries

Kay Sekimachi: Geometries
Kay Sekimachi: Geometries. Photo by Johnna Arnold

In nearby Berkeley, Kay Sekimachi: Geometries is on view. Curated by Janelle Porter, Geometries includes more than 50 objects that highlight the Sekimchi’s material and formal innovations across her career. First recognized for her woven monofilament sculptures, made between 1964 and 1974, Sekimachi has since used linear, pliable elements—monofilament, thread, and paper, among other materials—to create experimental objects that fold together art and craft, found and made, and Japanese and American artistic traditions. 

Olga de Amaral: To Weave a Rock
Museum of Fine Arts, Houston
Through September 19, 2021
Audrey Jones Beck Building
5601 Main Street
713.639.7300
https://www.mfah.org/exhibitions/olga-de-amaral-to-weave-a-rock

Olga de Amaral, Brumas (Mists), 2013, acrylic, gesso, and cotton on wood, courtesy of the artist. © Olga de Amaral / Photograph © Diego Amaral

Heading to Texas, in Houston is the first stop of a touring exhibition featuring the exquisite work of Olga de Amaral who has “pioneered her own visual language within the fiber arts movement. Her radical experimentation with color, form, material, composition, and space transforms weaving from a flat design element into an architectural component that defies the confines of any genre or medium.” It travels next to Cranbrook Art Museum in Bloomfiels Hills, Michigan. There is a catalog that accompanies the exhibition (https://www.amazon.com/Olga-Amaral-Houston-Museum-Fine/dp/3897905965/ref=sr_1_1?dchild=1&keywords=to+weave+a+rock&qid=1628505072&sr=8-1).

Art Japan: 2021 – 1921
Through September 24, 2021
1635 W St. Paul Avenue
Milwaukee, WI 53233
(414) 252-0677 ext. 110
info@thewarehousemke.org
https://www.thewarehousemke.org/current

Existing -2-D, Naoko Serino, 2006 and Red Aperture, Kiyomi Iwata, 2009. Photos by Tom Grotta

In the Midwest, The Warehouse MKE in Milwaukee, Wisconsin, is exhibiting the second of its three-part look at art in Asia, Art Japan: 2021- 1921, curated by Annemarie Sawkins. The exhibition features over 120 woodblock prints, etchings, lithographs, calligraphy, drawings, photography, ceramics, basketry, and textiles, all from the extensive permanent collection of The Warehouse and includes work by Naoko Serino, Jiro Yonezawa, Kiyomi Iwata and Hiroyuki Shindo. The first exhibition in the trilogy was India: Photographs (2019). The third, Then and Now: China, opens October 8th, 2021.

Women Take the Floor
September 13 – November 28, 2021
Boston Museum of Fine Arts
Avenue of the Arts
465 Huntington Avenue
Boston, Massachusetts 02115 
617-267-9300
https://www.mfa.org/exhibition/women-take-the-floor

Women Take the Floor challenges the dominant history of 20th-century American art by focusing on the overlooked and underrepresented work and stories of women artists. The exhibition, began in 2019. The current reinstallation—or “takeover”—of Level 3 of the Art of the Americas Wing advocates for diversity, inclusion, and gender equity in museums, the art world, and beyond. It features women painters, photographers and fiber artists among others.

The Social Fabric: Black Artistry in Fiber Arts, An Exhibition in Homage to Viki Craig
Through October 24, 2021
Morris Museum
6 Normandy Heights Road
Morristown, NJ 07960
(973) 971-3700
info@morrismuseum.org

Deeply rooted in quilt-making tradition, today’s Black fiber arts incorporate conventional textile skills with contemporary art and design practices. The exhibition features 50 works by over 27 artists, including Aminah Robinson, Beverly McCutcheon, Bisa Washington, Carole Robinson, Clara Nartey, Denise Toney, Ellaree Pray and Faith Ringgold.

Abroad:

Echigo-Tsumari Mail Art Exhibition
Through October 31, 2021
Echigo-Tsumari Art Field
Gallery YUYAMA
446 Yuyama matsunoyama
Toka-machi Niigata-ken
025-532-2218 

Echigo-Tsumari Mail Art Exhibition including Reborn by Kyoko Kumai

Kyoko Kumai‘s 19.5″ stainless-steel sphere, Reborn, is included in an exhibition at the Gallery YUYAMA in the Echigo-Tsumari Art Field through October 31st. Day trips are available to the Art Field which includes a number of out sculptures and structures. The site’s motto: “artworks waiting in the vast nature. Let’s go on a satoyama art walk!”

Britt Smelvaer: Around his father’s boat
Bømlo Kulturhus
Through August, 15 2021
Kulturhusvegen 20
5430 Bremnes, Norway
53423500 
post@bomlokulturhus.no
https://translate.google.com/translate?hl=en&sl=no&u=https://www.bomlokulturhus.no/program/sommarutstillinga-britt-smelvaer-omkring-baaten-hans-far/&prev=search&pto=aue

In Norway, graphic works by Britt Smelvaer tell of memories, knowing the connection and having roots fixed in the environment by the seacoast, and not far from what was in childhood. Learn more about the project here: https://translate.google.com/translate?hl=en&sl=da&u=https://svfk.dk/project/omkring-baaten-hans-far&prev=search&pto=aue

Britt Smelvaer work at the Hovedøya exhibition

A Sky of Mirror
Though September 12, 2021
Hovedøya Kunstal
Hovedøya, 0150 
Oslo, Norge
920 62 866
https://translate.google.com/translate?hl=en&sl=no&u=https://kunstsalen.no/&prev=search&pto=aue

The summer exhibition at Hovedøya features works by various artists including work by Britt Smelvaer created after a trip she made to Damascus, Syria.

The Nook Exhibition
Kunstbygningen in Vrå 
Through September 1st
Højskolevej 3A 
Vrå, Denmark-9760 
+45 9898 0410 
info@kunstbygningenvraa.dk
https://translate.google.com/translate?hl=en&sl=da&u=https://www.kunstbygningenvraa.dk/vraa-udstillingen/&prev=search&pto=aue

Polynesian boat
Polynesian boat transformed to artifact by Jane Balsgaard. Photo by Nils Holm Christensen

In Denmark, an exhibition of mixed media scuptures and acrylic paintings by Jane Balsgaard appear in a group exhibition.

Carole Frève, Glass Sculptor
September 24, 2021 to January 23, 2022
Musée des métiers d’art du Québec (MUMAQ) 
615, avenue Sainte-Croix 
Montréal, QC, H4L 3X6, Canada
+1 514-747-7367

Open Up to You, Carole Frève
Open Up to You, Carole Frève, 2015. Photo by Tom Grotta

Carole Frève has always included two major components in her work: on the one hand, constant research on the combined techniques of glass and electro-formed copper and, on the other, the story the work tells the observer. This exhibition highlights work she ahs created over the span of a 20-year career.


Volume 50 Art Focus: The Salon Wall

In our recent exhibition, Volume 50: Chronicling Fiber Art for Three Decadeswe featured a gallery wall with art by nine international artists from five countries.

works by Claude Vermette, Wendy Wahl, Caroline Bartlett, Toshiko Takaezu, Joyce Clear. Photo by Tom Grotta
Works by Claude Vermette, Wendy Wahl, Caroline Bartlett, Toshiko Takaezu, Joyce Seymore. Photo by Tom Grotta

Salon walls, or gallery walls as they are also called, are a favorite with designers, according to Invaluable, for a reason: they can be curated to fit an assortment of styles and work well in virtually any room. (“15 Gallery Walls to Suit Every Style,”  https://www.invaluable.com/blog/gallery-wall-ideas/utm_campaign=weeklyblog&utm_medium=email&utm_source=house&utm_content=blog092420 ) Salon walls “first became popular in France in the late 17th century,” according to the Invaluable article. “Salons across the country began displaying fine art from floor to ceiling, often because of the limited space, that encapsulated the artistic trends of the time. One of the first and most famous salon walls was displayed at the Palace of the Louvre in 1670, helping to establish the Louvre as a global destination for art.”

clockwise, from upper right: Mia Olsson, Jo Barker, Karyl Sisson, Debra Valoma, Jennifer Falck Linssen, Marian Bijlenga, Polly Barton, Åse Ljones. center: Wendy Wahl. Photo by Tom Grotta
clockwise, from upper right: Mia Olsson, Jo Barker, Karyl Sisson, Debra Valoma, Jennifer Falck Linssen, Marian Bijlenga, Polly Barton, Åse Ljones. center: Wendy Wahl. Photo by Tom Grotta

Our Volume 50 salon wall was a fitting testament to the 50 catalogs we have produced and were celebrating in this exhibition. In our 50 catalogs we have featured 172 artists from 28 countries. Our salon wall featured works by nine of those artists from five countries. Wendy Wahl creates work from pages of encyclopedias, leading readers to think about changes over the time to the way acquire information. Mia Olsson of Sweden created a work of brightly colored sisal, inspired by traditional, pleated folk costumes. We included Jo Barker’s tapestry, Cobalt Haze. People often think Barker’s lushly colored tapestries are oil paintings until they are close enough to see the meticulous detail. Lewis Knauss imagined a landscape of prayer flags in creating Prayer Mountain. For Deborah Valoma, simplicity is deceptive. The truth, she says, “scratched down in pencil, lies below the cross-hatched embellishments.” 

Jennifer Falck Linssen found inspiration in Asian ink paintings for her wall work, Mountain. The peaks in the paintings are a play of opposites: serene and forceful, solid and ethereal, strong and vulnerable. Mountain explores this duality and also the layered, often subtle, emotions of the human heart and its own dichotomy. Marian Bijlenga‘s graphic, playful work displays a fascination with patterning. This work was inspired by the geometric patterning of Korean bojagi, which is comparable to modernist paintings by such artists as Piet Mondrian and Paul Klee. In bojagi,small, colorful leftover scraps of fabrics are arranged and sewn together to construct larger artful cloths. The triple-stitched seams are iconic. This work, says the artist, specifically references the grid of these seams and the special Korean use of color. For Polly Barton, the technique of ikat serves as her paintbrush for producing contemporary works. From Norway, Åse Ljones uses a blizzard of stitches to create her works. “No stitch is ever a mistake,” she says. “A mistake is often what creates a dynamic in the work.” 

A salon wall is a great way to collect for people who are interested in different artists and different mediums. At browngrotta we’ve always suggested that clients had more wall space on which to display art — it just hadn’t been uncovered yet. We’ve created another salon wall in our non-gallery space. On it, we’ve combined oil paintings, fiber works, ceramics and photography. The wall can accommodate our continuing desire to collect — above, below and on the side.

works by Ed Rossbach. Photo by Tom Grotta
A gallery wall highlights weavings by Ed Rossbach. Photo by Tom Grotta

“A gallery wall is absolutely ideal for a small apartment, as it can give a room real interest, depth and a properly decorated feel without taking up any floor space — and thereby minimizing clutter,” Luci Douglas-Pennant, told The New York Times in 2017. Douglas-Pennant founded Etalage, with Victoria Leslie, an English company specializing in antique prints, vintage oil paintings and decorative pictures for gallery walls. “If you don’t have one large wall, gallery walls can be hung around windows, around doors, above bed heads, above and around fireplaces or even around cabinets in a kitchen.”

Three works by Sheila Hicks from our 1996 exhibition: Sheila Hicks: Joined by seven artists from Japan
Sheila Hicks introduced us to the gallery wall in an exhibition she curated at browngrotta arts in 1996, Sheila Hicks: Joined by seven artists from Japan. In that exhibition, she displayed three of her works in the space between two windows.

For works of varying sizes and shapes to get you started on your own version of a salon wall, visit browngrotta.com, where we have images of dozens of available artworks to pique your interest.


Volume 50: Artist Focus — Lia Cook

A Beautiful Mind: Lia Cook weaves empirical cerebral data into works of textile art

Detail of Su Series Lia Cook. Photo by Tom Grotta
Detail: Su Series, Lia Cook cotton, rayon, woven 72” x 132”, 2010-2016

There may be nothing as pleasurable than viewing and experiencing works of art up close and in person. However, recent sheltering in response to the corona virus, required us to approach art online, whether offered by galleries or museums or cultural institutions. This experience and the brain’s response to seeing and experiencing art in different mediums, or the school of neuroaesthetics, has long been a point of interest in the work of California-based textile artist Lia Cook.  

Lia Cook Su Series. Photo by Tom Grotta
45lc Su Series, Lia Cook cotton, rayon, woven 72” x 132”, 2010-2016

Cook works in a variety of media combining weaving with painting, photography, video and digital technology. Her current practice explores the sensuality of the woven image and the emotional connections to memories of touch and cloth. Working in collaboration with neuroscientists, she has been investigating the nature of the emotional response to woven faces by mapping these responses in the brain. She draws on the laboratory experience both with process and tools to stimulate new work in reaction to these investigations.

“I am interested in both the scientific study as well as my artistic response to these unexpected sources, exploring the territory between in several different ways.”

Woven Form by Lia Cook. Photo by Tom Grotta
12lc Woven Form, Lia Cook, rayon, cotton; woven, 45” x 53” 1980

Cook has long been an innovator, varying practice methods. Her early works, like Woven Form, were abstract and had an Op Art feel. In later works, like Leonard’s Quilt, she manipulated the textiles, with piecing and paint. That was followed by explorations of photographic images as tapestries made on a Jacquard loom. browngrotta arts has works from each of these periods which you can see on Artsy in Chronicling the Canon: https://www.artsy.net/show/browngrotta-arts-chronicling-the-canon.

Cook’s significant work, Su Series, comprised of 32 weavings of a single photograph, is featured in browngrotta arts’ upcoming exhibition, Volume 50.: chronicling fiber art for three decades. Here, Cook explores emotional response — highlighting the point at which the face dissolves first into pattern and then into a sensual, tactile woven structure and the various emotions the differing images evoke in the viewer.

“Absorption and inclusion are pervasive strategies in Cook’s work, operating at almost every level: formally, in her constant exploration of new techniques; emotionally in the way she stimulates the sense of touch through the eyes; and intellectually in the multiple reference to different art histories,” Meridith Tromble wrote in an essay for the Flintridge Foundation Awards for Visual Artists 1999/2000 catalogue.



Detail of Leonardos Quilt
Detail of Leonardo’s Quilt, Lia Cook acrylic on abaca, dyes on rayon; woven, 94” x 79” 1990

Volume 50.: chronicling fiber art for three decades.continues live through the 20th. http://www.browngrotta.com/Pages/calendar.php. You can also obtain a catalog that includes an image of Su Series at browngrotta.com: http://store.browngrotta.com/volume-50-chronicling-fiber-art-for-three-decades/.


Save the Date – Volume 50: Chronicling Fiber for Three Decades

We Turn by Gyöngy Laky, 2019
We Turn by Gyöngy Laky, 2019. photo by Tom Grotta

We are excited to announce our 2020 “Art in the Barn” exhibition, Volume 50: Chronicling Fiber Art for Three Decades will open — at last — on September 12, 2020. The exhibition will be a retrospective celebration of the 50 print catalogs on fiber and modern craft published by browngrotta arts. It will include work by 60+ important artists in fiber, ceramics and mixed media, who have helped define modern craft movement since the 1980s. The exhibition will be on view – with a safe viewing protocol in place — from September 12th through 20th at browngrotta arts, 276 Ridgefield Road, Wilton, CT 06897.

Birgit Birkkjær: Mini Basket Symphony in Black & White, 2019
Birgit Birkkjær: Mini Basket Symphony in Black & White, 2019. Photo by Tom Grotta

The 50th catalog by browngrotta arts, Volume 50: Chronicling Fiber Art for Three Decades will feature an essay by Glenn Adamson, former Director of the Museum of Arts and Design in New York. A forerunner in the field, browngrotta arts has been dedicated to researching, documenting and raising awareness of fiber and modern craft art through exhibitions and catalogs for over 30 years. We published our first catalog, Markku Kosonen: Baskets and Woodworkvirtually a pamphlet — in 1990, with just 27 black-and-white photographs and a few paragraphs of text. By 2019, our 49th catalog, art + identity: an international view included 156 pages, more than 100 color photographs and an essay by Jessica Hemmings, Ph.D. Our 50 catalogs have collectively recorded a narrative of modern craft and contributed to preserving the continuity of the field. “The catalogs produced by browngrotta arts, and the photography therein, have become so superior, they are an important part of our literature,“ says Jack Lenor Larsen, author, curator and designer. 

Su Series by Lia Cook, 2010-2016
Su Series by Lia Cook, 2010-2016, photo by Lia Cook

As fiber art gains renewed recognition and reappraisal from major institutions, the browngrotta arts’ documentary archive, in which works by Sheila Hicks, Lenore Tawney, Ed Rossbach, Magdalena Abakanowicz and many others are showcased, is an invaluable resource. When we first began promoting artists in the late 1980s, we discovered two important facts about the field. First, at that time, before digital printing, galleries and museums rarely had the budget to document their exhibitions in a catalog or book. Second, regardless of the medium, when catalogs were prepared, works tended to be photographed like paintings: two lights at 45-degree angles, dimension and detail obscured. We set out with the intention to resolve this disparity and began an annual cataloging program recording exhibitions, artists, and works through photography that specifically captured the tactile characteristics of fiber and craft art. From the outset, Tom photographed the work with reference to scale and shape, and in the case of fiber art, a sensitivity to conveying the work’s organic and haptic qualities and unusual/unique materials and varied techniques. This approach allowed for a more immersive experience of the works, one that extended beyond the time and geography limitations of exhibitions. “There are a few catalogs that go beyond the intellect to convey the spirit of the exhibition objects. The fine images of browngrotta arts’ publications capture the dimension of the objects, something often lacking, yet totally necessary to the appreciation of fiber. Their publications seem to consistently engage much more than readers’ minds,” wrote Lotus Stack, then-Curator of Textiles at the Minneapolis Institute of Arts in Minneapolis, Minnesota, in 1999.  

Long Lines by Annette Bellamy and Waiting 1-4 by Alexsandra Stoyanov.
Long Lines by Annette Bellamy and Waiting 1-4 by Alexsandra Stoyanov. Photo by Tom Grotta

The upcoming 50th catalog will continue browngrotta arts’ tradition, featuring dozens of full-color photos. The range of works on view in the Volume 50: Chronicling Fiber Art for Three Decades exhibition will include three-dimensional sculptures of steel, fiber-optic, wood, jute, waxed linen, cotton and gold leaf and woven vessels, ceramics and basket forms of bark and twigs, bamboo, willow and cedar. Participating artists have created wall works of linen, viscose, steel, cotton, horsehair, fish scales and in one case, silk, from silkworms raised by the artists. The techniques are as varied as the materials — layering, weaving, plaiting, knotting, molding, ikat, tying, bundling, crochet and katagami

Participating Artists:
Adela Akers (United States); Laura Ellen Bacon (United Kingdom); Jo Barker (United Kingdom); Caroline Bartlett (United Kingdom); Polly Barton (United States); James Bassler United States); Dail Behennah (United Kingdom); Annette Bellamy (United States); Nancy Moore Bess (United States); Marian Bijlenga (The Netherlands); Birgit Birkkjaer (Denmark); Sara Brennan (United Kingdom); Lia Cook (United States); Włodzimierz Cygan (Poland); Neha Puri Dhir (India); Lizzie Farey (United Kingdom); Susie Gillespie (United Kingdom); Agneta Hobin (Finland); Kiyomi Iwata (Japan); Ferne Jacobs (United States); Stéphanie Jacques (Belgium); Tim Johnson (United Kingdom); Christine Joy (United States); Tamiko Kawata (Japan/United States); Nancy Koenigsberg (United States); Marianne Kemp (The Netherlands); Anda Klancic (Slovenia); Lewis Knauss (United States); Naomi Kobayashi (Japan); Irina Kolesnikova (Russia); Kyoko Kumai (Japan); Lawrence LaBianca (United States); Gyöngy Laky (United States); Sue Lawty (United Kingdom); Jennifer Falck Linssen (United States); Åse Ljones (Norway); Kari Lønning (United States); Federica Luzzi (Italy); Rachel Max (United Kingdom); John McQueen (United States); Mary Merkel-Hess (United States); Norma Minkowitz (United States); Keiji Nio (Japan); Mia Olsson (Sweden); Gudrun Pagter (Denmark); Simone Pheulpin (France); Eduardo Portillo & Mariá Eugenia Dávila (Venezuela); Lija Rage (Latvia); Toshio Sekiji (Japan); Hisako Sekijima (Japan); Karyl Sisson (United States); Jin-Sook So (Korea/Sweden); Grethe Sørensen (Denmark); Aleksandra Stoyanov (Ukraine/Israel); Chiyoko Tanaka (Japan); Blair Tate (United States); Deborah Valoma (United States); Ulla-Maija Vikman (Finland); Wendy Wahl (United States); Gizella K Warburton (United Kingdom); Grethe Wittrock (Denmark); Chang Yeonsoon (Korea); Jiro Yonezawa (Japan); Carolina Yrarrazaval (Chile).

The exhibition will be on view from September 12th – 20th, at browngrotta arts, 276 Ridgefield Road, Wilton, CT 06897: http://www.browngrotta.com/Pages/calendar.php.

Safe Viewing Information:

We will be open with safe viewing practice in place from 1 p.m. Saturday the 12th until 5 p.m. and from 10 a.m. to 5 p.m. Sunday the 13th through Sunday the 20th. Only 15 visitors will be permitted each hour. Masks are required. Viewing will be in one direction. Art and catalog sales will be contactless and we’ll disinfect between visits.

Tom ticketed reservations are required . Book your hour visit on Eventbrite at: https://www.eventbrite.com/e/volume-50-chronicling-fiber-art-for-three-decades-tickets-118242792375?aff=arttextstyle


Catalog Lookback: Chronicling the Canon

Samples of browngrotta catalogs
Sheila Hicks, Joined by seven artists from Japan (#13) and Lenore Tawney: celebrating five decades of work (#28) and Beyond Weaving: International Arttextiles (#33).Three of them were the subject of artist monographs — Lenore Tawney: Drawings in Air (#1M); Lia Cook: In the Fold, Works from 1973-1977 (#2M); Ethel Stein: Weaver (#3M) one of them an artist’s focus — Focus: Jin-Sook So (#1F)

Contemporary fiber art is a fairly new art genre, having begun in the 1950s with experiments in weaving abstraction in the US and Europe and achieving its first international acknowledgment in the 1960s (Lausanne Biennial, Switzerland, 1962 and Woven Forms, US 1963). browngrotta arts has been involved in promoting international art textiles and fiber sculpture for nearly half of that history. As such, we have been remarkably fortunate to work with, been guided by and document the work of, pathbreakers and innovators in the field, including Lenore Tawney, Sheila Hicks, Lia Cook, Jin-Sook So and Ethel Stein. Each of these artists have played a significant role in more than one of our 50 publications, including Sheila Hicks, Joined by seven artists from Japan (#13) and Lenore Tawney: celebrating five decades of work (#28) and Beyond Weaving: International Arttextiles (#33). Three of them were the subject of artist monographs — Lenore Tawney: Drawings in Air (#1M); Lia Cook: In the Fold, Works from 1973-1977 (#2M); Ethel Stein: Weaver (#3M) one of them an artist’s focus — Focus: Jin-Sook So (#1F).

Sheila Hicks on her Conneticut deck. An outtake  from our catalog #13 Sheila Hicks, Joined by seven artists from Japan. Her work Chaine et trame interchangeable ( Interchangeable Warp and Weft)  is now in the permanent collection of the Dallas Museum of Art.  Photo By Tom Grotta
Sheila Hicks on her Conneticut deck. An outtake from our catalog #13 Sheila Hicks, Joined by seven artists from Japan. Her work Chaine et trame interchangeable (Interchangeable Warp and Weft) is now in the permanent collection of the Dallas Museum of Art. Photo By Tom Grotta

In 1996, we worked with Sheila Hicks on an exhibition that included seven artists from Japan, Masakazu Kobayashi and Naomi Kobayashi, Chiaki Maki, Toshio SekijiHiroyuki ShindoChiyoko Tanaka and Jun Tomita“The choice to show these works together was personal, ”Hicks wrote in Sheila Hicks, Joined by seven artists from Japan (#13). She chose our space in Connecticut, intentionally, noting that the in the Connecticut landscape, “it would be easy to contemplate their inner messages or, at least, to discover their structural wizardry.” Hicks had shown these artists’ works to friends, and noted that, “[a] harmonious dialogue between their work and my own began to develop naturally.” We were assisted in installing the exhibition, which Hicks designed, by Cara McCarty, then at the St. Louis Art Museum and Mathilda McQuaid, then at MoMA, both now at the Cooper Hewitt. The exhibition was well received. It led to others in Paris and Jerusalem and a follow up in Wilton (Traditions Transformed (#22). Ultimately, Hicks and six of the artists appeared in the major MoMa survey: Surface and Structure: Contemporary Japanese Textiles (1998-99), curated by McQuaid and McCarty, which highlighted the revolution that had occurred in the creation of textiles during the 90s. Hicks has continued to receive international acclaim and has been the subject of numerous solo exhibitions — Israel Museum, Jerusalem;, Museum of Nebraska Art, Kearney; Contemporary Art Center of Virginia, Virginia Beach; Bard Graduate Center, New York, NY; Addison Gallery of American Art, Andover, Massachusetts, Joslyn Art Museum Omaha, Nebraska;  Museo Amparo, Puebla, México; Centre Pompidou, Paris, France;  Municipal Cultural Center Gallery, Kiryu, Gunma, Japan; Museo Chileno de Arte Precolombino, Santiago, Chile and The Bass, Miami Beach, Florida.

Lenore Tawney at her retrospective exhibition: Lenore Tawney: celebrating five decades of work touring the opening with her best friend Toshiko Takeazu in 2000. Photo by Tom Grotta
Lenore Tawney at browngrotta arts’ retrospective exhibition in 2000, Lenore Tawney: celebrating five decades of work, viewing her work with dear friend Toshiko Takaezu. Photo by Tom Grotta

Our representation of Lenore Tawney was equally meaningful to us personally and influential to browngrotta arts’ evolution. When we decided to move our home and exhibition space, a major factor was finding a room with a ceiling high enough to exhibit a Tawney Cloud. In 2000, we were able to make that happen, when we celebrated five decades of Tawney’s work (#28).  The exhibition illuminated the breadth of Tawney’s vision — including woven forms, collage, assemblage and drawings. Many of the works — created in the 50s, 60s, 70s, 80s and 90s — had rarely been exhibited before. The catalog also included never-published excerpts from Tawney’s journals and an essay by Bauhaus scholar, Sigrid Wortmann Weltge, who authored Bauhaus Textiles: Women Artists and the Weaving Workshop (Thames & Hudson 1998). We followed it with a monograph (#1M) exploring Tawney’s Drawings in Air series — ruled drawings on graph paper that predated systemic drawings of Minimalists like Sol Lewitt, and served as the impetus for three-dimensional thread sculptures three decades later. “I did some of these drawings that look so much like threads that people think they are threads,” Tawney wrote, “but I didn’t do them with that in mind …. It’s like meditation — you have to be with the line all the time—you can’t be thinking of anything.”

15lc Presence/Absence: In the Folds, Lia Cook, cotton, rayon; woven, 192” x 41”, 1997. Tom Grotta
15lc Presence/Absence: In the Folds (self-portrait) Lia Cook, cotton, rayon; woven, 192” x 41”, 1997. Photo by Tom Grotta

Like Hicks and Tawney, Lia Cook was a participant in the Lausanne Biennial, first in 1973, just after she completed her Master’s degree at University of California, Berkeley in Art & Design. Since that time Cook has reinvented her art practice several times, first creating macroscopic imagery of woven structures, then exploring image of draped fabrics incorporating hand-painted rayon warp threads. In the 90s, she began weaving photographic compositions and then, in 2000s, she began taking measurements of brain waves as people looked at photos and then at woven images, integrating them into her work as well. “Cook’s work defies the ocular-centricity of Western art by overturning the hierarchy of the senses,” wrote Deborah Valoma in our monograph on Cook (#2), “and repositioning the sense of touch in the foreground …. Cook asks her viewers to ’see’ the experience of touch — to imagine the sensations of touch through the visual experience of seeing.” The uniquely tactile experience created by Cook’s work has been featured in dozens of exhibitions worldwide, many of them solo exhibitions. Her work is found in dozens of museum collections, including that of the Metropolitan Museum of Art, the De Young Museum, Minneapolis Institute of Art and the Art Institute of Chicago. Su Series, Cook’s work that is featured in our Volume 50 exhibition in September, is composed of 32 woven identical images of her face as a child superimposed with empirical data from her neuroscience research, created on a Jacquard computerized handloom. Each individual image is translated and altered through different weaving structures, provoking from the viewer a subtle and sometimes dramatic variation in emotional reaction..

Jin-Sook So  in front of one of her Untitled Steel Mesh wall sculptures at SOFA NY 2011. Photo by Carter Grotta
Jin-Sook So in front of one of her Untitled Steel Mesh wall sculptures at SOFA NY 2011. Photo by Carter Grotta

Jin-Sook So is another innovator with an international presence who has moved from working with wool to working with organza, and for the last two decades, stainless steel and copper mesh. For the Lausanne Biennial in 1989, she worked directly with flat steel mesh, pleated manually and colored black and blue and brown with a blow torch. By the mid 90s, “her form language had become more distinct and more consistently constructivist,” Kerstin Wickman, Professor of History of Design and Craft at Konstfack, University College of Arts Crafts and Design in Stockholm wrote in Focus: Jin-Sook So (#1F). “In spite of their minimal and precise shapes, [her] boxes, as well as the folded constructions, impart a softness and a sensuality created by the illusionary ‘movements,’ the variations and the poetic surfaces.” Born in Korea, she studied in Japan and New York and lived nearly three decades in Sweden. So’s work is influenced by each of these experiences. The shimmering gold and blue and black of her constructed works reflect light in ways that recall urban landscapes in New York and Sweden’s remarkable, diffused light. More recent works, including the bowl shapes that will appear in Volume 50, link back to her childhood and tie more directly to the past, evoking a pool of memories, of stories told and feelings expressed. So’s work has been exhibited in Asia, Scandinavia, Japan and the US.

Ethel Stein preparing a warp for her 2008 browngrotta exhibition and Monograph “Ethel Stein: Weaver”. Photo by Tom Grotta
Ethel Stein preparing a warp for her 2008 browngrotta exhibition and Monograph Ethel Stein: Weaver. Photo by Tom Grotta

A contemporary and colleague of Tawney’s in New York and also invited to the Lausanne Biennale, when Ethel Stein began weaving in the 60s, she took a different tack than the textile artists creating large, dimensional and off-loom works. Instead, despite her background as a sculptor, she worked “counter trend” in Jack Lenor Larsen’s words, her weavings remaining small and flat. She immersed herself in difficult and exacting cloth traditions, using an ancient drawloom which was replaced 200 years ago by the Jacquard loom. Our monograph, Ethel Stein: Weaver (#3M), followed Stein through her early art instruction, work as a sculptor and creation of damasks, double weaves and feathery ikats. At 96, the fresh expressions that Stein created from her explorations into ancient techniques brought her well-deserved recognition in a one-person exhibition, Ethel Stein: Master Weaver, at the Art Institute of Chicago in 2014, which featured large photographic images and works from Focus. The delay, the Art Institute’s material surmised, was due, in part, to the fact that,“her weavings look deceptively simple, with the result that only those well versed in the craft she practices can truly appreciate the sophistication of Stein’s work and the magnitude of her accomplishment.”

Join us in September for Volume 50: Chronicling Fiber for Three Decades (Artists Opening: September 12, 2020) http://www.browngrotta.com/Pages/calendar.php.  More information to combine on how we will combine art viewing and safe practice.


Annette Bellamy

Artist Focus: Annette Bellamy’s remote lifestyle inspires creativity and advice from Julia Child

by Ryan Urcia and Kristina Ratliff

Solitude often breeds creativity, and while many artists come quickly to mind, like the reclusive Robert Indiana to the enigmatic Frida Kahlo, among many others, the “slow art” of Fiber Art and Modern Craft reveals the intricacy and time-intensive craftsmanship of the unique techniques and materials of the field.

Annette Bellamy Fishski detail, The Sea Within Us
Detail: The Sea Within Us, Annette Bellamy, 2017. Photo by Chris Arend

We would like to tell you more about one such artist, Seattle native Annette Bellamy, a commercial fisherwoman of over 40 years based in Halibut Cove, Alaska. When she is off the water, Bellamy works with clay and fish skin to create conceptual large-scale sculptural work and smaller ceramic forms. She references her time on the water, days in remote areas, and her travels.
 “Life on the water and life making art fuel each other. I value the physicality of both as well as the dependence upon my hands, the importance of timing, the work ethic and tools required, and the reflection afforded.”

Annette Bellamy long lining, hauling gear and there is a yellow eye rockfish on the dressing table. Photo by Alan Parks

At 21, then a student of urban planning and environmental issues at the University of Washington, Bellamy visited the remote fishing community of Homer, Alaska, for the summer of 1973, and never left. There, she met her future husband, a local fisherman, who taught her how to fish. Since then, they have been fishing commercially together during the summer months in their 34-foot wooden boat and in the long winter season, Bellamy spends her time in her studio to work on her craft.

“I think that is what a lot of people are missing. Undisturbed, uninterrupted time. A lot of darkness, a lot of introspection. I think I operate better in a remote area versus an urban area, and it has become a part of my life now,” Bellamy told the Portland Art Museum last year in conjunction with the multimedia exhibition, the map is not the territory.

Detail of Long Lines, 132 suspended Ceramic hooks by Annette Bellamy
Detail: Long Lines, Annette Bellamy,”, 2010. Photo by Tom Grotta

In 1976, she began studying ceramics at the local community college. Her sculpture, Long Lines, 2010, is a powerful artwork inspired by her time fishing in Alaska. It is composed of 132 handmade ceramic hooks suspended from 12 feet of twine. “Long Lines is about how we continue to catch a fish with a hook and line. It is about enduring work that continues to be a part of the human experience. Hooks are twisted and turned and others remain in their original circle shape. They hold a history of use and stories of the fish caught.” The kinetic aspect of the hanging work hints at the movement of the sea.

Fishskin by Annette Bellamy
Food Chain, Annette Bellamy, halibut, sablefish, salmon (including smoked salmon skins), 2017. Photo by Tom Grotta

Bellamy has spent years of fishing commercially in Alaska, long lining for halibut and gill netting and seining for salmon. Her fish skin patchworks reflect the variety of the catch, combining  halibut, sablefish, salmon –even smoked salmon skins.

“The commercial fishing industry is so different from the art community,” she told the Alaska Museum. “I have always loved the contrast and make a point of talking art with fishermen and fish with artists. Everything is interconnected in this world but we seem to build fences.”

Bellamy also loves to cook on board for the crew. She received a response from Julia Child to a letter she sent inquiring about the value of cooking school, explaining her work on the boat and desire to learn more about food preparation. A large installation titled Ode to Julia featured 70 kitchen-tool forms that covered an entire wall. These were made with found metal and clay. 

“The implements of cooking–a spoon, a turner, spatula–become invisible to our eyes even though we handle them every day. The series on kitchen tools was meant to honor the craft of cooking our own food,” she has said of the piece.

Annette Bellamy, Moving Mountains, stoneware, steel pins, and UV resistant lines, 10’ x 12’ . Portland Art Museum, Portland Oregon “ exhibition: The Map Is Not the Territory” Feb 9, 2019 – May 5, 2019, Chris Arend

Bellamy’s work has been exhibited in important museums including Anchorage Museum, Alaska (solo exhibition); Downey Museum of Art, California; New Bedford Museum of Art, Massachusetts; Alaska State Museum, Juneau (solo exhibition); Pratt Museum, Homer, Alaska (solo exhibition); Fuller Craft Museum, Brockton, Massachusetts (solo exhibition); Bunnell Street Art Center (solo exhibition), Homer, Alaska; University of Alaska, Soldotna; Anchorage Museum of History and Art, Alaska; Alaska Pacific University, Anchorage; Alaska Centennial Center for the Arts, Fairbanks; Burris Hall, Highland University, Las Vegas, New Mexico; Wayne Center for the Arts, Wooster, Ohio; Art and Architecture Gallery, Seattle, Washington (solo exhibition); Laband Gallery, Loyola Marymount University, Los Angeles, California. For a full list visit browngrotta.com
Long Lines, will be on view at browngrotta arts forthcoming exhibition Volume 50: Chronicling Fiber Art for Three Decades now scheduled for September 12-22, at browngrotta arts in Wilton, CT. http://www.browngrotta.com/Pages/calendar.php
x


Our Spring Exhibition at browngrotta arts moves to September

New Date: September 12 to 20, 2020: Volume 50: Chronicling Fiber for Three Decades

Catalog cover for upcoming catalog: Volume 50: Chronicling Fiber for Three Decades
Catalog cover for upcoming catalog: Volume 50: Chronicling Fiber for Three Decades

Optimistic as we are about June — when we’d tentatively rescheduled our Spring exhibition — as being the time when we’ll have passed the illness apex and be able to go out and about once more, we’ve decided a new date in September makes more sense. We’re afraid that masks and gloves and disinfectant will still be de rigeur in June and they will impact viewers experience of the art. Air travel restrictions may still be be in place, which means fewer artists in attendance and and fewer out-of-town visitors.

Lija Rage, Dail Behennah, Gyöngy Laky, Blair Tate, Annette Bellamy
Lija Rage, Dail Behennah, Gyöngy Laky, Blair Tate, Annette Bellamy

An exciting exhibition: Both impacts would be unfair as Volume 50: Chronicling Fiber for Three Decades has shaped up to be an exciting show. It features significant works by Lia Cook, Gyöngy Laky, Aleksandra Stoyanov and Grethe Sørenson. Works by well-known but new-to-the-gallery artist, James Bassler, are included in addition to striking installations by Annette Bellamy and Agneta Hobin and new approaches by Tim Johnson, Kari Lønning, Carolina Yrarrazával and Dail Behennah. Strong works by Chiyoko Tanaka, Neha Puri Dhir and Adela Akers are among other offerings from the more than 60 artists participating.

Fiber Optic installation by Włodzimierz Cygan, Traps,  2019
Fiber Optic installation by Włodzimierz Cygan, Traps, 2019

So, in 2020, our Spring show will become a Fall show. The Artist Reception and Opening will be onSaturday, September 12th. We’ll welcome you all then with whatever precautions are appropriate.

In the meantime, online: As a run up to September, we’ll be presenting a series of online exhibitions on Artsy highlighting artists and catalogs from our archives:

May 11th: Catalog Look back: California Dreaming Vols. 26, 20, 6 and more

June 8th: Catalog Look back: Cross Currents – Arts Influenced by Rivers and the Sea Vols. 38, 35 and more

July 13th: Catalog Look back: Fan Favorites — Sekimachi, Sekijima, Laky and Merkel-Hess,Vols. 24, 19, 2, 3, 8, 5, 15, 16, 19 and more

August 10th: Catalog Look back: Cataloging the Canon – Tawney, Stein, Cook, Hicks and So Monographs: 1-3; Focus: 1, Vols. 13, 28

Until then, we’ll keep posting content on arttextstyle and our Facebook, Instagram and Twitter pages.

Stay safe and well! We’ll see you in in person in September and online between now and then.


browngrotta arts: A Favorite of Insomniacs and Those Stuck at Home

Browsing browngrotta.com
Browsing browngrotta.com

As we all hunker down and prepare to do things in new — and safer — ways, we wanted to remind you that browngrotta arts has been offering art content online for many years. Check us out in your down time:


browngrotta.com

Find Images of hundreds of works, Artist Statements and Video Links.

Our website, blog, Facebook and Artsy pages
Our website, blog, Facebook and online exhibit

arttexstyle.com

Learn more about How Artists Work in our Process Notes posts, about Artsy Locations and Exhibitions in our Dispatches posts and Read Like an Artist by checking out Books Make Great Gifts roundups. More popular posts: Two on Stitching on the Silver Screen — about movies that feature knitters and weavers and stitchers.

browngrotta arts Facebook Page

Every Monday we post a video link.
Some worth revisiting or viewing for the first time: The house favorite award-winning “Textile Magicians” about five Japanese contemporary fiber artists who live in the cedar forests near Kyoto. See it here: https://vimeo.com/139602030.
“Visionaries: Season 2, Episode 10” featuring Kay Sekimachi, Jack Lenor Larsen , Forrest Merrill on art and innovation on PBS: https://www.pbs.org/video/visionaries-anoopg/.

Online Exhibitions

Take a virtual tour — this month we’ve created an online exhibition for Asia Art Week New York, “Transforming Tradition: Contemporary Japanese and Korean Art” on our You Tube channel at: https://www.youtube.com/watch?v=uPzR-5EXyGI

Stay Well, Stay Home and Stay Inspired!


Asia Art Week NY – Transforming Tradition: Japanese and Korean Contemporary Craft Part II

In honor of of Asia Art Week 2020 this March, browngrotta arts has collated contemporary works by 12 artists born in Japan and Korea for an online exhibition, Transforming Tradition: Japanese and Korean Contemporary Craft. The works include ceramics, weavings, baskets and sculptures made of paper and silk.

Yasuhisa Kohyama ceramic
42yk Ceramic 42, Yasuhisa Kohyama, ceramic, 17.3” x 15.8” x 6.1” 2006


Several ceramics by Yasuhisa Kohyama, are included in Transforming Tradition. Kohyama is a renowned Shigaraki potter who uses ancient techniques to explore new forms. He gained widespread attention in Japan in the 60s when he built one of the first anagama kilns since medieval times. Collectors and museums have been quick to acquire his works, including the Metropolitan Museum of Art, the Cleveland Museum of Art, the Stedelijk Museum in Amsterdam, the Gardiner Mueum of Art in Toronto, the Philadelphia Museum of Art, the Museum of Art and Craft in Hamburg and the Shigaraki Ceramic Cultural Park in Shiga, Japan. Kohyama’s work graces the cover of Contemporary Clay: Japanese Ceramics for the New Century by collectors Alice and Halsey North and curator Joe Earle.  

95jy Ecdysis; Jiro Yonezawa 27″ x 8″ x 5.75”, 2019

Bamboo sculptures by Jiro Yonezawa are also part of browngrotta arts’ exhibition. Yonezawa has been recognized with the Cotsen Prize, a commission from Loewe to work in leather and inclusion in the prestigious Japan Nitten National Fine Arts Exhibit. Yonezawa has explained his work: “Bamboo basketry for me is an expression of detailed precision. These baskets represent a search for the beauty and precision in nature and a way to balance the chaos evident in these times.”

Gold Leaf wall sculptures by Chang Yeonsoon
21-23cy Chunjeein-1, 2 & 3, Chang Yeonsoon abaca fiber, pure gold leaf, eco-soluble resin, 33” x 7.125” x 6.75”, 2019

Korean artist Chang Yeonsoon, who creates ethereal works of starched indigo, was Artist of the Year at the National Museum of Contemporary Art in Seoul in 2008. She was a finalist for the Loewe prize in 2018. Her work has also been acquired by the Victoria & Albert Museum in London; she is the first South Korean artist in that collection.

Soul of a Big Blue Bowl b y Jin-Sook So
53jss Soul of a Big Blue Bowl, Jin-Sook So steel mesh cloth, gold, silver, painted acrylic and steel thread 39” x 32” x 6”, 2015


For 35 years, Jin-Sook So, also of Korea, has been creating dimensional works — sculptural vessels and wall pieces — from stainless steel mesh to international acclaim.

You can view Transforming Tradition: Japanaese and Korean Contemporary Contemporary Craft Online by visiting browngrotta arts’ You Tube channel at: https://youtu.be/uPzR-5EXyGI . You can see each individual work in the exhibition on Artsy: https://www.artsy.net/show/browngrotta-arts-transforming-tradition-japanese-and-korean-contemporary-craft and learn more about the artists included by visiting arttextstyle http://arttextstyle.com and browngrotta arts’ website: http://www.browngrotta.com

Artists included:
Chiyoko Tanaka (Japan)
Jiro Yonezawa (Japan)
Masakazu Kobayshi (Japan)
Naomi Kobayashi (Japan)
Kyoko Kumai (Japan)
Kiyomi Iwata (Japan/US)
Yasuhisa Kohyama (Japan)
Keiji Nio (Japan)
Hisako Sekijima (Japan)
Toshio Sekiji (Japan)
Jin-Sook So (Korea)
Chang Yeonsoon (Korea)

about browngrotta arts
browngrotta arts represents the work of more than 100 international contemporary textile and fiber artists. The firm has published 49 art catalogs and placed art work in dozens of private and corporate collections in the US and abroad, as well as in the permanent collections of the Metropolitan Museum of Art, Museum of Arts and Design, the Art Institute of Chicago, the Philadelphia Museum of Art, and the Renwick Gallery of the Smithsonian Museum. browngrotta arts’ website, http://www.browngrotta.com, and its blog, http://arttextstyle.com, are destination sites for art consultants, interior designers, collectors and practitioners.


Material Matters: Hot Mesh

Untitled Mesh A-Z by Eva LeWitt
Untitled Mesh A-Z by Eva LeWitt Aldrich Museum of Art in Ridgefield, Connecticut

What’s with Mesh? It’s been popular with our artists for sometime. But now we are seeing it in other contexts, too. At the Aldrich Museum of Art in Ridgefield, Connecticut, Eva LeWitt introduced a new material for her exhibition — coated mesh, most commonly used for filters, window screens, and even protective clothing, LeWitt investigates its lightweight and light responsive crosshatched woven surface (through April 5th). Spanning three of the four walls, LeWitt has suspended from the ceiling nine cumulative layers, color fields of tensile mesh, forming interlacing moiré effects that swell and pulsate. 


LeWitt favors materials that she can handle and maneuver alone in the studio: plastics, latex, fabrics, and vinyl—substances offered in an array of readymade colors and a variability of light absorbencies– to generate sculptures and installations that harmonize color, matter, and space, Employing strategies of accretion and repetition, she customizes her work to comply and adjust to the surroundings of a particular setting.


Then there is Katsuhiro Yamaguchi, in the collection at Tate modern, who work in a variety of materials. https://www.tate.org.uk/art/artworks/yamaguchi-mesh-sculpture-t14164  In the 1960s Yamaguchi, incorporated various materials such as acrylic resin, light, wire-mesh, upholstery and wax, expanding his means of expression to include the environment of the ceiling and the walls.

Ruth Asawa's sculptures
Ruth Asawa’s sculptures displayed at the David Zwirner gallery in NYC

Ruth Asawa’s work in mesh is the subject of new-found appreciation https://www.latimes.com/home/la-lh-los-angeles-modern-auctions-realizes-record-auction-20140225-story.html. “Asawa began to crochet wire-mesh structures in 1948. The symmetrical structures themselves were intellectually rigorous, requiring discipline and technical precision. The resulting constructs were ethereal, fanciful, and vital.” The essence of Asawa’s art in wire has to do with transparency and interpenetration, with overlapping, shadow, and darkening” something looping wire mesh can evidence effectively.

Untitled I 2018, Jin Sook-So
59jss Untitled I, Jin Sook-So
steel mesh, folded, burnt and painted with gold, silver and acrylic
15.75″ x 15.75″ x 5.5″, 2018

Among our artists for Jin-Sook So, mesh is a like a zelig — an ordinary person who can change themselves to imitate anyone they are near. It can replicate the look of silk organza but when painted it looks like canvas. When electroplated and sculpted into forms it emits a burnished glow.

Detail of En Face, Agneta Hobin
9ah En Face, Agneta Hobin, mica and steel, 70” x 48”, 2007

Agneta Hobin is best known forr impressive works in which yellow mica has been woven into metal warp; the technique and materials are the artist’s unique choises which she has been developing for over ten years.

Untitled monofilament by Kay Sekimachi

Untitled
Kay Sekimachi
monofilament
57” x 14” x 14”, circa mid-70’s
Matrix II by Chang Yeonsoon
13cy Matrix II-201022
Chang Yeonsoon
indigo dyed abaca fiber
51.75” x 10 x 12.75”, 2010

In the 70s, Kay Sekimachi used a 21-harness loom, to create sheets of mesh-like nylon monofilament. She combined these to create ethereal, hanging quadruple tubular woven forms that explore ideas of space, transparency, and movement. Only 22 of these remarkable sculptures were made.

Chang Yeonsoon uses polyester mesh as a “frame” for layers of natural abaca fiber with striking results.. Yeon soon who is a leading contemporary textile artist in Korea was selected as finalists of the LOEWE Craft Prize 2018.

And, on a large scale, check out this building of mesh filled with cork https://www.dezeen.com/2020/

01/10/gharfa-pavilion-edoardo-tresoldi-studio-studio-studio-saudi-arabia/. It’s the product of Edoardo Tresoldi who has combined sound, projections, landscaping and fabric with his signature wire-mesh sculptures for Gharfa, a large site-specific pavilion in Riyadh.

Embrace the mesh!