Category: New This Week

Art Assembled: New This Week February

The month of February was a busy, but delightful month for us! We’ve been hard at work preparing for Asia Art Week and managing our exhibitions. Although it’s been busy, it’s never too busy to highlight our spectacular artists. Here’s some of the new artwork that we brought into the fold last month:

Toshio Sekiji
33ts Asian Fugue, Toshio Sekiji, Chineses, Japanese and Korean newspapers, lacquered, 14’ x 3’ unframed, 1999.

Japanese artist Toshio Sekiji intertwines strips of paper from various cultures, rewriting messages and imaging a harmonius confluence of disparate cultures, languages and nationalities – different than the facts on the ground. 

John McQueen
John McQueen, 30jm In Praise of Empty, sticks and waxed string, 27” x 31.75” x 31.25”, 2019.

John McQueen meticulously creates pieces that concentrate on form and texture that invoke word and world associations. Some of these are made by the viewer, others are there in the artist’s intent. One is initially awed by the form — the words of twigs and waxed linen that edge the vessel — then challenged to decipher the words: What’s Behind and Before You.

5gp Framed, Gudrun Pagter, linen, sisal and flax, 65” x 60”, 2018.

“I am engaged in a constant process of exploring the picture plane through a highly disciplined structuring of geometrical form elements and lines and through a restricted color spectrum,” explains Gudrun Pagter. “With few lines or a single line, it is possible to transform a two-dimensional plane into a three- dimensional space,” Pagter notes. “Through the years my compositions have become simpler and simpler. Do not look for a specific pictorial motif,” she tells viewers. “My composition’s “image” is abstract not specific, an image of concrete art. The image is what you see and experience.”


Art Assembled: New in January

January was a great month for us at browngrotta arts. The new year has brought forth even more spectacular art work into the fold, which we know you’re going to enjoy.

Marianne Kemp, Vibrant Conversation, horsehair, cotton, linen, 49” x 70” x 6 “, 2018
Marianne Kemp, Vibrant Conversation, horsehair, cotton, linen, 49” x 70” x 6 “, 2018

Marianne Kemp specializes 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. Some, almost-mathematically precise, creations 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 (though you need to resist it!).

Gold Laugh, Micheline Beauchemin, metallic and acrylic thread, cotton, 25.25” x 21.25” x 2.25”, 1980-85
5mb Gold Laugh, Micheline Beauchemin, metallic and acrylic thread, cotton, 25.25” x 21.25” x 2.25”, 1980-85.

Canadian artist Micheline Beauchemin was a major figure in visual arts, best known for monumental tapestries and theatre curtains, as well as works of embroidery and stained glass, costumes and paintings. As a weaver, her repertoire of materials included unique combinations of hand-spun wool, silk and other natural fibers, as well as nylon, aluminum, and gold and silver threads. “I do not seek to represent the forest, pure joy or fear;” Beauchemin has said, “[ ] I want my tapestries to be the forest, pure joy or fear.” 

Lizzie Farey, 18lf Orbiculus, willow, wire, 31.25” x 31, 2018
Lizzie Farey, 18lf Orbiculus, willow, wire, 31.25” x 31, 2018.

Says Lizzie Farey about her work, “I have a fascination with living things and natural form. For me, willow has become a medium for an interaction with nature that is deeply personal. Using willow, birch, heather, bog myrtle and many other locally grown woods, my work ranges form traditional to organic sculptural forms.”

The Seashore, Keiji Nio, polyester, aramid fiber, 48” x 48,” 2019
25kn The Seashore, Keiji Nio, polyester, aramid fiber, 48” x 48,” 2019.

Keiji Nio‘s interlaced wall work is inspired by a haiku, Rough Sea of Sado, from Japanese haiku master Matsuo Basho. In it, Basho describes the deep blue waves of the Sea of Japan as they are reflected in the night sky and the light blue waves hitting the beach. The work incorporates ribbons on which Nio has screened images from the sea and tiny pebbles from the shore. Nio is a faculty member at the Kyoto University of Art & Design. He combines industrial and natural materials in his works to make statements about nature and man’s relationship to the world.


Art Assembled — New this Week from October

As we kick off Novembers with our release of the Grotta Collection exhibition and book launch, which runs from November 3rd to November 10th, https://www.artsy.net/show/browngrotta-arts-artists-from-the-grotta-collection-exhibition-and-book-launch, we’d like to take a look back on which artist made October so special for us. 

Eduardo Portillo & Mariá Eugenia Dávila triple weave mosaic tapestry
Triple weave, Eduardo Portillo & Mariá Eugenia Dávila, silk, alpaca, moriche, metalliic yarns, copper, natural dyes, 71” x 48.25”, 2016

October starts the final quarter of the year, and it also brings in much excitement as the new year is nearing. With new beginnings, we began our New This Week feature in October with works from Eduardo Portillo and Mariá Eugenia Dávila. Their work is driven by their relationship with their surroundings and how their artwork can be communicated within a contemporary textile language. “ We have always been passionate about knowledge, experimentation and especially its reinterpretation within our own place and culture, in Mérida, in the Venezuelan Andes, we also work with local materials, such as cotton and alpaca from Peru and Bolivia, fiber from the moriche and chiqui-chique palm trees of the Orinoco River Delta and Amazon region, as well as dyes from the indigo plant. For us, color is crucial. Our interest in color starts at its very foundations: how it is obtained, where it is found in nature, in objects, in people. Through color, we discover the way to follow each project.” – Eduardo Portillo and Mariá Eugenia Dávila
For more on Eduardo Portillo & Mariá Eugenia Dávila visit Artist Link: http://www.browngrotta.com/Pages/portillo.php

Mary Giles figurative wall dolls
Mary Giles, 11mg Annointed Rank, waxed linen, wire, bone, paint, gesso, 10”(h) x 31”, 1997

We are always intrigued by the wide variety of artwork that we have the pleasure of showcasing here at browngrotta arts. We strive not only to share the final products but also behind the scenes of the processes that go into creating the work on that ends up on our gallery walls. Our next October New This Week artist was Mary Giles, a St. Croix, Minnesota based fiber artist, and sculptor.

Over the past four decades, Giles helped move the boundaries of basket weaving and earned international recognition for her art, which is characterized by coiled waxed-linen bases adorned with hammered metal or fine wire that brings to mind tree bark, fish scales, feathers or fur.
“My baskets express both action and reaction to what I have loved in the past and what I am discovering today.” Mary Giles
For more on Mary Giles visit Artist Link: http://www.browngrotta.com/Pages/giles.php

Willow boat basket sculpture
44cj Boat Becoming River, Christine Joy, willow 14” x 31” x 10”, 2018

Did you know that Weeping willow trees, which are native to northern China, are beautiful and fascinating trees whose lush, curved form is instantly recognizable? Did you also know that in addition to her basketmaking addiction, Christine Joy is also addicted to the smell of willow branches. In her studio, you will find willow branches that are piled high, and even when she doesn’t have time to make something, she takes a little visit into her very own willow heaven as much as she can. “Because it takes so long for one work of art, it has really become my own art therapy, which is ironic because that is what I got my degree in, to help others through art,” Joy said. “But now making these expressions is my. Willow is my life.” 
For more on Christine Joy visit Artist Link: http://www.browngrotta.com/Pages/joy.php

Stéphanie Jacques installation
10sj Retournement en cours I, Stephanie Jacques, 36″ x 77″ x 14″, 2014-2016

One of the great joys we have is having the opportunity to share such fantastic work with incredible artists from all over the world. It is a pleasure sharing works from Stéphanie Jacques from Belgium in our new book The Grotta Home by Richard Meier: A Marriage of Architecture and Craft. Stéphanie Jacques once said, “Connecting things is the foundation of my work: hard and soft, old and new, valuable and trivial, conscious and unconscious, human and plant.”
For more on Stéphanie Jacques visit: http://www.browngrotta.com/Pages/jacques.php


Art Assembled September

There are so many reasons to absolutely love the fall season. We share some spectacular pieces by five inspiring artists, as we are gearing up for the launch of The Grotta Home by Richard Meier: a Marriage of Architecture and Craft next month, which was designed and photographed by Tom and which features dozens of browngrotta arts’ artists.

We started the month with Carolina Yrarrázaval. Her artwork evokes harmony in every piece of fiber she touches. “Throughout my entire artistic career, I have devoted myself to investigating traditional textile techniques from diverse cultures, especially Pre-Columbian techniques, trying to adapt them to my creative needs. Abstraction has always been present as an aesthetic aim, informing my choice of materials, forms, textures, and colors.”

Carolina Yrarrázaval
18cy Memoria Andina. Photo by Tom Griotta
Carolina Yrarrázaval 18cy Memoria Andina linen and cotton 54.25” x 25.25”, 2019

We continue with Dawn MacNutt, a source of inspiration to many. A native of the Canadian province Nova Scotia, incorporates an assortment of natural materials, such as twined willow, seagrass, and copperwire, into each life-size sculpture. By crafting these column-like figures, MacNutt masterfully captures the beauty and frailty of the human form.”Through many years of working, the way of creating my sculptures has changed, but two things remain constant: The work is inspired by the human form, and it derives from weaving. The forms are irregular and more universal than specifics. I hope they reflect the beauty of human frailty.”

Dawn MacNutt
35dm Praise South
inflorescence and reed, 19.5” x 5.5” x 3.5,” 2007 

47dm Praise North
willow, 24.75”x 13”x 5.5,” 2018
Dawn MacNutt 35dm Praise South, inflorescence and reed, 19.5” x 5.5” x 3.5,” 2007; 47dm Praise North, willow, 24.75”x 13”x 5.5,” 2018

Aleksandra Stoyanov, also known as Sasha, was our third artist in September. She once told us that her Influence began as a child as she was not very healthy. She spent a lot of time in the hospital, and this further influenced her understanding of people and life itself. “When I keep threads in my hands I feel that they are ground, the grass, that there is life in them. The feeling of thread in my hands is the first appeal for me to begin working on a new piece.”

Aleksandra Stoyanov
9as Reflection
wool, plexiglas
8” x 8.125” x 3.375, 2004
photo by Tom Grotta
Aleksandra Stoyanov, 9as Reflection wool, plexiglas 8” x 8.125” x 3.375, 2004

Chiyoko Tanaka once told us that the act of weaving, as the weft threads accumulate one by one, is a representation of time passing away; texture acting as the locus of the present time. It was such a profound way of explaining that, “Placing the fabric on the ground, I trace out the ground texture and surface of the fabric. The act of tracing is a transformation of time coherence into space, and grinding is the transformation of space coherence into time.” 

Chiyoko Tanaka
68cht Mud-Dyed Cloth - Ocher. White Mud Dots,
handwoven ramie, mud-dyed rubbed with stone and
mud dots, 21.375” x 46.5” x 3,” 2018
photo by Tom Grotta
Chiyoko Tanaka, 68cht Mud Dyed Cloth-Ocher. White Mud Dots, handwoven ramie, mud dyed rubbed with stone and mud dots, 21” x 46.5” x 3”, 2018

We wrapped up September with Jiro Yonezawa and his warm tones that fit perfectly with the fall colors appearing now all over the world. Of this series of work, Yonezawa has said that the curves have the movement of wind. As it blows through the forest, you can hear the rustling of the leaves as it passes by all living creatures.

Jiro Yonezawa
90jy Meteorite, Bamboo, steel, urushi laquer, 9” x 15” x 11”, 2019. Photo by Tom Grotta
90jy Meteorite, Jiro Yoezawa, Bamboo, steel, urushi laquer , 9” x 15” x 11”, 2019

“For anyone who lives in the oak-and-maple area of New England, there is a perennial temptation to plunge into a purple sea of adjectives about October,” says Hal Borland. We look forward to this October and all the wonderful artists we will feature in New This Week, stay tuned!


Art Assembled: New this Week in July

We always want our blog to be a place for textile and fiber artists and collectors to be inspired, and a place to see and learn from the best. We started the summer off hot and July was no different. We kicked off the month of July with artist Lija Rage. She is influenced by many different cultures. She is particularly interested in drawings of ancient cultures on the walls of caves in different parts of the world. Eastern culture with its mysterious magic, drawings of runes in Scandinavia, Tibet and the mandala, Egyptian pyramid drawings. 

Lija Rage wall sculpture
3lr My Sun For Everyone, Lija Rage, bamboo, copper wire, fabric 46.5” x 58.75” x 1.25”, 2018

“Currently, I am interested in new technologies and their use in contemporary fiber art. Textile and fiber art for me are types of modern art that use fiber as their medium. It is the type of art that borders the four fine arts types with the same high requirements and tasks. I believe in its development in the modern world.” Lija Rage New This Week featuring My Sun For Everyone, by Lija Rage.

Tamiko Kawata safety pin wall art
34tk Infinite, Tamiko Kawata, safety pin on canvas wrapped wood 11″ x 11″ x 3″, 2014

We continued the month with works from Tamiko Kawata. Discarded materials are important to Tamiko Kawata, not only for environmental issues but also to reflect his current life. Her choice of materials and interpretation are influenced by the differences experiences between life in America and Japan where she grew up.

“Safety pins function variously as thread, yarn, clay or truss in my work process. I found them soon after I arrived from Japan, out of the necessity to shorten all-too-long American clothing. I noticed their smooth texture and their head- and tail-like details. In the beginning, I found ways to interlock them, as if weaving. I found constructing systems as I went along, using only the inherent structural properties of the pins, and now can create anything from “drawings” to three-dimensional, self-standing works.” Tamiko Kawata New This Week featuring Infinite, Tamiko Kawata, safety pin on canvas wrapped wood.

Wendy Wahl Encyclopedia art
32ww CE/EB #4, Wendy Wahl
Encylopedia Britanica and Comptons pages, poplar frame, 24″ x 32″ x 1.5″, 2011.
27ww EB ’62 vol. 17-18, Wendy Wahl
Encylopedia Britanica pages, poplar frame, 24″ x 32″ x 1.5″, 2011

One thing you could count on as a child was never having to look at an encyclopedia during the Summer and Wendy Wahl made sure of it! She continues to wow us with her use of this material, and she pushes them into a contemporary extreme, somewhere between art and object.
“My art has always been a protest against what I have met with in weaving. I started to use rope, horsehair, metal and fur because I needed these materials to give my vision expression and I did not care that they were not part of the tradition in the field.” Wendy Wahl New This Week featuring work from Wendy Wahl.

Kiyomi Iwata Ogara Choshi
21ki Fungus Three, Kiyomi Iwata, Ogara Choshi are gathered. The surface is embellished with gold leaf and French embroidery knots, 6.5” x 8” x 7.5”, 2018

We wrapped up the month with artist Kiyomi Iwata. In her work, she explores the boundaries of East and West through absence and presence, void and volume.

Fungus Three is made from ogarami choshi. Even though they are all created in the same manner, the elements are all different shapes and tones. The individual pieces are gathered together to make one large bundle. This was inspired by a saying I heard: ‘If you want to go quickly, go alone. If you want to go far, go together.’  This seems a good thought to keep in mind during these trying times.” Kiyomi Iwata  New This Week featuring work from Kiyomi Iwata


Art Assembled: New This Week February

Structural Discussion VI, Hisako Sekijima cedar and walnut, 10.75” x 14.5” x 7”, 2016. Photo by Tom Grotta.

Winter is slowly but surely coming to a close (finally!) and the sunny months are not too far ahead. Also rapidly approaching is this year’s Art in the Barn exhibition: Art + Identity: An International View, which seeks to take an expansive look at identity and art in a global context.

We started February’s “New This Week” series with Structural Discussion VI by Hisako Sekijima. Woven using cedar and walnut, Sekijima’s Structural Discussion VI’s explores structure, form and shape. Though Sekijima’s baskets were not created to function in a utilitarian manner she feels that they have been a useful tool in exploring herself. Unlike traditional basketmakers, Sekijima has chosen to not work with one specific plant throughout her life, but instead work with various plant materials. Her openness to other plant materials has allowed her to explore and experiment with each material’s sculptural possibilities.

Material Pleasures: Artemisia, Lia Cook, acrylic on linen, dyes on rayon; woven, 53” x 77” 1993. Photo by Tom Grotta.

The sensual nature of Lia Cook’s Material Pleasures: Artemisia is sure to immediately captivate the viewer. Cook’s Material Pleasures series explores the “sensuality of the woven image” and the emotional response that comes with it. Cook has continued this exploration of sensuality and emotion in her current work, combining it with technology that measures and maps emotional responses.

Orchid, Marianne Kemp, horsehair, gold lures thread, wooden frame, 15” x 18.5” x 2”. Photo by Tom Grotta.

Next up was Marianne Kemp’s stitched and woven Orchid. Dyed red horsehair woven in between a delicate herringbone background brings light to 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 explains. Weaving allows Kemp to give her brain a rest and explore her creative intuition.

Blue/Green Weaving, Włodzimierz Cygan, polyester, linen, sisal, fiber optic, 41” x 41” x 15”. Photo by Tom Grotta.

We concluded February with  Włodzimierz Cygan’s Blue/Green Weaving. The piece, which is designed with both textiles and fiber optics, resembles a peacock feather in daylight and slowly shifts shades in the dark. Cygan, a Polish artist, is an innovator in the field of fiber art, challenging the boundaries of the medium.


Art Assembled: New This Week June

I Mirror You, Åse Ljones, hand embroidery on linen stretched on frames 32.25” x 65.5” x 1.25”, 2013-17

I Mirror You, Åse Ljones, hand embroidery on linen stretched on frames
32.25” x 65.5” x 1.25”, 2013-17. Photo by Tom Grotta 

In the first week of June we shared Åse Ljones’ I Mirror You. While making I Mirror You Ljones drew inspiration from her childhood on a little farm near the fjord in the Norwegian countryside. Naturally, the environment and weather were close elements.“ The fjord and the waves were always changing rhythm and changing colors,” says Ljones. After being selected to participate in a major exhibition at Arthouse Kabuso, Ljones’ made I Mirror You as a thank you to the people and landscape of her youth.

Blue Sea, Mary Merkel-Hess, reed, paper, 20.5” x 13.5” x 10”, 2018

Blue Sea, Mary Merkel-Hess, reed, paper, 20.5” x 13.5” x 10”, 2018. Photo by Tom Grotta 

In making Blue Sea Mary Merkel-Hess drew inspiration from the Florida Everglades. “I don’t usually step out of my own Midwestern environment for inspiration, but for Blue Sea I did,” Merkel-Hess explains. In addition to being able to examine a new type of grassland, Merkel-Hess had the opportunity to study the oceans various colors and moods. The continuous movement of the wetland coupled with the beautiful blues of the Atlantic Ocean came together for Merkel-Hess as she made Blue Sea.

Pulse, Caroline Bartlett, linen/hemp, cotton, porcelain, perspex, 43" × 108" × 1.5", 2018

Pulse, Caroline Bartlett, linen/hemp, cotton, porcelain, perspex, 43″ × 108″ × 1.5″, 2018. Photo by Tom Grotta 

Next up we featured Caroline Bartlett’s Pulse. Textiles are the core of Bartlett’s practice, providing her with the means and materials to process and articulate ideas. For Bartlett, the “imprinting stitching, erasing, reworking, folding and unfolding” of her creative process leaves defining characteristics on each piece of her work. In Pulse, which graces the cover of our newest catalog — Blue/Green: color, code, context— Bartlett integrates textiles (line/hemp and cotton) with porcelain.

Blue/Green as a Metaphor, Kyoko Kumai, titanium and steel, 120.5” x 45.25”, 2010

Blue/Green as a Metaphor, Kyoko Kumai, titanium and steel, 120.5” x 45.25”, 2010. Photo by Tom Grotta 

 

Last but certainly not least is Kyoko Kumai’s Blue/Green as a Metaphor. Kumai, who lives and works in Tokyo, has been weaving tapestries with titanium and steel for 30 years. In an essay written in honor of Kumai’s exhibition at MoMa in 1991, Matilda McQuaid explains that “most indicative of the Japanese sense of beauty in Kumai’s work is the importance of light, both its presence and calculated absence.” Made with titanium and steel, Kumai’s Blue/Green as a Metaphor brings life to the room with its’ array of light-reflective, colorful titanium pieces.

 


Art Assembled: New This Week May

Ulla-Maija Vikman. Reflect, painted viscose and linen, 62.5” x 54”, 2017. Photo by Tom Grotta

Reflect, Ulla-Maija Vikman, painted viscose and linen, 62.5” x 54”, 2017. Photo by Tom Grotta

May was quite a busy and exciting month here at browngrotta arts. We ended April and kicked off May with our annual Art in the Barn Exhibition, Blue/Green: color/code/context. The exhibition attracted a record-breaking crowd that swarmed from all areas near and far. In addition to the opening itself, we hosted “Art-Ocean-Energy” a fundraiser for Ports of Cause as well as an IDCEC accredited presentation “Material Matters: Integrating Art Textiles and Fiber Sculpture in Architecture and Interior.” We also published our new catalog Blue/Green: color/code/context. The catalog–our 48th volume–features work by 57 artists from over 15 countries. Blue/Green: color/code/context is available for purchase on our online store and Amazon.

To kick off May’s New This Week we shared Ulla-Maija Vikman’s Reflect. Made by hand-painting viscose yarn and linen, Vikman’s Reflect falls freely into space and forms varying color surfaces as air flow causing the uniquely painted fibers to move. Vikman found combining the color blue with textiles very interesting because of the way in which they juxtapose each other. “Textile is material and tactile. Blue is immaterial, airy and spacious,” explains Vikman.  

Changing Tides, Wendy Wahl, Encyclopedia Britannica pages, 27” x 42” x 1.75”, 2018. Photo by Tom Grotta

Next up we had Changing Tides by Wendy Wahl.  Made of 275 pages of 1988 Encyclopedia Britannica Annual of World Data, Changing Tides continues a series Wahl developed from her interest in expressing our station in time through the use of materials that have been a part of a particular collective consciousness. Wahl cut the encyclopedia pages into seven sections, for each of the continents, and thoughtfully scrolled and compressed into 1,925 whirls to symbolize the reality of rising water around the globe.

Blue Wave, Ferne Jacobs, coiled and twined waxed linen thread, 19” x 17.5” x 6”, 1994. Photo by Tom Grotta.

Blue Wave, Ferne Jacobs, coiled and twined waxed linen thread, 19” x 17.5” x 6”, 1994. Photo by Tom Grotta.

Lastly, Ferne Jacobs Blue Wave. Jacobs, who began making sculptural baskets in 1970, uses waxed linen to create intricate, coiled designs that evoke organic forms. Jacobs’ commitment to fiber sculptures grows out of a fascination that thread can be made solid, that by using only her hands and thread, she can create a form that can physically stand on its own.

 


Art Assembled: New This Week February

 

Inspired by her lifelong love of human condition, Dawn MacNutt’s work remains centered on the “beauty of human frailty. Witnessing small, yet meaningful human interactions, such as seeing people experience pain, love and joy, has had a lasting impact on MacNutt’s work. To obtain material for her work, MacNutt utilizes the nature around her, using willow harvested from the ditches and lanes around her home in Nova Scotia. 

Praise, Dawn MacNutt, inflorescens and reed, 19”x 4”x 5”, 2007. Photo by Tom Grotta

Praise, Dawn MacNutt, inflorescens and reed, 19”x 4”x 5”, 2007. Photo by Tom Grotta

Made solely from paper, Cube Connection 09 showcase Noriko Takamiya’s non-traditional basketry techniques. Despite choosing differing methods, Takamiya still feels connected to ancient basketmakers. “I find myself in the same situation,” explains Takamiya. “Even if the resulting objects are different, the ancient basketmakers and I do the same thing, which is to seek the techniques and materials to develop into one’s own work.”

Cube Connection 09, Noriko Takamiya paper, 4” x 13” x 7”, 2016. Photo by Tom Grotta

Cube Connection 09, Noriko Takamiya
paper, 4” x 13” x 7”, 2016. Photo by Tom Grotta

In 1975, Kyoko Kumai began using metallic materials such as stainless steel filaments in her sculptures. The malleable nature of the stainless steel allows it to be woven, twisted or bundled to create sensuous forms in order to express aspects of wind, air and light. “Thin pieces of stainless steel wire create a richly expressive fabric that does not stand solidly, cleaving the air,” explains Kumai. “It has its own language fluttering above the floor; breathing and melting into the air.” 

Kyoko Kumai, 32kk Memory stainless steel filaments 41” x 19” x 19”, 2017. Photo by Tom Grotta

Memory, Kyoko Kumai,
stainless steel filaments
41” x 19” x 19”, 2017. Photo by Tom Grotta

Ex Claim! by Gyöngy Laky is sure to grab your attention. Made using G.I. Joes and bullets, the piece serves as Laky’s personal examination of our complex relationships with the world around us. Laky’s works often have underlying themes of opposition to war and militarism. Born in Hungary in 1944, the physical and emotional effects of war impacted Laky from a very young age. In her opinion, “We are smart enough to have moved beyond war as a means of dealing with problems by now.”

Ex Claim! commercial wood"; 2014; G.I. Joes; acrylic paint; "bullets for building (trim screws), 64” x 21” x 7”". Photo by Tom Grotta.

Ex Claim!, Gyöngy Laky,
commercial wood”; 2014; G.I. Joes; acrylic paint; “bullets for building (trim screws),
64” x 21” x 7”. Photo by Tom Grotta.

 

 

 


Art Assembled: New This Week January

Untitled, Kay Sekimachi, Japanese paper and fiber flex, 4” x 11” x 11”, 1985 95k Silver Metallic, Kay Sekimachi, flax, 4” x 11” x 11”, 2008. Photo by Tom Grotta

Untitled, Kay Sekimachi, Japanese paper and fiber flex, 4” x 11” x 11”, 1985
Silver Metallic, Kay Sekimachi, flax, 4” x 11” x 11”, 2008. Photo by Tom Grotta

We kicked off the new year with pieces by Kay Sekimachi. Sekimachi avoids color in many of her pieces in order to direct more attention to the sculptural qualities of her work as well as the natural properties of her chosen materials. Through her career, Sekimachi has been enamored with antique Japanese paper, using it in a variety of ways to create small pots, large sculptures and bowls, such as she did in Untitled. 

In Forest Floor Lewis Knauss uses linen (waxed and natural), reed, twigs and acrylic paint to convey the natural layers and complexity of our landscape. “Landscape serves as witness to the passage of time and the cycle of life, its disturbing beauty often the result of natural or manmade events–drought, fire, flood.” The meticulous process Knauss goes through while constructing a piece cements his life and presence as a maker. For Knauss, the repetitive acts of knotting and long periods of working silence become a mediation through which he can release his gratitude for the environment.

Forest Floor, Lewis Knauss linen, acrylic paint, reed; twigs, waxed linen, 16” x 16” x 2.5” 2016/2017";

Forest Floor, Lewis Knauss
linen, acrylic paint, reed; twigs, waxed linen, 16” x 16”x 2.5” 2016/201. Photo by Tom Grotta

<em>Ceramic 49</em>, Yasuhisa Kohyama, wood-kiln ceramic, 11.25" x 11" x 6"<br /> <em>Ceramic 50,</em> Yasuhisa Kohyama, wood-kiln ceramic, 18.25" x 10" x 5" Photo by Tom Grotta

Ceramic 49, Yasuhisa Kohyama, wood-kiln ceramic, 11.25″ x 11″ x 6″ 
Ceramic 50, Yasuhisa Kohyama, wood-kiln ceramic, 18.25″ x 10″ x 5″ Photos by Tom Grotta

 

Next up we had two sculptures by Yasuhisa Kohyama. Kohyama pioneered the revival ancient ceramic traditions of Shigaraki by bringing back the use of the anagama, a single chambered tunnel kiln that had not been used since medieval times to create traditional Japanese suemono vessels. Kohyama derives much of his inspiration from nature. “Every time I fire, I’ve come to recognize that I am in Nature; I am a small part of Nature,” explains Kohyama “Intently I watch Nature over and over again; working with clay, inspired by Nature, I am free to allow creation to happen, approaching the experience as the ancients did.”

Capricious Plaiting, Kazue Honma, plaited paper, mulberry bark, 10.5" x 18" x 12.5", 2016

Capricious Plaiting, Kazue Honma, plaited paper, mulberry bark, 10.5″ x 18″ x 12.5″, 2016. Photo by Tom Grotta

This month we also featured Kazue Honma’s Capricious Plaiting, a labyrinth-like woven plaited paper mulberry bark basket. Led by Hisako Sekijima, Honma is one of a group of Japanese basket-makers who has radically experimented with traditional Japanese weaving techniques. Plaiting allows Honma to follow strict rules of geometry while also offering her the freedom to create new shapes. When weaving Capricious Plaiting Honma started at the dark square, then plaited in two different directions, continuously shifting directions at the moments she felt she should.

Golden Red, Adela Akers, Linen, horsehair and metal foil 30" x 21”, 2017

Golden Red,
Adela Akers, Linen, horsehair and metal foil, 30″ x 21”, 2017. Photo by Tom Grotta

In our last New This Week of January, we featured Golden Red by Adela Akers. The reflectiveness of the metal foil coupled with the contrast of the red and blue linen creates a window-like effect.The dimensionality of Akers’ works can be attributed the reflection of light off of both the metal and horsehair. Akers’ background in science strongly influences the materials and process of her work. The mathematical discipline Akers exercises when working contrasts “the organic process (handweaving) and materials (linen & horsehair) that bring work to fruition.”