Category: New This Week

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.”

Art Assembled: New this Week in September

Currents, Nancy Koenigsberg, coated copper wire, 29" x 29" , 2016

Currents, Nancy Koenigsberg, coated copper wire, 29″ x 29″, 2016

September was quite the busy month for browngrotta arts. Summer officially ended and fall is here and as beautiful as ever. Owners and Curators Tom Grotta and Rhonda Brown went on an art-filled adventure to South Africa (to read about click here). In addition to our “New this Week” posts, we have also started posting “Art Live!” videos every Monday. There is a wealth of video contents available online that allows you to see artworks up close and learn about the artist. Some Art Live! videos feature interviews with artists, while others allow you to visit exhibitions or view the details of a particular piece. Still, others feature a close-up, 360-degree view of a single work.

Green Sow Sow, Michael Radyk, cotton, jacquard, 52" x 66" x 1", 2017

Green Sow Sow, Michael Radyk, cotton, jacquard, 52″ x 66″ x 1″, 2017

We started off September with Nancy Koenigsberg’s Currents, a square coated copper wire piece. The wire Koenigsberg uses for her work allows her to explore space. The delicate nature of the wire allows Koenigsberg to create lace-like layers. “The layers allow for transparency, the passage of light, and the formation of shadows,” notes Rhonda Brown in    Still Crazy After All These Years…30 years in Art. The intertwining of the wires creates a complex fabric and variety of light and shadow.

Next up we had Michael Radyk’s tapestry Green Sow Sow. In his recent series, Corduroys, Migrations and Featherworks, Radyk drew inspiration from featherworks in Peru and Africa, cut corduroy structures from Peter Collingwood’s The Technique of Rug Weaving and the concept of migration. However, for Green Sow Sow Radyk drew inspiration from a conversation he had with Lousie Mackie, former Curator of Textiles and Islamic Art at the Cleveland Museum of art, about fakes and forgeries. The conversation inspired him to create a “forgery” of his own work by re-imagining two dimensions of work he had previously done.

Tonal Fifths, Rachel Max, dyed cane, plaited and twined. 25" x 21" x 7.5", 2017

Tonal Fifths, Rachel Max, dyed cane, plaited and twined. 25″ x 21″ x 7.5″, 2017

Tonal Fifths by Rachel Max was also featured this month. Max’s artwork challenges the relationship between containment and concealment, lines and shadow, and movement and space. Max constructs her forms with a combination of lace and basketry techniques. These techniques help her to creates an intricate, open weave fabric of interlinked lines. Max’s current work (such as Tonal Fifths) investigates the similarities between weaving and music. The musical composition of Max’s works are based on two or more themes which she works to weave together through her art.

Art Assembled: Art Featured in August

Twister by Norma Minkowitz, fiber, paint, resin, 25.5” x 15” x 10.5”, 1994-2016

Southern Crossing Six by Kiyomi Iwata, Kibiso, silver leaf, indigo-color dye on canvas with pencil drawing, 30” x 33” x 1.75”, 2015

Fossil by Jiro Yonezawa, bamboo, 11″ x 13″ x 17″, 2017

We started off August with Norma Minkowtiz’s Twister, a figure shaped sculpture made from fiber, paint, and resin. In works such as Twister Minkowitz explores her thoughts on the different paths people take in life. “Some of my themes explore making concessions, personal choices, different lifestyles, ways of survival and transitions in nature as well as human nature. I am engaged in creating works that weave the personal and universal together,” explains Minkowitz.

Next up we had Southern Crossing Six by Kiyomi Iwata. Iwata began her new series Southern Crossing Six after he recent move from New York to Richmond, Virginia. The move to the South felt as dramatic as her move from Japan to the United States many decades ago. While Iwata’s move from Japan to the United States was characterized by youthful anticipation and excitement, her move from New York to Richmond was much different. Iwata’s need for adventure was replaced by a desire of comfort of the familiar. The stark contrast between indigo dyed Kibiso silk and silver leaf juxtapose the two different landscapes…

Fossil, a bamboo sculpture by artist Jiro Yonezwa is a true masterpiece. Yonezawa, who studied in Beppu and apprenticed under Masakazu Ono, has been a bamboo basket maker and artists for over 35 years. For Yonezwa, it is the regenerative nature of bamboo which attracts him to the art form. While living in the United States from 1989 to 2007 his artwork became larger, bolder, and more sculptural. Yonezawa finds the process of preparing bamboo strips to weave, and the weaving the strips to be inherently meditative. While going through this process “the cacophony of life dissipates; the sculpture emerges vigorous and vibrant. Form, contrast, balance, and the interplay of space, color and texture” all come together.

Made with thousands of strands of 18-carat gold threads and Japanese silk thread, Grethe Wittrock’s Gold Reserves has a tactile sculptural presence. Like Wittrock’s Nordic Currents series, Gold Reserves also celebrates Danish Design and craftwork traditions. Unknown to many, the Danish national gold reserves were shipped to New York right before the start WWII to be stored in vaults at the Federal Reserve Bank to be kept safe from the Nazis.

Gold Reserves by Grethe Wittrock, custom-dyed Japanese silk yarns, konjaku root starched, various gold yarns, cotton yarn, 63” x 24”, 2008/09

“Although she attempts to retain a sense of the material in its raw state, she pushes it sculptural possibilities,” explains Milena Hoegsberg. Wittrock aims “to ‘respect’ the raw materials ‘energy’ by distilling it ‘to reveal its essence’.” Wittrock tediously chose the color combinations for each group of threads that were to be knotted, taking into consideration where the groups would lay against the brown threads and the texture they would create.

Art Assembled: A Round Up of July’s New This Week

July seemed to fly by here at browngrotta arts, but we still featured a full complement of New Art This Week. This month we had new pieces from Polly Adams Sutton, Jennifer Falck Linssen, Åse Ljones and Lenore Tawney.

Shady Lane by Polly Adams Sutton

2ps Shady Lane, Polly Adams Sutton
western red cedar bark, dyed ash, wire, cane, 16” x 12” x 9”, 2006 
Photo by Tom Grotta

Polly Adams Sutton’s basket Shady Lane is hand woven from pieces of western red cedar bark. With permission from logging operations, Sutton harvests the bark herself in the spring when the sap is running up from the roots of the trees. During her time spent collecting bark in the woods Sutton mulls over possible new forms she can weave. The manipulative qualities of cedar are the cornerstone of Sutton’s work, allowing her to bend the cedar as she desires.

Lucent by Jennifer Falck Linssen

Lucent by Jennifer Falck Linssen
Katagami-style hand-carved archival cotton paper aluminum, waxed linen, mica, paint and varnish
51 x 16 x 6 in, 2017

Through works like Lucent, Jennifer Falck Linssen explores the “delicacy of nature, the beauty of line, and the transformation of light and space.” By investigating both natural and manmade forms Linssen investigates how patterns lead to the overall strength of an objects, such as the veins in a plant or the structure of a moth’s wings. In her work, Linssen uses the ancient Japanese paper carving technique katagami. Katagami allows Linssen to bridge the gap between “human scale, the minute and intimate, and the vast and grand by freezing a moment in time, immortalizing it in pattern, light, and shadow.” Through these frozen moments, Linssen is sees humanity reflected in nature’s change, rebirth, resiliency and endurance.

Sound on the Fjord by Åse Ljones

Sound on the Fjord by Åse Ljones
hand embroidery on linen tapestry
99.5″ x 65.25″, 2014

Åse Ljones’ hand-embroidered tapestry Sound on the Fjord reflects Ljones’ upbringing on a small rural farm, where sea and nature were close by. Ljones starts her embroidery at either the corner or center of a piece of fabric. From there she takes her time sewing, reflecting along the way. Ljones never sews a wrong stitch, believing that a mistake it often what creates a dynamic space.

Tension by Lenore Tanwey

77t Tension, Lenore Tanwey
india ink drawing; number 9; pen and ink drawing
22.5″ 26.5″ x 1.5”, 10/23/64, Tom Grotta

Tension is one in a series of graph paper and pen-and-ink drawings Lenore Tawney started in 1964 inspired by her study of the Jacquard loom. Later in the 1990s Tawney converted some of the pen-and-ink drawings into thread sculptures in a series titled Drawings in Air. Tawney’s geometric explorations predated Sol Lewitt’s celebrated grid drawings, which were first exhibited by Paula Cooper in 1968. Tawney, whose work shaped the course of fiber art during the second half of the 20th century, is also well known for her tapestries, collages and assemblages.


The start to summer has been quite busy for browngrotta arts. At the beginning of June browngrotta arts’ opened Plunge: explorations from above and below in collaboration with the New Bedford Art Museum in New Bedford, Massachusetts. Soon after came the launch of Cross Currents: Art Inspired by Water, an online companion exhibition to Plunge. We’ve featured four works on our website as New This Weekthree sculptures and a tapestry.

Reaching Out by Karyl Sisson

Reaching Out by Karyl Sisson, vintage zipper tape and thread, 8″ x 56″ x 45″, 2013

Made with vintage zipper tape and thread, Karyl Sisson’s Reaching Out cloaks the floor in a deep red. Many of Karyl’s sculptures resemble sea creatures, Reaching Out, which can be viewed in Plunge, resembles an octopus lingering along the seafloor. Rather than starting with a set idea of what she wants to create, Sisson lets the materials and processes dictate the form of her pieces.


On the Dock by Helena Hernmarck, wool, 43″ x 57″, 2009

Helena Hernmarcks’ tapestry On the Dock depicts two women enjoying the sunshine. Hernmarck. On the Dock can also be viewed with other water-influenced works in Cross Currents, at  

Peninsula by Mary Merkel-Hess

Peninsula by Mary Merkel-Hess, paper, paper cord
22” x 22” x 44”, 2016

Peninsula, a sculpture made with paper and paper cord, reflects Mary Merkel-Hess’ study of the natural world. Using a technique of her own creation, Merkel-Hess builds each piece using a combination of collage and paper mâché with inclusions of materials such as reed, paper cord, wood, and drawings.  

Intrusion by Dail Behennah, scorched and waxed white willow; silver black patinated and plated pins, 2″ x 22″ x 22″; 2014

Intrusion, a white willow basket made by Dail Behennah draws in the eye with its grid-like basket architecture. Dail drew inspiration for this piece from igneous intrusions into landscapes. As the softer rocks are worn away the peaks and tors remain hard-edged outcrops on the surface.

Art Assembled Featured in May

New this Week in May Red Ferne Jacobs

3fj Interior Passages, Ferne Jacobs, coiled and twined waxed linen thread, 54” x 16” x 4”, 2017, Photo by Tom Grotta

Tapestry and sculptural fiber were on tap in May as browngrotta arts’ New This Week selections. First up, Interior Passages, Ferne Jacob’s remarkable wall sculpture of coiled and twined wax linen, a large and complex work that speaks against the desecration of women around the world. Interior Passages needs no one to tell her who she is or what she is says the artist. “She knows her value, and I expect the world to respect this inner understanding. When it doesn’t, I think it moves toward a destructiveness that can be devastating.”

New this Week in May Helena Hernmarck Tapestry

Helena Hernmarck in front of her tapestry Tabula Rasa 3, 2011, Wool, 37.5″ × 57″, Photo by Carter Grotta

Helena Hernmark’s Tabula Rasa 3 , integrates an unusual background of polyester from sequin making that adds a glimmer to the tapestry in the right light. The work is part of a series that included the first Tabula Rasa, commissioned for Yue-Kong Pao Hall, Purdue University.

New this Week in May Jo Barker Dark Shimmer

Dark Shimmer, Jo Barker , wool, cotton and embroidery threads, 34” x 29.25” x 1.25”, 2017, Photos by Tom Grotta

Dark Shimmer, by Scottish artist Jo Barker, is from the series for which she won the prestigious Cordis tapestry prize in 2016.

New this week in May Complex plaiting by Norie Hatekayama

Complex Plaiting Series Pile 02, Norie Hatekayama , plaited paper fiber strips, 11” x 11” x 10”, 2002, Photo by Tom Grotta

Norie Hatakeyama’s Complex Plaiting Series, Pile 02 is made of paper tape. Hatakeyama’s plaited works reflect the complex structures that make up the universe. “Human beings explore structure in nature and create science and art,” she says. “I’ve observed that the transition of science (mathematics, geometry, etc.) and art overlaps with the direction of my work. I feel deeply that the outside world, the natural world, is a field, made up of matter and energy, repeating regeneration and radiating unremitting energy.”

Art Assembled: Featured in April

April has been a busy month for us at bwongrotta arts. We’ve been celebrating our 30th Anniversary for the past 10 days so one of our new this week items was a short video about our 30th Anniversary exhibition, Still Crazy After All These Years…30 years in art.

outdoor bronze sculpture featured new this week April

21dm Timeless Figure, Dawn MacNutt, bronze, 51″, x 21″, 2004. Photo by Tom Grotta

We added outdoor sculpture for this exhibition and highlighted Dawn MacNutt’s bronze work, Timeless Figure, which began as a willow sculpture before it was cast in bronze.

boat wall reliefs featured new this week April

34b Small Reliefs, Jane Balsgaard, willow, cotton rope, fishing line, handmade plant paper, plastic wire ties, 36” x 80”, 2015-16. Photo by Tom Grotta

Jane Balsgaard’s small reliefs of willow, cotton rope, fishing line, handmade plant paper and plastic wire ties also featured this month. Balsgaard’s airy “boats” of plant paper will be featured in Plunge: Explorations Above and Below at the New Bedford Art Museum, Massachusetts, that opens Memorial Day weekend, official opening June 2nd: We’ve partnered with NBAM to mount Plunge; 13 of browngrotta arts’ artists will be included. We’ll be preparing a catalog for the exhibition which is open through October 8, 2017. This month we also drew attention to

horsehair wall relief featured new this week April

25mb Untitled, Marian Bijlenga, horsehair, cotton, viscose, 15” x 15”, 2012. photo by Tom Grotta

Marian Bijlenga’s untitled work of horsehair, cotton and viscose. Bijlenga is one of the artists in Still Crazy as is Gyöngy Laky. Her is her work, Lefty Loosey, Righty Tighty a digital print combined with bullets for building.

Art Assembled: Featured in March

Three sculptures and a assemblage of paper made up the offerings for New The Week at browngrotta arts in March.

89ks Looped vintage zipper tape and thread, approx. 7” x 35.5” x 16”, 2013 Photo by Tom Grotta

Karyl Sisson’s Looped, is a sinuous sculpture made of vintage zippers and tape. Sisson is preoccupied with useful objects from the past — sewing notions, women’s vanity items, paper drinking straws. In her art, they are given a post-functional future as forms and structures that suggest living organisms, indigenous architecture or ceramic vessels. Like Sisson,

20kn Interlacing Blue, Keiji Nio , nylon , 7.5” x 13” x 11”, 2013. Photo by Tom Grotta

for Interlacing Blue, Keiji Nio also used fiber tape, in his case nylon tape, to create a more formal geometric forms.

8rw Collider
Randy Walker
steel, nylon
29.75” x 31.5” x 12”, 2015.Photo by Tom Grotta

Randy Walker incorporates found objects into his work, re-envisoning them and giving them a new life as art, as here in Collider. In Emerging,

27ht Emerging, Hideho Tanaka, japanese carbon ink drawing, inkjet print, collage (cotton cloth which put a japanese tissue paper.), 17.125″ x 22.25″, 2013 Photo by Tom Grotta

Hideho Tanaka’s interest in creative forms peculiar to fiber materials, which emerge in time and space and yet which also metamorphose and disappear, is evident. In this work, he as combined Japanese carbon ink drawing, inkjet print, cotton cloth and Japanese tissue paper. All four of these artists will be among those featured in Still Crazy After All These Years…30 years in art, which opens at browngrotta arts on April 22nd. For a complete artist’s list visit

Art Assembled, Featured in February

Large architectural tapestry

Architecture in motion by Gudrun Pagter

February was a short month, but we still featured a full complement of art in New This Week on our homepage, including two tapestries, a series of small sculptures on the wall and a feathery fabric and wood mixed media work. Gudrun Pagter’s abstract tapestry, Architecture in Motion, is made of flax and sisal. “Through simple graphic effects—continuous white contour lines on a black background,” the artist says, “I try to unfold disciplined geometrical forms with strong references to architectonic space.”

Large colorful tapestry

Mille Fleur by Ane Henriksen

Mille Fleur by Ane Henriksen was influenced by the millefleurs tradition and embroidery samplers. Millefleurs is a category of French and Flemish tapestries created at the edge of the Northern Renaissance. In the late 15th and 16th centuries large workshops were weaving tapestries with a limited number of figures or animals against a background of thousands of flowers. Samplers, were used to each embroidery to young girls from high society, later as part of school handicraft classes. The motifs, often with various kinds of borders, are letters and alphabets, often dated and bearing a girl’s name or initials and those of her ancestors, as well as embroidered patterns and religious and secular symbols copied from printed pattern books. In making Mille Fleur, the artist says, “it was almost as if I was a young girl,.. I used symbols and good omens in hope of a bright future, underlined as a naïve dream by using tints of pastel pink. A large part of the sensibility lies in the material used, a thick weft made of worn out bed linen from which small buttons, ribbons and other reminiscences peep out and are revealed.” There are also numerous elements in

wood wall sculptures

Night Storm by Debra Sachs

Debra Sachs’ sculpture, Night Storm, which is made of laminated and carved poplar. A few years ago, like Humpty Dumpty, the artist had a serious accident. Slowly, she regained stamina and ability. “I began working in fits and starts,” she said, “flailing to and fro. Finally, there was a breakthrough moment. I had stockpiled fragments from larger works made five years prior. These were small chunks of laminated wood too interesting to toss. They were always there but now were staring at me in my basement shop. I started playing with them like a kid with a box of blocks. I carved and painted them and put them on shelves.”

thread basket

Creel iv by Gizelle Warburton

There are two elements in Gizella Warburton’s Creel IV, a basket of fiber and mixed media accompanied by a piece of stitched wood. ” The materiality of cloth, paper, thread, wood and paint connects me to an innate human urge to make marks,” says Warburton.