Category: Uncategorized

Sophie Rowley, a German and New Zealand artist with an MA from Central Saint Martins London, lives and works in Berlin. With a background in textiles, her work embraces the experimentation with techniques in fiber. Rowley’s work explores how repetitive gestures and modes of deconstruction can foster evolutionary change. Central to her approach, are self-developed techniques involving meticulous repetition. Unfolding across days, weeks, and months, the result is intricate, corporeal “paintings” that challenge the inherent structural norms and tangible aspects of canvas, redefining its role as a mere substrate to the very essence of the artwork itself.

“I like to view deconstruction as not merely a visual or formal technique that I employ,” says Rowley. “I like to think of it also in a broader sense and to explore what lies between the material and the discursive: How do internal perceptions manifest in tangible form? What new insights emerge through the process of undoing? I believe it is essential to question known structures and challenge received ideas, not only on a material level but also in the intangible realms.” 

Rowley also disrupts conventional perceptions surrounding predetermined gender associations attributed to mediums and materials. Embracing a feminist ethos, she celebrates the utilization of traditionally female mediums that are historically rooted in domesticity. Her practice questions entrenched biases, inviting a reevaluation of societal constructs that dictate artistic expression along gendered lines. 

Rowley’s work has been exhibited internationally, including at Make Hauser & Wirth, Somerset, UK; the Scottsdale Museum of Contemporary Art, Arizona; Roche Court’s New Art Centre, Salisbury, UK; the Design Museum Gent, Belgium; and Isamu Noguchi Stone Heaven, Tokyo, Japan. In 2019, she was a finalist in the LOEWE Foundation’s Craft Prize, an internationally distinguished award for contemporary makers. Recently, in Repetition is a Form of Change, in the Fall of 2025 at Looiersgracht 60 in Amsterdam, Rowley reflected on her journey from a fundamentalist community at the age of 16 and the subsequent deconstruction of her faith. With site-specific installations and individual works, she merged views of the past and visions of the future. You can hear the artist in conversation about the exhibition with Francesca Raimondi, professor of philosophy at Free University Berlin, based both in Berlin and Amsterdam. Prof. Dr. Raimondi’s research spans aesthetics, critical social theory, feminism, and political philosophy, with a focus on how modern forms of subjectification and embodiment are critiqued and transformed through artistic practices: https://www.sophierowley.com/news.

Rowley’s works are represented in the collections of the V&A, London; Scottsdale Museum of Contemporary Art, Arizona; the Design Museum Gent, Belgium; and the Georgetown University Art Galleries, Washington, D.C. She has completed a residency at Carraig na gCat/Ireland with the Josef and Annie Albers foundation and has another upcoming residency with their Thread residency in Senegal.

One more artist recommendation this week, from Wendy Wahl. “I came upon ROPE: How a Bundle of Twisted Fibers Became the Backbone of Civilization, by Tim Queeny, in The New York Times Book Review,” Wahl writes. “He had me lassoed when he gave credit to Elizabeth Wayland Barber’s Women’s Work, The First Twenty Thousand Years. Women, Cloth, and Society in Early Times. Queeney’s brief book is packed with history as he describes a rope fragment estimated to be 50,000 years old, discovered in southeast France, and a 4,000 year old Egyptian rope utilizing the “s” and “z” twist construction. For the nautical, you will find examples of fiber boats, lines, knots, the role in sailing navigation, and gathering food from the sea. He describes how the rope was used to build pyramids, the Incan Quipu, a portable rope with knots for communication, and rope as a means to reach the divine through mythology. He shows us how rope was used in underground mines, for travel in balloons and airplanes, for working with horses and livestock, for containment, inflicting punishment, and for magic and marriage. His concise chapters twist and turn, explaining how plant and animal materials were first used, the transition to metal and plastic rope making, and yarns of the future. He shares stories of mountain climbers and cavers, as well as Petit Philip, a tightrope artist who walked between the Twin Towers in 1974, and the use of rope in science and space exploration. I was hoping he would include the role of rope for looms, as well as its use as a material metaphor by artists. Otherwise, the book jacket is spot on, describing ‘A unique and compelling adventure through the history of rope, and its impact on civilization.‘”

At browngrotta arts we’ve also come across a number of interesting books this year.  On our website, you’ll find Weft Ikat: Polly Barton. Self published by the artist, Sutton shares the basic tying techniques for weft ikat and some techniques she has adapted to solve design problems. Ikat means a to bind a group or skein of fibers with a resist tie to create a pre-calculated design when the fibers are woven. The technique is one that is used in differing combinations by cultures across the world.

We can also recommend Chris Drury: Heart Soul Mind. The book, as advertised, “gives in images and the words of Chris Drury himself, a precious insight into this renowned artist’s practice over more than four decades.” Drury has long focused on patterns of energy, in plants, wind, water, and the flow patterns of blood in the human heart, relating systems in the body to systems on the planet. In the book, he tells stories behind his land art constructions of soil, wood, stone, and fungi in vastly different landscapes from Japan to South Korea to Nevada, Scotland, Antarctica, Wyoming, and Australia.  Frequent collaborator, poet Kay Syrad, contributed the introduction. The photographs are large and affecting. As the book jacket concludes,”Drury’s works remind us that art too can transform the way we look at the world.” Of course, books can, too.

We were gifted a truly exquisite book when Tom, Rhonda, and Carter traveled to Paris in March. For its 15th-anniversary exhibition, Maison Parisenne commissioned 15 exceptional works by 15 renowned artists such as Simone Pheulpin, whose work we show in the US, Pierre Renart, Hervé Wahlen, Gérald Vatrin, and others. The works were showcased at the historic Hall des Maréchaux within the Musée des Arts Décoratif and documented in Maison Parisienne: 15 Years. The photos in the book are beautiful, the work striking, but what impressed us most was the accuracy of the title of the introduction, “Maison Parisienne, a gallery as a universal family.” Oliver Gabet, Director, Department of Objets d’Art, Musée du Louvre, describes the care with which the gallery’s founder, Florence Guillier-Bernard, selects the artists that she promotes so energetically and effectively, an approach familiar to us. “… [T]here can be no doubt that she also chose the name with equal care,” he writes, “maison conjuring up a house that is also a home and a focal point for a family of disparate kith and kin, linked by networks of hidden connections.” The portraits of Guillier-Bernard with various artists represented by the gallery are a testament those eviable connections. We are pleased to have our own connection to this meticulously curated collection.

Wlodimirez Cygan shared two beautiful catalogs with us in May, Tożsamotność (Loneliness) and Światło i ciemność (Separation of Light and Darkness). Cygan wrote that the Tożsamotność (Loneliness) exhibition presented selected textiles created after 2008, when he finished working for Academy of Fine Arts in Gdańsk. “All of them make a reference to the textile – light and textile — interior relationship. In some works it is an interpretation of light; in others – light implemented in the living tissue of the creation.” The text of the catalog is in Polish, but the photographs — many of them full page — are luminous. We are excited that browngrotta arts will exhibit two of the works in this catalog — Organic 3 and Between the Lines of Everyday Life 5,  in its May 2026 exhibtion. In the Światło i ciemność (Separation of Light and Darkness) catalog, the text is in Polish and English, and again, the illustrations are dramatic, many of them of the artist’s works in black and white. In a reference pertinent to this body of work, essayist Marta Kowalewska writes, “Deliberately limiting the range of colors and color effects, associated to a great extent with painting, as well as defending against purely sculptural treatments, [he] strengthens those values that make up the essence of textile art,” she writes. “The technical constraints become an ally of the artist; sensuality of the fiber builds sensuality of the pieces …. Range of black, gray, and white allows perception of the mastery of the weave, perfection of design, but ultimately leads viewers’ attention to poetics of the communication.”

Contemporary Basketry: New Directions from Innovative Artists Worldwide is a new work by Janet Koplos and Carol Eckert. Inspired by Eckert’s blog, “Contemporary Basketry,” the book profiles 60 international artists (15 of whom have been promoted by browngrotta arts). A comment by each artist is included and Koplos has contributed an insightful essay, “Looking Into Baskets,” that discusses architecture, technique, allusion, and other attributes of contemporary practice. She borrows sculptor Phyllida Barlow’s term “restless objects,” noting baskets are restless in being unfixed in time, being portable and not fixed in place, and the artists who make them are restless, interested in defying expectations and distinguishing their works. 

A book from 2024 was particularly relevant for us this year. From the perspective of artists, the browngrotta arts’ exhibition, Beauty is Resistance: art as antidote, explored the impact of art on anxiety, pain, mood, and memory. In Your Brain on Art: How the Arts Transform Us, authors Susan Magsamen and Ivy Ross report on the scientific research supporting those effects  — on physical health, cognitive development, and memory. The findings cited are truly remarkable — engaging in art for 45 minutes straight can lower cortisol levels, learning music improves cognitive skills, striking tuning forks lower stress, and museum visits are prescribed to treat dementia and depression. Also featuring conversations with artists such as David Byrne, Renée Fleming, and evolutionary biologist E. O. Wilson, Your Brain on Art, is an authoritative guide to neuroaesthetics. 

We have acquired more copies of Kay Sekimachi: Master Weaver, Innovations in Forms and Material, published by the Fresno Art Museum to celebrate Sekimachi’s selection for the Council of 100 Distinguished Women Artists for 2018. The catalog, available on our website, covers the expanse of Sekimachi’s career. It includes a comprehensive essay by Mija Riedel, “Thinking Through Thread,” a detailed chronology by Signe Mayfield, and exquisite photography by M. Lee Featheree. “Over six decades, Sekimachi has become a virtuoso of thread and form,” Riedel writes .… “She has bent, sewn, and molded paper into three-dimensional objects we haven’t seen before that can stand on their own and fill with light.”

May your 2026 reading list also be filled with light!

Works by Norma Minkowitz, Nnenna Okore, Laura Foster Nicholson, and Gyöngy Laky made up our New this Week selection for November.

Each of these works were featured in our Fall exhibition, Beauty is Resistance: art as antidote. The exhibition highlighted artworks in which artists used beauty as a way speak about agency, identity, anxiety, environmental issues, and more. 

Norma Minkowitz is widely known for works of three-dimensional crochet. For Venus Trapped, Minkowitz started with a giant crocheted flower head not really knowing where the sculpture was headed. Her initial inspiration leaned toward creating a female figure in combination with a giant flower head. But then, she started creating thorn-like shapes that resembled female fingernails painting them red. The flower, generally a symbol of renewal, peace, and celebration became a Venus fly trap — a persistent threat to certain species. Thorns and red sharp fingernails appeared to ward off any attacks — a symbol of resistance defending oneself against unwanted behavior.

Born in Australia, raised in Nigeria, and now working in the United States, today Nnenna Okore uses bioplastics as a primary material in her work. However, her present ideas around material transformation took root in earlier works like White Cowries. Okore spent a year as an apprentice in El Anatsui’s studio in Nigeria, an artist who transforms thousands of throwaway metal bottle caps, tops, and fragments into dazzling tapestries that simultaneously confront the effects of the transatlantic slave trade and affirm the majesty of West African textiles like Kente cloth.  In Okore’s White Cowries, 2010 draped hessian (burlap) pulses with white clay dots to suggest the depth of symbolic, economic, and historical meaning of the cowrie shell in Nigerian culture.

Laura Foster Nicholson is a textile artist known for her handwoven tapestries. With a BFA from Kansas City Art Institute and and MFA from Cranbrook Academy of Art, she has lectured, taught, and exhibited in the US, Canada and Italy. Her artwork is in several museum collections, including the Art Institute of Chicago, The Minneapolis Institute of Art, and the Denver Art Museum. Grants and awards include an NEA fellowship, the Leone di Pietra prize at the Venice Biennale of Architecture, three Illinois Arts Council fellowships, and a grant from the Graham Foundation for Research in the Fine Arts. She often does fabric and ribbon design commissions, including for Thomas Jefferson’s home, Monticello. “Eight Faces of Concern,” Nicholson says, “was a cathartic response to Trump’s first term. It was so much fun to get each subtle expression about these feelings into weaving. There are a lot of them!”

In the 90s, Gyöngy Laky was enthusiastic when the SC Johnson Wax company sent waste bits of plastic from their manufacturing process to artists to use in their work. At that time, Laky says, many artists were addressing reuse, recycling, post-consumer life for discards, but here a major company joined the conversation. Graceful Exit was the result. Laky began to call of her materials addressing sustainability “industrial harvesting.” The artist is known for her wise and witty juxtapositions of natural and manmade materials. “Laky’s art manifests architectonic sensibility. She is as much an engineer as she is an artist in the conventional sense,” Kenneth Trapp wrote in an introduction to Laky’s oral biography (Nathan, Harriet, Trapp, Kenneth (2003). Gyongy Laky (b. 1944) Fiber Art: Visual Thinking and the Intelligent Hand. Regional Oral History Office, Bancroft Library, University of California, Berkeley, CA: The Regents of the University of California).

Enjoy! More to come in December…

Below are some works that left browngrotta arts for new homes in the last few months.We are always pleased when art works we promote capture the imagination of a client or collector or someone who found us on the internet.

We then have the chance to tell them more about the remarkable artist whose work we admire.

We share the impetus behind the work when we have that information.

And, in an ideal world, they work is acquired and finds a new location.

A location where it inspires and delights.

To find something for your location, visit our website: browngrotta.com.

In our New this Week feature this past month, we shared works from our Spring exhibition, Field Notes: an art survey. First up was Hisako Sekijima’s 32 Selvages with 16 Ends. Always experimenting, this work resulting from Sekijima’s exploration of coarse Mexican dishcloths that were a kind of a four-selvage cloth made from one continuous thread. When she fully understood the unusual movement that made it, economizing repetition of passing a warp, she was “excited to have discovered a new rule hidden in such an ordinary-looking fabric.” She created her own weaving board with 18 rows of lines in two directions. She used a lightly processed fiber in varied sizes, peeled from ramie raised in her garden. She connected lengths each time she needed more, creating a stack of squares this way. “This very primitive weaving method reversed my pre-fixed judgments about weaving, she says, “and made me reconsider the relation of fabrication method and form of material.”

Misako Nakahira is an artist who exhibited with browngrotta arts for the first time in Field Notes. Her exploration of stripes began five years ago, inspired by reading Michel Pastoureau’s The Devil’s Cloth, which explores stripes in Western culture from the Middle Ages to the present. Originally, identifying individuals affected by plagues or those ostracized by society, such as prisoners and prostitutes, Pastoreau concludes that “stripes are patterns that establish order between people and space.” Nakahira uses stripes to explore social phenomena, including the “echo chamber” in which people encounter only opinions that agree with theirs, creating the illusion of intersecting orders among individuals who have never met in person. Towels O incorporates the colors yellow and orange, which, like stripes, signify “caution.” The layers created by the two-stripe patterns may appear to clash or harmonize depending on perspective, yet neither pattern dominates the other. Nakahira believes that using stripes as a motif—a universally understood and versatile form of expression—provides a way to view society from a broader perspective and interpret the times.

“My work is heavily rooted in ideas of time and space,”says Rachel Max. “For several years I have been exploring notions and forms that symbolize infinity. The Möbius loop and figure 8, both steeped in metaphorical associations, have become my starting point. Each new piece becomes a variation on previous works, an amalgamation of different ideas set to challenge when the infinite becomes finite.” Rift explores the relationship between interior and exterior space. Edges that are almost touching suddenly split apart.The crack that emerges, interrupts the surface and casts doubt on whether this is a never-ending form.

The fourth work for June was Play of Opposites, by Pat Campbell. Campbell’s work is influenced by the Japanese shoji screen, traditionally made of rice paper. “Paper is a natural choice of material for my work. It provides the translucency I am seeking in constructions. It also provides a thin plane of material that is easily shaped and accepts the reed, wood and paper cord that I apply to it,” Campbell says. “Paper is exciting to work with. It is a fragile material that can be easily ripped or torn.” Play of Black and White is constructed of modules that form a configuration hanging on two levels. “I usually work in all white gampi paper,” says. “I experimented here by adding black lines to the rice paper. In future work, I may continue adding color to the modules.” 

Hope you enjoy these engaging works!

If you weren’t able to visit browngrotta arts in person in May, there are four other ways to experience our Spring exhibition, Field Notes: an art survey, three online and one in print.  We’ve created a Video; Viewing Rooms; and a Zoom talkthrough, Art on the Rocks-Field Notes Edition. You can also see more images and learn more about Field Notes in the Catalog of the same name — our 60th — on our website.

In the catalog, you’ll find more than 140 images of each of the works we “observed” in our state-of-the-art survey of the fiber medium in 2025. You’ll find detail shots and abbreviated cv information for each of the 52 artists included. 

You’ll also find artists’ insights on their work and comments on working in challenging times.  Polly Barton talks about her work, No Strings Attached,  which began as a small watercolor sketch — “a memory of petroglyphs — field notes from the past carved into basalt stones found while hiking paths in canyons. My sketch, like a voice from the past, beckoned to be woven as a fluid path forward into our spinning world.”  Norma Minkowitz writes about Golden Moon,  a continuation of a series of vessel forms she began in the 1990s. “These vessels represent containers of different thoughts: some dark, some optimistic and ethereal,” she writes. “Golden Moon, has a large, intricate orb rising up from the center. It is a symbol of illumination, insight, and mystery. The moon is a metaphor for beauty in this world and a source of light in the darkness” And Sung Rim Park speaks about the knots she creates of paper for her paper structures: “I determine the shape and size of each knot based on the knot based on the meanings and symbolism it holds,” she writes. “Fiber begins as a line—the most

basic element in art—and knots, as extensions or intersections, become points or dots. While knots and fibers may appear delicate, they have the power to shape space. The works that result may be light in physical terms, but you cannot ignore their heavy aura, or the diverse stories about mankind that they contain.”

There are also a few in-process shots to round out this special exploration volume. Get your copy at browngrotta.com. 

We have been following our own advice and trekking to the fiber events we’ve been promoting around the Connecticut.

Right in our neighborhood, we found Julia Bland ’s installation at the Aldrich Museum in Ridgefield. 

Julia Bland: Woven in the Reeds is the artist’s first solo museum presentation, debuting a monumental tapestry composed of canvas, ropes, linen nets, and fabrics that are dyed, woven, braided, tied, and sewn by hand. Bland grew up in Palo Alto, California, the Museum explains, in the shadow of the counterculture movement of the 1960s–70s, and in the nascent stages of technological utopianism. “Raised by parents with different religious backgrounds—her mother is Jewish, and her father is a Presbyterian minister—Bland’s upbringing was marked by a blend of spiritual influences. In 2008, she was awarded a fellowship to work in Morocco, where she lived on and off for several years. During this time, she studied Sufism and immersed herself in the country’s rich customs, materials, and craftsmanship. Informed by these personal experiences, Bland’s textiles reflect a synthesis of visual cultures across time and place. Her work blends the tie-dyed, kaleidoscopic imagery of psychedelia with sacred Islamic geometry and Judeo-Christian symbols.” While we were there, we took advantage of the Aldrich’s recently expanded and redesigned sculpture garden–beautifully laid out and interesting to walk through.

Ridgefield Road, on which the Aldrich is located, hosts several beautifully maintained Victorian homes and a quaint downtown also worth exploring. 

Julia Bland’s work is also included in WEFAN in West Cornwall, Connecticut through June 28, 2025. West Cornwall is in a picturesque part of Connecticut — even more so this time of year when the woods are green and the river is running high. 

WEFAN is in a jewel-box space, which served as a library beginning in 1940. The collection of work in WEFAN (a term drawn from Old English, meaning “to weave,”) is thoughtfully curated and meticulously installed by Dina Shaulov-Wright. Many artists that work with browngrotta arts are included: Ed Rossbach, Dorothy Gill Barnes, Sue Lawty, Norma Minkowitz, Judy Mulford, Dominic DiMare, Marion Hildebrandt, and Masako Yoshida. We were at the opening, which was well attended. Rhonda particularly enjoyed speaking to artist Maris Van Vlack about her work, Breakout/Breakdown. Van Vleck uses a variety of fibers, from thin threads to commericial rope, to create hand-woven work by architectural ruins, the New England landscape, and old family photographs, exploring how architectural structures retain the memory of events that occurred within a particular space.

We also enjoyed visiting the Michael Warren Gallery  nearby and had an exceptional meal at The Pink House. All well worth a trip. Photos by Tom Grotta 

Earlier in May, we visited the exhibitions at the Silvermine Art Galleries in New Canaan, CT. Fiber 2025 features more than 30 artists. In addition, 19 artists from browngrotta arts have works in display. Fiber 2025, Masters of the Medium: CT and Mastery and Materiality: International are up through June 19th.  Tom and Rhonda will be speaking about the exhibitions there on June 7, 2025 at 2:30.

Silvermine is a historic landmark on a five-acre campus in New Canaan. It encompasses an award-winning School of Art with over 4,000 annual enrollments; a nationally renowned Guild of over 300 professional artists; and a complex of five galleries, with free admission, presenting exhibitions by emerging and established contemporary artists. 

Hope you can see them all!

We have been delighted to host a good group of artists from the US and abroad at the gallery during our Spring exhibition, FIeld Notes: an art survey.

The exhibition continues through Sunday May 11, at 6 p.m. Blair Tate, Kari Lønning, Christine Joy, Norma Minkowitz, Shoko Fukuda, Wendy Wahl, and Włodzimierz Cygan were all here for the Artists Reception and Opening on Saturday, May 3rd. 

Clients were excited to meet the artists in person and learn more about about their work. We at browngrotta arts enjoyed learning about their influences and exhibitions in which they have participated. Shoko Fukuda, for example, has exhibits annually with a group of talented basketmakers and sculptors in Japan. The group was first organized by Hisako Sekijima, who Fukuda admires. The group has since developed a life of its own. When we asked Sekijima to suggest artists we should be watching, she named Fukuda, so their admiration is mutual. Fukuda cites Sekijima’s books as an influence. Sekijima’s book Basketry’s Formula, from the 1970s, has just been republished in Japan

Christine Joy came from Montana, US and stayed in New York City. The contrast in population, noise levels, concrete versus sky is quite stark, but she enjoyed speaking with colleagues and collectors. She’s showing new work in FIeld Notes — baskets that surround rocks. She thinks of them as landform sketches with a rock as the center point. “New Moon is a totemic object for me.” she says. “Noting the phases of the moon and being able to see the moon and where it is in the sky is a daily lifetime habit. 

The rock is unusual because of its pockmarked surface and round shape it made me think of the moon.” She was a bit hesitant to send it off to us. “I like the feel of it,” she wrote. “It is a piece I like to just sit and hold in two hands and close my eyes. I find it very soothing. It was hard to part with but soon I will start on Full Moon and that makes it easier.”

Competing in the Senior Olympics is in Norma Minkowitz’s future. She’ll head to Iowa in July to compete in several running events. She holds several records, including a world record won in the 2023 USATF Masters Indoor Championship. Minkowitz is a limits pusher. “… I fight for what I want in my running,” she told an interviewer. “I don’t know where this came from with my sedentary background, but I’ve always pushed myself to the limits. It wasn’t enough to have my work in a craft magazine, I wanted it in a museum.” She achieved that handily — her work is in 35 museum collections and has been the subject of 20 solo exhibitions.

Blair Tate is on her way to the UK and Italy, where she finds inspiration. Tom Grotta recently found hardware from abroad that is effective at setting Tate’s works like Mixed Signals, off the wall and he’s hoping she can find it while she is on the road. In Italy, Tate finds artistic inspiration.  “Since my first visits to Italy,” Tate told us previously,  “I have been interested in the visual layering that occurs when frescoes are interrupted by superimposed paintings or incised niches. Throughout Bologna, there are buildings with palimpsests of older fenestration patterns and newer window additions that are perpetually in marvelous conflict.” In some of her works, she plays with these concepts, rearranging and reconnecting separately woven strips off the loom. The whole can be intentionally splintered, fragmented, unsettled — “a reflection of our times, and perhaps all times,” she says.

On her way to the garden, with cuttings she had brought back a trip to Washington, DC, Kari Lønning made a short stop at the opening. She and Christine Joy enjoyed meeting after many years in parallel basketmaking circles. Wendy Wahl drove to Connecticut from Rhode Island and faced serious rain on her trip back. Wahl provided insight on her work Morse Code to viewers at the opening. It’s a piece where the different scrolls of map, index, and top text paper are laid in the pattern of her mantra, “W… T.. F…,” through Morse code disguising the message. The overall effect of the surface is a textural blending of colors into an abstract landscape. A warm gold edge on the ivory scrolls makes it sparkle in the right light. Between the domestic political and economic situation and the fires in Palisades, California, where Wahl is originally from, the mantra has continued resonance.

Włodzimierz Cygan joined us from Poland. He has an exciting work made with optical fiber in Field Notes. He’d also sent us Organic 3, a work that was featured in Beyond: Tapestry Expanded an American Tapestry Alliance-sponsored exhibition in 2024. The work has also been honored at the Textile Triennial in Szombathely, Hungary and featured on the cover of Arte Morbida. In creating Organic 3, Cygan worked with a warp whose strands were not parallel and flat but convergent, curved or three dimensional. The strands converge from a single point, enabling the weaving of circles or arcs, a means the artist uses to evoke a variety of associations. The work is fluid in nature and can be arranged differently each time it is installed. While visiting us in Connecticut, Cygan adjusted it to establish yet another way to install the work — this time to hang it on the wall. 

There are four more days to visit Field Notes: an art survey at browngrotta arts. You can learn more at our Zoom presentation, Art on the Rocks: an art talkthough with spirits, on June 10, 7 pm EST.