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!