Tag: Blair Tate

Five Days Remain to See Discourse at browngrotta arts in Wilton, CT

from left to right: works by Hiroko Sato-Pijanowski, Aby Mackie, Tim Johnson, Jane Balsgaard, Gyöngy Laky, Gizella Warburton, Margareta Ahlstedt-Willandt photographed through a basket by John McQueen. Photo by Tom Grotta

Join us this week, through Sunday May 12, at 6 pm to see our Spring Art in the Barn exhibition, Discourse: art across generations and continents. Traffic has been steady, including a guided tour for 15 people on Tuesday, but we still have slots available for gallery appointments and drop ins.

Viewers will enjoy 150+ works by more than 60 artists from 20 countries. Many people take two trips through the space to ensure they have not missed anything.

While here they learn more about works in the show including Irina Kolesnikova’s Spectator, a filmstrip- like group of woven portraits of her alter ego. She places him in discomfiting situations.  “Sometimes the events happening around him are frightening,” Kolesnikova says, “he wants to go away, to run far away. But curiosity makes him come back again, secretly observing, trying to memorize all impressions.”

Irina Kolesnikova Spectator weaving
28ik Spectator, Irina Kolesnikova, handwoven flax, silk, wood, 58.5″ x 43.25″ x 1″, 2013. Photo by Tom Grotta

James Bassler’s This Old House, is another work that encourages viewers to take a closer work and consider its inspiration and origins. “Over a year ago, a friend gave me a book, Caste, by Isabel Wilkerson,” Bassler writes. “It  caused me to begin yet another weaving of a flag, which includes references to the textile traditions of Africa.  In my early days of learning how to weave, the late 60s and early 70s, I wove many samples, and after weaving, experimented with batik and dyeing.  After all these years, those woven samples — maybe eight or ten of them —  were sewn together to become the surface on which the flag would eventually, after about a year, emerge.”

James Bassler Flag weaving
20jbas This Old House, James Bassler, multiple cotton and silk warps, patched together, multiple sisal, silk, linen, agave, ramie wefts, synthetic and natural dyes. batik plain and wedge-weave construction
27” x 42”, 2024. Photo by Tom Grotta

Same Difference by John McQueen draws appreciative comments (“That’s clever!” “I get it.”) when people learn its backstory. It’s comprised of three items on pedestals made of sticks tied with waxed linen — a wooden sump pump, the skeleton of a bonsai tree, and a representation of the elephant god Ganesh made of tied twigs. The items seem to have been chosen randomly, but they are not. Each draws water from the ground and uses it to slake thirsty crops and people, trees and animals.

John McQueen Same Difference three willow sculptures
21jm Same Difference, John McQueen, wood, sticks, bonsai, 54” x 60” x 24”, 2013, photo by Tom Grotta

Wendy Wahl’s work in Discourse explores inversion  a reversal of position, order, form, or relationship — and requires people to take a closer look. Wahl writes that she reassembles encyclopedia pages because of their symbolism, conceptual reference, and unique paper quality.  “My interactions with these materials,” she writes, “are meditative. These pieces are created by deconstructing the books, rolling and pinching the individual parts, and, like a puzzle, fitting them to the panel. The interconnected spiral elements become the picture plane that explores dimension, direction, texture, color, and reflection.” 

44ww Inversion, 2023/24, Wendy Wahl, encyclopedia britannica pages, wood panel, 40″ x 30″, 2024. Photo by Tom Grotta

The evocative forms of Rachel Max’s work draw viewers in for inspection and introspection. Over the last few years, Max has been making forms that explore notions of infinity and time. The title for her piece in this exhibition, Caesura, came to her while she was making it. “I was thinking about the composition, working out where the weave should become less dense and where one section would end and another begin. I wanted to create a visual interruption, my equivalent to a break in music or a pause. In poetry, I discovered,  this is called Caesura.”

Sculptural blue basket form by Rachel Max
13rm Caesura, Rachel Max, woven cane sculpture, plaited and twined, dyed, 11” x 16.5” x 8”, 2023-24. Photo by Tom Grotta

There are dozens of works to discover at Discourse: art across generations and continents and five days remaining to join us. Hope we’ll see you!

Schedule a visit
Times to visit Discourse: art across generations and continents can be scheduled on POSH

Exhibition Details:
Discourse: art across generations and continents
Through May 12, 2024
browngrotta arts
276 Ridgefield Road, Wilton, CT 06897

Gallery Dates/Hours:
Wednesday May 8th through Saturday, May 11th: 10am to 5pm (40 visitors/ hour)
Sunday, May 12th: 11am to 6pm [Final Day] (40 visitors/ hour)
Schedule your visit at POSH.

Safety protocols: 
POSH reservations strongly encouraged • No narrow heels please 

Catalog:
A full-color catalog, browngrotta arts’ 59th, Discourse: art across generations and continents, with an essay by Erika Diamond, Artist | Curator | Associate Director of CVA Galleries | Chautauqua Institution, will be published by the browngrotta arts in May 2024 in conjunction with the exhibition.

Upcoming:
browngrotta arts will present a talkthrough of slides from Discourse on Zoom, Art on the Rocks: art art talkthrough with a twist, on Friday, June 11th at 7 pm EST.


Discourse, Our Spring 2024 Exhibition, and the Theory of “Unexpected Red”

Discourse art installation: Pagter, Klein, Rage, Luzzi, Hatekayama
Works by Gudrun Pagter, Anneke Klein, Lija Rage, Federica Luzzi, Norie Norie Hatakeyama. Photo by Tom Grotta

In curating our exhibitions, we develop an idea, then begin to compile art to build out the concept. We tweak the theme and design the installation in response to the what arrives. The process, and the artists we work with, always deliver surprises. 

The impetus for this Spring’s Discourse: art across generations and continents exhibition was formed by our hanging abstract weavings by Warren Seelig from 1976, one white and black, one red and black, next to a strikingly kindred work of black and red and grey and off-white by Blair Tate from 2023. The works seemed to have something to say to one another. We realized we had other works from different time periods and artists who approached the same material and techniques very differently. The result: Discourse, an exhibition inviting dialogue, discourse, comparison and contrast.

Warren Seelig and Blair Tate tapestries
Warren Seelig’s White Plus and White, 1976 tapestries, Blair Tate On Balance, 2024. Photo by Tom Grotta

As we compiled work for Discourse, an unanticipated subtheme emerged. The color red featured in several works that would be included. There was Anneke Klein’s Dialogue that we wanted to include, for obvious reasons. Gudrun Pagter sent us Red. Lija Rage sent us Leaves. Jin-Sook So offered us three red bowls, Federica Luzzi a dramatic wall sculpture, Red Shell No. 4, and Mary Merkel-Hess a red-tipped basket. After much online research, we had discovered the maker of a work from the estate of Mariette Rousseau-Vermette that we also wanted to include. It was Margareta Ahlstedt-Willandt of Finland and again, the work featured a good amount of red.  

Textiles by Margareta Ahlstedt-Willandt and Federica Luzzi
1awm Nåky Vision II, Margareta Ahlstedt-Willandt, fabric, 20″ x 19″ x 2″, 1950’s; 17fl Red Shell n.4, Federica Luzzi, dyed linen, waxed cotton, acrylic wool thread, 24” x 15” x 6.5”, 2024. Photo by Tom Grotta

There are more than 100 works in Discourse and most of them are not red. But red has a way of making itself known — as the works in the exhibition do. As we were planning, a theory, “Unexpected Red,” hit Tik-Tok, and, as Tik-Tok sensations are wont to do, then hit The New York Times, the Washington Post and Elle Decor. “Splashes of red really do just make anything mysterious, sexy even,” the Washington Post, quotes an email from Colette van den Thillart, a designer in Toronto. “Red is so dynamic, dangerous, and commanding. It can set an environment alight, which is why this trend makes total sense to me.” (“Designers say ‘unexpected red’ really works. Here’s how to use it.The theory making the rounds on social media can add a little intrigue to any room,” Washington Post, Kathryn O’Shea-Evans, March 16, 2024.)

71jss Soul of a Bowl I-III, Jin Sook So, steel mesh, electroplaited silver, pure gold leaf, acrylic, steel thread
6” x 12.75” x 9.75”, each, 2024; 212mm Another Autumn, Mary Merkel Hess, paper cord, paper, 28″ x 18″ x 12″, 2023. Photo by Tom Grotta

There’s a scientific basis for red’s preeminence, notes Ingrid Fetell Lee, who hosts The Aesthetics of Joy blog. In studies, red has been shown to capture and hold attention in emotional situations better than other colors and that exposure to red light increases blood pressure, respiratory rate, skin conductance, and eye blinking, all measures of an increase in what psychologists call arousal, a physiological measure of excitement. Many evolutionary biologists believe that our color vision evolved in large part to help our primate ancestors find ripe fruits and young leaves (which naturally appear red) among the green leaves of the treetop canopy. “So perhaps ‘unexpected red’ in a home functions more like seeing a bowl of ripe cherries than a cut to the finger,” Lee hypothesizes, like “a bright and exciting burst of joy.”

Bursts of joy is what we hope you’ll find at Discourse (May 4 – 12). Not just red; we’ve got works in shades of green, others in blue, beige, yellow and orange — lots of works in paper and natural materials, works by 50 artists from 18 countries. Schedule your visit to Discourse now.

Green artwork by Mariette Rousseau-Vermette, Norma Minkowitz, Mary Merkel-Hess, Neda Al-hilali
572mr Printemps “Spring”, Mariette Rousseau-Vermette, 40″ x 86″, 1988; 17fl Red Shell n.4, 106nm Whispers, Norma Minkowitz, mixed media, 15.75″ x 15.75″ x 15.75″, 2003; 211mm Sky and Water, Mary Merkel-Hess, paper cord, paper, 21″ x 19″ x 13″, 2023; 1na Crystal Planet, Neda Al-hilali, plaited color paper, acrylic, ink drawing, paper, 43″ x 49″ x 2.5″, 1982. Photo by Tom Grotta

Exhibition Details:
Discourse: art across generations and continents
May 4 – May 12, 2024
browngrotta arts
276 Ridgefield Road, Wilton, CT 06897

Gallery Dates/Hours:
Saturday, May 4th: 11am to 6pm [Opening & Artist Reception]
Sunday, May 5th: 11am to 6pm (40 visitors/ hour)
Monday, May 6th through Saturday, May 11th: 10am to 5pm (40 visitors/ hour)
Sunday, May 12th: 11am to 6pm [Final Day] (40 visitors/ hour)
Schedule your visit at POSH.

Safety protocols: 
POSH reservations strongly encouraged • No narrow heels please 

Catalog:
A full-color catalog, browngrotta arts’ 59th, Discourse: art across generations and continents, with an essay by Erika Diamond, Artist | Curator | Associate Director of CVA Galleries | Chautauqua Institution, will be published by the browngrotta arts in May 2024 in conjunction with the exhibition.


Save the Date: browngrotta arts Spring Art in the Barn

We’ve spent the first weeks of 2024 summing up 2023 and looking at this year’s trends in art and design. Now we’ve got a more concrete prediction — our Spring Art in the Barn exhibition will run from Saturday, May 4 through Sunday, May 12, 2024. Discourse: art across generations and continents will explore the diversity in art textiles and fiber sculpture.

Blair Tate, Warren Seelig header
Details of tapestries by Blair Tate made in 2022 and Warren Seelig made more than 40 years earlier in 1976. Photo by Tom Grotta.

In Discourse, browngrotta arts will assemble a large and eclectic group of artworks that celebrate artists from different countries, who work with varied materials, and represent distinct artistic approaches. More than 50 artists from 20 countries will be featured.Included will be works from the art form’s origins 60 years ago, current mixed media works and sculpture, and pieces created in the decades between — enabling an intriguing look at intergenerational differences, material breakthroughs, and historical significance in fiber art.

Details: John McQueen, Norma Minkowitz, Norie Hatekayama
Details: John McQueen, Norma Minkowitz, Norie Hatekayama. Photo by Tom Grotta.

structural explorations
Despite their distinctiveness, the artists in Discourse share a common trait. Each possesses “material intelligence,” what author Glenn Adamson describes as “a deep understanding of the material world around us, an ability to read that material environment, and the know-how required to give it new form.” The works in Discourse reflect this mastery. Artists like John McQueen and Norma Minkowitz of the US and Norie Hatekayama and Naoko Serino of Japan engineer imaginative structures of unexpected materials — plaited paper tape, molded jute, crocheted linen, and pieced twigs and branches. 

Details: Gudrun Pagter, Warren Seelig, Blair Tate
Details: Gudrun Pagter, Warren Seelig, Blair Tate. Photos by Tom Grotta

fiber art … an evolution
Discourse also offers viewers a chance to make intergenerational and cross-continental comparisons. Included will be starkly graphic weavings by Warren Seelig (US) made in the 70s and 80s, and ones by Gudrun Pagter (DK), and Blair Tate (US) made 40+ years later. We have often observed a different sensibility among artists from Eastern Europe and those in Western Europe, Asia, and the US. Artists in Eastern Europe have a history, which began after World War II, of using items at hand to create works – sisal, rope, hemp, goat hair. A fierce energy is seen in these works; they are rugged and raw. By contrast, for artists who worked elsewhere in more traditional tapestry materials like wool, silk, linen – quietly refined works were often the result. Discourse will spotlight such regional contrasts. 

Details: Marian Bijlenga, Shoko Fukuda, Marianne Kemp
Details: Marian Bijlenga, Shoko Fukuda, Marianne Kemp. Photo by Tom Grotta.

material matters
Viewers to Discourse will also see a wide range of to material and technique approaches. Several artists make vastly different uses of paper — scrolling of encyclopedia pages by Wendy Wahl (US), knotted paper objects by Shoko Fukuda (JP), and sculptural works of rice paper by Pat Campbell (US). Three other artists, Adela Akers (US), Marianne Kemp (NL), and Marian Bijlenga (NL), use horsehair in vastly different ways. 

Details: Laura Foster Nicholson, Irina Kolesnikova, Anneke Klein
Details: Laura Foster Nicholson, Irina Kolesnikova, Anneke Klein. Photos by Tom Grotta.

the medium is the message
Some of the artists in Discourse, including Laura Foster Nicholson (US) Gyöngy Laky (US), and Irina Kolesnikova (RU/DE), use the medium of fiber art to make explicit statements about the modern world — about personal anxiety, communication, and humans’ impact on the environment. “I like to tease the brain – to promote or even provoke or cajole, a visual dialogue with the viewer,” says Gyöngy Laky (US). Her work, Anticipation, which spells out the word “Who?“ in applewood branches, presents a question. “Given the challenges, concerns, conflicts and other dangers we face today,” Laky says, “this question, underlies the search for a way forward to a better day.” Anneke Klein (NL) is interested in communication: In Dialogue — Her work is made up of two layers that hang, one in front of the other. When you change your position in front of Dialogue, the interaction between the two layers changes, as it does between two speakers.

Detail: Lia Cook
Detail: Lia Cook. Photo by Tom Grotta.

experiments in technique
Contemporary fiber art is by definition experimental. It arose when a group of artists used tapestry techniques to create abstract sculptures that hung off the wall. A work of parallel optical lines from studies Lia Cook (US) did for her master’s thesis in the 1970s will be included along with works reflecting Neha Puri Dhir’s (IN) currrent experiments dying silk and baskets by Esmé Hofman (NL) of black willow and elm that also incorporate color.

Detail: Aby Mackie
Detail: Aby Mackie. Photo by Tom Grotta.

fiber art has emotional appeal
Fiber art — art textiles, tapestries, and three-dimensional sculpture — engages us on a deeply personal level. Our first memories are of cloth, fuzzy blankets, soft towels and they remain strong ones. Scientists have shown that different parts of the brain light up when we look at a woven image and a photographic image of the same item. Aby Mackie (SP) sources and recycles used fabrics from flea markets, fabrics laden with memory. She is captivated by these silent witnesses to a life lived; a worn bed sheet, a stained tablecloth, a moth-eaten gown. Such artifacts bear the marks and physicality of human nature, possessing a poetic power. She gilds this repurposed material in works like We Can All Be Saved, leaving viewers to consider what creates value.

We invite you to draw comparisons and gain new perspectives of your own. See you in May!

Exhibition Details:
Discourse: art across generations and continents
May 4 – May 12, 2024
browngrotta arts
276 Ridgefield Road, Wilton, CT 06897

Gallery Dates/Hours:
Saturday, May 4th: 11am to 6pm [Opening & Artist Reception]
Sunday, May 5th: 11am to 6pm (40 visitors/ hour)
Monday, May 6th through Saturday, May 11th: 10am to 5pm (40 visitors/ hour)
Sunday, May 12th: 11am to 6pm [Final Day] (40 visitors/ hour)
Schedule your visit at POSH

Safety protocols: 
POSH reservations strongly encouraged • No narrow heels please 

Catalog:
A full-color catalog, browngrotta arts’ 59th, Discourse: art across generations and continents, will be published by the gallery in conjunction with the exhibition.


More Art Out and About — exhibitions in the US and abroad

It’s busy summer for fans of fiber art. We have more must-see exhibitions to bring to your attention, from the long-awaited (at least by us!)  A Dark, A Light, A Bright: The Designs of Dorothy Liebes  in New York to Beauty and The Unexpected in Stockholm, Sweden and some additional images from Denver, Riga and Portneuf.

Mariette Rousseau-Vermette
634mr Hommage á Dorothy Liebes, 1948-49 I, Mariette Rousseau-Vermette, silk leather, aluminum, fluorescent tubing (some materials obtained from Dorothy Liebes) , 54″ x 15″ x 15″, 2001. Photo by Tom Grotta.

New York, NY
A Dark, A Light, A Bright: The Designs of Dorothy Liebes
through February 4, 2024
Cooper Hewitt
2 East 91st Street
New York, NY 10128
https://www.cooperhewitt.org/channel/dorothy-liebes/

From the 1930s through the 1960s, American textile designer, weaver, and color authority Dorothy Liebes (1897–1972) collaborated with some of the most prominent architects and designers of the time, including Frank Lloyd Wright, Henry Dreyfuss, Donald Deskey, Raymond Loewy, and Samuel Marx. Fashion designers, including Pauline Trigère, Adrian, and Bonnie Cashin, also used her fabrics, yielding some of the most distinctively American fashions of the mid-20th century. Artist Glen Kaufman and Mariette Rousseau-Vermette worked in her studios in New York and San Francisco. The “Liebes Look”—which combined vivid color, lush texture, and often a glint of metallic—became inextricably linked with the American modern aesthetic. This exhibition features more than 175 works—including textiles, textile samples, fashion, furniture, documents, and photographs — to highlight the powerful — but largely unacknowledged impact she has had on 20th-century design. 

Tawney, Laky, Knauss, Seelig details
clockwise: Lenore Tawney, Ioannes Fridericus, 1983, Collage, 8″ x 12.5,”, Photo by Inlån Dru
Gyongy Laky, Incident, natural, commercial wood, paint, bullets for building, 50″ x 50″ x 4.5″, 2012. Photo by Tom Grotta
Warren Seelig, Stone Carpet/ Shadowfield, 2005. Photo by Inlån Dru. Lewis Knauss, Tinder Dry Year: 2010, woven, knotted linen, hemp, paper twine, bamboo, 25″ x 25″ x 8.5″, 2010. Photo by Inlån Dru. 

Stockholm, Sweden
Beauty in the Unexpected: Modern and Contemporary Crafts
through January 21, 2024
Södra Blasieholmshamnen 2
Stockholm, Sweden
https://www.nationalmuseum.se/en/exhibitions/beauty-and-the-unexpected

Nationalmuseum has invited Helen W. Drutt English, pioneering craft educator and gallerist of American Modern and Contemporary Crafts since the 1960s, to assemble a collection of objects drawn from the field of “American Crafts”. The selection of 81 works from the 1950s until today will in future enrich Nationalmuseum’s collections and will provide a possibility to look at American Crafts in the Nordic context. Fiber artists have a good representation – Lenore Tawney,Lewis KnaussWarren SeeligGyöngy Laky, Yvonne Bobroowicz, Deborah Rappoport, Nancy Worden, Rise Nagin, and Ted Hallman are all included in the collection.

Washington, DC
Shared Honors and Burdens: Renwick Invitational
through March 31, 2024
Renwick Gallery of the Smithsonian American Art Museum
1661 Pennsylvania Ave., NW
Washington, DC
https://www.si.edu/exhibitions/sharing-honors-and-burdens-renwick-invitational-2023:event-exhib-6575

The Renwick Invitational 2023 features artists Joe Feddersen (Arrow Lakes/Okanagan), Lily Hope (Tlingit), Ursala Hudson (Tlingit), Erica Lord (Athabaskan/Iñupiat), Geo Neptune (Passamaquoddy), and Maggie Thompson (Fond du Lac Ojibwe). Together, these artists present a fresh and nuanced vision of Native American art. The artists were selected for their work that expresses the honors and burdens that Native artists balance as they carry forward their cultural traditions. These artists highlight principles of respect, reciprocity, and responsibility through their work that addresses themes of environmentalism, displacement, and cultural connectedness.

Blair Tate
Work by Baiba Osite, Exodus, Riga, Latvia. Photo by Irina Versalyeva.

Riga, Latvia
Exodus: Baiba Osite
7th Riga International Textile and Fiber Art Triennial
through September 19, 2023
Dubulti Art Station
Riga, Latvia
https://www.lnmm.lv/en/museum-of-decorative-arts-and-design/news/programme-of-the-7th-riga-international-textile-and-fibre-art-triennial-quo-vadis-139

Baiba Osīte‘s wide-scope solo exhibition Exodus is part of the 7th Riga International Textile and Fiber Art Triennial QUO VADIS? The curator, Inga Šteimane, writes about Osite’s “paintings” made of pieces of wood washed out of the sea – “both landscape and abstract in conjunction, as well as archaic and modern ecological. The personal exhibition Exodus was created in a similar synthesis – the historical and the philosophically abstract are together, just like the experienced, felt and imagined.” For the artist, exodus [leaving] is a biblical theme that tells the story of the people of Israel coming out of slavery in Egypt, passing through the sea, escaping their persecutors and gaining their land and freedom. Osite says she has always been interested in this topic from the perspective of an individual’s life, but currently it is particularly relevant to the fate of one nation and humanity globally.” She sees parallels with what’s happening in Ukraine right now. “[T]hey’re fighting for their freedom,” she notes, “for their independence, for their respect among other nations. They’re just fighting it out in a very hard fight. And I think it doesn’t leave anyone indifferent.”

Gizella K Warburton installation
Works by Gizella K Warburton at the Natural (Re)Sources exhibition in Wales. Photo by the artist.

Denbighshire, UK
Natural (Re)Sources
through September 24, 2023
Ruthin Gallery
Gallery 1
Denbighshire, UK
through September 24, 2023
http://ruthincraftcentre.org.uk/whats-on/coming-soon-gallery-1/

Natural (Re)Sources looks at the origin of an artist’s chosen materials. This doesn’t mean that the finished work looks as if it has just been collected from a forest floor, or dug from the ground without intervention, but rather that the material basis for work that is “of the earth” in various forms. The exhibition is curated by Gregory Parsons and includes work by Laura Bacon and  Gizella K Warburton.

Karen Hassinger sculpture
installation by Maren Hassinger. Photos courtesy of LongHouse Reserve.

East Hampton NY
Maren Hassinger: Monuments
through December 31, 2023
LongHouse Reserve
133 Hands Creek Road
East Hampton NY 
Artist: Maren Hassinger

A native of Los Angeles, Maren Hassinger (b.1947) is a multimedia artist whose practice bridges fiber arts, installation, performance, and sculpture. Incorporating everyday materials such as wire, rope, newspapers, plastic bags, petals, and dirt, Hassinger’s art explores the subjects of movement, family, love, nature, the environment, consumerism, identity, and race.

East Hampton NY
A Summer Arrangement: Object & Thing
weekends through December 31, 2023
LongHouse Reserve
133 Hands Creek Road
East Hampton NY
Exhibition: A Summer Arrangement

While you are at LongHouse, visit A Summer Arrangement: Object & Thing at LongHouse features works by several artists and designers, including works from the collection of LongHouse founder Jack Lenor Larsen (1927-2020).

Stéphanie Jacques sculpture
Works by Stéphanie Jacques at the Biennial du Lin in Quebec. Photo courtesy of the artist.

Quebec, Canada
International Linen Biennial in Portneuf (BILP)
through October 1, 2023
Heritage sites throughout Deschambault-Grondines 
Quebec, Canada
https://www.artemorbida.com/biennale-internationale-du-lin-de-portneuf-bilp-2023/?lang=en

Anneke Klein (the Netherlands) Blair Tate (United States of America) Stéphanie Jacques (Belgium), Carole Frève (Québec) are all participants in the international Biennial of Linen in Portneuf, Canada now on view. The BILP is a cultural event showcasing works of professional artists exploring new ideas inspired by linen and flax, covering both technical and conceptual aspects. The subject of flax and linen is addressed through themes as varied as contemporary visual arts, crafts and design. The event takes place in different heritage sites of Deschambault-Grondines every odd year, since 2005.

indigo installation
Photos: Denver Botanic Gardens © Scott Dressel-Martin.

Denver, Colorado
Indigo 
Denver Botanic Garden
York Street Location
Denver, Colorado
through November 5, 2023

Open now, the Indigo exhibition at the Denver Botanic Garden features work by Polly BartonEduardo Portillo and Mariá DávilaChiyoko TanakaHiroyuki Shindo, and Yeonsoon Chang, as well as other artists from across the globe. 

Kyoko Kumai sculpture
Memory by Kyoko Kumai in the Toshiba Gallery at the Victoria & Albert Gallery in London. Phots courtesy of the artist.

London, UK
Japanese Contemporary Craft
Victoria & Albert Museum
Japan, Room 45, The Toshiba Gallery
Cromwell Road
London SW7 2RL
through July 2025
https://collections.vam.ac.uk/item/O1731010/memory-sculpture-kumai-kyoko/

The V&A’s spectacular Japan collections feature ceramics, lacquer, arms and armour, woodwork, metalwork, textiles and dress, prints, paintings, sculpture and modern and contemporary studio crafts. Currently on display, Memory by Kyoko Kumai.

Enjoy!


Art Out and About: Spring 2023

US or abroad we’ve got lots of suggestions — 10 in fact — of exhibitions you can visit in June and beyond.

1) Christine Joy and Sara Mast: Passage 
Yellowstone Art Museum 
Billings, MT 
through July 16, 2023

Christine Joy Connecting to the Sky sculpture
Christine Joy, Connecting to the Sky, 2016. Photo courtesy of Christine Joy

https://www.artmuseum.org/project/christine-joy-and-sara-mast-passage/

Christine Joy and Sara Mast explorethe mystery of nature through the transformation of materials, texture, and form.

The large, twisted willow forms by Christine Joy are the result of a rhythmic process beginning with the hunt and harvest of willow in autumn — followed by sorting, bunding, and storing. Joy began rug braiding in the 1970s. Over time, Joy moved on from rug braiding, leading her to a period of experimentation, and ultimately to reclaiming and reorienting her love of gathering and process with willow, grounding her to the earth. Sara Mast, a descendant of miners from Cornwall, England, resides on the site of Storrs, Montana, an early Anaconda Company mining town. Today, she incorporates PEM (plasma enhanced melter) glass into her work. PEM is a byproduct of plasma gasification, an advanced waste management technology that turns any kind of trash into inert, non-toxic glass and clean fuels. Mast writes, “PEM glass is not just another art material, but represents a profound paradigm shift in using technology to heal our environmental dilemma by keeping waste out of landfills and greenhouse gases out of the air. My use of PEM glass is one way I am able to reclaim a healthy relationship with the earth.”

2) International Linen Biennial in Portneuf (BILP)
Heritage sites throughout Deschambault-Grondines 
Quebec, Canada
June 18 – October 1, 2023
https://biennaledulin.com/

Blair Tate, from the 10th Linen Biennial in Quebec
Dialogue, detail, Blair Tate, from the 10th Linen Biennial in Quebec. Photo courtesy of Blair Tate

Anneke Klein (the Netherlands) Blair Tate (United States of America) Stéphanie Jacques (Belgium), Carole Frève (Québec) will all participate in the upcoming biennial of Linen — the 10th in Portneuf. The biennial will feature two exhibitons; the work of 20 professional artist; 20 emerging artists; multiple mediation activities and a day of converences. 

3) Couples in Craft
Craft in America Museum
Los Angeles, CA
through September 24, 2023
https://www.craftinamerica.org/exhibition/couples-in-craft/

Jim and Veralee Bassler
Jim and Veralee Bassler at the opening of Couples at the Craft in America Gallery in LA.

Couples in Craft highlights artist couples that specifically work in fiber and ceramics, either collaboratively or independently. While very different in their physical qualities—malleable and rigid, vegetable and mineral—both media require methodical construction processes that can take years to master. Many of these artist couples met during their formative educational years and thus share a lifelong dedication to each other and to their respective craft. These partners support and inspire each others’ extensive pursuit of mastering materials and continued exploration of their potential. Their intuitive knowledge of process allows for layers of meaning to become integrated into the works as they are made.

Among the artists included in this exhibition are Veralee Bassler and Jim Bassler. Veralee Bassler graduated from the UCLA Art Department with a concentration in ceramics. She shared her passion for creativity, teaching, and ceramics with the students of the Los Angeles School District for 25 years. Jim Bassler graduated from UCLA with an MA in Art in 1968 and later served there as professor and department chair between 1975–2000. Jim, recipient of the American Craft Council 2022 Gold Medal, is a renown weaver whose work adapts ancient Peruvian techniques and explores a range of materials and concepts. Veralee and Jim live and work in Palm Springs, CA.

4) At Own Pace: Włodzimierz Cygan 
7th Riga International Textile and Fibre Art Triennial
Mentzendorff’s House 
Grēcinieku iela 18, Riga, Latvia
through July 27, 2023

Włodzimierz Cygan Fiber Optic weaving detail
From the series Between the LinesDetail, Włodzimierz Cygan, Linen, optic fiber, weaving, artist’s own technique. 2021. Courtesy of the artist. 

https://www.lnmm.lv/en/museum-of-decorative-arts-and-design/news/programme-of-the-7th-riga-international-textile-and-fibre-art-triennial-quo-vadis-139

Baiba Osīte: Exodus
7th Riga International Textile and Fibre Art Triennial
Art Station Dubulti 
Z. Meierovica prospekts 4, 

Baiba Osīte. XXX. 1993.
Baiba Osīte. XXX. 1993. linen, cotton, wood, artist’s own technique. Collection of the Latvian National Museum of Art. Publicity photo

Jūrmala, Latvia https://www.lnmm.lv/en/museum-of-decorative-arts-and-design/news/programme-of-the-7th-riga-international-textile-and-fibre-art-triennial-quo-vadis-139

The 7th Riga International Textile and Fibre Art Triennial,  QUO VADIS? unites 79 artists from 30 countries who were selected by an international jury from 237 submissions. Responding to the motto of the triennial, QUO VADIS? (Where Are We Going?), the authors, through their works, partake in conversations about the evolution of art and this particular field today as well as global geopolitical and social problems, engaging in self-reflection through the perspective of their time and art form. 

The Triennial features an exciting solo exhibition by the internationally acclaimed Polish guest-artist Włodzimierz Cygan at the Mentzendorff’s House in Riga and one featuring Latvian artist Baiba Osite.

5)  Ferne Jacobs: A Personal World
Claremont Lewis Museum of Art
Claremont, California
through September 24, 2023

Origins by Ferne Jacobs
Origins, Ferne Jacobs, 2017-2018, Craft in America, Metro Madizon

https://clmoa.org/exhibit/ferne-jacobs-a-personal-world/

Ferne Jacobs: A Personal World at the Claremont Lewis Museum of Art presents the work of Ferne Jacobs, a pioneer in fiber arts who creates unique three-dimensional sculptural forms using ancient basket-making techniques. Ferne Jacobs: A Personal World features a broad selection of her sculptures as well as books of her psychological drawings and collage diaries. 

6) Jane Balsgaard
Galleriet Hornbæk
Hornbæk, Denmark
Summer 2023

http://xn--galleriethornbk-bmb.dk/category/jane-balsgaard/

Paper Ship by Jane Balsgaard
Paper Ship by Jane Balsgaard. Photo courtesy of Jane Balsgaard

Jane Balsgaard’s work is available this summer at Susanne Risom’s Galleriet Hornbæk in Denmark.

7) Scandinavian Design and the United States, 1890 – 1980
Milwaukee Art Museum
Milwaukee, Wisconsin
through July 23, 2023

https://mam.org/exhibitions/scandinavian-design/

Scandinavian Design and the United States, 1890–1980 is the first exhibition to explore the extensive design exchanges between the United States and Denmark, Sweden, Finland, Norway, and Iceland during the 20th century.  It includes works by Helena Hernmarck who moved from Sweden to the US, and Lenore Tawney, who studied with noted Finnish weaver Martta Taipale at Penland School of Crafts in North Carolina.

8) Indigo 
Denver Botanic Garden
York Street Location
Denver, Colorado
July 2 – November 5, 2023 

Synapse indigo weaving byPolly Barton
Synapse, Polly Barton, to appear in Indigo, at the Denver Botanical Gardens. Photo by Tom Grotta

https://www.botanicgardens.org/exhibits/indigo

Rich and alluring, the striking blue color known as indigo has inspired weavers, dyers, designers, and sculptors across the globe. This exhibition, which  contemporary artists from the United States, Nigeria, Japan and South Korea Includes several works loaned by browngrotta arts  from artists Polly BartonEduardo Portillo and Mariá DávilaChiyoko TanakaHiroyuki Shindo, and Yeonsoon Chang.

9) Shaped by the Loom: Weaving Worlds in the American Southwest
Bard Graduate Center Gallery
New York, New York
through July 9, 2023

https://www.bgc.bard.edu/exhibitions/exhibitions/117/n-a

Shaped by the Loom: Weaving Worlds in the American Southwest invites you to explore the world of Navajo weaving. This dynamic gallery and online experience presents never-before-seen textiles created by Diné artists. These historic blankets, garments, and rugs from the American Museum of Natural History are situated alongside contemporary works by Diné weavers and visual artists, such as Barbara Teller Ornelas and Lynda Teller Pete.

10) Expressing Cloths: Oceanian Modeling and Shigeki Fukumoto/Shigeko Fukumoto
Aomori Contemporary Art Center
Aomori, Japan
through June 14, 2023

https://acac-aomori.jp/program/2023-1/

This exhibition features Fukumoto, who has pursued an expression that can only be achieved through “dyeing” through his insight into the theory of craftsmanship in Oceania and Japan, and handcrafted fabrics that have been handed down since before textiles, such as tapa (bark cloth) and knitted fabrics from Melanesia in the South Pacific. In recent years Shioko Fukumoto has developed works using old natural fabrics that were made and used in rural life and labor. Three works. By group, we will think about the expression that can only be achieved with cloth, and the possibilities of cloth as a medium of expression. Both Fukomotos have visited Papua, New Guinea on more than one occasion.


Art Assembled: New This Week in May

May was a busy month for the browngrotta arts family. Throughout May, we launched our spring exhibition, Crowdsourcing the Collective: a survey of textiles and mixed media art, and it was quite the success! Throughout the month, we introduced some exceptional art to you all. Just in case you missed it, we’re recapping it all here.

Blair Tate
16bt RePair, Blair Tate, linen, cotton rope and aluminum 83” x 58”, 2022. Photo by Tom Grotta.

this piece, RePair, was created by American artist Blair Tate. Tate has been exploring flat woven grids in her work since the 70s. When interviewed about her art, more specifically weaving, Tate said:

“In weaving there is a direct analogy between textile and text – the construction of fabric and the process of writing. Both have methodical underpinnings that provide the framework for development. Both woven strips and written sentences can be rearranged to re-contextualize, to forge relationships, to develop meaning.”  

James Bassler
14jb On Inca Time, James Bassler, four selvedge weaving (scaffold weave) handspun and commercial wool, silk, linen, ramie, sisal, cotton, natural and synthetic dyes, 43″ x 36.75″, 2019. Photo by Tom Grotta.

American textile artist James Bassler did not disappoint when it comes to On Inca Time. This piece was created with inspiration from Pre-Columbian Andean Cultures, which you can see displayed through the checkerboard pattern throughout the four-selvedge weave. For decades Bassler has applied ancient techniques and materials to create works with contemporary themes, and we remain in awe of the outcome!

Eduardo Portillo & Mariá Eugenia Dávila
22pd Océano Cósmico, Eduardo Portillo & Mariá Eugenia Dávila, silk, cotton,
alpaca, indigo and copper leaf, 59” x 31”, 2022. Photo by Tom Grotta.

Océano Cósmico was created by Venezuelan artists Eduardo Portillo & Mariá Eugenia Dávila

These artists’ work is often driven by their relationship with their surroundings and how their ideas can be communicated within a contemporary textile language. Océano Cósmico reflects their conception of an imagined Cosmos, “a parallel world that we still see in the midst of changing times.” They also aim to promote an understanding and appreciation of natural dyes as an element in textiles, their importance as a means to preserve and disseminate cultural values and as a medium of contemporary expression. 

Norma Minkowitz
95nm Mother Mine, Norma Minkowitz, Mixed media
(My Mother’s Gloves) and fiber, 6.5″ x 11.75″ x 8″, 1984. Photo by Tom Grotta.

This profound artwork comes from one of our favorite artists, Norma Minkowitz. This particular piece of work incorporates a pair of gloves her mother owned as a tribute. 

Pat Campbell
36pc Mandela IV, Pat Campbell, rice paper, reed and wood, 19.75″ x 14.5″ x 9.875″, 2012

This exceptional piece of art comes from American artist, Pat Campbell. Often, Campbell’s intricate, airy pieces are influenced by Japanese shoji screen, which is traditionally made of rice paper. When asked about the why behind the her medium of choice, Campbell said: 

“Paper is exciting to work with. It is a fragile material that can be easily ripped or torn,” said Pat Campbell.” It is a natural choice of material for my work. It provides the translucency I am seeking in constructions.”

We drop new art every week, so follow us on social media to keep up with the art we bring into the fold! To get your hands on some art of your own, checkout our exhibition: Crowdsourcing the Collective: a survey of textiles and mixed media art, which is available online until June 13.


Scenes from an Exhibition: Crowdsourcing the Collective this Week

Photo by Juan Pabon/Ezco Production

Despite some Covid cancellations, we’re enjoying good attendance to our Spring Art in the Barn exhibition, Crowdsourcing the Collective; a survey of textile and mixed media art this week. We had visitors in line on Sunday morning. We have had artists stop by, including Dawn MacNutt, Norma Minkowitz, Wendy Wahl, Nancy Koenigsberg, Jeannet Lennderste and Kari Lønning. We are hoping to see Blair Tate and Christine Joy later in the week.

We’ve had visits from groups from the Wilton Encore Club and Westport MoCA and a curator from the Flinn Gallery at the Greenwich Public Library. We are expecting more curators yet this week. 

The inspiration for the works in Crowdsourcing is of great interest to those attending. Lia Cook’s tapestries incorporate images of ferns from her California garden. Blair Tate experiments in visual layering based on frescoes interrupted by superimposed paintings and incised niches that she saw throughout Bologna. She rearranged separately woven strips to create windows on the wall — intentionally splintered, fragmented, unsettled as a reflection of our times. Dawn MacNutt’s works of seagrass and copper wire, The Last One Standing and Interconnected, are the last two works remaining from her earlier series, Kindred Spirits.

Dawn MacNutt and Norma Minkowitz
Dawn MacNutt and Norma Minkowitz. Photo by Tom Grotta

There are five days remaining — hope you can join us.

Schedule Your Visit Here: 

Remainder of the exhibition
Thru – Saturday, May 14th: 10AM to 5PM (40 visitors/hour)

Final Day
Sunday, May 15th: 11AM to 6PM (40 visitors/ hour)

Address
276 Ridgefield Road Wilton, CT 06897
(203)834-0623

Safety protocols
Eventbrite reservations strongly encouraged • We will follow current state and federal guidelines surrounding COVID-19 • As of March 1, 2022, masks are not required • We encourage you to wear a mask if your are not vaccinated or if you feel more comfortable doing so. • No narrow heels please (barn floors)

Art for a Cause: A portion of browngrotta arts’ profits for the months of May and June will benefit Sunflower of Peace, a non-profit group that provides medical and humanitarian aid for paramedics and doctors in areas that are affected by the violence in Ukraine. browngrotta arts will also match donations collected during the exhibition as part of browngrotta arts’ 2022 “Art for a Cause” initiative. A portion of the artists’ proceeds for certain works will also go to Sunflower of Peace: https://www.sunflowerofpeace.com/


Art Assembled: New This Week in January

We’ve been kicking off the year at browngrotta arts with some impressive art, and we’re excited to keep it coming for the rest of the year! In January, we introduced our followers to art from Eva Vargö, Ane Henriksen, Hisako Sekijima, Gjertrud Hals, Blair Tate and so many more talented artists. Just in case you missed it, we’re recapping it here so you can view all of their impressive works in one place.

This art, Japandí, was created by Swedish artist, Eva Vargö. When creating this piece, Vargö used Japanese and Korean book papers collected throughout her travels across East Asia. Vargö integrated these materials through a complex process where she fused paper and linen-thread materials into her weaving technique. When asked about why she creates, she has said she often weaves to deals with life’s fast pace.

“The working process is often repetitive and so it becomes meditative,” said Eva Vargö. “Mostly it gives me some peace of mind and my aim is to work at a slow pace. To be able to do one thing at a time without rush and to let go – to meet the unforeseen. I want to trust my intuition and my inner voice.”

This artwork, Reserve, was handwoven by Danish artist Ane Henriksen. This profound piece was created with the intention of highlighting some of the ecological peril that was see in our society today. When explaining this piece, Henriksen said:

“Nature is threatened,” said Ane Henriksen. “I hope this is expressed in my image, which at first glance can be seen as a peaceful, recognizable view of nature, but when you move closer and see the material, it might make you uneasy, and add thoughts of how human activity is a threat against nature. By framing the nature motif museum-like in a solid oak frame, I try to make you aware how we store small natural remains in reserves — in the same way as we store exquisite objects from our past history in our museums.”

Suspended Decision was created by acclaimed Japanese artist Hisako Sekijima. In the art world, Sekijima has long been recognized as an artist whose innovation and artistry seem to know few bounds as her techniques and approaches extend well beyond traditional basketing making. 

“I call myself a basketmaker because I inform my work by thinking and processing the nature and history of basketry,” said Hisako Sekijima. “And also, because in order to realize the ideas, I choose to use materials and structural methods that have typically been used for basketmaking. It pleases me that my ideas and the final results of my work expand the boundary well beyond what I once thought of as the domain of basketry.”

Norwegian artist, Gjertrud Hals, consistently pushes the envelope and impresses with her creative knitted vessels. Hals was born and raised on the northwestern coast Norway and has spent much of her time traveling and learning about various cultures, and she has discussed how these experiences largely influence her work today. More specifically, Hals has discussed how India, Jordan, Norway and Japan have had a significant impact on her artwork.

“As a seasoned traveler I have observed many different cultures,” said Gjertrud Hals. “Much of my artistic work is an attempt at expressing the connection between the islands micro-history and the world’s macro-history.”

This piece comes from American artist, Blair Tate. Tate has been creating contemporary work since the 1970’s under the influence of the 60’s minimalism and modernist architecture and is known for exploring flat, woven grids in her work.

Pangaea was created last year amid the pandemic and was featured in our exhibition Adaptation: Artists Respond to Change. When creating this specific piece, Tate said she consciously wove to the very limits of her warp to minimize loom waste. Whereas in the past she said she may have incorporated interruptions in the strips while weaving, thereby wasting the unwoven warp; in Pangaea, the gaps emerge only in the rearranging.

Like what you see? We introduce new art every Monday! Follow us on social media to stay up-to-date with our latest works.


Our 51st Catalog – Adaptation: Artists Respond to Change

The theme of our most recent exhibition, Adaptation: Artists Respond to Change was intentionally broad, to cover all sorts of external circumstances — besides the pandemic — that might influence an artists process. 

Adaptation: artists respond to change cover

Artists who work with browngrotta arts coped with the changes of the last year various ways — moving locations, taking up art photography, taking new inspiration from nature. But COVID and lockdowns are just some of the many reasons artists make changes in others include adapting when a material becomes unavailable (willow) or a new one suggests itself (fiber optic, bronze, copper, steel, kibisio, akebia), making a move in the US from the East to the South or from one country to another or from the city to the desert, facing a change in physical abilities (allergy, injury), an altered personal relationship, or a commission opportunity or an exhibition challenge. Our 51st catalog tells the stories of 47 artists from 14 countries, how their art has changed and why.

Adaptation: contents page

Replete with photos of work, installation and detail shots the catalog also includes an essay by Josephine Shea, Art Bridges Initiative, American Art at the Philadelphia Museum of Art. 

“Every year brings losses and change, but 2020 brought them on a global scale. In the US, election-year politics and racial injustice, were layered on top of the pandemic,” writes Shea. “Some of the artists in Adaption created work that responded to the challenges of moment, while others looked at long-term issues, like climate change.  Work by these artists also reveals the impacts of lockdown constraints, some imposed and some self-imposed, as studio space access was interrupted and available supplies a variable for experimentation …. And, that art aids resilience, providing artists a way to find calm, express emotional turmoil and turn adversity — like injury or a mudslide or trip on a vine — into opportunity.”

Jin-Sook So spread

The artists included in the exhibition and catalog are: Adela Akers (US), Polly Barton (US), James Bassler (US), Zofia Butrymowicz (Poland), Sara Brennan (UK), Pat Campbell (US), Włodzimierz Cygan (Poland), Neha Puri Dhir(India), Paul Furneaux (UK), John Garrett (US), Ane Henriksen (Denmark), Kazue Honma (Japan), Tim Johnson (UK), Lewis Knauss (US), Nancy Koenigsberg (US), Yasuhisa Kohyama  (Japan), Irina Kolesnikova(Russia/Germany), Lawrence LaBianca (US), Gyöngy Laky (US), Sue Lawty (UK), Jennifer Falck Linssen (US), Kari Lønning (US), Federica Luzzi (Italy), Rachel Max (UK), John McQueen (US), Mary Merkel-Hess (US),Norma Minkowitz (US), Laura Foster Nicholson (US), Keiji Nio (Japan), Gudrun Pagter (Denmark), Eduardo Portillo & Mariá Eugenia Dávila (Venezuela), Mariette Rousseau-Vermette (Canada), Heidrun Schimmel (Germany), Hisako Sekijima (Japan), Naoko Serino (Japan), Karyl Sisson (US), Jin-Sook So (Korea/Sweden), Polly Sutton (US), Noriko Takamiya (Japan), Chiyoko Tanaka (Japan), Blair Tate (US), Wendy Wahl (US), Gizella K Warburton (UK), Grethe Wittrock (Denmark) and Shin Young-ok (Korea), Carolina Yrarrázaval (Chile).

Lewis Knauss Spread

For a copy of Adaptation: Artists Respond to Change, visit our website: http://store.browngrotta.com/adaption-artist-respond-to-change/


Artist Focus: Blair Tate

Balir Tate Self portrait
Blair Tate self portrait, 2021

Blair Tate has explored flat woven grids in her work since the 70s. Her work evidences an “austere elegance,” Jack Lenor Larsen and Mildred Constantine observed in the seminal The Art Fabric: Mainstream in 1985. “I began weaving in the early 70s, under the influence of 60s Minimalism and modernist architecture,” she wrote in 1986. “I believed that form should follow function and accordingly I sought an objective basis for my work. In this, I was reacting against the majority of the weavnig I saw at the time: weaving that seemed either unfocused and overwhelmed by an eruption of materials, or myopically and exclusively concerned with complex technique …. I determined that my work in fiber should come from fiber and celebrate the medium.” 

Rift, 1991 by Blair Tate
Rift, Blair Tate, linen, cotton rope and aluminum, 96″ x 65″, 1991. Photo by Tom Grotta

To compose her works, Tate creates modular units of woven linen strips tied together with cotton cords. The knots that result create an additional pattern — what Tate considers a scaffold for the tapestry, producing a second complicating scrim. She sees an analogy between textile and text. The strips are like sentences that can be edited,  “rearranged to re-contextualize, to forge relationships, to develop meaning.” Her influences are diverse, African kente cloths “for their beauty and directness,” Baroque architecture, Berber carpets, Italo Calvino’s, If on a Winter’s Night a Travelerand an appreciation for Japanese order and symmetry, broken by natural variations. In addition to her weavings, she has worked as a commercial textile designer, authored The Warp: A Weaving Resource (New York: Van Nostrand Reinhold, 1984) which analyzes the elements of weaving, and in the past year, she has made masks for neighbors, friends and a local care center.

Pangaea, 2021 and Small Gemelli, 1977 by Blair Tate
Pangaea, linen, cotton rope and aluminum, 46″ x 29″ x 1.5″, 2021 2021
Small Gemelli, woven linen, spago (hemp). loosely constructed plaid. It exposes and clarifies each element of weaving – counted wefts follow a small doubling sequence within parallel warps which leave all weft ends exposed, 24.75” x 18.75” x 3.25”, 1977

In Adaptation: Artists Respond to Change this spring at browngrotta arts (May 8 -16), Tate will exhibit two works that explore her ideas about the warp. Small Gemelli (1977) was one of her earliest pieces to focus on the elements of weaving. It is a simple plaid – one of the most fundamental woven configurations – but opened to keep both warp and weft distinct.  In Panagea, created this year, Tate consciously wove to the very limits of her warp to minimize loom waste.  In the past, she says,  “I might have incorporated interruptions in the strips while weaving, thereby wasting the unwoven warp; in Pangaea, the gaps emerge only in the rearranging.” 

Jaiselmer by Blair Tate
Detail of Jaiselmer by Blair Tate, linen, cotton rope and aluminum, 73″ x 39″, 1999. Photo by Tom Grotta