Tag: Karyl Sisson

Ways of Seeing Part One: The Art Aquatic

August 21, 2024 0 Comment

Ways of Seeing, browngrotta arts’ Fall 2024 exhibition (September 20 – 29) explores various ways that individuals envision and organize art collections. One of the three types of collections we will exhibit in Ways of Seeing is an arrangement based on a specific theme. Having a fondness for water and a location between the Norwalk River and Long Island Sound, we chose water-related art, specifically, The Art Aquatic, as our sample organizing principle.

Karyl Sisson Octopus
Flight III, Karyl Sisson, deconstructed vintage zippers, thread, 5″ x 32″ x 22″, 2013. Photo by Tom Grotta

The changeable, fluid nature of water has often been an inspiration for artists. Artists use water to convey a variety of meanings. Some are moved by water as a natural force, for others there is a more spiritual connection, and still others are interested in how humans are impacting our oceans and rivers — in each case the results are thought provoking and intriguing. 

Marian Bijlenga Fish Scales
40mb Scale Flowers, Marian Bijlenga, dyed Nile Perch fish scales, 22.375″ x 18.875″ x 2.5″, 2019

Artists in The Art Aquatic exhibition reflect that diversity of approaches. Some have made imaginative uses of water-related materials. There are patchworks of fish skins by Annette Bellamy, who spends part of each year fishing commercially and compositions of fish scales by Marian Bijlenga. Keiji Nio photographs sea scenes, uses the images in ribbons that he plaits and edges with beach sand. Jeannet Leenderste creates baskets of seaweed she forages in Maine and works with the Rockweed Coalition. “Seaweed not only creates a habitat for countless species, it sequesters carbon,” she says, “and protects our shoreline as our sea levels are rising.”

Ulla-Maija Vikman painted threads
Ulla-Maija Vikman, Biagga (Sea Wind), painted viscose and linen, 67 x 71 in, 2010. Photo by Tom Grotta

Other works in The Art Aquatic offer more abstract references to life in the deep, including Ulla-Maija Vikman’s “painting,” Biagga (Sea Wind), made of viscose threads in marine colors.  Mariette Rousseau-Vermette’s Blue Water II, made of woven tubes of beachy blue, grey, white, and yellow, evokes a sunny day at the water’s edge. Masakazu Kobayashi’s assemblage of silk-wrapped bows reflects an ocean horizon.

Ed Rossbach Fish basket
Fish Trap, Ed Rossbach, 14″ x 11″ x 11″, 1988. Photo by Tom Grotta

A third series of works offer watery imagery, like Judy Mulford’s Aging by the Sea which incorporates a conch shell and a tiny boat covered in knotless netting, Ed Rossbach’s Fish Trap Basket, with a whimsical fish motif, the mermaid in Norma Minkowitz’s sculpture, My Cup Runneth Over, and Karyl Sisson’s Flight III, a sea-creature-like sculpture of vintage zippers.

Floating paper boats by Jane Balsgaard and Merja Winqvist. Tubular textile by Mariette-Rousseau-Vermette
Paper boats by Jane Balsgaard and Merja Winqvist, Tubular textile by Mariette-Rousseau-Vermette. Photo by Tom Grotta

More literal still, there are the nautical object interpretations included in the exhibition, like Mercedes Vicente‘s shell of cotton canvas. Jane Balsgaard’s Relief floats alongside Merja Winqvist’s gridded boat – both are made of paper. Text from Moby Dick is etched on Call Me Ishmael, Lawrence LaBianca’s ivory-colored boat sculpture. La Bianca has created a body of work that engages aquatic environments. “The tools we apply to nature—to contain it, shape it, understand it and categorize it also have a profound impact upon it,” he says. LaBianca references the impetus to measure, understand, contain, and manipulate nature that animates his art – that impetus is one that can animate collectors of art as well.

Wax linen cover shell by Judy Mulford
Judy Mulford, Aging-By the Sea , shell, waxed linen, waxed linen, silver, beads, pearls, silver spoon, sand, plexiglas, 11″ x 11″ x 10″, 2004. Photo by Tom Grotta

Join us at Ways of Seeing and learn more.

Exhibition Details:
Ways of Seeing
exploring ways individuals envision and curate art collections
browngrotta arts
276 Ridgefield Road
Wilton, CT 06897

Gallery Dates/Hours:
Saturday, September 21st: 11am to 6pm [Opening & Artist Reception]
Sunday, September 22nd: 11am to 6pm (40 visitors/ hour)
Monday, September 23rd through Saturday,September 28th: 10am to 5pm (40 visitors/ hour)
Sunday, September 29th: 11am to 6pm [Final Day] (40 visitors/ hour)
browngrotta.com

Schedule your visit at POSH. 
Safety protocols: Reservations strongly encouraged; No narrow heels please (barn floors)

Art Assembled – New This Week in December

December 28, 2023 0 Comment

Welcome to the December edition of our Art Assembled series, where we unwrap a month filled with vibrant creations from talented artists. December is a unique time of year, marked by its own kind of magic and reflection. And in December, we had the pleasure of showcasing the incredible works of Dominic Di Mare, Lizzie Farey, Karyl Sisson, and Gizella Warburton. Each artist has brought their unique perspective and creative energy to our New This Week series.

As we approach the year’s end, we want to extend our heartfelt gratitude to you, our loyal supporters and art enthusiasts. Your passion for art fuels our mission, and we’re excited to continue sharing the beauty and creativity of contemporary art with you.

Read on to discover what new art we showcased throughout December!

Dominic Di Mare
29ddm Mourning Station #4, Dominic Di Mare, hawthorn, handmade paper, silk, bone, bird’s egg, feathers, gold and wood beads, 13″ x 7″ x 7″, 1981. Photo by Tom Grotta.

Our month began with a spotlight on Dominic Di Mare‘s exceptional body of work. Di Mare, a distinguished American artist and craftsperson, has left an indelible mark on the world of contemporary art through his diverse array of creative expressions. His artistic voyage has been a testament to his pioneering spirit, always pushing the boundaries of what art can be.

Dominic first garnered acclaim for his groundbreaking work in dimensional weaving in the 1960s, a period when he carved a distinctive niche for himself in the art world. His ability to weave together intricate patterns and textures in three-dimensional space was nothing short of revolutionary. In the 1970s, Di Mare embarked on a new artistic journey, venturing into the realm of cast paper art. This phase saw him seamlessly blend elements of paper, sculpture, and mixed media into a mesmerizing

Over the years, Di Mare’s artistic journey continued to evolve, exploring watercolor paintings and abstract mixed-media sculpture. His art often touches on themes of personal spirituality, inviting viewers to embark on their own introspective journeys through his creations.

Lizzie Farey
3lf.1 Willow Ball 2 Lizzie Farey, willow 18” x 18” x 18”, 2000

Up next in December, we turned out spotlight to Lizzie Farey, a remarkable artist residing in from Scotland. Farey’s work is a testament to her deep connection with the natural world, drawing inspiration from the inherent qualities of the materials found in her Scottish surroundings.

Using locally grown woods such as willow, birch, heather, and bog myrtle, Farey’s creations encompass a wide range, from traditional to organic sculptural forms. Her innovative approach often pushes the boundaries of traditional techniques, resulting in pieces that are both rooted in tradition and remarkably contemporary.

Farey’s art invites viewers to reconnect with the profound pleasures of nature, transporting them to a universal place and time. Her creations are a harmonious fusion of the tangible and the ethereal, showcasing the boundless beauty found in the world around us.

Karyl Sisson
100ks Fissueres III, Karyl Sisson, vintage drinking straws, thread and polymer, 16.5” x 16.5” x 1.75”, 2019

We then turned our attention to Karyl Sisson, a visionary artist based in Los Angeles. Sisson’s work is a testament to her extraordinary ability to weave together the fibers of everyday life, seamlessly blending elements of the past and the present into sculptural and textured forms that transcend traditional boundaries.

Drawing inspiration from a diverse array of sources, including the landscape of Los Angeles, microbiology, and fashion manufacturing, Sisson’s art is a captivating exploration of patterns, repetition, and structure. These themes are at the heart of her work, and she approaches them dimensionally, building upon her foundation in basketry and needlework.

One can’t help but be captivated by Sisson’s innovative use of materials, a practice that allows her to confront domesticity and challenge traditional gender roles. Her recent foray into working with paper straws, inspired by the intricate world of cells and organisms, has resulted in creations that appear to grow naturally and organically, inviting viewers to marvel at the wonders of the microscopic world.

Gizella Warburton
32gw Scirpi Xiii, Gizella Warburton, mixed media fiber sculpture, paint , thread, 13.75″ x 13.75″ x 13.75″, 2023

Last, but certainly not least, we turned our focus to Gizella Warburton, an artist whose abstract compositions take shape through the tactile and contemplative process of drawing with paper, cloth, and thread. Warburton’s artistic journey is deeply intertwined with the materiality of her chosen mediums—cloth, paper, thread, wood, and paint. Through these elements, she connects with an innate human desire to create marks, to decipher the meaning of our physical and emotional landscapes, and to explore the transient nature of the warp and weft of our lives.

The slow, tactile intimacy of stitching serves as a mantra in Warburton’s work, inviting viewers to join her in a contemplative journey. Her creations evoke a sense of meditation, as if each mark and stitch were carefully placed to guide us through the intricate labyrinth of emotions and experiences.

Warburton’s artistry has been showcased in exhibitions across the UK, Europe, and Australia, leaving an indelible mark on the global art scene. Her work invites us to pause, reflect, and unravel the layers of meaning woven into the fabric of our existence.

As we bid farewell to December and this year, we look ahead with great anticipation for what the new year will bring. Thank you for being a part of our art-loving community. We wish you a joyful holiday season and a new year filled with inspiration, creativity, and the boundless beauty of contemporary art. Cheers to the exciting adventures that await us in the year ahead!

Art Assembled – New This Week in November

November 29, 2023 0 Comment

As November comes to a close, we take a moment to reflect on the remarkable artists and their works that have taken center stage in our New This Week series throughout the month. Naomi Kobayashi, Karyl Sisson, Katherine Westphal, and Laura Foster Nicholson have each shared their unique creative journeys, leaving a lasting impression on our vibrant community.

As we turn the page on November, our online doors remain open for exploration. You can continue to discover the captivating work from Vignettes on our website, where the artistry of Dorothy Gill Barnes, Glen Kaufman, and more continues to shine. Additionally, our exhibition Abundance of Objects graces Artsy, showcasing an impressive array of baskets, ceramics, and sculptures from over three dozen accomplished artists.

Now, we invite you to revisit the highlights of our New This Week features throughout the last month. Read on for more!

Naomi Kobayashi
66nko Cubic Harmony III, Naomi Kobayashi, koyori thread, washi paper, 5″ x 5″ x 5″, 1995. Photos by Tom Grotta.

Our month began with a spotlight on Naomi Kobayashi, an exceptional textile artist and sculptor whose contributions to contemporary art are both profound and enduring.

Kobayashi’s artistic journey is a tale of dedication and innovation. She began her career by crafting highly constructed, sculptural works of thread, showcasing her mastery of textile artistry. However, her creative path led her to explore new avenues, particularly constructions, often using paper as her medium. These creations exude an airy, ephemeral quality that sets them apart, inviting viewers to engage with her art in unique and profound ways.

And yes, before you even ask, her artwork is included in Abundance of Objects as a part of the Vignettes exhibition on Artsy from now until December 13!

Karyl Sisson
104ks Blue Hole, Karyl Sisson, vintage paper straw wrappers, thread, polymer, 4″ x 5″ x 5″, 2023

Up next in November, we focused on the talented Karyl Sisson, a visionary artist located in Los Angeles. Sisson’s artistic path is a testament to her ability to weave together the threads of everyday life, both past and present, to craft sculptural and textured forms that transcend traditional boundaries. Her work is an exploration of patterns, repetition, and structure, woven together through her foundation in basketry and needlework.

One can’t help but be captivated by Sisson’s ability to confront domesticity and challenge traditional gender roles through her innovative use of materials. Her recent work with paper straws, for example, draws inspiration from the intricate world of cells and organisms, resulting in creations that seem to grow naturally and organically.

Sisson is yet another artist featured in An Abundance of Objects as part of our Vignettes series online on Artsy.

Katherine Westphal
38w Geisha, Katherine Westphal, paper, dyed, heat-transfer photo copy, patched101” x 64” x 4”, 1985

Moving further into November, we highlighted the captivating works of Katherine Westphal, a visionary artist with a profound knack for exploring surface, pattern, and decoration. Westphal’s creative journey was a continuous exploration of her medium, whether it was textiles, quilts, clothing, or baskets.

What truly set Westphal apart was her fearless embrace of fractured and surprising images, which became a signature element of her work. Her collages were vibrant, combining bold imagery with bright colors, inviting viewers to immerse themselves in the visual tapestries she composed.

Drawing from her background in painting, Westphal’s process was one of building up and breaking down, allowing her textiles to evolve in an organic and unpredictable manner. Each piece was a fusion of cutting, sewing, embroidery, quilting, tapestry, and fringes, guided by her intuitive and visual senses until she felt the message was complete.

Notably, Westphal was an early pioneer in incorporating color photocopies into her work, showcasing her innovative spirit. Her legacy is celebrated in our ongoing Vignettes exhibition, where her art continues to inspire and tell its unique story.

Laura Foster Nicholson
24lf The Maze, Laura Foster Nicholson wool, rayon with cotton brocade 35.5” x 32.25” x 2.375”, 1982

Wrapping up our artistic journey through November, we cast our spotlight on Laura Foster Nicholson, a renowned textile artist celebrated for her exquisite handwoven tapestries.

Nicholson’s art speaks to the intersection of art and craft, where each thread is carefully chosen, and every image is intentional. Her dedication to her practice is evident in her extensive lecture and teaching experience, sharing her knowledge and passion with others who are drawn to the world of textile art.

Throughout her career, Nicholson’s distinctive style has left an indelible mark on the art world, captivating audiences with her ability to transform threads into captivating narratives. Her works are not just tapestries; they are vibrant stories woven with the threads of creativity and imagination.

As November comes to an end, we want to express our heartfelt gratitude to our dedicated community of art enthusiasts and supporters. Your unwavering encouragement fuels our passion for bringing the world of contemporary art to life. With the holiday season just around the corner, we are excited to continue sharing the beauty and creativity of our featured artists with you.

Don’t forget, our online viewing room for An Abundance of Objects on Artsy remains open for exploration until December 13. Thank you for being a part of the browngrotta arts community, and we can’t wait to see what December has in store!

Art Assembled – New This Week in September

September 27, 2023 0 Comment

As September draws to a close, we’re eager to take a look back at the remarkable artworks that have graced our New This Week series during the month. Our focus has been twofold: shining a spotlight on the exceptional talents of Chiyoko Tanaka, Karyl Sisson, Glen Kaufman, and Gary Trentham, while also diligently crafting the final details of our eagerly anticipated exhibition, Vignettes: one venue, three exhibitions.

The excitement has been steadily building as we prepare to unveil this exceptional amalgamation of artistic excellence. Vignettes will offer a trifecta of exhibitions featuring the masterful craftsmanship of wood sculptor Dorothy Gill Barnes, the visionary weaving and surface design of Glen Kaufman, and An Abundance of Objects, a captivating showcase featuring a diverse array of baskets, ceramics, and sculptures crafted by over three dozen talented artists.

Join us as we revisit the highlights from our New This Week features in September, and stay tuned for the grand reveal of Vignettes at browngrotta arts next week, where art and creativity converge in a breathtaking display.

Chiyoko Tanaka
Grinded Fabric #282, Chiyoko Tanaka, handwoven, ground fabric (raw linen, ramie) with brick in plexiglass frame, 41″ x 15.875″ x 2.5″, 1995-1996. Photo by Tom Grotta.

As we ventured into September, our New This Week series kicked off with an exploration of art from Chiyoko Tanaka. Originating from Japan, Tanaka’s journey through the realm of textiles has been nothing short of extraordinary. Her distinctive approach to weaving transforms the very act of creation into a profound meditation on the passage of time.

At the heart of Tanaka’s work lies the meticulous process of weaving, where each weft thread becomes a testament to the moments that have slipped by. Once the cloth is woven, she embarks on a ritualistic “grinding” process, where she rubs the fabric ceaselessly with tools like brick or white stone. This unique technique results in textures that convey not only her artistic prowess but also the essence of time itself.

In the world of contemporary Japanese textiles, Chiyoko Tanaka’s work stands as a testament to the captivating interplay of tradition and innovation. Her art invites us to delve into the very fabric of time and texture, and we are thrilled to have shared her remarkable creations this September.

Karyl Sisson
103ks Red Ticket Faux Pot, Karyl Sisson, paper tickets, 9″ x 7″ x 7″, 1997. Photo by Tom Grotta.

As September continued to unfold, our spotlight turned towards renowned artist Karyl Sisson. Hailing from Los Angeles, Sisson’s art is an enchanting interplay of tradition and modernity, a fusion of the ordinary and the extraordinary. For over three decades, she has masterfully woven together the fibers of everyday life, breathing new life into discarded materials.

Sisson’s creations are a testament to her ability to find beauty in the overlooked and underappreciated. In her hands, paper straws are transformed into intricate sculptures that echo the patterns of cells and organisms, giving birth to objects that seem to grow organically.

Beyond the surface, Sisson’s work delves into the heart of domesticity and traditional gender roles, inviting us to reconsider the significance of the everyday. Her art isn’t just a celebration of creativity; it’s a profound reflection on our interconnectedness with the materials that surround us.

As we explored Sisson’s captivating creations this September, we were reminded that art can be found in the most unexpected places, awaiting those with the vision to see it. You can see her work in An Abundance of Objects, part of this Fall’s “Art in the Barn” exhibition at browngrotta arts October 7 through the 15th.

Glen Kaufman
013, 027, 094gk Sumi Swish, Stripes and Kasuri by Glen Kaufman. Mixed media/washi, fabric collage
21” x 41” x 2.5” (each), 2010. Photo by Tom Grotta.

Up next, we were privileged to feature the remarkable works of the late, renowned artist Glen Kaufman. Kaufman’s artistic legacy, spanning over four decades, left an indelible mark on the world of surface design. His creations were not just artworks; they were intricate dances between texture, form, and visual storytelling.

Kaufman’s artistic odyssey began with textural weaving and macramé, but his restless creativity led him to explore uncharted territories in the realm of surface design. His innovative approach was a fusion of traditional techniques and contemporary sensibilities, creating sculptural forms that challenged the boundaries of artistic expression. His later works, adorned with photo collages and the application of gold and silver leaf, reflected a profound connection with Japanese aesthetics and architecture, showcasing the global influence on his artistry.

As we celebrated Kaufman’s contributions this September, we were reminded that true artistry knows no boundaries of time or place. We’re honored to continue his legacy by featuring his art in our upcoming exhibition, Glen Kaufman: Elegant Eloquence and of three exhibitions that make up Vignettes!

Gary Trentham
2gt Untitled, Gary Trentham, wood fiber, 9″ x 11″ x 11″. Photo by Tom Grotta.

As we conclude our artistic journey through September, we pay tribute to the late Gary Trentham, a luminary in the realm of woven textiles and fiber sculptures. Trentham’s artistic roots ran deep, nurtured by a childhood fascination with textiles that would later become his creative muse.

Trentham’s distinctive path to artistic prominence is a testament to his passion and dedication. His baskets, with their quiver-like forms, challenged the conventional perception of textiles and sculpture. Trentham’s artistry was a symphony of form and function, where fabric became a malleable medium for his boundless imagination.

We look forward to featuring Trentham’s extraordinary creations in our upcoming exhibition, The Art of Abundance, one of three exhibitions in Vignettes.

As we close the chapter on September, we eagerly turn the pages to October, where our upcoming exhibition, Vignettes, awaits. We hope to see you all there!

Check Out Our One-of-a-Kind Gift Guide: No Supply Chain Issues Here

November 24, 2021 0 Comment
2021 browngrotta Gift Guide

This year we’ve gathered our art selections into a clickable lookbook format. Whether you are gifting yourself, a friend or family member, a work of art makes a truly unique choice. Our curated collection includes art for every location, including crowdpleasing centerpieces (Rocking the Table) and coveted items to set on a bookshelf (Boosting a Bookshelf) or counter top (Counter Balancing). 

Narrow wall art pieces

We’ve included art suggestions to fill special spots — including those often hard-to-fill narrow walls (On the Straight and Narrow). Our choices include a pleated fabric work by Caroline Bartlett of the UK and a hanging of hand-painted threads by Ulla-Maija Vikman, known as “Finland’s colorist.” Or have you got your eye on an empty space? The one that makes you think — “I wish I could find just the right piece of art for that spot.” We’ve got a batch of ideas for you there — from embellished photographs by Gyöngy Laky(US) to an intricate embroidery by Scott Rothstein(US) to a newsprint and lacquer collage by Toshio Sekiji of Japan.

Natural baskets

There are works at every price point, from the brightly colored abstract tapestry, Flow, by Jo Barker, a Cordis Prize winner from the UK to a basket sculpture of cottonwood by Christine Joy(US) to a new book about the innovative weaver Włodzimierz Cygan of Poland.

Take a look here: http://www.browngrotta.com/digitalfolios/HolidayFlipBook/Hoilday FlipBook 2021.html

The small print:

Order for the holidays by December 13th and we’ll ship by December 14th for domestic delivery by the holidays (though due to COVID and other delays, we can’t guaranteed the shippers’ schedule). If you’d like us to gift wrap your purchase, email us at art@browngrotta.com, as soon as you have placed your order. To ensure we know you want gift wrapping, don’t wait to contact us — we generally ship as soon as the orders are received. Quantities are limited.

Material Matters: Repurposed Objects as an Art Medium

November 10, 2021 0 Comment

Repurposing found objects in art has a long history. Long before recycling was a “thing,” Robert Rauschenberg was created his Combine series, works in which he intermixed paintings with items he found on the streets of New York. The works incorporated newsprint, cardboard, sandpaper, ladders, bellows and fuse boxes among other items. With the Combine series, the Rauschenberg Foundation observes, the artist “endowed new significance to ordinary objects by placing them in the context of art.”

Several artists that browngrotta arts represents or follows prove Rauschenberg’s theory that nearly anything can be adapted for an artistic purpose. In their works, however, the unconventional material takes center stage — not just as an inclusion but reinvented as a primary material. For example, early on in his art career, 

John Garrett crocheted videotapes
John Garrett, Dark Curtain, crocheted videotapes, 50” x 52” x 8”, 2020. Photo by Tom Grotta

John Garrett began exploring alternatives to traditional fibers. Developing unique personal methods based on needlepoint and embroidery techniques, he created flexible components that he manipulated into dynamic forms. Materials he uses are found in thrift stores, flea markets, yard sales, dumpsters, curbside on trash days, roadside and in empty lots. Using the varied detritus of an affluent society, he creates artwork that presages less abundant times and focuses attention on the beauty of the discarded and overlooked. 

Lewis Knauss photo slides
Lewis Knauss, Old Technology Landscape, woven, knotted linen, paper twine, photo slides, 16″ x 16″x 4″, 2021. Photo by Tom Grotta

Most recently, he has turned to a surprising, and soon-to-be-scarce, material  — VHS videotape. “Once out of the plastic container,” he writes, “the reels of tape leave behind their previous use. In fact, their stories are lost. They are there but can no longer be accessed. In my thoughts, this leads to a sense of mystery and melancholy, like finding an old photo album in the trash.”  Lewis Knauss found a similar inspiration when he began to go through decades of slides he had taken of landscapes as he travelled. He had planned to simply discard them, instead decided to hold on to some to create a small piece, a “landscape of landscape images” that he had used as reference in his work.

Gyöngy Lakás Coffee Break
Gyöngy Laky, Coffee Break, coffee stirrers, steel wire, 16.5” x 17” x 17”, 2011. Photo by Tom Grotta

 “All artists repurposing and upcycling materials challenge preconceived notions. When the eye recognizes a found object, it changes the meaning and the value of that object in the work. Whereas it may have been thrown away by someone else, it is now living a new life, no longer destined for the landfill but now in a place of preservation created by the artist, “ write Lori Gipson and Brooke Garcia (Repurposing and Upcycling Found Objects in Art – #EarthDay50). Preconceptions are are surely challenged by Gyöngy Laky’s Coffee Break, constructed of coffee stirrers and Fissures III,  by Karyl Sisson, made of nearly unrecognizable vintage paper straws, coiled in intriguing patterns.

Karyl Sisson straws
Karyl Sisson, Fissueres III, vintage drinking straws, thread and polymer, 16.5” x 16.5” x 1.75”, 2019. Photo by Tom Grotta

Plastic and metal are ubiquitous in landfills and our own trash. In Real, John McQueen draws attention to the problem of plastic waste. “Though we are not all that conscious of it, plastic containers are everywhere in our daily lives,” McQueen writes. “We are burying ourselves in them without seeing them.” The vertical, flat landscape in the work comes reflects the Chinese tradition of painting huge mountains with extremely small inhabitants almost lost somewhere in the composition, a contrast, he says, to the way the West believes humans rule the world and we believe we can do what we please.

John McQueen plastic bottles
John McQueen, Real, sticks and cut up plastic bottles, etc 55.5” x 36.75” x 3.5”, 2018. Photo by Tom Grotta

Harriete Estel Berman pulls ordinary material — in this case pre-printed steel from recycled tin containers — from the waste stream of society and recycles it, examining value and identity in our consumer society in the process. In her series, the Deceiver and the Deceived, Berman riveted together pieces of tin food containers, including SlimFast cans. The material looks plaited, quilted, or in the case of Figures in Fine Print, pieced. Through the text on the cans, the artist makes a potent statement about food and body image and the role advertising plays in our attitudes about both. Berman’s work is featured in the most recent episode of Craft in America, Jewelry which you can view online.

Harriete Estel Berman


Figures in Fine Print, Harriete Estel Berman. Framed wall piece constructed from recycled materials specifically tin cans and vintage steel dollhouses, aluminum rivets. Pedestal for a Woman to Stand On, Harriete Estel Berman. Printed steel from vintage steel doll houses and recycled tin cans, the green surface is covered with custom decals of $1.00 and $20.00 dollar bills. The cube shape used in the series A Pedestal for a Woman to Stand On is both a square (the basic structure of quilts) and a feminist response to minimalist sculpture. Photos courtesy of the artist.

Adaptation Opens Saturday at browngrotta arts, Wilton, CT

May 5, 2021 0 Comment
from left to right works by Paul Furneaux and Eduardo Portillo & Mariá Eugenia Dávila. Photo by Tom Grotta

This Saturday at 11 am, our Spring Art in the Barn exhibition: Adaption: Artists Respond to Change opens to the public. We can’t describe it better than ArteMorbida: the Textile Arts Magazine did. “This project is born from the reflection on how the world of art and its protagonists, the artists, had to rethink and redesign their action, when the pandemic, significantly affecting the global lifestyle, compelled everyone to a forced and repeated isolation,” the magazine wrote. “But the need to adapt their responses to change, generated by the complicated health situation, was only the beginning of a broader reflection that led the two curators [Rhonda Brown and Tom Grotta] to note that change itself is actually an evolutionary process immanent in human history, generative, full of opportunities and unexpected turns.”

Tapestries by Carolina Yrarrázaval. Photo by Tom Grotta

The 48 artists in Adaptation pose, and in some cases answer, a series of interesting questions about art. Does it offer solutions for dealing with daily stress? For facing larger social and global issues? How do artists use art to respond to unanticipated circumstances in their own lives. The work in the exhibition offers a wide variety of responses to these questions.

Several of artists wrote eloquently for the Adaptation catalog about how art has helped them manage the stress and upheaval of the past year. Ideally, for those who attend Adaptation: Artist’s Respond to Change that calming effect will be evident and even shared. 

pictured: works by Lawrence LaBianca, Włodzimierz Cygan, Chiyoko Tanaka, Gizella Warburton, Norma Minkowitz, Polly Adams Sutton

Wlodzimierz Cygan of Poland says the time of the pandemic allowed him to draw his attention to a “slightly different face of Everyday, the less grey one.”  He found that, “slowing down the pace of life, sometimes even eliminating some routine activities, helps one to taste each day separately and in the context of other days. Time seems to pass slower, I can stay focused longer.” Life has changed in Germany, Irina Kolesnikova told us. Before the pandemic, “we would travel a lot, often for a short time, a few days or a weekend. We got used to seeing the variety in the world, to visit different cities, to go to museums, to get acquainted with contemporary art. Suddenly, that life was put on pause, our social circle reduced to the size of our immediate environment.” Kolesnikova felt a need to dive deeper into herself and create a new series of small works, Letters from Quarantine, “to just work and enjoy the craft.”

clockwise: Adela Akers, Irina Kolesnikova, Ane Henriksen, Nancy Koenigsberg, Laura Foster Nicholson, Lawrence LaBianca, Gizella Warburton. Photo by Tom Grotta

Other artists were moved to create art that concerned larger social issues. Karyl Sisson’s Fractured III, makes use of vintage paper drinking straws to graphically represent in red and white the discontents seen and felt in America as the country grappled with police violence against Black Americans, polarized election politics and larger issues like climate change and the environment.  Climate change and the danger of floods and fire were reflected in the work of the several artists in Adaptation. New Yorker Nancy Koenigsberg created Approaching Storm, adding an even greater density of the grey, coated-copper wire that she generally works with to build a darkened image that serves as a warning for the gravity of current events.

High water appears in Laura Foster Nicholson’s view of Le Procuratie, which envisions a flooded Venice, metallic threads illustrating the rising waters. Works by Adela Akers and Neha Puri Dhir were influenced by wildfires in California and India, respectively.

left to right: Karyl Sisson, Jennifer Falck Linssen, Sue Lawty, Jin -Sook So

Still other artists found way to use their art as a meditative practice in order to face their sense of personal and public dislocation. For Jennifer Falck Linssen, the solution was to turn off all media, go outside and find inspiration in morning and evening light. For Paul Furneaux, initially cut off from his studio, the garden became an obsession as he undertook an extensive renovation.  Returning to art making, the spring colors, greens and yellows he had seen while gardening, created a new palette for his work.  Feeling the need for complete change, Hisako Sekijima turned away from basket finishing. Instead, immersing herself in the underlying processes of plaiting. Her explorations became both meditative and a process that led to new shapes. 

Experience these artists’ reflections on change in person. Schedule your appointment for Adaptation: Artists Respond to Change here:

https://www.eventbrite.com/e/adaptation-artists-respond-to-change-tickets-148974728423

The full-color catalog(our 51st) for Adaptation: Artists Respond to Change is available Friday May 7th:

http://store.browngrotta.com/adaption-artist-respond-to-change/

Volume 50 Art Focus: The Salon Wall

October 14, 2020 0 Comment

In our recent exhibition, Volume 50: Chronicling Fiber Art for Three Decades, we featured a gallery wall with art by nine international artists from five countries.

works by Claude Vermette, Wendy Wahl, Caroline Bartlett, Toshiko Takaezu, Joyce Clear. Photo by Tom Grotta
Works by Claude Vermette, Wendy Wahl, Caroline Bartlett, Toshiko Takaezu, Joyce Seymore. Photo by Tom Grotta

Salon walls, or gallery walls as they are also called, are a favorite with designers, according to Invaluable, for a reason: they can be curated to fit an assortment of styles and work well in virtually any room. (“15 Gallery Walls to Suit Every Style,”  https://www.invaluable.com/blog/gallery-wall-ideas/utm_campaign=weeklyblog&utm_medium=email&utm_source=house&utm_content=blog092420 ) Salon walls “first became popular in France in the late 17th century,” according to the Invaluable article. “Salons across the country began displaying fine art from floor to ceiling, often because of the limited space, that encapsulated the artistic trends of the time. One of the first and most famous salon walls was displayed at the Palace of the Louvre in 1670, helping to establish the Louvre as a global destination for art.”

clockwise, from upper right: Mia Olsson, Jo Barker, Karyl Sisson, Debra Valoma, Jennifer Falck Linssen, Marian Bijlenga, Polly Barton, Åse Ljones. center: Wendy Wahl. Photo by Tom Grotta
clockwise, from upper right: Mia Olsson, Jo Barker, Karyl Sisson, Debra Valoma, Jennifer Falck Linssen, Marian Bijlenga, Polly Barton, Åse Ljones. center: Wendy Wahl. Photo by Tom Grotta

Our Volume 50 salon wall was a fitting testament to the 50 catalogs we have produced and were celebrating in this exhibition. In our 50 catalogs we have featured 172 artists from 28 countries. Our salon wall featured works by nine of those artists from five countries. Wendy Wahl creates work from pages of encyclopedias, leading readers to think about changes over the time to the way acquire information. Mia Olsson of Sweden created a work of brightly colored sisal, inspired by traditional, pleated folk costumes. We included Jo Barker’s tapestry, Cobalt Haze. People often think Barker’s lushly colored tapestries are oil paintings until they are close enough to see the meticulous detail. Lewis Knauss imagined a landscape of prayer flags in creating Prayer Mountain. For Deborah Valoma, simplicity is deceptive. The truth, she says, “scratched down in pencil, lies below the cross-hatched embellishments.” 

Jennifer Falck Linssen found inspiration in Asian ink paintings for her wall work, Mountain. The peaks in the paintings are a play of opposites: serene and forceful, solid and ethereal, strong and vulnerable. Mountain explores this duality and also the layered, often subtle, emotions of the human heart and its own dichotomy. Marian Bijlenga‘s graphic, playful work displays a fascination with patterning. This work was inspired by the geometric patterning of Korean bojagi, which is comparable to modernist paintings by such artists as Piet Mondrian and Paul Klee. In bojagi,small, colorful leftover scraps of fabrics are arranged and sewn together to construct larger artful cloths. The triple-stitched seams are iconic. This work, says the artist, specifically references the grid of these seams and the special Korean use of color. For Polly Barton, the technique of ikat serves as her paintbrush for producing contemporary works. From Norway, Åse Ljones uses a blizzard of stitches to create her works. “No stitch is ever a mistake,” she says. “A mistake is often what creates a dynamic in the work.” 

A salon wall is a great way to collect for people who are interested in different artists and different mediums. At browngrotta we’ve always suggested that clients had more wall space on which to display art — it just hadn’t been uncovered yet. We’ve created another salon wall in our non-gallery space. On it, we’ve combined oil paintings, fiber works, ceramics and photography. The wall can accommodate our continuing desire to collect — above, below and on the side.

works by Ed Rossbach. Photo by Tom Grotta
A gallery wall highlights weavings by Ed Rossbach. Photo by Tom Grotta

“A gallery wall is absolutely ideal for a small apartment, as it can give a room real interest, depth and a properly decorated feel without taking up any floor space — and thereby minimizing clutter,” Luci Douglas-Pennant, told The New York Times in 2017. Douglas-Pennant founded Etalage, with Victoria Leslie, an English company specializing in antique prints, vintage oil paintings and decorative pictures for gallery walls. “If you don’t have one large wall, gallery walls can be hung around windows, around doors, above bed heads, above and around fireplaces or even around cabinets in a kitchen.”

Three works by Sheila Hicks from our 1996 exhibition: Sheila Hicks: Joined by seven artists from Japan
Sheila Hicks introduced us to the gallery wall in an exhibition she curated at browngrotta arts in 1996, Sheila Hicks: Joined by seven artists from Japan. In that exhibition, she displayed three of her works in the space between two windows.

For works of varying sizes and shapes to get you started on your own version of a salon wall, visit browngrotta.com, where we have images of dozens of available artworks to pique your interest.

On Redefining the Medium

February 20, 2019 0 Comment

In an artspace article last spring, “8 ‘Unbeweavable’ Textile Artists Redefining the Traditional Medium,” the author, Jillian Billard, profiled eight contemporary textile artists who keep the historical and cultural significance of the medium in mind, while addressing topics ranging from colonialism, to power dynamics, to disposal and regeneration.

Listening In Caroline Bartlett, mixed media; wooden rings stretched with archival crepeline, wool, linen tape, perspex,
2.75″ x 17″ x 17″; 5″ x 17″ x 17″; 6″ x 17″ x 17″, 2011. Photo by Tom Grotta.

Several of the artists represented by browngrotta arts take a similar approach, including, Caroline Bartlett, who explores the historical, social and cultural associations of textiles and their ability to trigger a memory. Listening In, for example, resulted from Bartlett’s review of accession cards that “bore witness” to the health and state of textile items in the collection of the Whitworth Museum. The cards described work undertaken to preserve and stabilize each artifact, to endeavors to fill in gaps in the history and making of the object across time and space. In creating works in this series, Bartlett says, “I think of skin, bone, membrane; a layered dermis, and of networks of social, industrial, public and private relations, processes and materiality connecting the building itself with the idea of cloth as silent witness to the intimacies and routines of daily lives.”

Deborah Valoma in her Studio in Minnesota. Photo by Tom Grotta.


Deborah Valoma is an artist and historian. Intensely research-based, her studio practice harnesses the nuances of the humble, yet poetically charged textile medium. Using hand construction techniques and cutting-edge digital weaving technology, her work hugs the edges of traditional practice. She upholds traditional customs and at the same time, unravels long-held stereotypes. Drawing on a growing body of scholarship on textiles, she has developed a rigorous series of textile history and theory courses for students from differing disciplines interested the theoretical discourses in the field of textiles. Valoma believes that students must locate themselves within historical lineages in order to understand the historical terrain they walk (and sometimes trip) through daily. Historical analysis draws a three-dimensional spatial and temporal map, providing much-needed reference points.

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

Artist Ferne Jacobs explores feminist themes in her work. “My art is made in an attempt to serve the sacred in the feminine, listening and creating a relationship with my own inner nature. Interior Passages is an example.  “In the world I find myself in today, feminine values are often desecrated.  I am beginning to understand that there is no such thing as a ‘second class citizen’ — anywhere, anytime. There are aspects of world culture where weak people try to control others; because that is the only way they feel their own existence.” Interior Passages resists that approach. “Interior Passages knows she exists,” Jacobs notes. “She needs no one to tell her who she is or what she is.  She knows her value, and I expect the world to respect this inner understanding.  When it doesn’t, I think it moves toward a destructiveness that can be devastating.”


Regeneration is a theme in the work of both Karyl Sisson and Wendy Wahl. Sisson give new lives to common domestic items like paper drinking straws, zippers and measuring tales. Wahl’s work with repurposed encyclopedias raises questions about how we process information, use resources and assign value to things.

Countdown: Art-Ocean-Energy Fundraiser for Ports of Cause in Two Days at browngrotta arts

May 2, 2018 0 Comment

Karyl Sisson, Reaching Out, vintage zipper tape and thread, 8 x 56 x 45 in,
2013. Photo by Tom Grotta

Excitement is building for our fundraiser, Art•Ocean•Energy, 6-9 p.m. on May 4th where we will raise funds for Ports of Cause, a 501(C)(3) not-for-profit driven to promote, inspire and accelerate sustainable solutions and practices that reduce the impact luxury living and everyday lifestyles have on our oceans. At the event, you can enjoy curated cocktails, canapés, conversation and a viewing of our current exhibition, Blue/Green” color/code/context, in our contemporized barn in Wilton, Connecticut. (Tickets $50.) The exhibition will immerse you in the varied and exciting works of 50 international artists who use recycled, sustainable materials and innovative techniques, including weavings with LED fibers. The event will also feature Arthur Bavelas, Founder, Bavelas Group Family Office & Family Office Insights NYC, discussing Sustainable Luxury® and the Blue Economy –“How sustainable innovation is driving the blue economy while benefiting our oceans & natural resources.” The event’s proceeds, including ticket prices and 10% of the sales price of any artwork or catalog, will benefit Ports of Cause.

 

Can’t come, but want to contribute? Make a donation at portsofcause.com or send a check to Ports of Cause, 43 Ravenwood Drive, Weston, CT 06883.

 

Dress Code:
Blue or green cocktail casual
Ladies: Stilettos not advisable due to barn floor
FAQs:
What are my transportation/parking options for getting to and from the event?
If you are coming from NYC by train via Grand Central Station, you can disembark at South Norwalk and take an Uber to the Gallery. It is about a 15-20 minute drive.
Parking is available at the Gallery.
How can I contact the organizer with any questions?
Tom Grotta +1 203.834.0623 • art@browngrotta.com
Joyce Clear +1 203.858.3432 • joyce@portsofcause.net