Tag: Laura Foster Nicholson

More Pop-Ups Please!

June 5, 2024 0 Comment
Space 67 - bogarts Pop-Up installation
From left to right: Repos + Paix-side by Mariette Rousseau-Vermette, Embarrilado Azul by Carolina Yrarrázaval, Fire Fright and Range Fire by Lewis Knauss, CMA-CGM by Laura Foster Nicholson, Arm & Hammer by John McQueen and Peninsula by Mary Merkel-Hess. Photo by Tom Grotta

We had a chance to do an expanded Pop-Up at Space67 in Norwalk, CT last month. We were first asked to curate an exhibition that would be enjoyed by individuals who attended The Supper Club. Then, with the exhibition in place, we decided to create a public Pop Up for one day and invite our fans, people in Norwalk, and those just walking by. 

Haiti inspired Chicken Tender
Haiti-inspired, Braised chicken tender in creole sauce – yuka – plantain crisp – cilantro avocado salsa verde was one of extraordinary seven courses served at The Supper Club. Photo by Tom Grotta

The Supper Club dinner was a project of the Kitchen Incubator at the Village Community Foundation in Stamford, CT. The Incubator Program at The Village is a nonprofit program that supports local, diverse entrepreneurs and startups in the food and beverage industry. 

Supper Club Chefs
Chefs Xavier Santiago, Marta Garcia, and Ivan Romero, their crew, and Village Community Foundation President, Jon Winkel, addressing diners. Photo by Tom Grotta

The Supper Club at Space67 involved three exceptional chefs — Chef Xavier Santiago, Chef Marta Garcia, and Chef Ivan Romero — who, with a talented crew, prepared a 7-course meal with offerings from Colombia, Puerto Rico, Haiti, Jamaica, Cuba, and the Dominican Republican. 

Supper Club at Space 67
Between courses at Space 67. Photo by Tom Grotta

Sixty people were served, music was provided by The Briefly Educated & Friends and a great time was had by all!

browngrotta Pop-up Space 67 art exhibition
Falling Fruit by John McQueen, Cimbreante by Eduardo and María Eugenia Dávila Portillo and Pre-Columbian Meets Mid-Century Modern by James Bassler. Photo by Carter Grotta

In support of the South American food and drinks (Cuba Libre, Clarified Piña Colada, and Hibiscus Lemonade) that were served, we chose a Pan-American theme for the works we exhibited: Continental Divide: Fiber Art from North and South America included artists from Chile, Venezuela, Canada, and the US. Falling Fruit by John McQueen, Carolina Yrråzaval’s Embarrilado Azul, Cimbreante by Eduardo Portillo and María Davila and CMA-CGM by Laura Foster Nicholson were among the most-commented-upon works in the exhibition.

John McQueen and MAry Merkel-Hess
Arm & Hammer by John McQueen and Peninsula by Mary Merkel-Hess. Photo by Tom Grotta

For the public Pop-Up we added work by Mary Merkel-Hess and a large sculpture by John McQueen.

Claude Vermette by the vaults
Coq-de-Bruyere by Claude Vermette by the Vaults. Photo by Tom Grotta

Pop-Ups serve an important objective of ours at browngrotta arts — to bring fine fiber art to more and varied audiences. Watch for more!

Save the Date: browngrotta arts Spring Art in the Barn

February 14, 2024 0 Comment

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.

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 July

July 27, 2022 0 Comment

Things certainly don’t slow down in the summer over here at browngrotta arts, and July was a testament to that. This month, we’ve introduced you all to works by Lewis Knauss, Shoko Fukuda and Laura Foster Nicholson in our New This Week series. Read on to see what impressive work these artists have been busy creating.

Lewis Knauss
35lk Fire Fright, Lewis Knauss, hemp, linen, acrylic paint, 14.5″ x 14″ x 1.5″, 2021. Photo by Tom Grotta.

This colorful piece was created by American artist Lewis Knauss. This particular work was inspired by the environment; more specifically, fires and climate change that has occurred as an impact of over consumption of fossil fuels.

Knauss uses his work as a tool to explore his memories of place and his surroundings in a meaningful way.

Shoko Fukuda
2sf Bound Corners, Shoko Fukuda, ramie, monofilament, plastic, silicone, 5.5″ x 4.75″ x 5.5″, 2021

This complex and ethereal artwork comes from Shoko Fukuda. Fukuda is a basketmaker and Japanese artist that’s been making monumental strides in the art world for over a decade. Often, her work features materials like sisal, ramie and raffia.

She has said she’s interested in “distortion” as a characteristic of basket weaving:
“As I coil the thread around the core and shape it while holding the layers together, I look for the cause of distortion in the nature of the material, the direction of work and the angle of layers to effectively incorporate these elements into my work,” said Fukuda. “The elasticity and shape of the core significantly affect the weaving process, as the thread constantly holds back the force of the core trying to bounce back outward.”

Laura Foster Nicholson
Laura Foster Nicholson, 22lf CMA CGM, wool, mylar, cotton, 27.5” x 68”, 2021. Photo by Tom Grotta.

Last, but not least, we introduce you to the unique textile artwork of Laura Foster Nicholson. This American artist is known for her powerful hand woven tapestries that feature whimsical, engaging imagery. Much like the work of Lewis Knauss, Nicholson’s work is often created with the state of the world in mind – including theme’s of how climate change and over consumption is impacting our world today.

With fall quickly approaching, we want to give you all plenty of warning that we have some very exciting exhibitions in the works for you all. Keep your eyes pealed and follow along to see what impressive artwork we bring into our fold in the months to come!

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/

Still Crazy…30 Years: The Catalog

May 21, 2017 0 Comment

Still Crazy...30 Years: The Catalog Cover Naoko Serino and Mary Yagi

Still Crazy…30 Years: The Catalog

It’s big! It’s beautiful (if we do say so ourselves –and we do)! The catalog for our 30th anniversary is now available on our new shopping cart. The catalog — our 46th volume — contains 196 pages (plus the cover), 186 color photographs of work by 83 artists, artist statements, biographies, details and installation shots.

Still Crazy...30 Years: The Catalog

Naoko Serino Spread

Still Crazy...30 Years: The Catalog

Michael Radyk Spread

Still Crazy...30 Years: The Catalog

Lilla Kulka Spread

Still Crazy...30 Years: The Catalog

Jo Barker Spread

The essay, is by Janet Koplos, a longtime editor at Art in America magazine, a contributing editor to Fiberarts, and a guest editor of American Craft. She is the author of Contemporary Japanese Sculpture (Abbeville, 1990) and co-author of Makers: A History of American Studio Craft (University of North Carolina Press, 2010). We have included a few sample spreads here. Each includes a full-page image of a work, a detail shot and an artist’s statement. There is additional artists’ biographical information in the back of the book. Still Crazy After All These Years…30 years in art can be purchased at www.browngrotta.com http://store.browngrotta.
com/still-crazy-after-all-these-years-30-years-in-art/. Our shopping cart is mobile-device friendly and we now take PayPal.

Still Crazy After All These Years…30 years in art Preview: Hello Again!

April 6, 2017 0 Comment

For our 30th anniversary exhibition, we’ve invited six artists that had worked with browngrotta arts in previous years. Three; Leon Niehues, John Garrett and Kari Lonning, work in vessel forms. Laura Foster Nicholson and Eva create weavings and Carol Shaw-Sutton sculptural forms of fiber.

Woven Open Neck by Leon Niehues. Photo by Tom Grotta

Leon Niehues, a studio basket maker, creates his vessel forms from the young white oak trees that grow in his immediate area of the Ozarks. While using traditional splint techniques, he has added new construction methods and simple design elements that dramatically change his oak baskets into exciting contemporary pieces. We’ve captured several samples of his designs in a catalog that features his work and that of Mary Merkel-Hess. View them at: http://www.browngrotta.com/Pages/c15.php.

Emerging from Chaos by Kari Lønning. Photo by Tom Grotta

Best known for her double-walled constructions and a complex-weaving process she refers to as her “hairy technique,” Kari Lønning works extensively with graphic patterns, using both bold and subtle color schemes. Lønning’s work is also featured in a browngrotta arts’ exhibition catalog, Mary Giles/Kari Lønning, which can be viewed at http://www.browngrotta.com/Pages/c11.php.

Age Basket No.4 by John Garrett, recycled metals. Photo by Tom Grotta

A weaver and teacher of experimental basketry, John Garrett’s weaving materials consist of aluminum, steel, brass, or cooper in slat or wire form. Many of his creative pieces are included in the permanent collections of museums nationwide. View samples of his weaving in our catalog, Dorothy Gill Barnes and John Garrett: http://www.browngrotta.com/Pages/c14.php.

Being Here by Laura Foster Nicholson. Photo by Tom Grotta

Laura Foster Nicholson is a textile artist known for her powerful hand-woven tapestries that feature whimsical, engaging imagery. Her artwork is featured in several museum collections, including the Art Institute of Chicago, The Minneapolis Institute of Art, and the Denver Art Museum, among others. Nicholson was included in the 10th Wave II: New Textile and Fiber Wall Art: http://www.browngrotta.com/Pages/c18.php.

Ist All History by Eva Vargo. Photo by Tom Grotta

Eva Vargö fuses paper and linen-thread materials into her weaving techniques to employ paper craft artwork. Many of her pieces are inspired by her own life experiences and also by integrating the various materials she discovers on her travels across the world. Vargö is from Sweden, but has lived in Korea as well as Japan. Vargo was included in the Retro/Prospective: 25+ Years of Art Textiles and Sculpture: http://www.browngrotta.com/Pages/c25.php

White Sound by Carol Shaw-Sutton. Photo by Tom Grotta

A participant in browngrotta arts’ 25 for the 25th: Glancing Back, Gazing Ahead http://www.browngrotta.com/Pages/c25.php, Carol Shaw-Sutton creates sculptural forms of fiber. Her artwork often consists of personal narrative objects and installations that utilize both ancient and modern textile. Her new work focuses on our inter relationship to each other, which is reflected in images of the human form as organic flowing substance.

Still Crazy After All These Years…30 years in art runs from
April 22nd to 30th at browngrotta arts, 276 Ridgefield, Connecticut. For more information, visit: http://www.browngrotta.com/Pages/calendar.php.