Tag: Lewis Knauss

Ways of Seeing, Part Three: Right-Sized

September 11, 2024 0 Comment
Ways of Seeing Right Sized installation
Gali Cnaani, 8gs Red Dress, 2006; Jennifer Falck Linssen, 14jl Insight, 2016; Mia Olsson, 4mo Traces 4 Relief, 2006; Lewis Knauss, 38lk Spiked Horizon 2018; Paul Furneaux, 8pf Soft Sea Lewis II, 2024; Mary Merkel-Hess, 61mm Sun Series Orange, 2013; Sue Lawty, 35sl Coast East Riding of Yorkshire 1-3, 2024. Photo by Tom Grotta

“Right-sized” refers to adjusting something to an appropriate or optimal size. In Right-Sized, the third exhibition within Ways of Seeing, we explore collections through this lens. We’ve drawn inspiration from collectors who focus on intention and specificity—such as historic textiles, woven portraits, and Japanese baskets.

Laura Thomas
9lt Focus, Blue IV, Laura Thomas, glass, cotton, linen, silk, 16.75″ x 16.75″ x 1″, 2023. Photo by Tom Grotta

Herb and Dorothy Vogel, for example, a postal worker and a librarian, built a world-class collection of Minimalist and Conceptual art in their New York apartment, mindful of both affordability and space constraints. One artist noted that they would only purchase works they could transport home via subway or taxi. Similarly, Lloyd Cotsen, known for his diverse collections, including Chinese bronze mirrors, children’s books, and Noah’s arks, considered size in his creation of The Box Project, now housed at The Textile Museum at The George Washington University Museum For this project, Cotsen requested 36 artists to create three-dimensional works that fit within boxes measuring either 14 x 14 x 2 .5 inches or 23 x 14 x 2.5 inches. The goal was to observe how contemporary fiber artists navigated challenges related to physical restrictions and dimensions. In Right-Sized, we have selected works that adhere to specific parameters of small size, much like Cotsen’s project, while also considering affordability, akin to the Vogels’ approach.

noriko takamiya
34nt Revolving Cross, Noriko Takamiya, paper, 5.5″ x 7.75″ x 4.5″, 2024. Photo by Tom Grotta

Right-Sized is characterized by its diversity in materials, techniques, and approaches. The exhibition includes a variety of framed paper works—pleated, painted, printed, and collaged—alongside a salon wall of eclectic pieces, including sculptural works made from sisal, paper, linen, and hemp, a “weaving” of copper, “drawings” in stone, and a Japanese watercolor woodblock print (mokuhanga). We have assembled a grouping of cubes and spheres of everything from bark to jute to stainless steel and another of baskets of natural materials, each at least 12 inches high. Elsewhere In Right-Sized, viewers will find exquisite embroidery by Diane Itter, wood vessels by Markku Kosonen, willow sculpture by Lizzie Farey, and threads embedded in perspex by Laura Thomas.

Diane Itter
Detail: 1di Ribbon Rain, Diane Itter, knotted thread on linen, 23.25″ x 14.75″, 1984. Photo by Tom Grotta

With its eclectic assortment of more than 70 works, Right-Sized seeks to engage viewers’ impulses to classify, organize, and collect.

See what we have assembled, in person, or in the Ways of Seeing catalog: 

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)

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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!

In ConText: the Printed Page as Inspiration, Material, and More

November 22, 2023 0 Comment
John McQueen Willow book
16jm Bird Brain, John McQueen, woven willow twigs, waxed string, 26” x 23.5”, 2002. Photo by Tom Grotta.

“With all sorts of ideas behind them, artists continue to challenge the idea, content, and structure of the traditional book,” observed Anne Evenhaugen, in Unbound, the Smithsonian Libraries and Archives, online newsletter in 2012 (https://blog.library.si.edu/blog/2012/06/01/what-is-an-artists-book/). Several artists who work with browngrotta arts do all that to books and more. Below are some examples of how the printed page forms or features in their work.

Caroline Bartlett Books
3cb Overwritings VI, Caroline Bartlett, canvas, silk, plastered fabric, cotton thread and pins, 13.25″ x 18.625″, 3.5″, 1998 4 & 5cb Overwritings VIII & 1, Caroline Bartlett, canvas, silk, matchsticks, paper, waxed resisted silk fragments, cotton thread and pins, 9.375″ x 18.625″ x 2.75″, 1998. Photo by Tom Grotta.
Lewis Knauss Books
1ln Fog Book I, Lewis Knauss, linen, hemp, handmade Japanese-style paper and shellac, 12″ x 18″ x 8″, 1999; 2ln Cliff Strata II, Lewis Knauss, linen, hemp, handmade Japanese-style paper and shellac, 9.5″ x9.5″ x 3″, 1999; 3ln Fog Book II, Lewis Knauss, linen, hemp, handmade Japanese-style paper and shellac, 12″ x 16″ x 7″, 1999; 2ln Cliff Strata I, Lewis Knauss, linen, hemp, handmade Japanese-style paper and shellac, 8.5″ x 10″ x 3″, 1999. Photo by Tom Grotta.

For some it’s a literal homage. John McQueen makes actual books of twigs and waxed linen. Their pages turn and the words on the pages can be read. Caroline Bartlett’s version is more of an idea, a memory, than an actual book. In  her Overwritings series, cotton thread, plastered fabric, matchsticks, and waxed resisted silk fragments create marks that reference text that viewers are left to decode. The volumes in Lewis Knauss’ Book series also read as books, but are even more abstract. Knauss uses linen, hemp, Japanese paper, and shellac to create ruffled pages without text. Mercedes Vicente uses notebook paper to create a book and a thin black cord to “write” on the pages.

Mercedes Vicente thread and paper book
Detail: 5mv Sin Pauta, Mercedes Vicente, notebook, cord, 37” x 14” x 9”, 2014. Photo by Tom Grotta.
Toshio Sekiji woven newspapers
Detail: 23ts Overture, Toshio Skekiji, old Japanese newspapers, 70.25” x 56.25” maple frame, 1998. Photo by Tom Grotta.

Other artists use the printed page as material. For Toshio Sekiji, it’s newspapers, book jackets, and maps that make up his collage/weavings. He explores the merge of cultures in his works. New stories are created atop the old he says, by reading the strips of paper he chooses and the areas he enhances with lacquer. Encyclopedia pages are used as Wendy Wahl‘s as material. “… [t]he leaves may be stacked into forms that suggest an alternative forest of knowledge or tightly scrolled and packed within a frame, making for a composition that suggests a cabinet of hidden knowledge, those archives of information that are at once visible and concealed, at hand and remote.” Akiko Busch, wrote in our catalog, 10th Wave III.  Naomi Kobayashi creates her own text, then incorporates it into delicate weavings. In a true “art imitates life imitates art” moment, a collector of her work who is a writer asked a technical question. If the work were unraveled, could the text be read? Yes, the artist answered and it became a plot twist — in his book, Hiding in the Weave, a student’s tapestry has to be unwoven to discover a clue to her death.

Wendy Wahl encylopedia Floor Sculptures
20ww Rebound: m/ixed Volumes 3, Wendy Wahl, discarded/deconstructed/restructured encylopedia pages, 40″ x 16″ x 17″ , 50″ x 78″ x 17″ , 60″ x 95″ x 17″, 2009. Phtot by Tom Grotta.

Lawrence LaBianca looks at books from different vantage points. In Thesaurus, he posits a slice of a tree with its mirror image in glass as book pages that can be read. What Lies Beneath, is a bit tongue in cheek. In this work, he considers an iconic book, Moby Dick, from the perspective of fish. He sent it into the ocean in a waterproof box and filmed it in place.

Lawrence Labianca Book Art
1ll Thesaurus, Lawrence LaBianca, cast glass, stainless steel, redwood, 15″ x 15.5″ x 3.5″-11.25″, 2004. Photo by Tom Grotta. 12lb What Lies Beneath, is a mixed media sculpture. The unique water housing was created to submerge Moby Dick by Herman Melville underwater. The image was taken while the book was underwater and tethered to a rock. Lawrence LaBianca, 40″ – 85″ x 18.5″ x 8.5″, 2016. Photo by Tom Grotta.

Francis Bacon got it right in our view, when he said, “Some books are to be tasted, others to be swallowed, and some are to be chewed and digested.” (Essays (1625)) Bacon’s Essays By Francis Bacon, Richard Whately.) Those are just some of the options available to artists considering books as inspiration. As viewers, we are left to anticipate and appreciate the works that result.

Art Assembled – New this Week in May

May 31, 2023 0 Comment

Welcome to our May Art Assembled blog, where we are delighted to present the latest additions to our New This Week series. As we bid farewell to our in person exhibition, Acclaim! Work by Award-Winning International Artists, we are thrilled to announce that this captivating exhibition is now available for online viewing on Artsy. For a closer look at the remarkable artworks that graced our in-person exhibition, click here.

In this month’s feature, we turn our spotlight to the exceptional talents of Grethe Sørensen, Dominic Di Mare, Mercedes Vicente, and Lewis Knauss. Each artist brings a unique perspective and artistic vision, showcasing their mastery of different mediums and techniques. From Sørensen’s intricate tapestries to Di Mare’s dimensional weavings and intricate assemblages, Vicente’s captivating sculptures, and Knauss’s textured landscapes – their artworks will transport you to new realms of artistic expression.

Read on as we delve deeper into the artistic journeys of these remarkable artists, exploring their inspirations, techniques, and the stories behind their captivating creations. Be prepared to be captivated and inspired by their exceptional talent!

Grethe Sørensen
Art details: 23gs Woven Detail II, Grethe Sørensen, handwoven cotton, 28” x 43.125” x .875″ 2023. Photo by Tom Grotta.

At the beginning of the month, we highlighted art from the one and only, Grethe Sørensen. If you don’t already know, Sørensen is a visionary Danish artist whose exploration of digital technologies has revolutionized the art of tapestry. Her mastery of digital thread control and digital jacquard weaving has allowed her to weave intricate and diverse motifs with remarkable precision.

Sørensen’s technique combines the ancient craft of weaving with the realm of video, where she meticulously selects and manipulates still images to create poetic compositions of pixels, traffic lights, neon signs, and more, all rendered in delicate cotton threads. Color gradation holds a special fascination for Sørensen, as she experiments with dying the warp before weaving, blending threads of varying nuances to achieve captivating shades and tones.

Dominic di Mare
32ddm Arrow Piece, Dominic di Mare, raffia, feathers, wood, 31.25” x 13.75” x 3.5”, 1976. Photo by Tom Grotta.

We then turned our spotlight to the remarkable artist Dominic Di Mare. Hailing from the United States, Di Mare is a true master of multiple artistic mediums, including weaving, abstract mixed-media sculpture, watercolor paintings, cast paper art, and fiber art. His diverse body of work explores themes of personal spirituality, captivating viewers with its depth and emotive power.

Di Mare’s artistic journey has been marked by groundbreaking innovations. In the 1960s, he gained acclaim for pioneering dimensional weaving, pushing the boundaries of traditional weaving techniques and creating captivating three-dimensional structures.

In the following decades, he continued to push artistic boundaries, exploring cast paper techniques and mixed-media sculpture that seamlessly blend different materials and textures. His sculptures, featuring delicately carved hawthorn branches adorned with feathers, beads, paper, and horsehair, evoke a sense of poetic beauty that resonates deeply with viewers – which is obvious in the artwork we highlighted throughout the month.

Mercedes Vicente
5mv Sin Pauta, Mercedes Vicente, notebook, cord 37” x 14” x 9”, 2014. Photo by Tom Grotta.

We then turned our attention to Mercedes Vicente, hailing from Galicia, Spain. With a specialization in craft art, Vicente has garnered recognition as a regular participant in exhibitions worldwide. Her current artistic endeavors revolve around wood and textile projects, with a particular focus on sculptures crafted from canvas strips.

Vicente’s artistic journey has been a dynamic one. While her early work leaned towards the pictorial, it eventually evolved into the realm of sculpture, with canvas becoming her primary medium of choice. Embracing this technique, she discovered that people were captivated by the intricate and labor-intensive process involved. This realization led her to view her work as a fusion of craftsmanship, art, and design—an expression of creativity that transcends traditional boundaries.

What truly inspires Vicente is the remarkable nature of the fabric she works with. The elastic, organic, flexible, and translucent properties of the material serve as a constant source of fascination and experimentation. It is through her meticulous manipulation of these fabrics that she breathes life into her sculptures, imbuing them with a sense of fluidity and movement.

The best of all? You can now get your hands on artwork from Vicente in our spring exhibition, Acclaim!, which is now live on Artsy.

Lewis Knauss
38lk Spiked Horizon, Lewis Knauss, woven, knotted; linen, hemp, acrylic paint, 16″ x 16″ x 3″, 2018. Photo by Tom Grotta.

Last, but not least, we delve into the captivating world of Lewis Knauss, where the significance of place takes center stage. Knauss’s artistic practice revolves around the exploration of landscape, identity, and our sense of belonging, all expressed through the textures, materials, and processes of textiles.

In Knauss’s intricate works, we witness a visual narrative that pays homage to the places that hold deep personal meaning to the artist. From the charming towns of Macungie and Philadelphia, Pennsylvania, to the serene landscapes of upstate New York, the rugged beauty of Colorado, the enchanting deserts of New Mexico, and the coastal allure of Cape Cod—each location weaves its essence into his art.

Using a diverse array of fibers and materials, Knauss meticulously knots and weaves these elements together, creating intricate tapestries that evoke the organic growth found in nature. Through his masterful craftsmanship, he artfully references the passage of time, capturing the ever-changing landscapes and the narratives they hold.

We invite you to continue exploring the diverse and captivating works of these artists by visiting our online exhibition, Acclaim!, now available on Artsy until Friday, June 30. Immerse yourself in the beauty, intricacy, and thought-provoking narratives captured in each artwork. Let their creations spark your own creative journey and inspire a deeper appreciation for the boundless possibilities of art.

Thank you for joining us on this artistic adventure. Stay tuned for more exciting exhibitions, artist highlights, and art discoveries in the months to come. Until then, keep embracing the transformative power of art in your own lives!

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!

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.

Art Assembled: New This Week in June

June 26, 2019 0 Comment

Summer is finally here and in June, browngrotta arts offered a look at the latest pieces in our collection representing works from around the world. This month, in our New This Week series, we shared some extraordinary pieces by Chang Yeonsoon, Judy Mulford, Lewis Knauss, Pat Campbell and Eva Vargo.
We kicked off the first few days in June with a three-piece work of abaca fiber, pure gold leaf and eco-soluble resin by Chang Yeonsoon, a Korean textile artist who specializes in sculptural fiber works. “I have been studying philosophy and breathing meditation for the last 10 years because I am interested in Oriental philosophy. Chunjeein (天地人) means heaven, earth and human in the East. In the Book of changes (a chinese classic) say that the heaven is a circle, the earth is a square, and the human is a triangle.”

heaven, earth and human sculptures
Chunjeein-1, 2 & 3, Chang Yeonsoon
abaca fiber, pure gold leaf, eco-soluble resin, 33″ x 7.125″ x 6.75″, 2019

Soon after that, we shared a mixed media work, Ancestral Totem by Judy Mulford. “My art honors and celebrates the family” explains the artist. “It is autobiographical, personal, narrative, and a scrapbook of my life. Each piece I create becomes a container of conscious and unconscious thoughts and feelings: a nest, a womb, a secret, a surprise, or a giggle.” This work, which Mulford talks more about in a youtube https://www.youtube.com/watch?v=j3-YTMWD4JM art + identity interview, features “memory chairs” and buttons that she sourced from family and friends.

Button hole stitched chair sculpture
Ancestral Totem, Judy Mulford, mixed media, 34.5″ x 10.5″ x 10.5,” 2019

Next in our June series was Lewis Knauss‘ work, Thorny of woven, knotted linen, waxed linen and reed. Knauss’ interest in landscape originated during his first teaching appointment in Ohio. The textures and materials of textiles have provided him a medium to explore his memories of place.

Lewis Knauss wall sculpture
Thorny, Lewis Knauss
woven, knotted, waxed linen, reed, 17″ x 16″ x 6,” 2018/19

We aim to keep your creative palettes full, and so we featured Kundalini Rising II by Pat Campbell of rice paper, reed and wood. Campbell’s work aims to promote, not divide, the world’s population ethnically, racially and religiously, specifically to promote globalization and world peace. We at browngrotta arts fully support her work and the meaning behind each piece. Her work combines hope for the future, love of where she came from, and a reminder to viewers to reflect the best in themselves to solve world problems.

Pat Campbell Rice Paper Sculpture
Kundalini Rising II, Pat Campell
rice paper, reed and wood, 24″ x 14″ x 6.5″, 2009

Last, but most certainly not least, we shared No. 55 (Book of Changes), by Eva Vargo of linen, thread, paper strings and gold leaves. A Swedish artist who has lived abroad for a large part of her life, she has been influenced by each country in which she has lived. iFrom the time she began using paper strings and papers from old Japanese and Korean books in her woven works, it has been an exciting journey for her and it is still a path she keeps on exploring.

Eva Vargo Book of Changes
No. 55 (Book of Changes), Eva Vargo
linen, thread, paper strings and gold leaves, 31.75″ x 29.375″ x 1.5″, 2019

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Artists in the House: Who’s attending the Opening of Blue/Green: color/code/context on Saturday

April 25, 2018 0 Comment

Keiji Nio, Rough Sea of Sado,polyester, aramid fiber, 48.25” x 47.5”, 2016. Photo by Tom Grotta

The Artists Reception and Opening for Blue/Green: color/code/context occurs this Saturday at browngrotta arts, 276 Ridgefield Road, Wilton, Connecticut 06897. Eleven of the participating artists will be in attendance, enhancing what is always an energizing opportunity to experience our annual Art in the Barn event. Keiji Nio and his family are coming from Japan, Pat Campbell from Maine, Wendy Wahl from Rhode Island, Kiyomi Iwata from Virginia, Norma Minkowitz and Helena Hernmarck from Connecticut and Polly Barton, John McQueen, Nancy Koenigsberg, Lewis Knauss and Tamiko Kawata from New York. Wendy Wahl’s work is made of blue Encyclopedia Britannica pages; John McQueen used plastic bottles — a departure for him. Norma Minkowitz has created a detailed and magical stitched drawing and Lewis Knauss a work of pale, pale green and natural reed and twigs. Join us from 1-5 pm to see their work and that of 50 more artists. The artists will be available throughout the Barn, to answer questions about their work, their favorites or about the work of others. They’ll be wearing name tags — feel free to say hello. For more info: http://www.browngrotta.com/Pages/calendar.php; 203-834-0623. Or visit us during the week — Sunday April 29th – Sunday May 6th, 10-5 pm.

Art Assembled: New This Week January

January 31, 2018 0 Comment

Untitled, Kay Sekimachi, Japanese paper and fiber flex, 4” x 11” x 11”, 1985 95k Silver Metallic, Kay Sekimachi, flax, 4” x 11” x 11”, 2008. Photo by Tom Grotta

Untitled, Kay Sekimachi, Japanese paper and fiber flex, 4” x 11” x 11”, 1985
Silver Metallic, Kay Sekimachi, flax, 4” x 11” x 11”, 2008. Photo by Tom Grotta

We kicked off the new year with pieces by Kay Sekimachi. Sekimachi avoids color in many of her pieces in order to direct more attention to the sculptural qualities of her work as well as the natural properties of her chosen materials. Through her career, Sekimachi has been enamored with antique Japanese paper, using it in a variety of ways to create small pots, large sculptures and bowls, such as she did in Untitled. 

In Forest Floor Lewis Knauss uses linen (waxed and natural), reed, twigs and acrylic paint to convey the natural layers and complexity of our landscape. “Landscape serves as witness to the passage of time and the cycle of life, its disturbing beauty often the result of natural or manmade events–drought, fire, flood.” The meticulous process Knauss goes through while constructing a piece cements his life and presence as a maker. For Knauss, the repetitive acts of knotting and long periods of working silence become a mediation through which he can release his gratitude for the environment.

Forest Floor, Lewis Knauss linen, acrylic paint, reed; twigs, waxed linen, 16” x 16” x 2.5” 2016/2017";

Forest Floor, Lewis Knauss
linen, acrylic paint, reed; twigs, waxed linen, 16” x 16”x 2.5” 2016/201. Photo by Tom Grotta

<em>Ceramic 49</em>, Yasuhisa Kohyama, wood-kiln ceramic, 11.25" x 11" x 6"<br /> <em>Ceramic 50,</em> Yasuhisa Kohyama, wood-kiln ceramic, 18.25" x 10" x 5" Photo by Tom Grotta

Ceramic 49, Yasuhisa Kohyama, wood-kiln ceramic, 11.25″ x 11″ x 6″ 
Ceramic 50, Yasuhisa Kohyama, wood-kiln ceramic, 18.25″ x 10″ x 5″ Photos by Tom Grotta

 

Next up we had two sculptures by Yasuhisa Kohyama. Kohyama pioneered the revival ancient ceramic traditions of Shigaraki by bringing back the use of the anagama, a single chambered tunnel kiln that had not been used since medieval times to create traditional Japanese suemono vessels. Kohyama derives much of his inspiration from nature. “Every time I fire, I’ve come to recognize that I am in Nature; I am a small part of Nature,” explains Kohyama “Intently I watch Nature over and over again; working with clay, inspired by Nature, I am free to allow creation to happen, approaching the experience as the ancients did.”

Capricious Plaiting, Kazue Honma, plaited paper, mulberry bark, 10.5" x 18" x 12.5", 2016

Capricious Plaiting, Kazue Honma, plaited paper, mulberry bark, 10.5″ x 18″ x 12.5″, 2016. Photo by Tom Grotta

This month we also featured Kazue Honma’s Capricious Plaiting, a labyrinth-like woven plaited paper mulberry bark basket. Led by Hisako Sekijima, Honma is one of a group of Japanese basket-makers who has radically experimented with traditional Japanese weaving techniques. Plaiting allows Honma to follow strict rules of geometry while also offering her the freedom to create new shapes. When weaving Capricious Plaiting Honma started at the dark square, then plaited in two different directions, continuously shifting directions at the moments she felt she should.

Golden Red, Adela Akers, Linen, horsehair and metal foil 30" x 21”, 2017

Golden Red,
Adela Akers, Linen, horsehair and metal foil, 30″ x 21”, 2017. Photo by Tom Grotta

In our last New This Week of January, we featured Golden Red by Adela Akers. The reflectiveness of the metal foil coupled with the contrast of the red and blue linen creates a window-like effect.The dimensionality of Akers’ works can be attributed the reflection of light off of both the metal and horsehair. Akers’ background in science strongly influences the materials and process of her work. The mathematical discipline Akers exercises when working contrasts “the organic process (handweaving) and materials (linen & horsehair) that bring work to fruition.”