Tag: Mariette Rousseau-Vermette

Summer Recap

August 12, 2026 0 Comment

Summertime and the living is easy … We’ve always loved that song by DuBose Heyward and George Gershwin. It’s not quite easier at browngrotta arts as we have lots of preparation to do for our upcoming fall exhibition and next year’s 40th anniversary celebration, but the pace is a little slower. We spend more time with family and friends and fishing in Maine with art projects in between.

Even if leisurely, life goes on, and we still have plenty of news to share.

Gjertrud Hals and Misako Nakahira
Works by Gjertrud Hals and Misako Nakahira. Photo by Tom Grotta.

The Loewe Craft Foundation Awards for 2026 were presented. Through its Craft Prize, the Loewe Foundation seeks to acknowledge and support international artisans over 18, of any gender who demonstrate an exceptional ability to create objects of superior aesthetic value. By identifying work that “reinterprets existing knowledge to make it relevant today while reflecting its maker’s personal language and distinct hand,” the Foundation aims to “highlight the continuing contribution of craft to the culture of our time.” Two of the artists that work with browngrotta arts were on the short list — Gjertrud Hals of Norway and Misako Nakahira of Japan. They join several other artists that browngrotta arts promotes who have made the shortlist in years past— Mercedes Vincente, Polly Adams Sutton, Yeonsoon Chang, Ferne Jacobs, and Simone Pheulpin, who was also awarded an honor prize. Separately, Loewe has worked with Jiro Yonezawa and Kay Sekimachi to create designs for products for the legendary leather goods retailer.

James Bassler, Dail Behennah, Lia Cook and Neha Puri Dhir
Works by James Bassler, Dail Behennah, Lia Cook and Neha Puri Dhir. Photo by Tom Grotta.

This summer saw Museum Acquisition action: This Old House by James Bassler will join the permanent collection at Crystal Bridges Museum of American Art in Bentonville, Arkansas. This Old House was featured in the Museum’s recent exhibition,  America 250: Common Threads. The adoption of a second work of art by another artist is in progress at a separate major US museum. The last 12 months have seen more acquisition activity. Last August,  Bowl with Black Centre, by Dail Behennah was acquired by the Fuller Craft Museum in Brockton, Massachusetts. In November, Lia Cook’s Su Series was acquired by the Crystal Bridges Museum of American Art and Neha Puri Dhir’s work Transition, was acquired by the John and Mable Ringling Museum in Sarasota, Florida. In January, four works of wearable art by Norma Minkowitz joined the collection of the Los Angeles County Museum of Art in California. 

Jane Balsgaard
Jane Balsgaard. Photo courtesy of Jane Balsgaard.

Artists who work with browngrotta arts are featured in a number of Exhibitions in Canada, China, Europe, and the US. Jane Balsgaard’s work is on exhibit at the Vrå Exhibition in the  Art Building-Engelund Museum in Vrå, Denmark (through August 30th). Jeannet Leendertse is part of Water Proof: Maine Artists Reflect on their  Environment, at the  Wendell Gilley Museum in Southwest Harbor, Maine (through August 22nd). In Montreal, Canada, Mariette-Rousseau Vermette’s, Micheline Beauchemin’s, and Young-Ok Shin’s works are featured in Plot at the Baie-Saint-Paul Museum of Contemporary Art (through September 6th). The work of Eduardo Portillo and María Dávila is included in See You Tomorrow Under Other Skies at the  Andrew Kreps Gallery in New York City (through September 12th, with a summer break in August. Check hours). Gjertrud Hals’s work is part of the 
Personal Structures exhibition at the Palazzo Mora in Venice, Italy (through November 22nd).  Simone Pheulpin’s work is in Intertwined Breath: Contemporary Fiber Narratives at the  Taoxichuan Gallery in Jingdexhen, China (through November 25th). And, opening on August 25th, is a retrospective of Mary Merkel-Hess’s work at the  Brunnier Art Museum, Ames, Iowa (through January 31, 2027).

Birth-Giulio-Ghirardi
Birth-Giulio-Ghirardi©Michelangelo-Foundation

The fourth edition of the Homo Faber Biennial is titled An Island of Light and runs from September 1 – 30, 2026 at the Fondazione Giorgio Cini on San Giorgio Maggiore Island in Venice, Italy. Curated by the Michelangelo Foundation with artistic direction by Es Devlin, the event explores the relationship between light, materials, and the human hand. A number of artists who work with browngrotta arts will be part of the Biennial including Jiro Yonezawa, Christine Joy, Jennifer Zurick, Nancy Moore Bess, Simone Pheulpin, Polly Adams Sutton, and Gyöngy Laky. Homo Faber also maintains an online platform 
dedicated to craftsmanship that provides profiles of artisans worldwide.

Make/Shift
Make/Shift exhibition, through September 19th.

In June, we served as Jurors for Make/Shift, an exhibition at the  Crown Gallery, Metro Art Studios in Bridgeport, Connecticut.  Artists were asked to submit work that “explores the space where material, process, and intention converge — grounded in techniques and materials traditionally associated with functional craft—ceramics, fiber, glass, wood, basketry, and other hand-based practices—reimagined through a fine art lens.” We reviewed more than 150 entries and selected over two dozen intriguing works — of glass, ceramics, jewelry, metal — but a preponderance of the entries were works of fiber. The exhibition will run from August 9th to September 19th.

Ferne Jacobs
Work by Ferne Jacobs. Photo by Tom Grotta

Much of our summer has been spent on October Exhibition Planning. In Continental Drift: Encounters, North and South (October 17 – 25), we will explore art from North and South America from two different vantage points. First, we are gathering works by significant artists from the US, Canada, Chile, Venezuela, and Colombia, including Sheila Hicks, Lenore Tawney, and Carolina Yrarrázaval) many of whom are not just representative of their own countries but have a connection to other regions as well. Second, we will include work by artists from in and outside North and South America who cite art, artists, or experiences from these continents as an influence. We’ve been receiving deliveries from new artists from Argentina and Mexico, and viewed compelling works that artists created after a pilgrimage to another country or a study of an artist from elsewhere. And we’ve been in correspondence with Sarah Parrish, Associate Professor of Art History at Plymouth University, who’ll be writing the catalog essay for Continental Drift.

Hope you, too, are having a great summer!

Color Stories

August 7, 2026 0 Comment
584mr Carter’s Color Lesson, Mariette Rousseau-Vermette, wool and silk, 7′ x 2′ and 7′ x 4′ x 3″, 1993. Photo by Tom Grotta

Color is a constant in art, while its potential for new and unique applications is limitless. Artists at browngrotta arts have taken the challenge to heart — finding inspiration in the teachings of Josef Albers, the art of Color Fields painter Mark Rothko, and systems of their own design.

Detail: 37sl Dictionary – Light Indigo, Sue Lawty indigo-dyed, natural hemp, linen, 21.5 x 13, 2026. Photo by Tom Grotta
Detail: 1mkes Rhythm of Colors, Merja Keskinen, 80% linen, 20% cotton, 56″ x 62″, 2022. Photo by Tom Grotta
Detail: 22jbas The Yarns I Have Carried # 2, James Bassler, four selvaged weaving: left over warp and weft yarns from the past 65 years, including handspun and manufactured material, natural and synthetic dyed wool, silk, linen, cotton and ramie, 30″ x 31″ x 2.5″, 2025. Photo by Tom Grotta

In Bauhaus artist and teacher Josef Albers’s universe, color seduced and beguiled (The Josef and Anni Albers Foundation: https://www.albersfoundation.org/alberses/teaching/interaction-of-color). “These characteristics made color the most fascinating of art’s formal elements. Albers’s passion for color prompted his decision to launch what was possibly the first full-blown course in color ever given anywhere, and certainly the first based exclusively on direct observation of color’s behavior. . . . Color behaved. Color was magic.”

At Black Mountain College in the 1930s he introduced a color course unique at the time, followed by courses at Yale University and the publication of Albers’s landmark Interaction of Color in 1963, which crowned 30 years of effort.  His exercises focused on color in specific contexts, showing that if you put color A next to color B, or these colors next to those, you could anticipate certain results. Moving from simple to complex, with many exercises exploring the ramifications of a previous one, the course awakened the students to the quirks and variables of color behavior. The course was not a fixed body of color wisdom, but rather an ongoing inquiry in which solutions were not conclusions, but steps on an endless path.

1mkes Rhythm of Colors, Merja Keskinen, 80% linen, 20% cotton, 56″ x 62″, 2022. Photo by Tom Grotta

Merja Keskinen engages in color experiments of her own navigating between following a system, as Albers did, and making room for discovery. Keskinen describes this generative uncertainty: “I work to see. The joy of discovery and the delight of experiencing colors are essential to me. The unpredictability and always-surprising color tones captivate me. I interpret life and the surrounding world with colors and explore the factors that influence color perception.” In works like, Rhythm of Colors, Keskinen works with a self-developed weaving technique, combining different-colored threads according to her preselected system, creating geometric square and rectangular shapes in various sizes whose surfaces produce a pixel-like optical blending — distinguishable as individual threads up close, but merging into wholly unexpected color combinations from a distance. Her work demonstrates that even the most rigorously systematic approach — mathematics applied to thread — contains inevitable surprise. The material collaborates, producing results the artist could not fully predict.

22jbas The Yarns I Have Carried # 2, James Bassler, four selvaged weaving: left over warp and weft yarns from the past 65 years, including handspun and manufactured material, natural and synthetic dyed wool, silk, linen, cotton and ramie, 30″ x 31″ x 2.5″, 2025. Photo by Tom Grotta

In his Threads I’ve Carried series James Bassler takes Albers’s Color Theory as a literal influence. The works reflect what the artist learned in his first “Color” class at UCLA in1953 once he realized that there was an “Art Department.” The head counselor at Santa Monica HighSchool had refused to allow him to take a Ceramics class because his GPA was too high. He pursued art, despite that first obstacle, and later Bassler would teach Josef Albers’s Color Theory at UCLA for some 25 years. This work is made of left-over warp and weft yarns from the past 65 years, including handspun and manufactured material, natural and synthetic dyed wool, silk, linen, cotton, and ramie. The result, is a four-selvaged weaving, a color study using complementary colors, In works from the series, Bassler explored a new bag of saved yarns, which presented new thoughts. “How bright or dark can I go before it upsets the whole idea,” he asks. “In this piece I pushed the subtle to almost disappear and the bright to almost overwhelm.”

Chroma, Nancy Koenigsberg, coated copper wire 26 .5″ x 26.5″ x 2″, 2024. Photo courtesy of Nancy Koenigsberg

Nancy Koenigsberg’s Chroma is the artist’s version of a painter’s palette which took her more than six months. to complete. The sculptural artwork of coated, colored copper wire is comprised of four horizontal rows of small squares and four vertical rows, occupying an area 26 inches square. Each individual square is created by sewing and weaving coated copper wire and building layers of the color to a depth of 2.5 inches. The color combinations and contrasts challenge and engage the viewer both visually and conceptually.

37sl Dictionary – Light Indigo, Sue Lawty indigo-dyed, natural hemp, linen, 21.5 x 13, 2026. Photo by Tom Grotta

In her Indigo Cloth series, Sue Lawty explores the innumerable variations of blue. In one series, Notes on Blue, Lawty commissioned a range of linen and hemp hreads to be hand dyed with indigo by Jeanette Orrell in Wales. Lawty purposely requested a range of unevenly dyed shades across the tonal spectrum and then worked intuitively,  reading the weaving line by line as it progressed. In Dictionary – Light Indigo Woven Tapestry, she explores more gradations of blue. Lawty pursues the inherent qualities of any material with which she works, seeking “an understated restraint, balance, tension, rhythm: an essential stillness.”  In Lawty’s practice, color feels less applied than absorbed — as though the fiber had always held it within. 

Mariette Rousseau Vermette wool tapestry
613mr Si Rothko Métait Conté, Mariette Rousseau-Vermette, wool, 94” x 80”, 1997. Photo by Tom Grotta

Experiments in color were the hallmark of members of the Color Fields movement of the 1950s and 60s.  Color Fields artists, among them Mark Rothko, created abstract paintings featuring large areas of solid color, flat surfaces, and a unified single-image field.  Rothko’s work with color was a potent influence for fiber artist Mariette Rousseau-Vermette. The Canadian artist saw an exhibition of the Rothko’s works in Italy in 1958. It was pivotal in inspiring her “to produce strictly artistic works in weaving,” Anne Newlands wrote in Weaving Modernist Art: The Life and Times of Mariette Rousseau-Vermette (Firefly Books, Richmond Hill, Ontario, 2023, p. 32). Throughout Rousseau-Vermette’s life, Newlands says, Rothko triggered “compositions with floating blocks of color, soft edges and her signature brushed wool technique to create a blending of colors and a sense of inner light.” Her interest in Rothko “marked her as a colorfield artist-weaver, fueling her ambition to create large-scale tapestries that would engulf the viewer and employ powerful chromatic contrasts of light and dark to evoke an emotional response.” 

Scott Rothstein stichöd weaving
26sr Untitled Red #71, Scott Rothstein hand stitched silk thread on silk ground, black frame with denglass
12.75″ x 14.75″, 2002

Scott Rothstein also works in fields of color in vivid embroideries of silk like Untitled #71. “I have felt compelled to explore the subtleties of basic visual elements for 20 years,” he explains. “I find the simplest elements to be the most profound. A line, created by twisting threads, can have infinite possibilities. Two areas of color, in equal amounts, placed consecutively, might suggest harmony or contradiction.” 

However articulated, these explorations of color and its potential intrigue and engage the viewer just as they the artist.

Art Assembled in June

July 1, 2026 0 Comment

Even though June is a short month, this year it offered five Mondays and five New this Weeks. Throughout the month, we highlighted a diverse group of tapestries and sculpture from France, Canada, Finland, and the US.

Mary Giles wall totems
71mg Anointed Procession, Mary Giles, waxed linen, wire, 31″ x 19″, 1995. Photos by Tom Grotta

Recognized as a Master of the Medium Award by the James Renwick Alliance, US artists Mary Giles’ unique ability to manipulate materials such as waxed linen, porcupine quills, metal, paper, silk, and copper wire allowed her to craft intricate sculptures and vessels that blur the lines between the natural and the imagined. This juxtaposition exudes messages of both strength and fragility, inviting viewers to contemplate the symbiosis of these elements. In accepting the award, Giles said of her work: “I interpret and express explored communication and intimacy in relationships. The results are reflected in my figural work. I admire the directness and honesty I see in tribal art and I try to incorporate those qualities in my own.” In Anointed Procession, human-like figures of different sizes are linked, raising questions of hierarchy and human interaction.

Merja Kekinen colorful small weaving
2mkes Horizontal Colors I, Merja Keskinen, multi-colored linen textile, 30.75″ x 19″, 2024. Photos by Tom Grotta

One theme recurring in our recent exhibition,Transformations : dialogues in art and materials, is the tension between system and discovery. Merja Keskinen describes this generative uncertainty: “I work to see. The joy of discovery and the delight of experiencing colors are essential to me.” In works like Horizontal Colors I, Keskinen combines different-colored threads according to a preselected system, creating geometric shapes whose surfaces produce a pixel-like optical blending — distinguishable as individual threads up close, but merging into unexpected color combinations from a distance. The works are based on consideration of color theories and an examination of the factors that influence the artist’s experience of color, The design approach, Keskinen says, is an implementation of a self-developed weaving technique, which combines various sized pieces and formations of diversely colored elements.

Last Card Weaving by Kay Sekimachi
133K Last Card Weaving,  Kay Sekimachi, polished cotton, cardwoven, seamless tube, c. 2021, 29.125 x 13.125 x 2.5, 2021. Photos Tom Grotta

In creating The Last Card Weaving, renowned US weaver, Kay Sekimachi, created a necklace-like object of black, polished cotton. Sekimachi used card weaving — which dates back to the Vikings. “Essentially, you need a deck of cards with holes at each corner,” explains Sekimachi, who turns 99 this year. “The warp threads get threaded through the holes, and the cards are turned to make a shed. To weave a tube, the weft enters the shed from the same side, after the weaving is done it gets pulled into a tube.” 

Simone Pheulpin folded cotton sculpture
44sp Bruxelles – Série Éclosion, Simone Pheulpin, cotton, pins, 9” x 12 .25” x 12.25”, 2026. Photos by Tom Grotta

Bruxelles – Série Éclosion is a quintessential work by French textile sculptor, Simone Pheulpin. Pheulpin’s self-developed technique is based on the meticulous, repetitive folding of strips of unbleached, cotton canvas. Pins, hidden in the heart of each work, hold her works together. In the crags and crevices Pheulpin creates, a universe unfolds, sometimes mineral, sometimes vegetable, reflecting the natural world.

Mariette Rousseau-Vermette Large wool tapestry
489mr Mauve Noir Rouge, Mariette Rousseau-Vermette, wool, 8’ x 12’, 1979. Photo by Tom Grotta

Mariette Rousseau-Vermette was a pioneer of modernist tapestry and one of Canada’s most prolific and influential artist-weavers. Rousseau-Vermette wove hundreds of radiant large-scale tapestries that complemented the cool interiors of modern architecture. Like Mauve-Noir-Rouge her works combined luminous colors with soft wool that she specially sourced for its sumptuousness. She exhibited across Canada and internationally and attracted prestigious commissions from the private and public sectors, including commissions for theater curtains at the National Arts Centre, Ottawa and the Kennedy Center in Washington, DC.

Art Assembled for March

April 1, 2026 0 Comment

Our New this Week instagrams and browngrotta-created artlive videos in March were populated with works that evidence singular intention and mastery of a variety of materials. The featured artists reinvisioned everything from paper straws, to repurposed textiles, to willow branches with catkins intact. 

Pepsi Cola Faux Pot by Karyl Sisson
93ks Pepsi Cola Faux Pot, Karyl Sisson, vintage paper drinking straws and polymer, 5.75″ x 6″ x 6″, 2015. photo by Tom Grotta

The first work we highlighted was Karyl Sisson’s Pepsi Faux Pot. For years, Karyl Sisson has been collecting things like sewing notions — buttons and zippers, womenʼs vanity items — bobby pins, hair pins, and curlers, and paper drinking straws like the straws in Pepsi Cola Faux Pot. “I like the idea and practice of recycling and am drawn to undervalued and overlooked materials,” Sisson says. “These common, manufactured objects, reminiscent of my childhood, are the building blocks of my sculptures and wall art, while simple interlocking techniques found in basketry and needlework are usually the method of construction.”

Simone Pheulpin cotton sculpture
42sp Tom, Simone Pheulpin, cotton, 17.75” x 14.5” x 11.25”, 2023. Photo by Tom Grotta

Our video of Simone Pheulpin’s Nova, part of the Eclipse series, gives viewers an opportunity to see up close the remarkable alchemy involved in this artist’s work. In Pheulpin’s hands humble strips of cotton become remarkable objects that evoke natural phenomena. She uses a method of her own devising, using neither glue or stitches. “I’m very, very interested in the roots, the layers, everything that is natural,” Pheulpin says. “The concretions, the accumulations, I love that, that’s the basic nature, the basis of my inspiration. I really like everything that is linear, everything that is repeated, piles of wood, walls. I love the walls, also by the sea, for example, the flowing water, the marks in the sand, the desert, the dunes, all that.” Pheulpin’s work will be part of a deep dive into materials in our upcoming exhibition, Transformations: dialogues in art and materials (May 9 – 17, 2026). 

Aby Mackie textile
10am Between Order and Chaos, Aby Mackie, reconstructed domestic textiles 6, 83″ x 37″ x 6″, 2022. Photo by Tom Grotta

Barcelona-based artist Aby Mackie also approaches “humble” material in innovative ways — in her case, discarded textiles and household remnants are repurposed as fine art. Sourced from the streets of Barcelona, in works like Between Order and Chaos, she reimagines overlooked materials as powerful reflections on memory and value. In Barcelona, the contents of entire homes are often either thrown into the streets or auctioned off at Encants Vells market. The creation of Mackie’s work is driven by the selection and repurposing of objects and textiles from these sources in order to explore ongoing cultural themes, including materialism and consumerism. Mackie’s work will also be included in Transformations in May.

Lizzie Farey Willow basket
3lf.1 Willow Ball 2, Lizzie Farey, willow, 18” x 18” x 18”, 2000. Photo by Tom Grotta

The inspiration for Lizzie Farey’s work comes from the inherent qualities found in the natural materials around her Scotland location. Using willow, birch, heather, bog myrtle, and many other locally grown woods, her work ranges form traditional to organic sculptural forms — much of it pushing the boundaries of traditional technique.  In Willow Ball – 2 and Pussy Willow Bowl, willow seems to have been plucked unchanged from its natural surroundings, yet, with shape and color, the artist adds more. The works achieve Farey’s aim, to create baskets as reminders of the intense pleasure of nature – taking viewers to a place and a time that is universal.

Mariette Rousseau-Vermette tapestry
600mr Verticles mdans le Bleu, Mariette Rousseau-Vermette, wool and aluminum , 38” x 38”, 1995. Photo by Tom Grotta

Mariette Rousseau-Vermette was a noted Quebec-based Canadian tapestry artist who pioneered innovations in fiber art during the 1960s, 70s and 80s. Rousseau-Vermette created weavings in which she experimented with scale, form, material, and color, which became known as tapestry-paintings. In Verticles dans le bleu the artist incorporates metal tubes wrapped in wool to create dimension and interest. Rousseau-Vermette’s work mixing optical fibers and wool will be included inTransformations in May.

John Garrett basket
38jg Charred Black 2, John Garrett, Hardware cloth scrap, paper pulp, acrylic paint, rebar tie circles, aluminum rings, black rubber lacing, plastic covered electrical wire, 6.5″ x 8″ x 8″, 2025. Photo by Tom Grotta

In Charred Black 2, part of his Seven Baskets series, John Garrett fashions welded wire mesh into a vessel shaped by conflict and renewal. Inspired by images of war-torn landscapes, layers of paint, metal leaf, and bound wire evoke structures scarred and rebuilt, holding both destruction and resilience within their forms. “I had seen many pictures of the destruction of wars in Sudan, Ukraine, Israel, and Gaza,… Piles of debris littered landscapes,” Garrett says. “My painted paper baskets looked to me like structures distressed and damaged and covered in dust.”  Forms were painted and repainted and became new again while speaking of horrors between the layers. Shiny metal leaf covered the interiors and exteriors of others. Charred Black 2 was wrapped with rings of plied wire and tied down with more wire or fabric, bringing to mind a structure awaiting more layers of concrete or plaster. 

Dorothy Gill Barneslooking glass sculpture
102dgb Spalted Maple Looking Glass, Dorothy Gill Barnes, spalted maple, glass lens, 9” x 18” x 14”, 2005-2013. Photo by Tom Grotta

In the 1970s, when she was in her 40s and early 50s, Dorothy Gill Barnes taught herself basketry through books, independent study, occasional classes, and connections with traditional makers, also drawing inspiration from contemporary artists and emerging developments in the field. Within a decade, her strikingly original works—crafted from natural materials—gained national and international recognition. Barnes delighted in revealing the ingenuity of nature, from animal-made forms to processes of growth and decay. Her work invites viewers to slow down and truly notice. In Spalted Maple Looking Glass, she has created an interactive experience: a glass lens, frames a small twig, magnifying both the object and its hollow. Through the lens, the tiny scene appears vast — refashioning something ordinary into a moment of wonder.

41mh #165r, Marion Hildebrandt, black sisal twine, brown waxed linen warp, hand twined rush, ash strip, wood rounds with leather ties, 9.5″ x 8″ x 8″, 2000. Photo by Tom Grotta

Marion Hildebrandt studied at the University of California, where she received degrees in the decorative arts and home economics. The artist lived and worked in Napa Valley, California, where she collected the plants — grasses, branches, pine needles, and bark — that she used to make her baskets. She employed the same materials that Native Americans used when they inhabited the area. Like them, Hildebrandt appreciated the natural materials that surrounded her, utilizing her artistic vision to create artistic art forms into structural objects like #r165.

Light Effects: the extra element

March 4, 2026 0 Comment

Light plays a key role in our experience of art. Artists create dramatic, immersive environments with light, shifting the focus from mere representation to a sensory experience Sometimes light is used to create an emotional impact — soft light for tranquility; cool light for tension; dark tones for despair.  Masters, such as Rembrandt and Caravaggio, used dramatic contrasts between light and dark to create mystery and theatrical focus. Symbolically, light has been used to represent divinity, knowledge, and revelation — often in religious contexts. In other works, light creates the illusion of depth, sculpting form and volume. In contemporary works light is the medium itself — LEDs, neon, optical fiber.

Light can also impact a viewer’s experience — influencing the narrative, highlighting focal points. In the works pictured here, light influences the viewer’s experience, creating one — or more —  works when light is shown on the art and a very different second work when shown without a light source. Straight on, light may turn a metallic-tinged work a brilliant white. When light is indirect, the highlight dim and new qualities emerge.

Adela Akers Night Pyramid tapestry
17aa Night Pyramid, Adela Akers, linen, horsehair and metal, 28” x 100”, 1999. Collection of the Metropolitan Museum of Art. Photo by Tom Grotta
Polly Barton Serence Countenenace textile
11pd Serene Countenance, Polly Barton, Japanese silk and metallic monofilament warp with indigo pigment and soy milk; metallic thread weft woven in two panels, 47″ x 57″, 2013. Photo by Tom Grotta

In Adela Akers’s Night Pyramid, a mountainscape comes into sharp focus when illuminated. The image is formed from small strips of foil integrated into the weaving. In Serene Countenance by Polly Barton, the artist uses metallic monofilament and metallic thread to create a subtle glimmer in shadow that transforms into a glowing orb when a light source is introduced. The weft’s metallic thread is brass wrapped around a nylon core, while the warp is a striped combination of silk and metallic-coated monofilament. Other examples of works incorporating metallic threads are Baiba Osite’s Lauks (Field in Autumn) and Animal by Lija Rage.

Gold leaf Glen Kaufman
Glen Kaufman: 12gk Yoshikawa, Noto; 233gk Murgang-sa Namsan; 13gk Pulguk-sa, Kyong-Ju, silk damask, silver leaf; screenprint, impressed metal leaf, 48” x 24” x 1” (each), 1990. Photo by Tom Grotta

While living in Japan in the 1980s, Glen Kaufman developed a unique and complex technique in which light provides the finishing touch. He began by weaving a twill pattern in silk, composing collages of photographic imagery and silk-screening those images onto the cloth. He then further abstracted the imagery by applying metal leaf. “When I began using … photography, photo silk screen, metal-leaf application,” Kaufman said, “[it] was a unique use of those materials.”

22cy The Moon, The Stars, The Sun, Chang Yeonsoon , eco-soluble resin, pure gold leaf, teflon mesh, Hung square they are 34” x 34” x 7”, 2019. Video by Tom Grotta

Yeonsoon Chang also employs metallic materials, developing a method to adhere gold leaf to fibers. Her striking works blend innovative technique with references to classical Eastern philosophy. In works such as The Moon, the Stars, the Sun, light reveals shifting perspectives and diverse experiences. In one video, illumination transforms an already intriguing piece into something entirely new, bringing the metal leaf into sharp focus and casting compelling shadows through the mesh structure

Kyoko Kumai, stainless steel sculpture
3kk Blowing in the Wind-W, Kyoko Kumai, stainless steel filaments, 2001. Photo by Tom Grotta
Mica and steel wall hanging by Agneta Hobin
9ah En Face, Agneta Hobin, mica and steel, 70” x 48”, 2007. Photo courtesy of Agneta Hobin

In Kyoko Kumai’s hands, stainless steel mesh appears infused with light, an effect heightened when an external light source is added. Agneta Hobin’s works pull glimmers of light through stainless steel mesh and the unexpected use of mica.

Fiber Optic weaving by Wlodzimierz Cygan
20wc Totems, Wlodzimierz Cygan, linen, sisal, fiber optic, 37″ x 37″ x 7″, 2022. Photo by Tom Grotta
Elégante fiber optic weaving by Mariette Rousseau-Vermette
Detail: 626mr Elégante, Mariette Rousseau-Vermette, wool, optical fiber, metallic thread, mylar, 48″ x 48″, 2000. Photo by Tom Grotta

Optical fiber provides an exciting medium for artists Wlodzimierz Cygan and Mariette Rousseau-Vermette. In Totems, a complex weaving takes on a new character when the optical fiber is lit and shifts in color. In Mariette Rousseau-Vermette’s Élégante, a slash of shimmering optical fiber creates subtle intrigue when unlit and serves as a dramatic counterpoint when illuminated. 

Several works for which light is an element or an enhancement will be included in browngrotta arts’ upcoming exhibition, Transformations: dialogues in art and materials (May 9 – 17). 

Field Notes: Pioneers

April 16, 2025 0 Comment

For our Spring 2025 Art in the Barn Exhibition, Field Notes: an art survey, we’ve taken an expansive look at the fiber art field. We’ve checked in with artists we work with and invited a group of artists new to browngrottarts. In addition, we’ve gathered selected works by five pioneering artists — Sheila Hicks, Masakazu Kobayashi, Mariette Rousseau-Vermette, Ed Rossbach and Kay Sekimachi. 

Some 60 years ago, artists begn making works that transcended our existing concept of textiles. While based on traditional techniques, these works, collectively known as fiber art, incorporated metals, minerals, and many other materials in addition to natural and synthetic fibers. For the first time, textiles came off the wall, expanded from two to three dimensions and into the surrounding space. The five artists we will include in Field Works, were not just pivotal in the emergence of contemporary fiber art in the  60s and 70s, but significant contributors to the art form’s current popularity. 

Masakazu Kobayashi
39mko Bow ‘86, Masakazu Kobayashi, silk, rayon, aluminum, wood thread spools, 2.25” x 20” x 20”, 1986

Kobayashi’s work was the subject of a major retropsective at the National Museum of Modern Art, Kyoto, Japan in 2024 and Hicks’s work was, most recently, featured in a major exhibition in two German museums, Josef Albers Museum in Bottrop and the Kunsthalle Düsseldorf, earlier this year. Rousseau-Vermette’s work will be the subject of major retrospective at the Musée National des Beaux Arts du Québec (MNBAQ)  in Canada in 2026. And, you can see works by Hicks, Rosshbach, and Sekimachi in Woven Histories: Textiles and Modern Abstraction at the Museum of Modern Art in New York beginning next week and work by all five in Field Notes: an art survey, at browngrotta arts in Wilton, CT, May 3rd through the 11th.

Sheila Hicks
Detail: 40sh Family Evolution, Sheila Hicks, 9” x 25” x 9”, 1997

Renowned fiber sculptor Sheila Hicks began creating innovative textile works in the 1950s. She studied painting with Josef Albers at Yale, and studied weaving in Mexico and Chile. Ball-like forms and “boules” are a motif to which Hicks repeatedly returns. The core of these forms, as in the case of Family Evolution, featured in Field Notes is often formed from garments that have previously belonged to the artist’s friends or family. They hold memories for Hicks, who refers to them as her memory balls. The personal aspect is intentional. 

Masakazu Kobayashi, (1944-2004) was an early actor in contemporary fiber art.  He first studied lacquerware at Kyoto City University of Fine Arts (later Kyoto City University of Arts) but, according to the Kyoto Musuem of Modern Art,  “it was “Encounter with a Single Thread,” which he made while working at Kawashima Textiles Company, that spearheaded a series of works in which he dangled, stretched and unravelled yarn to create three-dimensional pieces.”  Bow ’86 is featured in Field Notes. Made of silk, rayon, aluminum, and wooden thread spools, the work continues the artist’s exploration of the bow — a shape he created by bending aluminum bow space wilth tension held  with silken thread. The bow explorations embody the equilibrium he sought in his work between his capacity as a creator and the energy of the world around him.

Mariette Rousseau-Vermette
Field Note: 171mr Reflets de Montréal, Mariette Rousseau-Vermette, wool, 42″ x 82″ x 2.5″, 1968

Born in Trois-Pistoles, Québec, Mariette Rousseau-Vermette (1926 – 2006) received her training at both the École des beaux-arts du Québec and at the Oakland College of Arts and Crafts, in California where she worked in Dorothy Liebes’s studio in San Francisco. She married Claude Vermette in 1952. The couple travelled extensively in Europe and Asia, allowing Rousseau-Vermette to broaden and deepen her understanding of different tapestry techniques. For four decades, she created luminous tapestries and sculptures for collectors and commissions throughout Canada and the US, including for the Canadian Broadcasting Corporation, the Canadian Chancery, Exxon Corporation and the Kennedy Center in Washington, DC (a curtain gifted by the Canadian Government). Reflets de Montréal, included in Field Notes, is a sumptuous early work from 1968 made of wool that Rousseau-Vermette sourced for its lustrous qualities. 

All three of these artists, Hicks, Kobayashi, and Rousseau-Vermette, exhibited works at several of the prestigious International Tapestry Biennials in Lausanne, Switzerland which were organized from 1962 to 1995.

Ed Rossbach
Ed Rossbach 45.1r Poncho, 8″ x 7.75″ x 7.75″, 1991; 8r.1 Punt,, 14″ x 5″ x 5″, 1989; 20.1r Wyoming, 8″ x 11″ x 11″, 1996, plaited ash veneer, rice paper, heat transfer

Ed Rossbach and Kay Sekimachi were both living in Berkeley, California in the 60s and 70s, which was an incubator for contemporary fiber arts. As a faculty member at the University of California, Ed Rossbach (1914 – 2002) was a major force spurring these explorations. The Museum of Arts and Design in New York, New York described Ed Rossbach’s importance: “Rossbach was an imaginative and adept weaver, mastering ancient techniques and innovating with new and unorthodox materials, such as plastics and newspaper. He is considered by many to be the pre-eminent influence in the rise of basketry as a sculptural art form. In addition, Rossbach is known for incorporating unconventional imagery, including pop culture references.” Numerous artists from Diedrick Brackins to Marvin Lipofsky to Gyöngy Laky claim him as an influence. In Field Notes, Punt, one of Rossbach’s pop culture-inspired works will be exhibited. A resale work, Punt features a football kicker in bright colors. The other works included, Poncho and  Wyoming, also feature intriguing — South American textile patterning and an image of gravel from the West.

Kay Sekimachi
127,136,137,170k Summer session with Trude Guermonprez, Kay Sekimachi, Variation of honeycomb weave, 8 harness, group threading, cotton, linen, 14.5″ x 9″, 1950’s

Kay Sekimachi is recognized as a leader in the resurrection of fiber and weaving as a legitimate means of artistic expression. She is known as a “weaver’s weaver” for her unusual use of a 16-harness loom in constructing three-dimensional sculptural pieces. In the early 1970s she used nylon monofilament to create hanging quadruple tubular woven forms in an exploration of space, transparency, and movement. She attended the California College of Arts and Crafts (CA), where she studied with Trude Guermonprez, and at Haystack Mountain School of Crafts (ME), where she studied with Jack Lenor Larsen. In Field Notes, very significant early works that Sekimachi made in the 1950s while studying with Trude Guermonprez, Samples: Summer Session with Trude Guermonprez, will be on view. Sekimachi credits Guermonprez with empowering her through her style of teaching, which emphasized individual creativity and curiosity. 

As Aby Mackie, another artist in Field Notes, observes: “The field of fiber art is currently experiencing a profound shift, gaining recognition as a respected medium within contemporary art. This growing appreciation affirms textiles’ versatility and expressive potential, establishing it as a powerful medium for storytelling and innovation in the current art world.”

Join us May to explore that potential!
SCHEDULE YOUR VISIT 

Exhibition Details:
Field Notes: an art survey
browngrotta arts
276 Ridgefield Rd
Wilton, CT 06897
May 3 – 11, 2025

Gallery Dates/Hours:
Saturday, May 3rd: 11am to 6pm [Opening & Artist Reception]
Sunday, May 4th: 11am to 6pm (40 visitors/ hour)
Monday, May 5th through Saturday, May 10th: 10am to 5pm (40 visitors/ hour)
Sunday, May 11th: 11am to 6pm [Final Day] (40 visitors/ hour)

Safety protocols: 
Reservations strongly encouraged.
No narrow heels please (barn floors)

Linkages – can you make a match?

February 12, 2025 0 Comment
# 1 Lia Cook, Legs. #2 Federica Luzzi, White Shell

In January, the Metropolitan Museum of Art launched a new short-session game, Art Links, that invites players to identify common threads and intriguing connections between works of art from The Met collection. 

# 3 Gertrud Hals, Terra 8. #4 Wlodzimierz Cygan, Trap IV 

We thought we would give arttexstyle readers a chance to make material Links between works from artists who work with browngrotta arts.

Materials to match: A) IRON – B) WOOL – C) STEEL – D) LINEN – E) COTTON – F) PAPER – G) LIGHT – H) SILK

# 5 Adela Akers, Rain and Smoke. #6 Mariette Rousseau-Vermette, Elegante

# 7 Mary Merkel-Hess, Dark Woods. #8 Axel Russmeyer, Bits

There are 16 images in this post — 8 pairs. Based on the major materials utilized, match two art works to create a pair based the material they share. Note — We’ve cheated a bit on the names in some cases to preserve the mystery.

# 9 Simone Pheulpin, Megalith IV and VI . #10 Agneta Hobin, En Face

There are artworks by fourteen artists for you to match.

#11 Birgit Birkkjaer, Folded Baskets. #12 Glen Kaufman, Odd Man In

Here are the final two.

# 13 Hideho Tanaka, Vanishing II. #14 Kiyomi Iwata, Red Aperture

#15 Mary Giles, Fog Break. #16 Jeannet Leenderste, Amber Pleats

Here is the LINKS Key:
IRON:   3 and 15 
STEEL:  10 and 13
SILK: 14 and 16
WOOL:  8 and 12 
LINEN:  5 and 11 
COTTON:  1 and 9 
PAPER:  2 and 7 
LIGHT:  4 and 6 

Save the Date

February 5, 2025 0 Comment

Fiber art is having a moment. It’s “the new painting” according to Art in America and a trend that Artsy says will “take hold across the contemporary art world in 2025.”  Exhibitions of art textiles are on view across the US and Europe, including Woven Histories: Textiles and Modern Abstraction which will open at the Museum of Modern Art in New York in April. 

Wlodzimierz Cygan
20wc Totems, Wlodzimierz Cygan, linen, sisal, fiber optic, 37″ x 37″ x 7″, 2022. Photo by Tom Grotta

In Field Notes: an art survey (May 3rd -11th), browngrotta arts will provide a high-level view of the fiber medium, informed by the gallery’s 30+ years specializing in the promotion of art textiles and fiber sculpture. 

Sung Rim Park
1-2srp Beyond 220723, 180623, Sung Rim Park, Hanji, 46″ x 36″ x 4″; 36″ x 36″ x 4″, 2023. Photo by Tom Grotta

In art and science, field notes generally consist of a descriptive element, in which the observer creates a word picture of what they are seeing — the setting, actions, and conversations; combined with a reflective portion, in which one records thoughts, ideas, and concerns based on their observations. In Field Notes, viewers will be able to observe a varied group of art works, reflect on the creators’ thoughts about their art practice, and generate their own questions and conclusions.

More than two dozen accomplished international artists will share what’s on their minds, what’s on their looms, and what’s inspiring their art process, just as the art form’s popularity crests, including Sung Rim Park, and a few other artists whose work we have not shown before. Works by fiber art pioneers, Kay Sekimachi (US), Sheila Hicks (US), and Mariette Rousseau-Vermette (CA), will also be part of the exhibition, providing insights about the medium’s evolution.

Mariette Rousseau-Vermette
171mr Reflets de Montréal, Mariette Rousseau-Vermette, wool, 42″ x 82″ x 2.5″, 1968. Photo by Tom Grotta

“Textile art is strong in Norway today,” says Åse Ljones. “It has gained a higher status, and is often purchased for public decoration.” In her work, she is “looking for the shine, the light and the stillness in the movement that occurs in the composition of my pictures,” she says. “I embroider by hand on linen fabric.” The viscose thread she uses adds glow and shine in the composition. “With different light sources,” she says, “the image changes all the time. As a viewer, one must be in motion to see and experience the changes.” 

Aby Mackie, who works in Spain, combines existing materials with the tactile intimacy of textile techniques. “By blending these elements,” she says, “my work challenges perceptions of craft and sustainability, offering new ways to perceive the familiar and celebrating the beauty of reinvention.” Mackie agrees with Ljones about the evolving role of fiber. “The field of fiber art is currently experiencing a profound shift,” says Mackie, “gaining recognition as a respected medium within contemporary art.” 

Fiber is “a powerful medium for storytelling and innovation in the current art world,” Mackie concludes. Join us in May as we highlight those stories and celebrate fiber art’s resurgence!

Sheila Hicks
40sh.1 Family Evolution, Sheila Hicks, 9” x 25” x 9”, 1997. Photo by Tom Grotta

Exhibition Details:
Visit Field Notes: an art survey at browngrotta arts, 276 Ridgefield Road, Wilton, CT 06897 from May 3 – May 11, 2025. 

Gallery Dates/Hours:
276 Ridgefield Road Wilton, CT 06897

Opening & Artist Reception
Saturday, May 3rd: 11am to 6pm
Sunday, May 4th: 11am to 6pm
(40 visitors/ hour)
Monday, May 5th – Saturday, May 10th: 10am to 5pm
(40 visitors/ hour)
Sunday, May 11th: 11am to 6pm
[Final Day] (40 visitors/ hour)

Safety Protocols: 
• No narrow heels please (barn floors)

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)

Save the Date: Ways of Seeing, browngrotta arts’ Fall Art in the Barn exhibition Opens September 21st 

July 17, 2024 0 Comment
622mr Blue Water II, Mariette Rousseau-Vermette, wool and aluminum tube tapestries, 3’ x 5’, 1998. Photo by Tom Grotta

This Fall, browngrotta arts at 276 Ridgefield Road, Wilton, Connecticut, will explore the many ways individuals envision and curate their contemporary art collections. From September 21st to the 29th the gallery’s Fall 2024 “Art in the Barn” exhibition, Ways of Seeing, will sample different types of art selection criteria — by theme, by artist, by size.

Marian Bijlenga Fish Scale Detail
40mb Scale Flowers, Marian Bijlenga, dyed Nile Perch fish scales, 22.375″ x 18.875″ x 2.5″, 2019. Photo by Tom Grotta

Each work in The Art Aquatic, a theme-related collection, exists at the intersection of the artist’s fascination with a variety of nautical themes and the artmaking process. In The Art Aquatic, viewers will find imaginative uses of water-related materials: baskets incorporating shells by Birgit Birkkjaer, kayak and paddle sculptures by Chris Drury wrapped in salmon skin, Marian Bijlenga’s composition of fish scales, and Jeannet Leenderste’s baskets made of seaweed. 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 painted in marine colors and Mariette Rousseau-Vermette’s Blue Water II, made of woven tubes of beachy blue, grey, white, and yellow. A third series of works in The Art Aquatic offer watery imagery, like Judy Mulford’s  Aging by the Sea, that features a conch shell and tiny boat, Ed Rossbach’s Fish Trap Basket, with a whimsical fish motif, and the mermaid in Norma Minkowitz’s sculpture, My Cup Runneth Over. 

Sue Lawty Stone Drawing , Baskets by Hisako Sekijima
15sl Calculus, Sue Lawty, natural stones on gesso, 78.75″ x 118″, 2010. Photo by Tom Grotta

Impact: 20 Women Artists to Collect, another of the exhibitions within Ways of Seeing, will examine collecting by specific artist. Impact will present sculptures, tapestries, and mixed media works made from 1976 to 2024 by artists of significance and renown, including Kay Sekimachi, Yeonsoon Chang, Simone Pheulpin, and Carolina Yrarrázaval. Each of these artists demonstrates a knowledge of traditional and experimental techniques, while redefining the perception of textiles as fine art.

Detail of Mia Olsson
11mo Together, Mia Olsson, relief, sisal fibers, acrylic, 2021 . Photo by Tom Grotta

A third exhibition within Ways of Seeing will be Right-Sized, which considers collecting within specified parameters. Diversity is the hallmark — in materials, techniques, and approaches. In Right-Sized, viewers will find embroidery by Diane Itter, sculpture in sisal, paper, and willow by Mia Olsson, Noriko Takamiya, and Lizzie Farey, ceramics by Claude Vermette, and spheres, boxes, and baskets by Hideho Tanaka, Polly Sutton, Naoko Serino, and others, worthy of collecting in multiples.

“Ways of Seeing will celebrate the passion and individuality that spark and shape collections,” says co-curator Tom Grotta, “while offering collectors at all levels a wide selection of works to appreciate and possibly acquire.”

A full-color catalog will accompany the 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)

Schedule your visit on POSH.

browngrotta.com