Tag: Paul Furneaux

Ways of Seeing, Part Three: Right-Sized

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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Art Assembled: New This Week in March

As the spring season kicks off, our bright, blooming artists continue to amaze us with their contemporary and innovative pieces that continue to push the envelope within the art community. Throughout the month of March, we introduced you to pieces from Lija Rage, Paul Furneaux, Mary Giles, James Bassler and so many other talented artists. Read on for a closer look at the work from these artists!

Lija Rage’s Beginning, 2019, Bamboo, copper wire, fabric, 46 1/4 × 39 1/2 × 1 1/4 in, 117.5 × 100.3 × 3.2 cm. Photos by Tom Grotta.

This lively piece, Beginning, was created by Latvian artist, Lija Rage. Rage has said that she often finds inspiration from her homeland – drawing vibrant colors and attributes from the rich and diverse elements in Latvian nature and infusing them into her art.

In addition to the bright themes that can be found throughout Rage’s pieces, her artwork is also often created with bamboo and copper wire elements.

Paul Furneaux, 7pf Garden Shadows: City Shadows Mokuhanga (Japanese woodcut print ), gesso, rice paste and pva archival glue, solid tulip wood 20.5” x 55” x 4”, 2021. Photo by Tom Grotta.

Scottish artist, Paul Furneaux, consistently impresses us with his inspired use of traditional printing techniques within his art. Furneaux has been perfecting his use of traditional Japanese woodblock printing techniques for over the past decade, and his expertise shows clearly throughout his work.

When asked about his printing technique of choice, Furneaux said: “This inherently beautiful and simple process has allowed my work to develop in a contemplative and semi-abstract way.”

Silver Figure, Mary Giles, 24″ x 4.5″, 1999. Photo by Tom Grotta.

This innovative piece comes from the late Mary Giles, an American artist who was and is near and dear to our hearts at browngrotta arts. Throughout her career, Giles created dynamic artwork that ranged from mixed-media coiled baskets that are sculptural in nature, totems and three-dimensional wall works.

Her work is known for its tactile qualities and the reflective and malleable materials that it’s composed of. 

Before her death in 2018, the wall panels she created were inspired by her growing concerns about our population and problems that plague the word. 

6jb Pre-Columbian Meets Mid-Century Modern, James Bassler, single-ply linen,
synthetic dyes; four-selvage construction; 55” x 56” , 2006. Photo by Tom Grotta.

This artwork was created by James Bassler, a renowned American fiber artist based out of California. Bassler has built his career around the art and craft of weaving. He is well known around for his use of ancient pre-Columbian techniques and materials, which he uses to create traditional works with contemporary themes.  

Bassler has spent a lifetime investigating Peruvian and cube weaving and other techniques and materials like nettle and cochuyi. In some of his works, though, politics takes center stage.

We have so many exciting things (art and exhibitions alike) in store as the spring months unfold, so keep your eyes peeled for all that awaits! We will also be introducing our followers to new art every Monday, so follow us on social media to stay up-to-date on all the new art we’re bringing to the table.


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

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.


Adaptation Opens Saturday at browngrotta arts, Wilton, CT

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/


Art & Identity: A Sense of Place

In our 2019 Art in the Barn exhibition, we asked artists to address the theme of identity. In doing so, several of the participants in Art + Identity: an international view, wrote eloquently about places that have informed their work. For Mary Merkel-Hess, that place is the plains of Iowa, which viewers can feel when viewing her windblown, bladed shapes. A recent work made a vivid red orange was an homage to noted author, Willa Cather’s plains’ description, “the bush that burned with fire and was not consumed,” a view that Merkel-Hess says she has seen.

Micheline Beauchemin Golden Garden detail
Micheline Beauchemin 3mb Golden Garden nylon cord, metalic thread, sisal and plexiglass 42” x 10.5”, circa 1966-68

The late Micheline Beauchemin traveled extensively from her native Montreal. Europe, Asia, the Middle East, all influenced her work but depictions of the St. Lawrence River were a constant thread throughout her career. The river, “has always fascinated me,” she admitted, calling it, “a source of constant wonder” (Micheline Beauchemin, les éditions de passage, 2009). “Under a lemon yellow sky, this river, leaded at certain times, is inhabited in winter, with ice wings without shadows, fragile and stubborn, on which a thousand glittering lights change their colors in an apparent immobility.” To replicate these effects, she incorporated unexpected materials like glass, aluminum and acrylic blocks that glitter and reflect light and metallic threads to translate light of frost and ice.

Eduardo Portillo & Mariá Eugenia Dávila Triple Weave
Triple weave Eduardo Portillo & Mariá Eugenia Dávila silk, alpaca, moriche, metalliic yarns, copper, natural dyes, 71” x 48.25”, 2016


Mérida, Venezuela, the place they live, and can always come back to, has been a primary influence on Eduardo Portillo’s and Maria Davila’s way of thinking, life and work. Its geography and people have given them a strong sense of place. Mérida is deep in the Andes Mountains, and the artists have been exploring this countryside for years. Centuries-old switchback trails or “chains” that historically helped to divide farms and provide a mountain path for farm animals have recently provided inspiration and the theme for a body of work, entitled Within the MountainsNebula, the first work from this group of textiles, is owned by the Cooper Hewitt Museum.

Birgit Birkkjærs  Ode for the Ocean
Birgit Birkkjær, 65bb Ode for the Ocean, linen and stones, shells, fossils, etc. from the sea 30” x 30” x 4,” 2019

Birgit Birkkjaer’s Ode for the Ocean is composed of many small woven boxes with items from the sea — stones, shells, fossils and so on — on their lids. ” It started as a diary-project when we moved to the sea some years ago,” she explains. “We moved from an area with woods, and as I have always used materials from the place where I live and where I travel, it was obvious I needed now to draw sea-related elements into my art work.”

Polly Bartons Continuum I, II, III detail
4pb Continuum I, II, III, Polly Barton, silk, double ikat, 19” x 52” x 1.75,” 2018

“I am born and raised in the Northeast,” says Polly Barton, “trained to weave in Japan, and have lived most of my life in the American Southwest. These disparate places find connection in the woven fabric that is my art, the internal reflections of landscape.” In works like Continuum i, ii, iii, Barton uses woven ikat as her “paintbrush,” to study native Southwestern sandstone. Nature’s shifting elements etched into the stone’s layered fascia reveal the bands of time. “Likewise, in threads dyed and woven, my essence is set in stone.”

Paul Furneauxs City Trees II and City Lights II detail
1 & 2pf City Trees II and City Lights II, Paul Furneaux, Detail

For Paul Furneaux, geographic influences are varied, including time spent in Mexico, at Norwegian fjords and then, Japan, where he studied Japanese woodblock, Mokuhanga “After a workshop in Tokyo,” he writes, “I found myself in a beautful hidden-away park that I had found when I first studied there, soft cherry blossom interspersed with brutal modern architecture. When I returned to Scotland, I had forms made for me in tulip wood that I sealed and painted white. I spaced them on the wall, trying to recapture the moment. The forms say something about the architecture of those buildings but also imbue the soft sensual beauty of the trees, the park, the blossom, the soft evening light touching the sides of the harsh glass and concrete blocks.” 


Art Assembled: New This Week April

Transition, Neha Puri Dhir, resist dye, silk, 23” x 34”, 2015. Photo by Tom Grotta.

What a month! April was quite the month for us here at browngrotta arts as we hosted our once-a-year Art in the Barn exhibition art + identity: an international view. The exhibition was a great success and we are so thankful for all the support near and far. At the beginning of April, we shared pieces by Neha Puri Dhir and Paul Furneaux, both of whom are new to browngrotta arts. Dhir’s piece Zazen caught the eye of many on social media, becoming our most liked “New This Week” post to date. In recent years, Dhir has experimented with the meticulous and labor-intensive techniques of shibori (bandhini  India and adire in Nigeria. In doing so, Dhir sources all of her fabric from places all across India. As visible in Transition Dhir’s design influenced by the Japanese wabi-sabi aesthetic, which is centered on the acceptance of impermanence and imperfection. 

City Trees II and City Lights II, Paul Furneaux
Japanese woodcuts on wood , 19.5” x 40” x 4”, 2015. Photo by Tom Grotta.

      Like Dhir, Scottish artist Paul Furneaux also draws inspiration from a Japanese aesthetic. Furneaux’s works, City Trees II and City Lights II, which grace the cover of our art + identity: an international view catalog, were made using the traditional Japanese woodblock printing technique known as mokuhanga. In making his City Trees and City Lights series, Furneaux wanted to try out chunkier forms with wider surfaces. “I was aware that the interaction between the two forms was important,” explains Furneaux “once I had established this relationship with the wooden form, I became very interested in how the clothing of the form made the forms spatial interaction more complex.” 

Coques, Brigitte Bouquin-Sellès, felt, 76.75” x 51”, 2019. Photo by Tom Grotta.

Premiering in April were also works by Nnenna Okore and Brigitte Bouquin Sellés. In works like Coulée les de fils, Brigitte Bouquin Sellès uses selvedge ends, produced during the manufacture of the well-known Cholet handkerchief on looms in France. These strips are cut automatically by the machine from the outer edges of the weave. The artist reinterprets this manufactured material, made up of falls destined for destruction. The mutation is profound, these falling fabrics become works that are born by gravity. Using this material, the creation mode of Brigitte Bouquin Sellès is original: it creates not by adding material but not subtraction either, in this case, small pieces of weft still attached to the warp, snatched one by one to achieve the artist’s ends.

The Path, Norma Minkowitz, mixed media, 14” x 52” x 52,” 2013. Photo by Tom Grotta.

      To wrap up April, we shared Norma MinkowitzThe Path. The piece is very personal for Minkowitz, in creating it she explored her thoughts, identity and how she feels about the path her life is taking. Minkowitz even used a casting of her own head for the center of the piece, painting it with a camouflage pattern to camouflage her feelings and fears, a process you can see in this video.

      If you weren’t able to make it to the exhibition, have no fear, you can still see the pieces featured in our coveted exhibition catalog art + identity: an international view, which is available for purchase in our online store HERE.