Residencies are prized by artists — they offer dedicated time, space, and resources for artists to focus on their creative work, often in a novel and inspiring environment.  “[B]y inserting artists into a different environment, a residency lifts them out of their ordinary routines and obligations, conferring new perspectives as a result, and potentially fostering new creative works.” (Katy Wellesley Wesley, “Sweet retreats: everything you need to know about artist residencies,” The Art Newspaper, May 27, 2022.)  Specifically, they offer time and space — dedicated periods free from daily distractions, allowing artists to immerse themselves in their work, experiment with new ideas, and develop their practice; new environments — Living and working in a new place can spark creativity and offer fresh perspectives. financial support — Residencies can provide financial assistance making it easier for artists to focus on their work without financial strain; professional development — Some residencies offer opportunities for mentorship, workshops, and networking; and opportunities to experiment and innovate — the freedom and resources of a residency can encourage artists to take creative risks, explore new mediums, and push the boundaries of their artistic practice.

Many of the artists who work with browngrotta arts have used residencies for just these purposes — to explore, experiment and engage in a new environment. Sue Lawty of the UK took part in the highly selective International Artists Studio Programme In Sweden (IASPIS). Occupying nine visual art studios + a dance studio in an old tobacco factory in Södermalm, Stockholm, a 50/50 bunch of diverse Swedish and International practitioners met, lived and worked alongside each other for three wonderful creative months. “I approached the opportunity with a completely open mind –– no agenda –– simply to be available to what Sweden had to offer and to my response to that,” Lawty says. “I found myself standing back from my work, an observer, assessing.” The north northern hemisphere had its effect, “SO good and now lodged deep in my soul …” In the west she found inspiration in: “keen winds and the intense low sunglow of the winter solstice across icy slabs of rock – visceral experiences of living within feet of the ocean on the tiny outcrop island of Rörö at the north of the Gothenburg archipelago.” In the east: “bright/ low/north light/ greys and blues, textures of snow/ ice/ water/snörök and the crumpled frozen Baltic Sea stretching towards the horizon.”

Location impacted Neha Puri Dhir, too, who travelled from India to Latvia for a residency at the Mark Rothko Art Centre. In her case it was aesthetic proximity and contact with the natural environment. What Dhir realized studying in the environs of the legendary artist was that Rothko was expressing essential human emotions that are invariably layered and multifaceted like his work. “The layering of colors and mixing of oil and egg-based paints for expression — have all left an indelible mark on my art,” she says. Dhir’s resist-dyeing based art practice also involves extensive interplay of colors brought in by layering and multiple levels of dyeing, but in her case the genesis is one thought or emotion, which has been triggered by some experience or conversance.  “The works that I created at the Mark Rothko Art Centre were solely influenced by the environment, the emotions which were triggered by the abundance of maple leaves in the glorious fall.”

“The time we spend in a residency always adds up to a new result,” Baiba Osite says. Osite travelled from Latvia to the Icelandic Textile Centre in Blönduós. The Centre has extensive facilities: a weaving room with looms and a professional specialist who helps residents realize ideas, a large workshop space with tables and a beautiful view of the sea, another workshop space in a smaller building across the yard, with yarn-dyeing capabilities, where digital looms are located. Osite pursued her own projects, offered a workshop on silk painting to local artists, and traveled to northern Iceland and Reykjavik. “The Icelandic landscape has not directly influenced my work. But the harsh northern nature of Iceland with its open spaces, mountains, sea and strong winds left a deep impression.” It’s trite, but true, she concludes, travel broadens horizons.

For Christine Joy, it was less a change of surroundings than the “quiet and uninterrupted time to think and work and weave” that she found at a solitary residency in Willow Creek, Montana. “I am still trying to capture the movement of nature,” she says. There were two pieces she worked on while there. “I think just getting out of my studio and looking at them in a new place and with new perspective helped me see the direction they needed to go. I really found the direction for 3 Circles at Willow Creek. I love the movement it developed. Now it is like weaving on a big knot and trying not to lose the looseness.”

Misako Nakahira found her residency an opportunity to learn new techniques. “Last year, I stayed in Melbourne, Australia, as an artist-in-residence at the Australian Tapestry Workshop. ATW is one of the leading tapestry studios in Australia, and I became deeply interested in their work,” she says. “I was particularly influenced by their high level of technique and use of color. Since returning to Japan, I have been incorporating the methods I learned from them into my own work.” 

During  the month of February, María Dávila and Eduardo Portillo were Artists in Residence at the Glass Pavilion of the Toledo Museum of Art in Ohio. The Museum invites artists who work in other mediums to experiment in glass. “We had an extraordinary time getting to know a fascinating material and amazing process,” the artists wrote. “We had the support from great artists and specialists of the Glass Pavilion team and we were able to make some pieces that link our textile practice and glass.”

Paul Furneaux’s experience underscores how impactful a residency can be. He ventured north from Scotland to Norway, near Stavanger and the work that resulted transformed his art practice. In Norway, he had a pivotal day. “I was surrounded by huge fjords, full of magic, with colors that were intensified by rich sunlight. I observed the immense powerful nature that surrounded me, looking from one side of an enormous fjord to the other and down towards the sea,” he says. “That evening, I worked on a small series of prints, simple prints about that physical, yet abstract step of land into sea; I worked and worked, slightly frantic and frustrated.  It was two o’clock in the morning and I decided to wrap and paste one of the small prints around the oval date box from which I had been snacking. I went to bed exhausted but early in the morning I ate more dates for breakfast so that I could wrap another print around another box. There I found a conceptual shift in my work.” Furneaux returned to Scotland and decided to try to work full time as an artist and began to wrap other objects in mokuhanga (Japanese wood block prints) in earnest. “The immense overpowering fjords, the shadow casting and echoing of one side of the fjord to the other, was what I was trying to reflect in this new artistic dialogue,” Furneaux says.

“A new beginning, a unique voice, an undiscovered method,” what Paul Furneaux found in his residency aptly summarizes the appealing potential of an artist’s residency.

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We began February by featuring the talented British artist Sue Lawty, whose work is deeply connected to the land and engages with the natural world. Lawty is known for creating intricate and emotive sculptures using materials like linen, wool, and other natural fibers. Her work explores the subtleties of material and construction, focusing on the repetitive elements that form distinct textual languages.

Lawty’s work has always emphasized a connection to the land and the tactile, meditative process of working with fibers, creating pieces that resonate with both the viewer’s eye and soul. With a long career that includes prestigious fellowships, including one at the Smithsonian Museums, Lawty’s influence in contemporary fiber art remains significant.

Next, we featured Karyl Sisson, a Los Angeles-based artist whose sculptures and textured forms are made from both modern and everyday materials. Sisson’s creative process is driven by pattern, repetition, and structure, with materials ranging from paper straws to fibers, often drawn from her surroundings. Her work draws inspiration from diverse sources, such as the landscape of Los Angeles, microbiology, and fashion manufacturing. By reinventing undervalued materials, Sisson challenges traditional gender roles and domesticity.

Her recent work with paper straws, inspired by cells and organisms, showcases her talent in transforming organic forms and shapes into art that grows naturally before our eyes.

Throughout the month we also highlighted Merja Winqvist, a Finnish artist known for her minimalist and sculptural textile works. Winqvist draws influence from aboriginal cultures, finding a common thread in the forms and structures she encountered in Africa, the Americas, and Asia. Her approach is rooted in functionalism, where the simplicity of her forms serves both aesthetic and practical purposes.

Winqvist’s work conveys strength and unity, with a focus on simplicity and durability. We’re honored to have featured her, as her work bridges different cultural influences and reflects a deep understanding of materiality and form.

Lastly, we showcased the work of Carolina Yrarrazaval, a Chilean artist whose intricate and tactile weaving is informed by her coastal surroundings. Drawing from multiple cultural references, including pre-Hispanic geometry and the subtlety of Japanese textiles, Yrarrázaval’s work speaks to a sense of place and time.

Her recent exhibition, Layer of Memories, explored these themes by layering materials like linen, silk, and hemp, creating works that reflect the natural beauty and textures of her environment. We are thrilled to continue sharing her remarkable artistic journey with you.

As we wrap up the month, we want to express our gratitude for your continued interest in these remarkable artists and their work. Stay tuned for more exciting new art in March! We’re thrilled to have you on this journey with us, and we look forward to more creativity, inspiration, and innovation in the months ahead.

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In the meantime, November has been a month full of incredible features. Our New This Week series introduced the work of four incredibly talented artists: Paul Furneaux, Sue Lawty, Polly Sutton, and John McQueen. Here’s a look back at these remarkable individuals and their contributions to the world of art.

Kicking off the month, we featured the talented Scottish artist, Paul Furneaux. For over a decade, Furneaux has been exploring traditional Japanese woodblock printing techniques, particularly mokuhanga. His journey with this medium began when he received a scholarship to Tama Art University in Tokyo, where he was first introduced to the intricate art of watercolor woodblock printing. Furneaux’s work took a significant turn during a residency in Norway, which inspired a conceptual shift — moving from traditional, flat printed works to creating prints as “skins” that clothe three-dimensional sculptures. This innovative approach bridges the gap between two-dimensional and three-dimensional art, transforming the print into a more dynamic, sculptural form.

He combines his technical skill in mokuhanga with elements of texture, abstraction, and narrative, resulting in pieces that are not only visually striking but also rich in meaning. His work continues to evolve, drawing from both cultural traditions and modern interpretations, creating a unique fusion of art and craftsmanship.

Next, we turned our spotlight to Sue Lawty, a highly experienced artist, designer, and educator whose work has been celebrated worldwide. Known for her deep emotional and physical connection to the land, Lawty’s practice explores the subtleties of material and construction to create unique textual languages through meticulous weaving. Her works often reflect a profound connection to nature, with her thoughtful use of wool and other fibers highlighting her commitment to the tactile, slow process of creation.

Throughout her career, Lawty has built a distinguished body of work exhibited internationally, including the Victoria and Albert Museum in London, where she held a year-long residency. Her art also resides in prestigious collections, including those of the Smithsonian Museums and the University of Leeds. Lawty’s work has appeared in numerous exhibitions in the UK and beyond, including the International Triennial of Tapestry in Lodz, Poland, and the Victorian Tapestry Workshop in Melbourne, Australia. Her use of natural materials and her emotionally charged process have made her an influential figure in contemporary textile art.

Mid-month, we highlighted the work of Polly Sutton, a talented artist known for her exceptional use of natural materials sourced from the Pacific Northwest. Sutton’s basketry work is often created from fibers of native Washington species, including cedar bark gathered from freshly logged forests and sweet grass collected from the tide flats of the Pacific Ocean. These materials are not just functional, but also deeply rooted in the natural world, often reflecting her personal connection to the land.

Polly Sutton is especially known for her sculptural, free-form baskets, which are created using the inner bark of Western Red Cedar trees. There are no preconceived notions about the final form; instead, Sutton’s process is one of discovery. “The work begins when I have located a logging source where, with permission, I can harvest inner bark,” she says. “The outer bark is split off in the woods, and I bring home several coils of fresh cedar bark.” Her work emphasizes pleasing, curvilinear forms, which are often asymmetrical and free-flowing, echoing the natural world that inspires her.

Finally, we spotlighted John McQueen, a renowned sculptor and artist whose work often explores the relationships between natural materials and their structural possibilities. McQueen’s piece Grapple, created in 2023, features a combination of strip willow and white pine figures. His intricate arrangements challenge the boundaries of sculpture, creating forms that feel both organic and deliberate. His approach to weaving natural materials into sculptural pieces has made McQueen a beloved figure in contemporary art, inspiring countless viewers to reconsider the role of natural elements in art.

As we wrap up November, we are incredibly grateful for your continued interest and support. Stay tuned for more exciting updates as we gear up for Japandi Revisited in December. We can’t wait to share these unique works with you and look forward to seeing you at the exhibition soon!

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“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.

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.

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.

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

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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.

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. 

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.

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

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As June draws to a close, join us in recapping our featured artists from the New This Week series, including Norma Minkowitz, Rachel Max, Sue Lawty, and Hisako Sekijima. Let’s dive in!

Starting off the month, we featured the work of artist Norma Minkowitz. Renowned sculptor Norma Minkowitz has dedicated years to exploring the potential of crocheted sculptures, intricately interlaced and hardened into mesh-like structures.

Her artworks seamlessly blend structure and surface, offering profound reflections on themes of enclosure and entrapment. Minkowitz frequently contemplates the cycles of life and renewal, leaving twigs and branches embedded within her sculptures. These elements peek through the exterior, evoking comparisons to human skeletal or circulatory systems.

We are lucky to be able to work with her, and we hope everyone else enjoyed her feature as much as we did!

Next, we featured the talented artist Rachel Max, known for her innovative approach to contemporary basketry from her London base. Max’s artistic journey explores the intricate interplay between lace and traditional basketmaking techniques, resulting in finely woven sculptural pieces designed for interior spaces.

Her creative process involves meticulous refinement, exploration, and development of delicate openwork structures, where the juxtaposition of precise patterns with more relaxed weaves emerges as a recurring motif. Throughout her work, color plays a pivotal role, serving as a unifying element essential to Max’s artistic expression.

We then turned our spotlight to artist Sue Lawty; renowned for her extensive experience as an artist, designer, and educator, with works displayed in prestigious collections worldwide, including a notable residency at the Victoria and Albert Museum in London.

Lawty’s creative practice delves deep into emotional, spiritual, and physical connections with the land. Through intuitive and meticulous exploration of materials and construction techniques, she constructs unique textual languages. It’s no surprise her contributions are revered across the art world.

Last, but certainly not least, we featured the work of artist Hisako Sekijima. Sekijima is known in the art world for her sculptural baskets created with diverse materials including cherry, hibiscus and cedar bark, kudzu, and bamboo.

She describes herself as a perpetual experimenter, fascinated by concepts of order and disorder, connection and disconnection. Her artistic pursuits encompass a wide range of techniques and themes, from binding and wrapping space to exploring spheres, handles, and the interplay of materials.

We look forward to continuing this exploration with you in the months ahead. Stay tuned for more inspiring stories and artists featured in our upcoming series!

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Our 59th catalog, Discourse: art across generations and continents, is now available from the browngrotta.com website. As you may know, we produce our catalogs in house. If you’ve purchased a copy, you should have gotten a Handle With Care insert that reads: ”Each browngrotta arts catalog is individually printed and hand bound. Once you have a copy in hand, please treat it gently. If you crack the spine to see if the pages will flutter out, they just might. So, please don’t. Thanks.” Our catalogs “have never been anything but labors of love,” Glenn Adamson observed on the occasion of our 50th catalog, “quite literally products of a family concern, a cottage industry.” (“Beyond Measure,” Glenn Adamson, Volume 50: Chronicling FIber Art for Three Decades, browngrotta arts, Wilton, CT, 2020.)

This Spring we had a brief delay in producing while we acquired a new printing press — smaller, faster, and with more bells and whistles. Our previous press, which we bought second-hand, had given up the ghost in May. But it did not give up until browngrotta arts had published more than a million pages, mostly on fiber art and artists. Our new printer has expanded features: it can handle heavier and larger sheets and spot varnish.

In Discourse: art across generations and continents, you’ll find work by 61 artists from 20 countries. There are 176 pages and hundreds of color photographs, including details. There are also short compilations of collections, exhibitions, and awards for each artist included.

Also included in the Discourse catalog is an insightful essay by Erika Diamond, an artist and curator and the Associate Director of CVA Galleries at the Chautauqua Institution in New York. In “Consonance of Strings,” Diamond identifies several themes that influence the artists in Discourse. These include textiles like Federica Luzzi’s and Mika Watanabe’s that mirror the human body, works like Stéphanie Jacques’ exploration of the void, that express a yearning for connection, and those  finding order in chaos and harmony in disorder like the subversively “crushed” baskets by Polly Barton. Diamond makes broader observations about textiles’ ability to provide interconnections and common ground for viewers. She compares textiles to quantum physics’ theory of vibrating strings of energy making up the world. Textiles, she sees as “… lines in space — stitches, braids, weavings — moving and bending in search of unity and reconciliation between even the most vastly different materials and ideas.”

Get your copy of the Discourse catalog from our website: https://store.browngrotta.com/c53-discourse-art-across-generations-and-continents/. It’s a good read!

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Out of ideas for the ideal gift for a cherished friend or family member? Consider a work of art. It will make an indelible impression. In its Guide to Giving Art as a Gift, DecktheWalls.com notes “Even for the person who has everything, a piece of artwork makes an amazing gift. It shows forethought, effort and a flair for gift giving. Art is a wonderful gift for any occasion, whether it is for Christmas or Hanukkah, a baby shower, a wedding or thank you gift.” 

The benefits of viewing art are well documented — looking at art stimulates the brain and puts our innate knack for organizing patterns and making sense of shapes to use. In addition, viewing art boosts our mood. Looking at a painting, sculpture, or other artwork increases blood flow to the brain by as much as 10% — the equivalent of looking at someone you love. Choosing an art gift is an effective way to say, “Your well-being matters to me.”

Here are some suggestions for one-of-kind items that may be just what you are looking for.

Some come with their own boxes. We can wrap your gift if you order it this week.

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To start off the month, we introduced you all to the work of skilled Russian artist, Irina Kolesnikova.  Kolesnikova has said that her works are often influenced by her daily life. She has said in her pieces you can often find aspects of her everyday life reflected in her work artwork. Kolesnikova state that these pieces often feature a glimpse into her alter ego, which she stated is “A slightly comic, clumsy human of an uncertain age (who is just a survivor struggling to keep his existence balanced.” 

However, when Kolesnikova emigrated from Russia to Germany in 2005, she says, “I got more air in my works. The combination of figurative elements with flying drawing lines or abstract spots of color has become more characteristic of my work. In the sketches I keep the principle of collage combined with freehand drawing.” We are fascinated by the evolution of her work!

Next up, we have the work of brilliant UK artist, Sue Lawty. Lawty can is recognized internationally for her meticulous exploration of the mediums she works with. More in particular, her stone drawings and weavings of lead, and of linen, like the piece you see here.

She has previously charted the journey of her understated and abstract works – stating that they are strongly influenced by a comprehensive engagement with remote landscape, geology and the passage of time. Her work is rooted in the emotional, spiritual, and physical engagement with land through construction and repetitive structure, and she has been be featured in exhibitions all around the world because of it.

Things got even more interesting in January with the introduction to Japanese textile and sculpture artist, Naomi Kobayashi. Kobayashi has been making strides in contemporary art for over 50 years. Along the way in her later years as a creator, she stated that she began to strive for pieces that have an airy feeling and incorporate air/wind within them. She said she strives for pieces that are so ephemeral, they feel as if they might disappear at any moment.

Her pieces are often carefully crafted from weavings of thread and strips of washi paper on which she has written calligraphy. Together, these pieces form to create installations that speak of cycles of life, regeneration and death.

January included art by accomplished American fiber artist, Lia Cook. Cook is a California-based artist who has been recognized for her science-inspired art and her works created out of a fascination with nature. Cook has said that her garden is a continual source of renewal for her. In fact, Ferni Fronds Trip and Boophone Twin re-envision aspects of her early work with images of current plant fibers from her garden.

Cook’s practice explores the sensuality of the woven image and often, the emotional connections to memories of touch and cloth. Long recognized as an innovator, Cook’s work has been featured in dozens of group and solo exhibitions worldwide, and we’re honored that bgas’ are among them.

Last, but certainly not least, we featured the work of German artist, Heidrun Schimmel. Schimmel consistently impresses us with her detailed, hand-stitched artwork. Her ideas often stem from the soft, unstable and flexible qualities of the textile materials she works with.

When creating, Schimmel has stated that she aims to illustrate the connections between thread and time and thread and humanity, as they are interwoven into human existence.

Time and time again, we are amazed by the brilliant artists we have the opportunity to work with. We are excited for all that’s to come throughout the year of 2023. Keep following along to see what we have in store along the way!

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This German artist, Heidrun Schimmel, consistently impresses us with her detailed, handstitched artwork. Her ideas often stem from the soft, unstable and flexible qualities of the textile materials she works with. For the realization of her ideas, she stitches white cotton thread by hand onto transparent silk; which she has noted to be the simplest material and simplest technique: the stitch.

When asked about her process, Schimmel stated:

“Stitching by hand exclusively, I take my ideas from specific qualities of the thread and the stitching process. Behind the Lines of Thread shows the so-called “left side” of the thread lines. The tensions between these thread lines protect the “right side,” which the viewer cannot see. Each piece has its own individual shape and at the same time it enters into a relationship with all the other parts. “

Up next, we have the innovative work of UK textile artist, Caroline Bartlett. With textiles at the core of her practice, Bartlett’s artwork is often created in reference to historical, social and cultural associations. Bartlett’s practice is driven by questions – for example around the tensions between personal recollection and the public ways of remembrance and the potential of materials and objects to trigger recollection and association.

“As age and experience expand, I find myself more aware of how I work,” said Caroline Bartlett. “I continue to actively need fresh challenges while knowing and recognizing limitations of self and the art world in general. Again the push/pull. No room for complacency.”

What a profound lens into her creative practice!

Tacitum II was created by acclaimed artist, Sue Lawty. Lawty is an England-based artist who is widely known for her meticulous exploration of the mediums she works with.

She has charted the journey of her understated and abstract works – stating that they are strongly influenced by a comprehensive engagement with remote landscape, geology and the passage of time.

Lawty’s work is rooted in the emotional, spiritual, and physical engagement with land through construction and repetitive structure, and the inspired creation behind her pieces shows!

This next piece holds a special place in our hearts as it comes from the late Zofia Butrymowicz. Butrymowicz has been recognized globally for her innovative works in the ‘60s and ‘70s – often using thread she spun herself in Poland during the post-war period when supplies were in a great shortage.

This work is made from wool sourced from Canadian artist, Mariette Rousseau-Vermette. Back in 1969, Butrymowicz visited Canadian weaver, Mariette Rousseau-Vermette and her husband, painter and ceramicist, Claude Vermette, outside Montreal where the couple lived and worked. Zofia stayed with the Vermettes for several months, using Mariette’s looms to create tapestries that were displayed with Claude’s ceramics at a local gallery.

To create this piece, Zofia “painted” the weavings made from Canadian wool with colors and shadings of yarns, including only a shimmering suggestion of a shape, often a circle, as she had done in other tapestries, but the glisten and sumptuousness of the yarn from Rousseau-Vermette used in this particular piece sets it apart from her other works.

Last, but not least, we highlighte the work of Włodzimierz Cygan. Cygan is known globally for his textile innovations. Growing up, Cygan lived in a city in Poland called Łódź, which has very strong textile traditions that inspired him to create the works of art you see today.

“When trying to determine why the means of artistic expression in tapestry was becoming archaic,” said Cygan, “I realized that one of the reasons might have to do with the custom of treating the threads of the weft as the chief medium of the visual message. . . . These observations led me to wonder how the artistic language of textiles might benefit from a warp whose strands would not be parallel and flat but convergent, curved or three dimensional ….”

As a result of these explorations, in some of Cygan’s works, the warp changes direction, enabling the weaving of circles or arcs.

We hope you enjoyed learning about these prominent contemporary artist.s If you like what we have highlighted this month, keep your eye out for more – we keep them coming every week.

In the meantime, mark your calendar for our upcoming Art in the Barn event, Allies for Art: Work from NATO-related countries (October 8-16, 2022), it’s an event you won’t want to miss! Click here for more information and to reserve your spot.

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