This is the animating premise of Transformations: dialogues in art and material which opens this Saturday, May 9th at browngrotta arts. The exhibition that asks a deceptively simple question: what happens when artists stop treating materials as additives and start treating them as collaborators? The answer, it turns out, is profound.

Material Is Not Neutral
We tend to think of materials as passive — the stuff through which ideas pass on their way to becoming art. The artists in Transformations challenge that assumption at every turn. In the contemporary art context, materiality isn’t just about physical substance. It encompasses everything a material carries with it: weight, surface, history, cultural memory, expressive charge. A piece of linen isn’t just woven thread. It’s centuries of labor, landscape, and touch.

System and Surprise
Transformations proves that the range of works that a simple material can inspire is nearly endless. Carol Shaw-Sutton, Chiyoko Tanaka, Sara Brennan, Mary Giles, Merja Keskinen, and Jane Sauer all work with Linen. In Shaw-Sutton’s hands the material becomes a molded vessel. Under Chiyoko Tanaka’s ministrations, woven linen fabric is returned to its essential threads, transformed into an artifact. For Sara Brennan, woven linen serves as a canvas. From a distance, her works appear to be abstract paintings. A close up view reveals a textured weaving using dozens of shades. For Jane Sauer and Mary Giles, linen is a sculptural medium.

Material as More
Metal is a canopied category in Transformations. Artists consider it as thread— from gold filaments, to lead extrusions, to bent wire of copper and brass. Kyoko Kumai’s spun steel threads float. Gyöngy Laky turns nails and wire into an artful assemblage. Sue Lawty weaves with bast fibers — raffia, hemp, nettle, linen — and elemental lead, and assembles carefully ordered stones drawn from beaches and riverbeds. She pursues qualities inherently given by the chosen substance, seeking “an understated restraint, balance, tension, rhythm: an essential stillness.”

Same Input, Different Outcome
Toshiko Takaezu and Yasuhisa Kohyama both devoted their lives to clay, but their practices reveal just how vast the distance can be within a single medium. Takaezu’s closed ceramic forms — rounded, glazed, often containing a small stone or rattle sealed inside — are intimate and quietly mysterious, their surfaces richly colored and their shapes suggesting the human body. There is a sense of the maker’s hand coaxing something from the earth. Kohyama, by contrast, surrenders control to the fire itself. He builds by hand and fires with wood, never applying glaze; color and surface are entirely the product of ash movement and the object’s position within the kiln. Where Takaezu brings clay close — shaping it into vessels that hold secrets — Kohyama sends it into an elemental process and receives back something ancient and unpredictable.

What These Works Carry
What unites the artists in Transformations isn’t a shared aesthetic or a shared geography. It’s a shared conviction: that choosing a material is a serious act, that working with it is as meaningful as the finished object, and that what results carries something more than form.

It carries thought. History. Culture. The trace of a hand that knew exactly what it was doing — and trusted the material to meet it halfway.

Join us at Transformations: dialogues in art and material (May 9-17) at browngrotta arts in Wilton, CT. Or order the 164-page catalog from browngrotta.com.

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