Stacey Lee Webber

Hamilton Punks

2023

Stacey Lee Webber Purple Fire 7.25” x 3.75” acrylic case size hand stitched US twenty dollar bill 2023

Stacey Lee Webber Grant Robber 7.25” x 3.75” acrylic case size hand stitched US fifty dollar bill 2023

Stacey Lee Webber Lincoln Star Robber 7.25” x 3.75” acrylic case size hand stitched US twenty dollar bill 2023

Stacey Lee Webber Hamilton Hospital 15.75” x 17.5” Framed hand stitched uncut US paper currency, 2x4 sheet of ten dollar bills, signed on front 2023

Stacey Lee Webber The Costume Party: Sejeng the Great 11.5" x 9" x 1.75" Hand stitched cotton thread into Korean 10,000 won 2020

Stacey Lee Webber The Costume Party; Hideyo Dracula 11.5" x 9" x 1.75" Framed Hand stitched Japanese 1,000 yen 2020

India ink, arches watercolor paper, embroidery thread, foam core

Nessim Bassan: The Unimaginable Worlds of Perfection showcases the artist’s engagement with kinetic art, as his preoccupation with geometric abstraction enacted through mixed media. ...

Nessim Bassan: The Unimaginable Worlds of Perfection showcases the artist’s engagement with kinetic art, as his preoccupation with geometric abstraction enacted through mixed media. ...

Untitled (Collage I), 2013 Black slip, porcelain, grog, oil pastel, graphite, cotton gauze and cotton thread on paper

"Sisters #4", 2019 by Valerie Hammond 72 x 35 inches unframed Pigment, Color Pencil, Wax, Glass Beads, and thread on Japanese Rice Paper Coated with Beeswax Vertical, indigo panels ...

"Sisters #2", 2019 by Valerie Hammond 73 x 34.5 inches unframed Pigment, Color Pencil, Wax, Glass Beads, and thread on Japanese Rice Paper Coated with Beeswax Vertical, indigo panels that are unframed, can be installed with magnets, but framing is recommended. In Valerie Hammond’s series of wax drawings, protection is two-fold: the artist (previously) encases dried flowers and ferns in a thin layer of wax, preserving their fragile tissues long after they’ve been plucked from the ground. In outlining a pair of hands, she also secures a memory, or rather, “the essence of a gesture and the fleeting moment in which it was made.” Centered on limbs lying flat on Japanese paper, the ongoing series dates back to the 1990s, when Hammond made the first tracing “partly in response to the death of a dear friend, whose beautiful hands I often found myself remembering.” She continued by working with family and friends, mainly women and children, to delineate their wrists, palms, and fingers. Today, the series features dozens of works that are comprised of either hands tethered to the dried botanics, which sprout outward in wispy tendrils, or others over layed with thread and glass beads. Although the delicate pieces began as a simple trace, Hammond shares that she soon began to overlay the original drawing with pressed florals, creating encaustic assemblages that “echoed the body’s bones, veins, and circulatory systems.” She continued to experiment with the series by introducing various techniques, including printmaking, Xerox transfers, and finally Photoshop inversions, that distorted the original rendering...