Art by Medium: Dye

Interested in communicating ideas of history, place and nature in her painting practice, Jennifer Wolf utilizes natural dyes and minerals to feature a historically significant palett...

The Street, West Palm Beach, 2014 - Florida Palm Beach Evening Sunset Photograph by Rachel Louise Brown "The Street, West Palm Beach, 2014" is a Dye Sublimation Print on Aluminium. ...

IT COMES WHILE SLEEPING 2018 An abstract, ominous, deep red shape hangs over handwritten, disconnected verbiage, in a mix of French and English, with a series of numbers and dates. ...

"Lacuna 2", 2024, Paris, France This artwork, created with India ink on antique cotton, evokes a visceral play between texture, pattern, and absence. Titled "Lacuna", the piece is a...

The work "Womanliness" is an exquisite and multilayered reflection on the nature of femininity, embodied in the painted (cold) batik technique on 100% silk. The canvas is stretched o...

Seeking to evolve the way in which she collaborates with nature, Jennifer Wolf’s most recent series of works combine her signature flow process with innovative new layers of painterl...

"Ice Cream Stand. Stuart. 2015." is a Dye Sublimation Print on Aluminium. This print is available from an Edition of 10 + 2 Artist Proofs. Brown complete...

Interested in communicating ideas of history, place and nature in her painting practice, Jennifer Wolf utilizes natural dyes and minerals to feature a historically significant palett...

Interested in communicating ideas of history, place and nature in her painting practice, Jennifer Wolf utilizes natural dyes and minerals to feature a historically significant palett...

PHYLUM FOUR 2024 Paris, France This painting features intriguing, intersecting folds, evoking shapes that are both floral and insect-like. The organic shadows suggest subtle relatio...

Interested in communicating ideas of history, place and nature in her painting practice, Jennifer Wolf utilizes natural dyes and minerals to feature a historically significant palett...

Seeking to evolve the way in which she collaborates with nature, Jennifer Wolf’s most recent series of works combine her signature flow process with innovative new layers of painterl...

"Lacuna 1", 2024, Paris, France This artwork, created with India ink on antique cotton, evokes a visceral play between texture, pattern, and absence. Titled "Lacuna", the piece is a...

Interested in communicating ideas of history, place and nature in her painting practice, Jennifer Wolf utilizes natural dyes and minerals to feature a historically significant palett...

Dye Sublimation Print Surfboard, Edition 5 of 5 + 2 Artist Prints

Dye Sublimation Print Surfboard, Edition 5 of 5 + 2 Artist Prints

This artwork was awarded and Pre-select by Bite , the exhibition, London 2012 , at The Mall Galleries, at the centre of London's famous The Mall, an iconic Avenue, in front of Buckin...

"Sargasso" hand-carved wooden New Brutalism wall sculpture by Hudson Valley artist, Stephen Walling, made in 2013 36 x 40 x 2.5 inches Carved wood and ac...

Jennifer Wolf, Spring Theory, 2015, natural dyes, mordants, acrylic medium on canvas over panel, 48" x 96", $18,500

Opaque and transparent colors work together in this beautiful Monotype painting by David Stephens (American, 20th century). Soft arcs of ochre, violet, and blue move across the surfa...

"Carnival of Creeps, Fright Nights. West Palm Beach. 2017" is a Dye Sublimation Print on Aluminium. This print is available from an Edition of 10 + 2 Artist ...

The Dorians played a significant role in the development of the Greek city-states during the Bronze Age -- and Doves are widely recognized as symbols of peace, primarily in the story...

"Day Remains I", 2023, Paris, France Rich painting of blue dye, deep red and yellow ochre oil paint, on natural, antique cotton. Consider pairing with its counterpart "Day Remains I...

Jennifer Wolf, Time Place Continuum, 2015, Natural Dyes,Mordants, Acrylic Medium on Canvas over Panel, 48" x 96", $18,500

OVERTURES LIKE THAT 2024 Paris, France This painting portrays a mysterious pattern. The almost living floral shapes and organic shadows allude to both beauty and danger in an abstr...

OF CERULEAN 2024 Paris, France Named after a specific shade of blue, this painting portrays an abstracted, organic floral pattern. The floral shapes and shadows allude to both beau...

Patricia Miranda's work includes interdisciplinary installation, textile, paper and books. The textiles incorporated in these new pieces are vintage linens from her Italian and Irish grandmothers and sourced from friends and strangers around the country. Each donation is documented and integrated into the work. Textile as a form that wraps the body from cradle to grave. The role of lacemaking in the lives of women both economically and historically is packed with metaphorical potential. The relationship of craft and women’s work (re)appropriated by artists today to environmental and social issues is integral to the artist's research. Her work is process oriented; materials are submerged in natural dyes from oak gall wasp nests, cochineal insects, turmeric, indigo, and clay. She forages for raw materials, cook dyes, grind pigments, ecofeminist actions that consider environmental impacts of objects. The process is left visible as dyestuff is unfiltered in the vat and finished work. Sewn into larger works, Miranda incorporates hair, pearls, bone beads, Milagros, cast plaster. The distinct genetics and environmental and cultural history of each material asserts its voice as collaborator rather than medium. The lace inserts a visceral femininity into the pristine gallery, and exerts a ghostly trace of the history of domestic labor. The combination of earth and lace references human and environmental devastation and the conflation of nature and women’s bodies as justifications for exploitation. Mournful and solastalgic, they are lamentations to the violence against women and the earth. Patricia Miranda is an interdisciplinary artist, curator, educator, and founder of The Crit Lab, graduate-level critique seminars and Residency for artists, and MAPSpace project space. She has been Visiting Artist at Vermont Studio Center, the Heckscher Museum, and University of Utah; and been awarded residencies at I-Park, Weir Farm, Vermont Studio Center, and Julio Valdez Printmaking Studio. She received an Anonymous Was a Woman Covid19 Artist Relief Grant, an artist grant from ArtsWestchester/New York State Council on the Arts, and was part of a year-long NEA grant working with homeless youth. Miranda currently teaches graduate curatorial studies at Western Colorado University, and develops programs for K-12, museums, and institutions such as Franklin Furnace. Her work has been exhibited at ODETTA, NYC; ABC No Rio, NYC; Alexey von...

A rhythm exists here on the farm, beginning with the sunrise and the sounds of nature awakening. My art is a reaction to this sense of place. Whether I’m in the studio, tending to th...

Interested in communicating ideas of history, place and nature in her painting practice, Jennifer Wolf utilizes natural dyes and minerals to feature a historically significant palett...

VESUVIUS 2022 PARIS, FRANCE Graphically textural, yet bold, this abstract piece comes framed, and offers a neutral color palette. Inspired by the eruption of Mount Vesuvius in 79 AD...

"Villa of Diomedes" is an enchanting painting that weaves a captivating tale through its blue-green, white, and sienna accents. The artist skillfully employs a mix of pigments, dyes,...

Polly Apfelbaum Color Circle and Star, 2004 Fabric Marker and Fabric Dye on Velvet Cotton Signed and dated in ink by the artist on the front with artist's inkstamp. Frame Included Si...

Resin cast geodes in cracked marble in a wooden frame by Paige Smith. This piece measures 18in x 18in, with a depth of 1-5/8in. Paige Smith AKA A Common Name, is a multi-disciplinary artist and designer who lives and works in Los Angeles, CA. Smith is most notable for creating “Urban Geode,” a street art series of sculptures that resemble geodes, made entirely of paper and resin casts. Always interested in geology, Smith started to notice the nooks and crannies in the sides of buildings, walls, and abandoned phone booths within her community of the Historical Arts District (in Los Angeles). Seeing this as an opportunity to create, Smith took street-art to a whole new level. Since beginning the project, she has created large-scale installations for well-known brands such as The Standard, Hollywood; The Viper Room...

Interested in communicating ideas of history, place and nature in her painting practice, Jennifer Wolf utilizes natural dyes and minerals to feature a historically significant palett...

Medium: Charred and dyed basswood As an artist I strive to create elegant sculptures that capture the true essence of the subject matter. Form, line and surface are used as the visu...

Lila de Magalhaes (Brazilian, b. 1986), "I Love My Garden and My Garden Hates Me", Mixed Media Dyed Fabric, 2022, signed, titled, and dated verso, unframed. 59" H x 48" W x 1" D. P...

"The Carousel. Palm Beach Zoo. West Palm Beach. 2015" is a Dye Sublimation Print on Aluminium. This print is available from an Edition of 10 + 2 Artist Pro...

Sohan Qadri Vana, 2007 Ink and dye on paper 39 x 27 inches 99.1 x 68.6 cm The late artist, poet and Tantric guru Sohan Qadri was one of the few modern painters of note deeply engage...

Patricia Miranda's work includes interdisciplinary installation, textile, paper and books. The textiles incorporated in these new pieces are vintage linens from her Italian and Irish grandmothers and sourced from friends and strangers around the country. Each donation is documented and integrated into the work. Textile as a form that wraps the body from cradle to grave. The role of lacemaking in the lives of women both economically and historically is packed with metaphorical potential. The relationship of craft and women’s work (re)appropriated by artists today to environmental and social issues is integral to the artist's research. Her work is process oriented; materials are submerged in natural dyes from oak gall wasp nests, cochineal insects, turmeric, indigo, and clay. She forages for raw materials, cook dyes, grind pigments, ecofeminist actions that consider environmental impacts of objects. The process is left visible as dyestuff is unfiltered in the vat and finished work. Sewn into larger works, Miranda incorporates hair, pearls, bone beads, Milagros, cast plaster. The distinct genetics and environmental and cultural history of each material asserts its voice as collaborator rather than medium. The lace inserts a visceral femininity into the pristine gallery, and exerts a ghostly trace of the history of domestic labor. The combination of earth and lace references human and environmental devastation and the conflation of nature and women’s bodies as justifications for exploitation. Mournful and solastalgic, they are lamentations to the violence against women and the earth. Patricia Miranda is an interdisciplinary artist, curator, educator, and founder of The Crit Lab, graduate-level critique seminars and Residency for artists, and MAPSpace project space. She has been Visiting Artist at Vermont Studio Center, the Heckscher Museum, and University of Utah; and been awarded residencies at I-Park, Weir Farm, Vermont Studio Center, and Julio Valdez Printmaking Studio. She received an Anonymous Was a Woman Covid19 Artist Relief Grant, an artist grant from ArtsWestchester/New York State Council on the Arts, and was part of a year-long NEA grant working with homeless youth. Miranda currently teaches graduate curatorial studies at Western Colorado University, and develops programs for K-12, museums, and institutions such as Franklin Furnace. Her work has been exhibited at ODETTA, NYC; ABC No Rio, NYC; Alexey von...

"Arch Points" - Abstract Expressionist Indigo on Acrylic Resin Sculptural San Francisco abstract expressionist (American, 20th c.). Signed indistinctly lower right. Indigo dye and ...

Ashton Howard Dye Sublimation “sunset sky”. In good condition measures 35x29

The work "Hummingbird and Hibiscus" was made on atlas. Cold batik. “Thin brush” or “graceful drawing” technique. "...When the heat of the day has already subsided, you can enjoy the...

Eye Above III, 2021, embroidery and crystals on hand dyed canvas, eye, yellow, blue, red, and orange. Hand signed by artist Certificate of Authenticity in...

dye, colored pencil & gouache on paper

Jean-Marie Guyaux’s artworks are unique for their blend of digital capture and non-photographic software. In the “Redux” series, he reinterprets classic masterpieces, projecting thes...

dye on paper

Without Name, Mid-Century Abstract Woven Tapestry, Textile Wall Sculpture, Hand dyed wool, 52" x 38" (1973) by Czech textile artist, Jan Jladik...

Abstract Handmade Hanji paper. artists signed and dated lower right corner. The Yuns have created, in their works, a unique alchemy of ancient Asian techniques and more modern Wester...

Patricia Miranda's work includes interdisciplinary installation, textile, paper and books. The textiles incorporated in these new pieces are vintage linens from her Italian and Irish grandmothers and sourced from friends and strangers around the country. Each donation is documented and integrated into the work. Textile as a form that wraps the body from cradle to grave. The role of lacemaking in the lives of women both economically and historically is packed with metaphorical potential. The relationship of craft and women’s work (re)appropriated by artists today to environmental and social issues is integral to the artist's research. Her work is process oriented; materials are submerged in natural dyes from oak gall wasp nests, cochineal insects, turmeric, indigo, and clay. She forages for raw materials, cook dyes, grind pigments, ecofeminist actions that consider environmental impacts of objects. The process is left visible as dyestuff is unfiltered in the vat and finished work. Sewn into larger works, Miranda incorporates hair, pearls, bone beads, Milagros, cast plaster. The distinct genetics and environmental and cultural history of each material asserts its voice as collaborator rather than medium. The lace inserts a visceral femininity into the pristine gallery, and exerts a ghostly trace of the history of domestic labor. The combination of earth and lace references human and environmental devastation and the conflation of nature and women’s bodies as justifications for exploitation. Mournful and solastalgic, they are lamentations to the violence against women and the earth. Patricia Miranda is an interdisciplinary artist, curator, educator, and founder of The Crit Lab, graduate-level critique seminars and Residency for artists, and MAPSpace project space. She has been Visiting Artist at Vermont Studio Center, the Heckscher Museum, and University of Utah; and been awarded residencies at I-Park, Weir Farm, Vermont Studio Center, and Julio Valdez Printmaking Studio. She received an Anonymous Was a Woman Covid19 Artist Relief Grant, an artist grant from ArtsWestchester/New York State Council on the Arts, and was part of a year-long NEA grant working with homeless youth. Miranda currently teaches graduate curatorial studies at Western Colorado University, and develops programs for K-12, museums, and institutions such as Franklin Furnace. Her work has been exhibited at ODETTA, NYC; ABC No Rio, NYC; Alexey von...

Blanche Lazzell Halloween, circa 1920-22 Batik 15 1/2 x 9 inches Provenance: The artist James & Janet Reed (gifted from the above) John Cuthbert, Morgantown, West Virginia Born ne...

A rhythm exists here on the farm, beginning with the sunrise and the sounds of nature awakening. My art is a reaction to this sense of place. Whether I’m in the studio, tending to th...

Patricia Miranda's work includes interdisciplinary installation, textile, paper and books. The textiles incorporated in these new pieces are vintage linens from her Italian and Irish grandmothers and sourced from friends and strangers around the country. Each donation is documented and integrated into the work. Textile as a form that wraps the body from cradle to grave. The role of lacemaking in the lives of women both economically and historically is packed with metaphorical potential. The relationship of craft and women’s work (re)appropriated by artists today to environmental and social issues is integral to the artist's research. Her work is process oriented; materials are submerged in natural dyes from oak gall wasp nests, cochineal insects, turmeric, indigo, and clay. She forages for raw materials, cook dyes, grind pigments, ecofeminist actions that consider environmental impacts of objects. The process is left visible as dyestuff is unfiltered in the vat and finished work. Sewn into larger works, Miranda incorporates hair, pearls, bone beads, Milagros, cast plaster. The distinct genetics and environmental and cultural history of each material asserts its voice as collaborator rather than medium. The lace inserts a visceral femininity into the pristine gallery, and exerts a ghostly trace of the history of domestic labor. The combination of earth and lace references human and environmental devastation and the conflation of nature and women’s bodies as justifications for exploitation. Mournful and solastalgic, they are lamentations to the violence against women and the earth. Patricia Miranda is an interdisciplinary artist, curator, educator, and founder of The Crit Lab, graduate-level critique seminars and Residency for artists, and MAPSpace project space. She has been Visiting Artist at Vermont Studio Center, the Heckscher Museum, and University of Utah; and been awarded residencies at I-Park, Weir Farm, Vermont Studio Center, and Julio Valdez Printmaking Studio. She received an Anonymous Was a Woman Covid19 Artist Relief Grant, an artist grant from ArtsWestchester/New York State Council on the Arts, and was part of a year-long NEA grant working with homeless youth. Miranda currently teaches graduate curatorial studies at Western Colorado University, and develops programs for K-12, museums, and institutions such as Franklin Furnace. Her work has been exhibited at ODETTA, NYC; ABC No Rio, NYC; Alexey von...

Patricia Miranda's work includes interdisciplinary installation, textile, paper and books. The textiles incorporated in these new pieces are vintage linens from her Italian and Irish grandmothers and sourced from friends and strangers around the country. Each donation is documented and integrated into the work. Textile as a form that wraps the body from cradle to grave. The role of lacemaking in the lives of women both economically and historically is packed with metaphorical potential. The relationship of craft and women’s work (re)appropriated by artists today to environmental and social issues is integral to the artist's research. Her work is process oriented; materials are submerged in natural dyes from oak gall wasp nests, cochineal insects, turmeric, indigo, and clay. She forages for raw materials, cook dyes, grind pigments, ecofeminist actions that consider environmental impacts of objects. The process is left visible as dyestuff is unfiltered in the vat and finished work. Sewn into larger works, Miranda incorporates hair, pearls, bone beads, Milagros, cast plaster. The distinct genetics and environmental and cultural history of each material asserts its voice as collaborator rather than medium. The lace inserts a visceral femininity into the pristine gallery, and exerts a ghostly trace of the history of domestic labor. The combination of earth and lace references human and environmental devastation and the conflation of nature and women’s bodies as justifications for exploitation. Mournful and solastalgic, they are lamentations to the violence against women and the earth. Patricia Miranda is an interdisciplinary artist, curator, educator, and founder of The Crit Lab, graduate-level critique seminars and Residency for artists, and MAPSpace project space. She has been Visiting Artist at Vermont Studio Center, the Heckscher Museum, and University of Utah; and been awarded residencies at I-Park, Weir Farm, Vermont Studio Center, and Julio Valdez Printmaking Studio. She received an Anonymous Was a Woman Covid19 Artist Relief Grant, an artist grant from ArtsWestchester/New York State Council on the Arts, and was part of a year-long NEA grant working with homeless youth. Miranda currently teaches graduate curatorial studies at Western Colorado University, and develops programs for K-12, museums, and institutions such as Franklin Furnace. Her work has been exhibited at ODETTA, NYC; ABC No Rio, NYC; Alexey von...

A rhythm exists here on the farm, beginning with the sunrise and the sounds of nature awakening. My art is a reaction to this sense of place. Whether I’m in the studio, tending to th...

Wonderful vertical abstracted batik, a painting on fabric, of a beautiful rubber tree in yellow, green, & blue by Leventhal (American, 20th Century), circa 1990s. Signed lower left. ...

A rhythm exists here on the farm, beginning with the sunrise and the sounds of nature awakening. My art is a reaction to this sense of place. Whether I’m in the studio, tending to th...

Patricia Miranda's work includes interdisciplinary installation, textile, paper and books. The textiles incorporated in these new pieces are vintage linens from her Italian and Irish grandmothers and sourced from friends and strangers around the country. Each donation is documented and integrated into the work. Textile as a form that wraps the body from cradle to grave. The role of lacemaking in the lives of women both economically and historically is packed with metaphorical potential. The relationship of craft and women’s work (re)appropriated by artists today to environmental and social issues is integral to the artist's research. Her work is process oriented; materials are submerged in natural dyes from oak gall wasp nests, cochineal insects, turmeric, indigo, and clay. She forages for raw materials, cook dyes, grind pigments, ecofeminist actions that consider environmental impacts of objects. The process is left visible as dyestuff is unfiltered in the vat and finished work. Sewn into larger works, Miranda incorporates hair, pearls, bone beads, Milagros, cast plaster. The distinct genetics and environmental and cultural history of each material asserts its voice as collaborator rather than medium. The lace inserts a visceral femininity into the pristine gallery, and exerts a ghostly trace of the history of domestic labor. The combination of earth and lace references human and environmental devastation and the conflation of nature and women’s bodies as justifications for exploitation. Mournful and solastalgic, they are lamentations to the violence against women and the earth. Patricia Miranda is an interdisciplinary artist, curator, educator, and founder of The Crit Lab, graduate-level critique seminars and Residency for artists, and MAPSpace project space. She has been Visiting Artist at Vermont Studio Center, the Heckscher Museum, and University of Utah; and been awarded residencies at I-Park, Weir Farm, Vermont Studio Center, and Julio Valdez Printmaking Studio. She received an Anonymous Was a Woman Covid19 Artist Relief Grant, an artist grant from ArtsWestchester/New York State Council on the Arts, and was part of a year-long NEA grant working with homeless youth. Miranda currently teaches graduate curatorial studies at Western Colorado University, and develops programs for K-12, museums, and institutions such as Franklin Furnace. Her work has been exhibited at ODETTA, NYC; ABC No Rio, NYC; Alexey von...

A rhythm exists here on the farm, beginning with the sunrise and the sounds of nature awakening. My art is a reaction to this sense of place. Whether I’m in the studio, tending to th...

A rhythm exists here on the farm, beginning with the sunrise and the sounds of nature awakening. My art is a reaction to this sense of place. Whether I’m in the studio, tending to th...

"Red Rabbit Wreath" By Johanna Mueller is a unique and detailed piece which depicts a jumping desert rabbit, surrounded by iconography of the plains desert, structured in a Native Am...