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Medium: Dye
Piquant: Abstract Geometric 3D Wooden Wall Sculpture in Red, Pink, Peach, Maroon
Located in Hudson, NY
Abstract geometric three-dimensional wood wall sculpture in bright hues of red, peach, pink, maroon, white and beige
Piquant, hand-carved wooden wall sculpture by Hudson Valley artis...
Category
2010s Abstract Geometric Dye Abstract Sculptures
Materials
Wood, Dye, Acrylic, Wood Panel
Turnabout: Abstract Geometric 3D Wooden Wall Sculpture in Green, Grey & Beige
Located in Hudson, NY
Abstract geometric three-dimensional wood wall sculpture in bright pastel hues of sage green, light grey, and beige
"Turnabout", hand-carved wooden wall sculpture by Hudson Valley ar...
Category
2010s Abstract Geometric Dye Abstract Sculptures
Materials
Wood, Dye, Acrylic, Wood Panel
"Orion's Belt, " Abstract Steel Sculpture
Located in Westport, CT
This abstract sculpture by Joe Sorge is made with steel and black dye. A single strip of steel curves up from a circular base like a ribbon, curling at the top twice around. The sculpture casts intricate and unique shadows on its surrounding environment. The white pedestal pictured is not included.
Connecticut-based sculptor Joe Sorge studied at the School of Visual Art (SVA) in New York City. While Joe's body of work is most often made with stainless steel which he sometimes dyes to give the forms bold, solid colors, he also experiments with stone carving, genesa crystals, tiger eye alabaster and others. He works with a variety of colors, finishes, and textures, to create the final piece.
Joe's sculptures express the fluidity and tension inherent in the material he uses. His work draws on a modernist vocabulary to create abstract, often whimsical objects...
Category
2010s Contemporary Dye Abstract Sculptures
Materials
Steel
Joel Urruty - Balta, Sculpture 2020
By Joel Urruty
Located in Greenwich, CT
Mahogany, dye, lacquer, concrete
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 visua...
Category
2010s Contemporary Dye Abstract Sculptures
Materials
Wood, Lacquer, Dye, Pigment
Sargasso ( Abstract New Brutalism 3D Wooden Wall Sculpture in Blues and Greens)
Located in Hudson, NY
"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...
Category
2010s Abstract Geometric Dye Abstract Sculptures
Materials
Wood, Dye, Acrylic, Wood Panel
Hip, Hip, Hooray! (Memphis Style Multicolored 3D Wooden Wall Sculpture, Square)
Located in Hudson, NY
"Hip, Hip, Hooray!", hand-carved wooden wall sculpture by Hudson Valley artist, Stephen Walling, made in 2019
24 x 24 x 2.5 inches
Carved wood and acrylic paint on panel
Signed, ver...
Category
2010s Abstract Geometric Dye Abstract Sculptures
Materials
Wood, Dye, Acrylic, Wood Panel
Shore of the Huang He (New Brutalism 3D Abstract Wooden Wall Sculpture)
Located in Hudson, NY
"Shore of the Huan He" hand-carved wooden wall sculpture by Hudson Valley artist, Stephen Walling, made in 2014
24 x 36 x 2 inches
Carved wood and acrylic paint on panel
Signed, ver...
Category
2010s Abstract Geometric Dye Abstract Sculptures
Materials
Wood, Dye, Acrylic, Wood Panel
"Light as a Feather, " Abstract Steel Sculpture
Located in Westport, CT
This abstract sculpture by Joe Sorge is made with steel with orange dye and wax. A single strip of steel extends upward from a base, and twists and spirals in a curled ribbon shape. ...
Category
2010s Contemporary Dye Abstract Sculptures
Materials
Steel
Joel Urruty - Gathering, Sculpture 2024
By Joel Urruty
Located in Greenwich, CT
Medium: Poplar, concrete, dye
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 visual l...
Category
2010s Contemporary Dye Abstract Sculptures
Materials
Concrete
Joel Urruty - Traveler, Sculpture 2024
By Joel Urruty
Located in Greenwich, CT
Medium: Dyed and Lacquered 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 vi...
Category
2010s Contemporary Dye Abstract Sculptures
Materials
Wood, Lacquer, Dye
Joel Urruty - Gwen, Sculpture 2024
By Joel Urruty
Located in Greenwich, CT
Medium: Dyedwood
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 visual language. The ...
Category
2010s Contemporary Dye Abstract Sculptures
Materials
Wood, Dye
Joel Urruty - Pod, Sculpture 2024
By Joel Urruty
Located in Greenwich, CT
Medium: dyed wood
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 visual language. The...
Category
2010s Contemporary Dye Abstract Sculptures
Materials
Wood, Dye
Thin Green Horizon, Contemporary Geometric Tapestry by Gudrun Pagter
Located in Wilton, CT
Thin Green Horizon, sisal, linen and flax, 45.5” x 55.5”, 2017.
Gudrun Pagter is a Denmark-based artist that is known for creating exquisite woven tapestries. Pagter creates strong...
Category
2010s Abstract Geometric Dye Abstract Sculptures
Materials
Fabric, Textile, Tapestry, Linen, Thread, Dye
"Framed & Draped: Material Collection" Lia Cook, Contemporary Wall Textile
By Lia Cook
Located in Wilton, CT
"Framed and Draped: Material Collection", acrylic on abaca, dyes on rayon; woven, 63" x 38", 1989.
This contemporary abstract mixed media tapestry was done by California-based Ameri...
Category
1980s Abstract Geometric Dye Abstract Sculptures
Materials
Fabric, Tapestry, Thread, Dye, Mixed Media, Acrylic
Without Name, Mid-Century Abstract Woven Tapestry, Textile Wall Sculpture
By Jan Hladik
Located in Wilton, CT
Without Name, Mid-Century Abstract Woven Tapestry, Textile Wall Sculpture, Hand dyed wool, 52" x 38" (1973) by Czech textile artist, Jan Jladik...
Category
1970s Abstract Dye Abstract Sculptures
Materials
Fabric, Textile, Tapestry, Wool, Dye
Wings, Mid-Century Abstract Woven Tapestry, Blue Textile Wall Sculpture
By Jan Hladik
Located in Wilton, CT
Wings, Mid-Century Abstract Woven Tapestry, Blue Textile Wall Sculpture, Hand dyed wool hand dyed wool, 73" x 58", (1973) by Czech textile artist, Jan Hladik...
Category
Mid-20th Century Abstract Dye Abstract Sculptures
Materials
Fabric, Textile, Tapestry, Wool, Dye
Over & About: Abstract Geometric Wood Wall Sculpture in Grey, Light Blue, Beige
Located in Hudson, NY
Abstract geometric three-dimensional wood wall sculpture in pale grey, light blue, light taupe, and beige, with accents of stormy blue
"In, Out, Over, and About", hand-carved woode...
Category
2010s Abstract Geometric Dye Abstract Sculptures
Materials
Wood, Dye, Acrylic, Wood Panel
Textile Sculpture on Steel frame: 'Turtle Dickey'
Located in New York, NY
Judy Rushin-Knopf (1959) was born in Dallas Texas and lives in Tallahasee, FL. Her work addresses bodies, access, and connection. She has exhibited her paintings, sculptures, and tex...
Category
2010s Contemporary Dye Abstract Sculptures
Materials
Steel
Textile Sculpture on Steel frame: 'Mock Turtle'
Located in New York, NY
Judy Rushin-Knopf (1959) was born in Dallas Texas and lives in Tallahasee, FL. Her work addresses bodies, access, and connection. She has exhibited her paintings, sculptures, and tex...
Category
2010s Contemporary Dye Abstract Sculptures
Materials
Steel
"Scarlet Dream" Abstract Steel Sculpture
Located in Westport, CT
This large abstract contemporary sculpture by Joe Sorge is made with carbon steel with and red dye. The abstract sculpture is composed of curved strips of steel, which curve around o...
Category
2010s Contemporary Dye Abstract Sculptures
Materials
Steel
A Mere Few Years
Located in Philadelphia, PA
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...
Category
21st Century and Contemporary Contemporary Dye Abstract Sculptures
Materials
Marble
Little Weirdo No. 3
Located in New York, NY
Hand-machine knitted thread, fluid acrylic, burlap on dyed fabric
16.5 x 17 inches framed
Statement
My work is at the intersection of painting, object making, and immersive installation. I use various materials such as vintage threads...
Category
2010s Abstract Dye Abstract Sculptures
Materials
Fabric, Thread, Dye
Portrait of Nut / Goddess No. 2
Located in New York, NY
Hand-machine knitted thread, fluid acrylic on dyed fabric
Statement
My work is at the intersection of painting, object making, and immersive installation. I use various materials such as vintage threads...
Category
2010s Abstract Dye Abstract Sculptures
Materials
Fabric, Thread, Dye
"City Lights, " Abstract Stainless Steel Sculpture
Located in Westport, CT
This mid-sized abstract sculpture by artist Joe Sorge is made with stainless steep, orange dye, and a clear coat. It features a thin strip of steel that appears to curl upwards, looping around itself in loose knots. This flowing form creates unique shadows in its environment. Please note that the white pedestal base pictured is not included.
Connecticut-based sculptor Joe Sorge studied at the School of Visual Art (SVA) in New York City. While Joe's body of work is most often made with stainless steel which he sometimes dyes to give the forms bold, solid colors, he also experiments with stone carving, genesa crystals, tiger eye alabaster and others. He works with a variety of colors, finishes, and textures, to create the final piece.
Joe's sculptures express the fluidity and tension inherent in the material he uses. His work draws on a modernist vocabulary to create abstract, often whimsical objects...
Category
2010s Contemporary Dye Abstract Sculptures
Materials
Stainless Steel
"Late Night Drive, " Abstract Steel Sculpture
Located in Westport, CT
This large, abstract sculpture by Joe Sorge is made with steel and black dye. Two strips of steel curl upward from a round, circular base, twisting through and around one another. The sculpture casts unique and intricate shadows on its surrounding environment. The white pedestal pictured is not included.
Connecticut-based sculptor Joe Sorge studied at the School of Visual Art (SVA) in New York City. While Joe's body of work is most often made with stainless steel which he sometimes dyes to give the forms bold, solid colors, he also experiments with stone carving, genesa crystals, tiger eye alabaster and others. He works with a variety of colors, finishes, and textures, to create the final piece.
Joe's sculptures express the fluidity and tension inherent in the material he uses. His work draws on a modernist vocabulary to create abstract, often whimsical objects...
Category
2010s Contemporary Dye Abstract Sculptures
Materials
Steel
"Orange Skyline, " Stainless Steel Sculpture
Located in Westport, CT
Orange Skyline is an abstract sculpture by Joe Sorge, made from stainless steel with an orange dye and clear coat. The white pedestal pictured beneath the sculpture base is not included.
Connecticut sculptor Joe Sorge says about his work, "The works express fluidity and the resulting tension inherent in the material is balanced by the ensuing harmony of the sculptural object. The result is an expression that comes from a comprehensive understanding of the material and method. The work draws from the modernist vocabulary to create abstract, sometimes whimsical objects...
Category
2010s Contemporary Dye Abstract Sculptures
Materials
Stainless Steel
Patricia Miranda, Dreaming Awake, 2020, nightdress, cochineal dyes, plaster,
Located in Darien, CT
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...
Category
2010s Feminist Dye Abstract Sculptures
Materials
Fabric, Thread, Dye, Found Objects, Plaster
"Ambient Flow, " Abstract Steel Sculpture
Located in Westport, CT
This mid-sized abstract contemporary sculpture by Joe Sorge is made with steel, orange dye, and wax. The warm-toned piece features a strip of steel metal that twists and turns in a flowing, spiraling movement. It casts unique shadows on its surroundings, which change in altering light. Please note that the white pedestal base pictured in the image gallery is not included.
Connecticut-based sculptor Joe Sorge studied at the School of Visual Art (SVA) in New York City. While Joe's body of work is most often made with stainless steel which he sometimes dyes to give the forms bold, solid colors, he also experiments with stone carving, genesa crystals, tiger eye alabaster and others. He works with a variety of colors, finishes, and textures, to create the final piece.
Joe's sculptures express the fluidity and tension inherent in the material he uses. His work draws on a modernist vocabulary to create abstract, often whimsical objects...
Category
2010s Contemporary Dye Abstract Sculptures
Materials
Steel
"Sailing Off, " Abstract Stainless Steel Sculpture
Located in Westport, CT
This mid-sized abstract contemporary sculpture by artist Joe Sorge is made with stainless steel. The strips of steel that compose this piece have a curved, concave shape and a beautiful texture. The piece casts unique shadows on its surroundings. Please note that the white pedestal base pictured is not included.
Connecticut-based sculptor Joe Sorge studied at the School of Visual Art (SVA) in New York City. While Joe's body of work is most often made with stainless steel which he sometimes dyes to give the forms bold, solid colors, he also experiments with stone carving, genesa crystals, tiger eye alabaster and others. He works with a variety of colors, finishes, and textures, to create the final piece.
Joe's sculptures express the fluidity and tension inherent in the material he uses. His work draws on a modernist vocabulary to create abstract, often whimsical objects...
Category
2010s Contemporary Dye Abstract Sculptures
Materials
Stainless Steel
Patricia Miranda, Pearls Before Swine 2020, cochineal dyes, pages, sewn pearls
Located in Darien, CT
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...
Category
2010s Feminist Dye Abstract Sculptures
Materials
Thread, Dye, Found Objects
Patricia Miranda, Lamentations for Ermenegilda; 2020, lace, cochineal dye, thread
Located in Darien, CT
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...
Category
2010s Feminist Dye Abstract Sculptures
Materials
Ceramic, Fabric, Thread, Dye, Found Objects
Patricia Miranda, Lamentations for Rebecca; 2020, lace, cochineal dye, thread
Located in Darien, CT
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...
Category
2010s Feminist Dye Abstract Sculptures
Materials
Ceramic, Fabric, Thread, Dye, Found Objects
Patricia Miranda, Florilegium Series, 2016, cochineal dyes, antique books, pearl
Located in Darien, CT
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...
Category
2010s Feminist Dye Abstract Sculptures
Materials
Fabric, Thread, Plaster, Dye, Found Objects
Patricia Miranda, Sentinella, 2020, Battinger lace, synthetic dyes, cast plaster
Located in Darien, CT
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...
Category
2010s Feminist Dye Abstract Sculptures
Materials
Fabric, Dye, Plastic
Patricia Miranda, Florilegium Series, 2016, cochineal dyes, antique books, pearl
Located in Darien, CT
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...
Category
2010s Feminist Dye Abstract Sculptures
Materials
Fabric, Thread, Plaster, Dye, Found Objects
Joel Urruty - Larko, Sculpture 2024
By Joel Urruty
Located in Greenwich, CT
Medium: Dyed Mahogany and 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 vis...
Category
2010s Contemporary Dye Abstract Sculptures
Materials
Wood, Mahogany, Dye
Portrait of Nut / Goddess No. 3
Located in New York, NY
Hand-machine knitted thread, fluid acrylic on dyed fabric
Statement
My work is at the intersection of painting, object making, and immersive installation. I use various materials such as vintage threads...
Category
2010s Abstract Dye Abstract Sculptures
Materials
Fabric, Thread, Dye
Patricia Miranda, Seeing Red Lace, 2020, egg tempera on panel
Located in Darien, CT
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...
Category
2010s Feminist Dye Abstract Sculptures
Materials
Fabric, Plastic, Dye
Portrait of Nut / Goddess No. 1
Located in New York, NY
Hand-machine knitted thread, fluid acrylic on dyed fabric
Statement
My work is at the intersection of painting, object making, and immersive installation. I use various materials such as vintage threads...
Category
2010s Abstract Dye Abstract Sculptures
Materials
Fabric, Thread, Dye
Textile Sculpture on Steel frame: 'Collar'
Located in New York, NY
Judy Rushin-Knopf (1959) was born in Dallas Texas and lives in Tallahasee, FL. Her work addresses bodies, access, and connection. She has exhibited her paintings, sculptures, and tex...
Category
2010s Contemporary Dye Abstract Sculptures
Materials
Steel
Circle, Mid-Century Abstract Woven Tapestry, Textile Wall Sculpture
By Jan Hladik
Located in Wilton, CT
Circle, Mid-Century Abstract Woven Tapestry, Textile Wall Sculpture, Hand dyed wool, 87" x 63" (1976) by Czech textile artist, Jan Jladik, (192...
Category
Mid-20th Century Abstract Dye Abstract Sculptures
Materials
Fabric, Textile, Tapestry, Wool, Dye
MARINE KNOTS
Located in Mexico City, MX
This three piece composition was handmade, it has natural pigment colors and it is inspired on sailors and marine life.
It is perfect for outdoor spaces for it stands weathering. On...
Category
2010s Contemporary Dye Abstract Sculptures
Materials
Cotton, Yarn, Dye
Joel Urruty - Redwhiteblack, Sculpture 2024
By Joel Urruty
Located in Greenwich, CT
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...
Category
2010s Contemporary Dye Abstract Sculptures
Materials
Wood, Dye
Feminist Figurative Mixed Media Contemporary Sculpture Warrior Waging Peace 1279
Located in New York, NY
Linda Stein, Warrior Waging Peace: Addressing Fear 1279 - Feminist Figurative Mixed Media Black and Colorful Contemporary Sculpture
T...
Category
2010s Feminist Dye Abstract Sculptures
Materials
Metal
Textile Sculpture on Steel frame: 'Bust
Located in New York, NY
Judy Rushin-Knopf (1959) was born in Dallas Texas and lives in Tallahasee, FL. Her work addresses bodies, access, and connection. She has exhibited her paintings, sculptures, and tex...
Category
2010s Contemporary Dye Abstract Sculptures
Materials
Steel
Textile Sculpture on Steel frame: 'Dressy Dickie'
Located in New York, NY
Judy Rushin-Knopf (1959) was born in Dallas Texas and lives in Tallahasee, FL. Her work addresses bodies, access, and connection. She has exhibited her paintings, sculptures, and tex...
Category
2010s Contemporary Dye Abstract Sculptures
Materials
Steel
Textile Sculpture on Steel frame: 'Gloves'
Located in New York, NY
Judy Rushin-Knopf (1959) was born in Dallas Texas and lives in Tallahasee, FL. Her work addresses bodies, access, and connection. She has exhibited her paintings, sculptures, and tex...
Category
2010s Contemporary Dye Abstract Sculptures
Materials
Steel
Widows and Maidens #6
By Sherry Owens
Located in New Orleans, LA
Sherry Owens
Windows and Maidens #6, 2019
Bronze, patina, crepe myrtle, dye, milk paint, wax
11 x 14 3/4 x 11 3/4 inches
For over 30 years, sculptor Sherry Owens has used the sinewy crepe myrtle tree to tell her story of the Texas landscape, death, renewal, beauty, and of today’s growing environmental concerns. Remnants of personal stories, visions and observations in nature are the driving forces in her work. She believes that what we see and do in our daily lives leaves a mark on our planet. It is the direct impact of human activities on the natural world, which is visualized in her artistic practice. She creates connections with nature using crepe myrtle trees found along the side of the road. Each stick is hand-carved and cut to fit, then laid in place and secured with a small myrtle peg. What takes precedence in the laborious process is the importance of detail and evidence of the artist’s hand and her interaction with the materials.
Sherry Owens is a native Texan, currently living and working in Dallas, TX. She received a BFA from Southern Methodist University. Recent Texas solo exhibitions include The Grace Museum; Cris Worley Fine Arts; Martin Museum of Art; Art Museum of Southeast Texas; and a two-person site-specific installation at the Umlauf Sculpture Garden & Museum. She was also included in recent exhibitions at the Amon Carter Museum of American Art, TX and the Ogden Museum of Southern Art, LA. She has exhibited internationally in Austria, Denmark, Germany, Greece, India, Japan, Peru, and Turkey. Her work is currently on view in the Ground Zero 360 Remembrance Exhibition at the Museum of Biblical Art...
Category
2010s Contemporary Dye Abstract Sculptures
Materials
Bronze
Widows and Maidens #5
By Sherry Owens
Located in New Orleans, LA
Sherry Owens
Windows and Maidens #5, 2019
Bronze, patina, crepe myrtle, dye, milk paint, wax
9 1/4 x 14 1/4 x 9 inches
For over 30 years, sculptor Sherry Owens has used the sinewy crepe myrtle tree to tell her story of the Texas landscape, death, renewal, beauty, and of today’s growing environmental concerns. Remnants of personal stories, visions and observations in nature are the driving forces in her work. She believes that what we see and do in our daily lives leaves a mark on our planet. It is the direct impact of human activities on the natural world, which is visualized in her artistic practice. She creates connections with nature using crepe myrtle trees found along the side of the road. Each stick is hand-carved and cut to fit, then laid in place and secured with a small myrtle peg. What takes precedence in the laborious process is the importance of detail and evidence of the artist’s hand and her interaction with the materials.
Sherry Owens is a native Texan, currently living and working in Dallas, TX. She received a BFA from Southern Methodist University. Recent Texas solo exhibitions include The Grace Museum; Cris Worley Fine Arts; Martin Museum of Art; Art Museum of Southeast Texas; and a two-person site-specific installation at the Umlauf Sculpture Garden & Museum. She was also included in recent exhibitions at the Amon Carter Museum of American Art, TX and the Ogden Museum of Southern Art, LA. She has exhibited internationally in Austria, Denmark, Germany, Greece, India, Japan, Peru, and Turkey. Her work is currently on view in the Ground Zero 360 Remembrance Exhibition at the Museum of Biblical Art...
Category
2010s Contemporary Dye Abstract Sculptures
Materials
Bronze
Waterhole
By Sherry Owens
Located in New Orleans, LA
Sherry Owens
Waterhole, 2017
Crepe myrtle, dye, paint, wax
24 x 36 x 36 inches
For over 30 years, sculptor Sherry Owens has used the sinewy crepe myrtle tree to tell her story of the Texas landscape, death, renewal, beauty, and of today’s growing environmental concerns. Remnants of personal stories, visions and observations in nature are the driving forces in her work. She believes that what we see and do in our daily lives leaves a mark on our planet. It is the direct impact of human activities on the natural world, which is visualized in her artistic practice. She creates connections with nature using crepe myrtle trees found along the side of the road. Each stick is hand-carved and cut to fit, then laid in place and secured with a small myrtle peg. What takes precedence in the laborious process is the importance of detail and evidence of the artist’s hand and her interaction with the materials.
Sherry Owens is a native Texan, currently living and working in Dallas, TX. She received a BFA from Southern Methodist University. Recent Texas solo exhibitions include The Grace Museum; Cris Worley Fine Arts; Martin Museum of Art; Art Museum of Southeast Texas; and a two-person site-specific installation at the Umlauf Sculpture Garden & Museum. She was also included in recent exhibitions at the Amon Carter Museum of American Art, TX and the Ogden Museum of Southern Art, LA. She has exhibited internationally in Austria, Denmark, Germany, Greece, India, Japan, Peru, and Turkey. Her work is currently on view in the Ground Zero 360 Remembrance Exhibition at the Museum of Biblical Art...
Category
2010s Contemporary Dye Abstract Sculptures
Materials
Wood, Paint, Dye, Wax
Reawakening the Spirit
By Sherry Owens
Located in New Orleans, LA
Sherry Owens
Reawakening the Spirit, 2019
Crepe myrtle, steel, milk paint, dye, oil, wax
108 1/2 x 36 x 31 inches
For over 30 years, sculptor Sherry Owens has used the sinewy crepe myrtle tree to tell her story of the Texas landscape, death, renewal, beauty, and of today’s growing environmental concerns. Remnants of personal stories, visions and observations in nature are the driving forces in her work. She believes that what we see and do in our daily lives leaves a mark on our planet. It is the direct impact of human activities on the natural world, which is visualized in her artistic practice. She creates connections with nature using crepe myrtle trees found along the side of the road. Each stick is hand-carved and cut to fit, then laid in place and secured with a small myrtle peg. What takes precedence in the laborious process is the importance of detail and evidence of the artist’s hand and her interaction with the materials.
Sherry Owens is a native Texan, currently living and working in Dallas, TX. She received a BFA from Southern Methodist University. Recent Texas solo exhibitions include The Grace Museum; Cris Worley Fine Arts; Martin Museum of Art; Art Museum of Southeast Texas; and a two-person site-specific installation at the Umlauf Sculpture Garden & Museum. She was also included in recent exhibitions at the Amon Carter Museum of American Art, TX and the Ogden Museum of Southern Art, LA. She has exhibited internationally in Austria, Denmark, Germany, Greece, India, Japan, Peru, and Turkey. Her work is currently on view in the Ground Zero 360 Remembrance Exhibition at the Museum of Biblical Art...
Category
2010s Contemporary Dye Abstract Sculptures
Materials
Steel
Dye abstract sculptures for sale on 1stDibs.
Find a wide variety of authentic Dye abstract sculptures available on 1stDibs. While artists have worked in this medium across a range of time periods, art made with this material during the 21st Century is especially popular. If you’re looking to add Abstract sculptures created with this material to introduce a provocative pop of color and texture to an otherwise neutral space in your home, the works available on 1stDibs include elements of red, blue, green, purple and other colors. There are many well-known artists whose body of work includes ceramic sculptures. Popular artists on 1stDibs associated with pieces like this include Judy Rushin-Knopf, Sherry Owens, Patricia Miranda, and Hsu Yun Chin. Frequently made by artists working in the Contemporary, Abstract, all of these pieces for sale are unique and many will draw the attention of guests in your home. Not every interior allows for large Dye abstract sculptures, so small editions measuring 0.25 inches across are also available