Muslin Abstract Sculptures

Wall sculpture assemblage by Gertie Lowe, from 1978, is a conceptual abstract with everyday objects. Muted neutral tones are contrasted with vibrant accents. Signed and dated verso...

Catherine Latson's Specimen 20 reads as an artistic rendition of a beautiful sea specimen. Luminous light blue hand-dyed cotton thread is wrapped around tendrils that stretch from a ...

Linda Schmidt’s fabric sculptures intertwine public and private, luxury and common. There is a sense of egalitarianism present in both the way Schmidt so...

John Garrett was raised in southern New Mexico by parents who were both educators. They instilled in him an appreciation for the handmade with their collections of Native American a...

Meeting Point by Caroline Bartlett, Mono-printed, stitched and manipulated linen, cotton threads 60” x 16.5,” 2020. UK fiber artist, Caroline Bartle...

Exotica Series, Abstract Woven Tapestry, Textile Sculpture. Cotton, goat hair and sisal, 114" x 60" x 6", 1975. Ritzi Jacobi (1941 - 2022) and Peter Jacob...

This contemporary wall mounted fiber sculpture, Catherine Latson's Specimen 21 reads as an artistic rendition of a beautiful sea specimen. Rich, jewel-toned purple hand-dyed cotton t...

John Garrett was raised in southern New Mexico by parents who were both educators. They instilled in him an appreciation for the handmade with their collections of Native American a...

Takako Saito Secret Santa , 1965 Stamped inscribed in pen recipients name Wood construction 1 1/2 x 1 1/4 x 1 1/4 inches Takako Saito is a Japanese artist closely associated with F...

In this sculptural piece, Linda King Ferguson has cut a piece of linen canvas into a half-diamond shape, with an ellipsis cut-out close to the scalloped right edge. A red cotton thread completes the second half of the diamond shape, then hangs from the bottom corner, evoking the image of a kite. King Ferguson's paintings are abstractions of the female body. She chooses to use linen...

John Garrett was raised in southern New Mexico by parents who were both educators. They instilled in him an appreciation for the handmade with their collections of Native American a...

While working on a large building project several years ago the artist, Fritz Horstman was struck by the poetry in the unfinished state of the construction site. He was drawn specifically to the space between the plywood walls that were raised as formworks for the pouring of cement. That space could only exist for a few hours before the cement truck arrived, but in that moment it was a revolving abstraction of potential, delineation, growth, and destruction. Once filled it was gone: the plywood was stripped away, the earth was backfilled. To suspend that moment he began building models of formworks. Leaving them unfilled, they are perpetually unfinished. From models based directly on architecture, Horstman expanded to forms found in the landscape. Making a formwork that depicts constraint upon the landscape is not exactly a reversal of the formwork’s function, but it asks different questions than a formwork designed for a building would. Why would you make a cement creek? What is the relationship between a flowing creek and poured cement? Is this a barrier or just delineation? For River Woman ODETTA, in addition to several small sculptures in the Flat File, Horstman will install Formwork for the East River, which describes that river’s shape as it flows from Rikers Island to the tip of Manhattan. The 3 x 18 x 7 foot sculpture...