Thread Abstract Sculptures

Recycled textiles, thread, batting, glazed ceramic, metal table, spray paint 34 x 22 x 18 inches Artist Statement I hand-sew compound sculptural forms that are constructed from clot...

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

B'Still Life, Anda Klancic, hand-controlled, machine-embroidered lace, cotton, synthetic, metal threads, 23" x 42", 1996-2020. "The tactility of the interweaving in the fibrous wor...

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

This sculpture titled "You Are Here: Yellow" is an original artwork by Kelly Kozma made of thread scraps & acrylic on panel. Kozma's work is supported by her practice of collecti...

Atticus Adams' organically composed modern metal sculptures embody the transformative power of art, illustrating the creation of beauty, meaning, and emotional impact from industrial...

This abstract boat wall sculpture by Danish artist, Jane Balsgaard, is constructed with iron, bamboo, willow, fishing line and handmade plantpaper...

Beth Reitmeyer is a visual artist based in Nashville, TN. Her current installations are based upon landscape topography and geology, specifically sinkholes, caves, geodes, and rocks....

Saba's Garden, linen, sisal and wool, 84" x 92", 1978. This mid-century modern woven textile wall sculpture was done by fiber artist, Agnieszka Ruszczynska-Szafranska (b. 1929, Warsa...

This is part of a collection of ceramics, textiles, and drawings by Ak Jansen which comprise his first solo show in New York City. Born in the Netherlands, Jansen’s work occupies que...

"Cobalt Haze" Jo Barker, woven on cotton warp using wool, cotton, linen, silk, embroidery threads, 15" x 33.5" x 1.5", 2010 This colorful contemporary abstract tapestry was is by Br...

Lime Glow, Jo Barker, woven on cotton warp using wool, cotton, linen, silk, embroidery threads, 29" x 30.75" x 1.5", 2010 This colorful contemporary abstract textile is by British...

This sculpture titled "Love for Ten Thousand Years" is an original artwork by Kelly Kozma made of handmade origami wishing stars strung on embroidery thread. Kozma's work is supporte...

Atticus Adams' organically composed modern metal sculptures embody the transformative power of art, illustrating the creation of beauty, meaning, and emotional impact from industrial...

Pagter’s minimalism is emblematic of the shared sensibilities of Scandinavian and Japanese artists, popularly termed 'Japandi'. Into Red is one in a three part series. “In the refin...

This intriguing wall composition is by Chung-Im Kim, an award-winning fibre artist whose exquisite work has been showcased and celebrated internationally. In this handmade sculptural...

This abstract geometric mixed media piece was done by fiber artist, Jin-Sook So (b. 1950, Korea). So grew up in Seoul, Korea where she received a master's degree in textile art, afte...

Jin-Sook So’s work is informed by her time spent in Korea, Sweden and Japan. She uses transparent steel mesh cloth, which she burns, paints, electroplates in gold or silver, sews an...

"Lyric Space" Korean silk fabric and handmade ramie threads, maple floater frame. This contemporary silk textile piece is by Korean fiber artist, Shin You...

Atticus Adams' organically composed modern metal sculptures embody the transformative power of art, illustrating the creation of beauty, meaning, and emotional impact from industrial...

Atticus Adams' organically composed modern metal sculptures embody the transformative power of art, illustrating the creation of beauty, meaning, and emotional impact from industrial...

Atticus Adams' organically composed modern metal sculptures embody the transformative power of art, illustrating the creation of beauty, meaning, and emotional impact from industrial...

'We surround ourselves with elements from nature in the form of manicured lawns, sculpted trees, and our domesticated companions. We bend the natural world to our tastes and create a...

Atticus Adams' organically composed modern metal sculptures embody the transformative power of art, illustrating the creation of beauty, meaning, and emotional impact from industrial...

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...

Atticus Adams' organically composed modern metal sculptures embody the transformative power of art, illustrating the creation of beauty, meaning, and emotional impact from industrial...

Pagter’s minimalism is emblematic of the shared sensibilities of Scandinavian and Japanese artists, popularly termed 'Japandi’. This Mid-Century Modern style tiber art triptych is co...

Atticus Adams' organically composed modern metal sculptures embody the transformative power of art, illustrating the creation of beauty, meaning, and emotional impact from industrial...

Atticus Adams' organically composed modern metal sculptures embody the transformative power of art, illustrating the creation of beauty, meaning, and emotional impact from industrial...

Atticus Adams' organically composed modern metal sculptures embody the transformative power of art, illustrating the creation of beauty, meaning, and emotional impact from industrial...

Atticus Adams' organically composed modern metal sculptures embody the transformative power of art, illustrating the creation of beauty, meaning, and emotional impact from industrial...

This sculpture titled "You Are Here: Purple" is an original artwork by Kelly Kozma made of thread scraps & acrylic on panel. Kozma's work is supported by her practice of collecti...

This wall-hanging sculpture titled "Was Happy Cancelled?" is an original artwork by Kelly Kozma made of assorted & repurposed punched paper, hand-stitc...

A wall-mounted contemporary fiber sculpture, Specimen 20 reads as an artistic rendition of a beautiful sea specimen. Luminous light blue hand-dyed cotton thread is wrapped around te...

This wall-hanging sculpture titled "Offerings" is an original artwork by Kelly Kozma made of credit card offer envelopes & assorted paper, hand-stitched together with embroidery thre...

Refleksy (Reflexes), flax (linen) and wool, 50" x 48" x 2", 1973. This warm, vivid Mid-Century tapestry, Refleksy (1973) is by Polish textile artist, ...

'We surround ourselves with elements from nature in the form of manicured lawns, sculpted trees, and our domesticated companions. We bend the natural world to our tastes and create a...

This is an original navy blue sculpture from Suzanna Scott's ongoing "Coin Cunt" series made from a kisslock coin purse and thread. The piece measures approximately 4in x 4in. ABOU...

Atticus Adams is a sculptor whose work embodies the transformative power of art to create beauty, meaning, and emotional impact from industrial materials. Using mostly aluminum mesh—...

This fabric work titled "Get Free" is an original artwork by Kelly Kozma made of hand embroidery and photographs on paper. The piece measures 13”h by 13”w framed. Kelly Kozma is a m...

This sculpture titled "Grounding" is an original artwork by Kelly Kozma made of punched paper and photographs hand-stitched together with embroidery thread...

"Havabanana / Sleep (diptych)" is an original artwork by Hyland Mather made of lost objects, acrylic, aerosol, abandoned papers, laser engraving, string, nails, wood box frame measur...

This sculptural wall hanging is inspired by nature and made from textiles by a by Chung-Im Kim, an award-winning fiber artist whose exquisite work has been showcased and celebrated ...

This fabric work titled "Thinking About the Old Carpet & the Air Hockey Table" is an original artwork by Kelly Kozma made of hand embroidery and photogr...

This fabric work titled "New Address" is an original artwork by Kelly Kozma made of hand embroidery and photographs on paper. The piece measures 13”h by 13”w framed. Kelly Kozma is ...

This fabric work titled "Squeaking By" is an original artwork by Kelly Kozma made of hand embroidery and photographs on paper. The piece measures 13”h by 13”w framed. Kelly Kozma is...

This fibers, drawing, and sculptural work titled "Soft Swirl" is an original artwork by Kelly Kozma made of hand-embroidery, colored pencil, and acrylic paint on paper. The artist us...

"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...

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...

Mary Lai is a multifaceted Korean-American artist based in Los Angeles, California.  Her outlook is that “Art is a universal language that can speak to anyone...

Meteoric Rainbow 2021 Embroidery thread, acrylic and wool on wood dimensions variable $300 per stick Lyndi Sales is an artist based in Cape Town, South A...

Ceramic Wall Hanging or Centerpiece with Engravings, Sticks, and Thread Balanced abstract sculptural piece by an unknown artist (20th Century). This sculpture is composed of various...

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...

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...

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...

Eric Rhein “Butterfly Girl” 1992-1995 Accompanied by a certificate of authenticity Steel, brass, and gold-filled wire, thread, glue, and found object...

This fabric work titled "Stolen Stickers & Visions" is an original artwork by Kelly Kozma made of hand embroidery, sticker and gem on paper. The piece measures 13”h by 13”w. Kelly K...

This fabric work titled "Superpowers" is an original artwork by Kelly Kozma made of hand embroidery, stickers, glitter paper and acrylic paint on paper. The piece measures 13”h by 13...