Tamiko Kawata

Tamiko Kawata, Long Piece, Abstract safety pin installation sculpture, 2011

2011

This colorful documentation of Joan Grubin's studio practice sparked mosaic-creating sessions with an Exacto knife; the Detritus sculptures were born from this accidental kaleidoscop...

This colorful documentation of Joan Grubin's studio practice sparked mosaic-creating sessions with an Exacto knife; the Detritus sculptures were born from this accidental kaleidoscop...

This colorful documentation of Joan Grubin's studio practice sparked mosaic-creating sessions with an Exacto knife; the Detritus sculptures were born from this accidental kaleidoscop...

Constructed of painstakingly shaped shreds of magazines, catalogs, and security envelopes, her materials facet into intricate explorations of symmetry, design, and transfiguration. ...

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...

Beth Dary holds a Bachelor of Fine Arts from Syracuse University, a Master of Fine Arts from Memphis College of Art American, and is currently a member of the American Abstract Artis...

Viewing Elspeth Halvorsen Vevers’ box constructions is a lot like a walk in the moonlight. What we believe to be true in the hard brightness of daytime reality dissolves into an amorphous space of multiple possibilities and perspectives. Describing these constructions, Boston Globe art critic Cate McQuaid wrote “a container becomes the state for an insinuating abstract narrative.” Halvorsen was instrumental in organizing the much-heralded cooperative Rising Tide Gallery. She was not only a talented sculptor, but was also the matriarch of the uniquely gifted Vevers family of artists: her husband was painter Tony Vevers...

Six Stainless steel discs measuring 14x4x4 cms each hung individually on the wall with a wooden hanging provision on the back of each disc, can be hung in any way as a set of six. S...

Dionisios Fragias is a New York -based artist born on the Greek island of Kefalonia and raised in New York City. He is the protege of the artist Jeff Koons whose years-long mentorshi...

The freestanding sculptures in this portfolio are made from the “sticks”: a pile of found wood that Sweibel has been pulling from to make new works since about 2002. The pile consisted of more than a dozen four- to seven-foot lengths of hardwood, each an uneven inch in depth and width. The sticks were warped, with worn yellow paint on one side and raw wood on the other three. Over the years she has painted the raw sides of the sticks, cut the wood into shorter lengths, and sliced paint off – and kept the residue from these actions. Sweibel has also made sculptures ranging from full-length sticks to tiny stick splinters. She built these sculptures using sliced-off paint. Timeworn materials and objects have an intelligence that the artist looks for and listens to. Shaping and reshaping material to find new form and elicit new insights in the material itself is the territory she is mining. The limitations of the process are its strengths. Her work is concerned with fragility, precariousness, adaptability, and strength. It is a visual response to powerful yet unseen forces - like wind and thoughts - that threaten, propel, ruin, and protect. Liz Sweibel is a multidisciplinary artist working in drawing, sculpture, installation, and digital photography and video. Her spare, personal language of abstraction transforms ordinary materials into statements about connectedness and responsibility: every action has an impact, the effects persist in space and over time, and we are accountable. By drawing attention to simple, ordinary “stuff of life” and referencing both shared and personal history, Sweibel’s work explores and reflects back fundamental experiences in response to our world and relationships. Her intention is to reinvigorate viewers’ awareness of the everyday – in its raw beauty and precariousness – in hopes that they might bring heightened senses of sight and care to their daily lives. Sweibel has participated in solo, two-person, and group exhibits in New York, Massachusetts, Maine, Connecticut, Michigan, and Tennessee since 1998. In 2016, Sweibel’s work was in the group shows Lightly Structured at Sculpture Space NYC, Precarious Constructs at the Venus Knitting Art...

The freestanding sculptures in this portfolio are made from the “sticks”: a pile of found wood that Sweibel has been pulling from to make new works since about 2002. The pile consist...

The freestanding sculptures in this portfolio are made from the “sticks”: a pile of found wood that Sweibel has been pulling from to make new works since about 2002. The pile consisted of more than a dozen four- to seven-foot lengths of hardwood, each an uneven inch in depth and width. The sticks were warped, with worn yellow paint on one side and raw wood on the other three. Over the years she has painted the raw sides of the sticks, cut the wood into shorter lengths, and sliced paint off – and kept the residue from these actions. Sweibel has also made sculptures ranging from full-length sticks to tiny stick splinters. She built these sculptures using sliced-off paint. Timeworn materials and objects have an intelligence that the artist looks for and listens to. Shaping and reshaping material to find new form and elicit new insights in the material itself is the territory she is mining. The limitations of the process are its strengths. Her work is concerned with fragility, precariousness, adaptability, and strength. It is a visual response to powerful yet unseen forces - like wind and thoughts - that threaten, propel, ruin, and protect. Liz Sweibel is a multidisciplinary artist working in drawing, sculpture, installation, and digital photography and video. Her spare, personal language of abstraction transforms ordinary materials into statements about connectedness and responsibility: every action has an impact, the effects persist in space and over time, and we are accountable. By drawing attention to simple, ordinary “stuff of life” and referencing both shared and personal history, Sweibel’s work explores and reflects back fundamental experiences in response to our world and relationships. Her intention is to reinvigorate viewers’ awareness of the everyday – in its raw beauty and precariousness – in hopes that they might bring heightened senses of sight and care to their daily lives. Sweibel has participated in solo, two-person, and group exhibits in New York, Massachusetts, Maine, Connecticut, Michigan, and Tennessee since 1998. In 2016, Sweibel’s work was in the group shows Lightly Structured at Sculpture Space NYC, Precarious Constructs at the Venus Knitting Art...