Cord Sculptures

This sculpture titled "Crossing Paths: Sunset" is an original artwork by Kelly Kozma as part of her newest exhibition, "Watch Me Backflip." This collection is made up of meticulously...

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...

"Beaded Flower 12" is an original piece by Jeff Rubio made from stoneware beads, glaze, rope, metal hardware, steel paperclip. This pieces measures 30"h x 7.5"w x 2.5"d and comes wit...

"How does my hair look?" is an original piece by Sarah Detweiler made from scrunchies, synthetic hair, and yarn. This piece measures 32" diameter. Detweiler has found catharsis and joy in recalling her own experiences as a child of the 80s and a teen of the 90s, during what seemed like a simpler time. Likewise, the "Memory Palace" collection offers a reprieve from the strange and complex reality of life in the 21st Century, for adults and children alike, inviting viewers to fall “down the rabbit hole” into a warped reimagination of vignettes from Detweiler’s youth. The exhibition title refers to a mnemonic memorization technique known as the “Method of Loci” through which information is retained and retrieved by conscious mental association with a specific physical location. In the context of Detweiler’s work, each painting, object, and installation functions as a “room” in the artist’s “memory palace,” with specific memories encapsulated therein. The visual representations of Detweiler’s memories are skewed from reality, like the memories themselves, from super-sized silly putty to hand-stitched static from the late-night glow of a television set. About Sarah Detweiler Sarah Detweiler is a Philadelphia area-based visual artist translating her experiences into figurative and narrative mixed media paintings. She has a BFA in Visual Communications from University of Delaware and a master's degree in Art Therapy from Pratt. Sarah is an award-winning artist who has shown her work in solo and group exhibitions in galleries across the country and virtually. She exhibits regularly at Paradigm Gallery in Philadelphia where she has had 2 sold out solo exhibitions. Her work has also been seen on television and film...

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

"Brick" is a unique piece by Eustace Mamba measures approx. 4.5"h" x 2.5"w x 5"d. Mamba creates an abstract portrait from found material, sewn canvas, acrylic, and oil paint. This sc...

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

This piece titled "Classic Nokia Brick" is a one-of-a-kind original piece by Nicole Nikolich (Lace in the Moon) and is made from recycled cell phone mounted on crocheted acrylic in o...

This piece titled "Middle of the Night Green Glow" is a one-of-a-kind original piece by Nicole Nikolich (Lace in the Moon) and is made from crocheted acrylic on MDF, with 16 colors a...

This piece titled "Creepiest Button to Ever Exist" is a one-of-a-kind original piece by Nicole Nikolich (Lace in the Moon) and is made from crocheted acrylic and beads hanging from a...

This piece titled "Loser, Loser, Double Loser (AIM Block Button)" is a one-of-a-kind original piece by Nicole Nikolich (Lace in the Moon) and is made from crocheted acrylic and beads...

This piece titled "Coin Cunt XXXVIII" is an original artwork made from kiss-lock coin purses and thread by Suzanna Scott. This piece measures approx. 4"x4", size varies Suzanna Scot...

Canvas 3D ‘The Way’ 2016 Linen yarn, textile stripe, stainless steel wall hanger; size of the textile: 134 x 70 cm (140 cm circuit). Canvases 3D are decorative fabrics entirely desi...

This piece titled "Coin Cunt XXXVI" is an original artwork made from kiss-lock coin purses and thread by Suzanna Scott. This piece measures approx. 4"x4", size varies Suzanna Scott ...

This piece titled "MS Paint" is a one-of-a-kind original piece by Nicole Nikolich (Lace in the Moon) and is made from crochet acrylic on plexiglass. This piece measures 22"h x 22"w f...

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

This is a rare, early textile art piece by African-American artist Dindga McCannon depicting an abstracted fruit tree, with quilting stitching. It is mounted on a painted background,...

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...

This piece titled "Coin Cunt XLI" is an original artwork made from kiss-lock coin purses and thread by Suzanna Scott. This piece measures approx. 4"x4", size varies Suzanna Scott 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 artwork "A FLATNESS IN THE EYES" is an original assemblage artwork by Jim Houser. Incorporating various dimensional elements and techniques, such as painting and found objects, ...

Hand Made, Woven and Crocheted Abstract Fiber Sculpture, Yarn, Felt, Mixed Media Groot Foundation Grant Honorable Mention Recipient 2025 "My work, both in painting and sculpture, i...

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...

Contemporary Abstract Fiber Sculpture, Woven and Crocheted, 30 x 20 x 15 in Groot Foundation Grant Honorable Mention Recipient 2025 "My work, both in painting and sculpture, involv...

Duane Paul's work can best be characterized as innovative, dynamic and intimate. His sculptures each employ colorful organic shapes, which act as a personal language. The playful and sensual experience of his work covertly explores sexuality, gender traditions, sex, and race. "My artistic mission is to stimulate productive public conversation around these topics." "Humpty Dumpty...

This tufted work features hues of blue, green, pink, and red. Trish Andersen is inspired by the work of Shelia Hicks, Cy Twombly, Judith Scott and Nick Cave. Savannah-based artist ...

Steven Harvey (Australian, born 1965) 1998 Mixed media painting on board Dimensions: 19-3/4 x 12 inches ( Hand signed, dated, and titled verso Provenance: Important Australian Art ...

Steven Harvey (Australian, born 1965) 1998 Summon Mixed media painting on board Dimensions: 19-3/4 x 12 inches ( Hand signed, dated, and titled verso Provenance: Important Australi...

What do you get when art meets math and computer programming? If you’re Ani Aba, what you get are stunning replicas of art historical masterpieces or replicas of animals portraits ma...

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...

Contemporary, Mixed Media, Wall Sculpture, Yarn Over Wood, Framed, Sculpture Douglas Dale uses contoured yarn to trace and mimic wood grain, allowing solid forms to seemingly dissol...

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...

In recent years, Daniel G. Hill has been fixated on the work’s method of construction and its physical presence. During the winter of 2014, he began a new line of inquiry, translati...

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...

In recent years, Daniel G. Hill has been fixated on the work’s method of construction and its physical presence. During the winter of 2014, he began a new line of inquiry, translati...

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....

This tufted work features hues of red, blue and green. Trish Andersen is inspired by the work of Shelia Hicks, Cy Twombly, Judith Scott and Nick Cave. Savannah-based artist Trish A...

Contemporary, Mixed Media, Wall Sculpture, Yarn Over Wood, Framed, Sculpture Douglas Dale uses contoured yarn to trace and mimic wood grain, allowing solid forms to seemingly dissol...

This piece titled "Taco Tuesday" is an original artwork made from hand embroidered thread on paper by Kelly Kozma. This piece is shipped in the pictured white frame and measures 8.75...

This piece titled "Milkshake Brings Boyz to Yard" is an original artwork made from hand embroidered thread on paper by Kelly Kozma. This piece is shipped in the pictured white frame ...

This piece titled "Frozen Margarita" is an original artwork made from hand embroidered thread on paper by Kelly Kozma. This piece is shipped in the pictured white frame and measures ...

This piece titled "Bourbon on the Rocks" is an original artwork made from hand embroidered thread on paper by Kelly Kozma. This piece is shipped in the pictured white frame and measu...

Esther Traugot obscures natural objects within hand-crocheted coverings, in a curious and aesthetically intriguing attempt to preserve nature and prevent its decay. She refers to the...

Esther Traugot obscures natural objects within hand-crocheted coverings, in a curious and aesthetically intriguing attempt to preserve nature and prevent its decay. She refers to the...

Esther Traugot obscures natural objects within hand-crocheted coverings, in a curious and aesthetically intriguing attempt to preserve nature and preven...

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. Kel...

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...

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

This fabric work titled "Dead of Night" is an original artwork by Kelly Kozma made of hand embroidery on paper. The piece measures 13”h by 13”w framed. Kelly Kozma is a mixed media ...

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...

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 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 ...

Ulysses, 2012 Canvas, pigment, reinforcing mesh (Signed on bottom) 39 2/5 H × 60 1/5 W × 47 1/5 D in. 100 H × 153 W × 120 D cm Unique The sculpture "Ulysses" was exhibited in the so...

This piece was created using carefully curated materials that were then bound together. The materials used were all discarded and would otherwise have gone to a landfill. I repurpose...

Severine Gallardo Figures, 2021 Yarn, embroidery, pearl, and ceramic headdress 18½ x 24¾ x 10¼ in. 47 x 63 x 26 cm.

Leaves are precisely arranged and intricately embroidered, rendering them earthly and otherwise, fibrous in both a natural and textile sense. Space Between (2017) by Hillary Waters Fayle. Magnolia leaves...

"Chunjeein-1, 2 & 3", 33” x 7 1/8” x 6 3/4” (total installed dimensions), 2019 This three-piece work of abaca fiber, pure gold leaf and eco-soluble resin is by Chang Yeonsoon (b. 1950), a Korean...

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