Fabric Sculptures

As an artist, I am a storyteller wielding visual art as my medium. My creative journey is fueled by a relentless thirst for knowledge acquired through both hands-on experience and ke...

Sinuosity sculpture. Pedestal mount. No wall mount available. Chiffon metallic finish. keywords; #sinuous, focus on material, sculptural folds, Aldo Chaparro, use of common material...

Pedestal mount. No wall mount available. Goldfish orange metallic finish. 24"x19"x11". keywords; sinuous, focus on material, sculptural folds, Aldo Chaparro, use of common materials...

This is part of a new collection work that encompasses ceramics and textiles by Ak Jansen. Born in the Netherlands, Jansen’s work occupies queerness on both poetic and political term...

"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...

This painting on cut linen canvas by Linda King Ferguson depicts a diamond shaped canvas that is color-blocked into three main sections. The topmost triangular portion of the canvas ...

keywords; #sinuous, focus on material, sculptural folds, Aldo Chaparro, use of common materials, creased crinkled and wrinkled, angular, abstract sculpture, angular, process-oriented, mixed-media, sparse, biomorphic, abstract sculpture, contemporary design, sculpture, line form color, curvilinear forms, balance, smooth surfaces, contemporary minimalism, pop art, metallic surfaces, textile art, yellow, shiny, luxurious, curvy, pop art, kitsch, lavender art...

keywords; #sinuous, focus on material, sculptural folds, Aldo Chaparro, use of common materials, creased crinkled and wrinkled, angular, abstract sculpture, angular, process-oriented...

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...

Sinuosity 149 in Green Absinthe is a hard tabletop sculpture from Ted VanCleave’s Sinuosity series, distinguished by its sinuous curvature and its sustained focus on material transfo...

This Golek puppet was made by an unknown Indonesian artist using wood and cloth. It is approximately 28 1/2" tall. Traditional Wayang Golek plays can be compared to European and North America: most performances revolve around Kings, Queens, Princes and Princesses who fight against evil, mystical, beings to (usually) end happily. Three-dimensional Indonesian puppets...

I custom dyed the cotton rope a bright yellow using Jacquard ink, then wrapped the rope with ribbon, pom pom trim, yarn and vintage fabric from a block print tapestry that hung in my college dorm room. Theda Sandiford...

Blueprint is a sculpture made from polystyrene, wood, and spray foam fused with an outer layer of iridescent fabric, cement, spray paint, and a steel grab bar...

Silver Waves, Adela Akers, linen, horsehair, paint & metal foil, 63” x 24”, 2014 “There is a mathematical discipline in the way the work is constructed,” ...

Traces, sisal and hand spun wool, 108" x 42", 1979. This large, figurative, mid-century modern tapestry was done by Polish textile artist, Lilla Kulka...

Out of Focus 1-9, handwoven cotton, 87" x 85.5" x 1.5", 2007. This colorful wall piece, consisting of nine hand-woven abstract tapestries, was done by Danish fiber artist, Grethe Sørensen...

In this sculptural piece, Linda King Ferguson has cut a piece of linen canvas into a somewhat trapezoidal shape, with a scalloped top edge. A red cotton thread completes the remainder of the diamond shape. King Ferguson's paintings are abstractions of the female body. She chooses to use linen...

Sinuosity sculpture. Wall mount or pedestal mount. Mid Blue metallic finish. 21"x18"x7" keywords; #sinuous, focus on material, sculptural folds, Aldo Chaparro, use of common material...

Extensions of rope, impeccably wrapped, woven, tied and embellished with recycled beads, zip ties, ribbon, lace, tape and beads lure you into a hue-imbued, installation symbolizing n...

Linda King Ferguson describes her "Equivalence Series" as social bodies; a re-thinking of Modernist figurative abstraction. They are a discursive formal and reductive language. As fi...

Style: Contemporary, Modern, Conceptual The artwork is an assembly of art fundamental theories in juxtaposition with patterns, shapes and archival digital prints illustrating phenome...

Elizabeth Jordan is an artist working primarily in sculpture and whose work uses multiple materials to produce unique, organic forms. In addition to a solo and group shows at Ivy Brown...

This Golek Puppet was created by an unknown Indonesian artist using wood and cloth. It is approximately 24 1/2" tall. Traditional Wayang Golek plays can ...

This handwoven contemporary textile sculpture, Azul, was done by Chilean fiber artist, Carolina Yrarrázaval (b. 1960). Yrarrázaval explains her in...

Silver From the series, Elements, this sculpture references the Bolivian mines that produce much of the worlds silver production ARTIST'S STATEMENT Michael Davis My sculptures and...

"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...

Elizabeth Jordan is an artist working primarily in sculpture and whose work uses multiple materials to produce unique, organic forms. In addition to a solo and group shows at Ivy Brown Gallery, she has exhibited at The American Academy of Arts and Letters, the Nassau County Museum of Art, The Cornell Art Museum in Delray Beach, Florida and the New York Artists Equity Gallery. In 2023, she received a 2023 Fellowship from the New Jersey State Council on the Arts in sculpture, and in 2022 was awarded the Alex J...

Striking 3-dimensional acrylic and wood on canvas sculpture by renowned Colombian painter an sculptor, Omar Rayo. Signed, titled, inscribed "New Yo...

Warp Ikat Spiral, weaving, 36"x108", 1962. This mid-century geometric abstract tapestry was done by American textile artist, Ed Rossbach (1914-2002, Chica...

keywords; #sinuous, focus on material, sculptural folds, Aldo Chaparro, use of common materials, creased crinkled and wrinkled, angular, abstract sculpture, angular, process-oriented...

Large Aqua Metallic Wall or pedestal mount keywords; #sinuous, focus on material, sculptural folds, Aldo Chaparro, use of common materials, creased crinkled and wrinkled, angular, a...

“Ballet Pink Folds” is a light pink/flesh colored wall sculpture made with burlap on linen. The folds are carefully arranged from a single piece of burlap. This creates a dynamic art...

"Shop" James Bassler, brown paper Trader Joe's shopping bags, cut and twisted, with yellow and red waxed linen thread, 16" x 11" x 5", 2009. "Shop", by ...

medium: reclaimed button-down shirts, wire, flower frog ARTIST STATEMENT "Flowers have been a large part of my work for years, but they took on new meaning for me in 2020. As our ba...

'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...

JONATHAN FERRARA GALLERY is proud to announce, Shape-Memory, a solo exhibition of new textile and sculptural artworks by New Orleans-based artist Gina Phillips. Initially born from h...

Journey Trees IV, linens and swing threads, 7.5" x 8" x 1", 2021. This figurative woven textile piece is by UK-based textile artist, Sara Brennan (b. 196...

Mini Purple Metallic. keywords; #sinuous, focus on material, sculptural folds, Aldo Chaparro, use of common materials, creased crinkled and wrinkled, angular, abstract sculpture, an...

*Please inquire for commissions of any other size, color or surface rendering keywords; #sinuous, focus on material, sculptural folds, Aldo Chaparro, use of common materials, crease...

Textiles, acrylic paint and metal on wooden panel Sumit Mehndiratta is an Indian artist born in 1986 who lives & works in New Delhi, India. He has pursued Master of Science in Inter...

Journey Trees III, linens and swing threads, 8" x 8" x 1", 2021. This figurative woven textile piece is by UK-based textile artist, Sara Brennan (b. 1963...

*Please inquire for commissions of any other size, color or surface rendering keywords; #sinuous, focus on material, sculptural folds, Aldo Chaparro, use of common materials, creased...

keywords; #sinuous, focus on material, sculptural folds, Aldo Chaparro, use of common materials, creased crinkled and wrinkled, angular, abstract sculpture, angular, process-oriented...

Sinuosity Petite in Red is a hard tabletop sculpture from Ted VanCleave’s Sinuosity series, distinguished by its sinuous curvature and its sustained focus on material transformation....

keywords; #sinuous, focus on material, sculptural folds, Aldo Chaparro, use of common materials, creased crinkled and wrinkled, angular, abstract sculpture, angular, process-oriented...

Larger than mid sized. Purple Metallic Pedestal mount keywords; #sinuous, focus on material, sculptural folds, Aldo Chaparro, use of common materials, creased crinkled and wrinkled,...

Commanding and contemplative, Helene presents a life-size female torso marked by rupture and radiance. A visible crack separates the front and back of the form—revealing an inner lay...

Mini. Copper Metallic keywords; #sinuous, focus on material, sculptural folds, Aldo Chaparro, use of common materials, creased crinkled and wrinkled, angular, abstract sculpture, an...

Black Shell, Federica Luzzi, cotton, wool, 60” x 49” x 9”, 2009 Federica Luzzi (b. 1970, Italy) is known for her woven sculptures, which she creates using her own personal knotting ...

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...

Jurate's work explores the materiality of textiles and engages with themes of femininity, identity, and the cultural codes embedded in everyday life. Incorporating threads, non-woven...

This two-piece mixed media figurative sculpture was done by American fiber artist, Norma Minkowitz (b. 1937). The interlacing technique that Minkowitz ...

Theda Sandiford, is a self-taught mixed media artist based in Jersey City, NJ. Though art is engrained in her psyche, Theda’s first creative endeavors ...

Marurn VI The vases from are made of ceramic and glazed and fired in different ways. The black case is fired Rau and on the lid is printed batik stamp. Each lid has its own theme - ...

Marurn IV The vases from are made of ceramic and glazed and fired in different ways. The black case is fired Rau and on the lid is printed batik stamp. Each lid has its own theme - ...

Marurn I The vases from are made of ceramic and glazed and fired in different ways. The black case is fired Rau and on the lid is printed batik stamp. Each lid has its own theme - t...

keywords; #sinuous, focus on material, sculptural folds, Aldo Chaparro, use of common materials, creased crinkled and wrinkled, angular, abstract sculpture, angular, process-oriented...

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...