Foil Sculptures

This series of sculptures is called Emotional States. It was created in 2023 in Kyiv (Ukraine). I lived and worked all year in my hometown in the middle of a Big war. I experienced a...

Yin — from the Seeds of the Sea series — embodies the feminine essence in its purest form: receptive, fluid, and quietly powerful. Smooth, white scales flow over a luminous crimson c...

Rah-Rah is made by casting Hydrocal FGR95 (a very hard plaster) on top of an oil clay pattern. The oil clay is extruded to take on a "noodle form". The composition is laid out on pl...

„Presence” 2018 Pair of twin handwoven textiles, linen yarn, acrylic textile paint, aluminum construction; textiles: 310 x 67 cm; aluminum construction: 255 x 65 x 55 cm. The object...

Indigo 2 is a meditation on depth, movement, and the quiet drama of form. Created with hand-dyed linen on linen, this work embodies the physicality and elegance of Hedden’s Fold Seri...

TAKI-KASURI FOLDS from Chloe Hedden’s Fold Series explores the tension between softness and structure through the poetic manipulation of handmade Japanese fabric on linen. In this sc...

In Indigo 1, Chloe Hedden invites us into a meditative field of texture, movement, and hue. Part of her Fold series, this work uses hand-dyed linen in deep, inky indigo tones that ri...

Curtain Wall is a piece created from cast resin panels. The piece depicts the nighttime Mountain Views and a cave system within that range. With this piece I was inspired by tapest...

Alan Shields Untitled double sided mixed media work, 1974 Mixed media: watercolor, string, and torn paper held in custom standing frame Signed, dated, and numbered lower edge '10/12 ...

Minimal Biomorphic Abstract Sculpture in Hemp Fiber, Contemporary Organic Art By Silvana Ilieva This work was selected for the curated exhibition Artists in Focus at Sofia Art Fair...

This painting by Linda King Ferguson is part of her equivalence series, which began as a feminist project; works that subvert the historically male gaze and a material language speaking of gendered concerns. While typically, King Ferguson paints both sides of the canvas and cuts a flap on the the frontside to reveal the color of the back of the canvas, she unexpectedly does the opposite here. The painting is hung from the "frontside" of the canvas, revealing to us the raw edges of her linen canvas, stapled to the stretchers. Two oblong shapes of pink and red dominate the center of the painting. A thin semioval cut has been made inside of both of these shapes. Her color choices first came from Helen Molesworth’s essay, Painting With Ambivalence, published in WACK! Art of the Feminist Revolution. The Essay includes a large reproduction of Mary Heilmann’s 1979 painting...

My Mother's Tears Inundation is a deeply emotive work from Chloe Hedden’s Fold Series, composed of hand-dyed linen in soft, stormy tones. A pale, silvery veil of fabric envelops the ...