Thread Sculptures

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...

This sculpture titled "Small Fruit Press" is an original artwork by Ulla-Stina Wikander made of needlepoint embroidery and vintage object. This piece measu...

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 ...

'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...

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...

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...

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 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...

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 piece titled "Coin Cunt XL" 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 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 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 ...

"For Your Eyes Only" is an original piece by Sarah Detweiler made from cotton canvas, batting, thread, acrylic paint. This piece measures approx. 4”h x 25”w x 13”d folded and approx....

This sculpture titled "Cutting Machine" is an original artwork by Ulla-Stina Wikander made of needlepoint embroidery and vintage object. This piece measures approximately approx. 11....

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 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...

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...

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...

printed fabric, thread, sequins and ink ARTIST STATEMENT: ICONS I work on an intimate scale, creating delicate, hand-stitched images of imposing, dazzling, iconic women. They are ...

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...

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, ...

"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...

"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...

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...

LESLEY DILL ONLY, 2004 bronze, paint, ink, wire, thread 58 x 19 x 14 in. 147.3 x 48.3 x 35.6 cm.

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—...

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...

"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 ...

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...

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...

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...

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

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

"[Masakazu Kobayashi's] woven Waves in dyed threads rank[s] among the most perfect in aesthetic effectiveness ever produced by contemporary weaving….This Japanese way of conjuring up such transparency with threads, of perceiving the thread itself as something creative is highly artistic. They celebrate aesthetic beauty in a way no one can elude.” From “Textile Art and the Avant-garde,” Erika Billeter (Contemporary Textile Art: the Collection of the Pierre Pauli...

This piece titled "Extra Cheese" 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 "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...

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 "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 ...

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. Kelly K...

printed fabric, thread, sequins and ink ARTIST STATEMENT: ICONS I work on an intimate scale, creating delicate, hand-stitched images of imposing, dazzling, iconic women. They are ...

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 ...

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...

printed fabric, thread, sequins and ink ARTIST STATEMENT: ICONS I work on an intimate scale, creating delicate, hand-stitched images of imposing, dazzling, iconic women. They are ...

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

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

'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...

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...

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...

This figurative mixed media textile wall sculpture was done by American fiber artist, Norma Minkowitz (b. 1937). The interlacing technique that Minkowi...