Blair Tate Art

Tracey Emin Kiss Me Kiss Me Towel, 2014 with Official plate signed COA Brand new: unframed and comes folded (framed images for inspiration only) Limited Edition silkscreen on oversiz...

Old constructs finally breaking down, 2020 Contemporary Textile Artwork Wool rowing, silk, Michigan wool, Japanese Cotton 24x24in Signed and dated

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...

Original monochrome wall sculpture exploring texture, repetition and organic growth through densely intertwined sculptural forms. This unique wall sculpture belongs to Elizabeth Art...

Cotton fabric hand dyed with natural dyes including barberry and avocado.

This blue embroidered artwork titled "Gully washer" is an original artwork by Katherine Heisler made of stitch resist indigo dye on organic cotton, sequins,...

Andra Samelson’s work explores the relationship of microcosm and macrocosm, the celestial and terrestrial. Her imagery is often associated with molecular and galactic systems. Combin...

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...

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 ...