ODETTA Art
to
1
393
149
97
59
142
Overall Width
to
Overall Height
to
31
809
12
1
16
331
52
40
26
11
5
5
4
3
309
210
117
87
56
31
24
23
18
18
16
15
15
14
13
12
11
11
10
10
8
8
8
415
290
238
236
124
43
39
34
32
26
29
92
840
Mary Schiliro, Cat's Cradle 7, 2006, acylic on Mylar, 36 x 18 inches, Abstract
By Mary Schiliro
Located in Darien, CT
Mary Schiliro’s work with acrylic paint on Mylar is process based, and expands the boundaries of painting by exploring alternative presentation methods. Using a dipping process wher...
Category
Early 2000s Abstract Abstract Sculptures
Materials
Mylar, Plexiglass, Acrylic
Liz Sweibel, Untitled #2 (MOL Comfort, 6.27.13, 11.46 am) 2015, Post-Minimalist
By Liz Sweibel
Located in Darien, CT
These thread-and-vellum drawings document the aftermath of the earthquake and tsunami in Japan in March 2011. They began as a reaction to photographs of the devastated landscape, p...
Category
21st Century and Contemporary Post-Minimalist Abstract Drawings and Wate...
Materials
Thread, Vellum
Liz Sweibel, Untitled #1 (MOL Comfort, 6.27.13, 11.46 am) 2015, Post-Minimalist
By Liz Sweibel
Located in Darien, CT
These thread-and-vellum drawings document the aftermath of the earthquake and tsunami in Japan in March 2011. They began as a reaction to photographs of the devastated landscape, p...
Category
21st Century and Contemporary Post-Minimalist Abstract Drawings and Wate...
Materials
Thread, Vellum
Patricia Miranda, Seeing Red Lace, 2020, egg tempera on panel
By Patricia Miranda
Located in Darien, CT
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...
Category
2010s Feminist Abstract Sculptures
Materials
Fabric, Plastic, Dye
Patricia Miranda, Sentinella, 2020, Battinger lace, synthetic dyes, cast plaster
By Patricia Miranda
Located in Darien, CT
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...
Category
2010s Feminist Abstract Sculptures
Materials
Fabric, Dye, Plastic
Katherine Jackson, Necropolis, 2020, Photographic print on aluminum
By Katherine Jackson
Located in Darien, CT
Katherine Jackson lives and works in Brooklyn.
Necropolis is a print of a painting inspired by a map of the necropolis where the terra cotta soldiers...
Category
2010s Conceptual Still-life Sculptures
Materials
Glass, LED Light, Pigment
Patricia Miranda, Pearls Before Swine 2020, cochineal dyes, pages, sewn pearls
By Patricia Miranda
Located in Darien, CT
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...
Category
2010s Feminist Abstract Sculptures
Materials
Thread, Dye, Found Objects
Patricia Miranda, Florilegium Series, 2016, cochineal dyes, antique books, pearl
By Patricia Miranda
Located in Darien, CT
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...
Category
2010s Feminist Abstract Sculptures
Materials
Fabric, Thread, Plaster, Dye, Found Objects
Patricia Miranda, Florilegium Series, 2016, cochineal dyes, antique books, pearl
By Patricia Miranda
Located in Darien, CT
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...
Category
2010s Feminist Abstract Sculptures
Materials
Fabric, Thread, Plaster, Dye, Found Objects
Patricia Miranda, Dreaming Awake, 2020, nightdress, cochineal dyes, plaster,
By Patricia Miranda
Located in Darien, CT
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...
Category
2010s Feminist Abstract Sculptures
Materials
Fabric, Thread, Dye, Found Objects, Plaster
Patricia Miranda, Lamentations for Rebecca; 2020, lace, cochineal dye, thread
By Patricia Miranda
Located in Darien, CT
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...
Category
2010s Feminist Abstract Sculptures
Materials
Ceramic, Fabric, Thread, Dye, Found Objects
Patricia Miranda, Lamentations for Ermenegilda; 2020, lace, cochineal dye, thread
By Patricia Miranda
Located in Darien, CT
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...
Category
2010s Feminist Abstract Sculptures
Materials
Ceramic, Fabric, Thread, Dye, Found Objects
Katherine Jackson, Little Oil Seeing Red, 2020, Glass Wood Steel, Plexi, LED
By Katherine Jackson
Located in Darien, CT
There are two Little Oil installations available with 6 sculptures each on top of LED light boxes.
Katherine Jackson has been working with glass and light together for many years, Recently, she's been making glass castings of vintage oil cans, and displaying them -- singly, in small groupings, or in vitrines -- on light boxes. So far she has created about 90, each one unique. The series is called Little Oil, alluding to Big Oil, and sometimes Small Oils, as in oil painting. But “oil” can mean many things. It has been a source of light (sometimes from unconscionable sources) since ancient times as well as a source of eternal light in many faith traditions. Set atop lightboxes, where each work glows from within, these pieces can simply seem like vessels of light itself. At times, they appear to me to transcend their relation to oil altogether, appearing anthropomorphic or creaturely, even biological. These days, I think of them as archeological artifacts, relics of a past, oil-based, civilization.
Necropolis is a print of a painting inspired by a map of the necropolis where the terra cotta soldiers...
Category
2010s Conceptual Still-life Sculptures
Materials
Glass, LED Light, Pigment
Katherine Jackson, Little Oil Seeing Red, 2020, Glass Wood Steel, Plexi, LED
By Katherine Jackson
Located in Darien, CT
There are two Little Oil installations available with 6 sculptures each on top of LED light boxes.
Two of the oil can sculptures depicted here are sold. Please contact the gallery for specific prices on individual prices and smaller light boxes sold with the sculptures. Prices range from $675 - $2050 including a small lightbox for individual sculptures.
Katherine Jackson has been working with glass and light together for many years, Recently, she's been making glass castings of vintage oil cans, and displaying them -- singly, in small groupings, or in vitrines -- on light boxes. So far she has created about 90, each one unique. The series is called Little Oil, alluding to Big Oil, and sometimes Small Oils, as in oil painting. But “oil” can mean many things. It has been a source of light (sometimes from unconscionable sources) since ancient times as well as a source of eternal light in many faith traditions. Set atop lightboxes, where each work glows from within, these pieces can simply seem like vessels of light itself. At times, they appear to me to transcend their relation to oil altogether, appearing anthropomorphic or creaturely, even biological. These days, I think of them as archeological artifacts, relics of a past, oil-based, civilization.
Necropolis is a print of a painting inspired by a map of the necropolis where the terra cotta soldiers...
Category
2010s Conceptual Still-life Sculptures
Materials
Glass, LED Light, Pigment
Alexandra Rutsch Brock, Bridges, 2020, gouache, thread, 8 x 15 in
By Alexandra Rutsch Brock
Located in Darien, CT
These new small-scale paintings were created using gouache on handmade paper. Alexandra Rutsch Brock then “drew” with a sewing machine using various colored threads. Using the thread as a painted line, playing with the marks and motifs the machine allows that creates contrast in both surface and color. They are sewn directly with no preliminary sketches, just instinctive gesture, sometimes in a similar color to enhance a texture, other times contrasting as a new element. The entangled threads that dangle down emphasize the materiality. Working so closely to the surface, she is aware of the senses of seeing, breathing, touching and feeling……………escaping into these new surfaces.
Alexandra Rutsch Brock has exhibited in solo and group shows most recently at The Keck School at USC, CA, The Painting Center, NY, Village West Gallery, NJ and Misericordia University, PA.
Her work has been featured in Studio Visit Magazine SV Vol44. Her recent co-curations include “HyperAccumulators” with Elizabeth Saperstein at Pelham Art Center, NY and “Among Friends” project with artists Patricia Fabricant and Beth Dary...
Category
2010s Abstract Expressionist Abstract Paintings
Materials
Thread, Gouache, Archival Paper
Alexandra Rutsch Brock, Eden, 2020, gouache, thread, 8 x 15 in
By Alexandra Rutsch Brock
Located in Darien, CT
These new small-scale paintings were created using gouache on handmade paper. Alexandra Rutsch Brock then “drew” with a sewing machine using various colored threads. Using the thread as a painted line, playing with the marks and motifs the machine allows that creates contrast in both surface and color. They are sewn directly with no preliminary sketches, just instinctive gesture, sometimes in a similar color to enhance a texture, other times contrasting as a new element. The entangled threads that dangle down emphasize the materiality. Working so closely to the surface, she is aware of the senses of seeing, breathing, touching and feeling……………escaping into these new surfaces.
Alexandra Rutsch Brock has exhibited in solo and group shows most recently at The Keck School at USC, CA, The Painting Center, NY, Village West Gallery, NJ and Misericordia University, PA.
Her work has been featured in Studio Visit Magazine SV Vol44. Her recent co-curations include “HyperAccumulators” with Elizabeth Saperstein at Pelham Art Center, NY and “Among Friends” project with artists Patricia Fabricant and Beth Dary...
Category
2010s Abstract Expressionist Abstract Paintings
Materials
Thread, Gouache, Archival Paper
Alexandra Rutsch Brock, Sonne, 2020, gouache, thread, 15 x 8 in
By Alexandra Rutsch Brock
Located in Darien, CT
These new small-scale paintings were created using gouache on handmade paper. Alexandra Rutsch Brock then “drew” with a sewing machine using various colored threads. Using the thread as a painted line, playing with the marks and motifs the machine allows that creates contrast in both surface and color. They are sewn directly with no preliminary sketches, just instinctive gesture, sometimes in a similar color to enhance a texture, other times contrasting as a new element. The entangled threads that dangle down emphasize the materiality. Working so closely to the surface, she is aware of the senses of seeing, breathing, touching and feeling……………escaping into these new surfaces.
Alexandra Rutsch Brock has exhibited in solo and group shows most recently at The Keck School at USC, CA, The Painting Center, NY, Village West Gallery, NJ and Misericordia University, PA.
Her work has been featured in Studio Visit Magazine SV Vol44. Her recent co-curations include “HyperAccumulators” with Elizabeth Saperstein at Pelham Art Center, NY and “Among Friends” project with artists Patricia Fabricant and Beth Dary...
Category
2010s Abstract Expressionist Abstract Paintings
Materials
Thread, Gouache, Archival Paper
Alexandra Rutsch Brock, Currents, 2020, gouache, thread, 8 x 8 in
By Alexandra Rutsch Brock
Located in Darien, CT
These new small-scale paintings were created using gouache on handmade paper. Alexandra Rutsch Brock then “drew” with a sewing machine using various colored threads. Using the thread as a painted line, playing with the marks and motifs the machine allows that creates contrast in both surface and color. They are sewn directly with no preliminary sketches, just instinctive gesture, sometimes in a similar color to enhance a texture, other times contrasting as a new element. The entangled threads that dangle down emphasize the materiality. Working so closely to the surface, she is aware of the senses of seeing, breathing, touching and feeling……………escaping into these new surfaces.
Alexandra Rutsch Brock has exhibited in solo and group shows most recently at The Keck School at USC, CA, The Painting Center, NY, Village West Gallery, NJ and Misericordia University, PA.
Her work has been featured in Studio Visit Magazine SV Vol44. Her recent co-curations include “HyperAccumulators” with Elizabeth Saperstein at Pelham Art Center, NY and “Among Friends” project with artists Patricia Fabricant and Beth Dary...
Category
2010s Abstract Expressionist Abstract Paintings
Materials
Thread, Gouache, Archival Paper
Alexandra Rutsch Brock, Connections, 2020, gouache, thread, 8 x 8 inches
By Alexandra Rutsch Brock
Located in Darien, CT
These new small-scale paintings were created using gouache on handmade paper. Alexandra Rutsch Brock then “drew” with a sewing machine using various colored threads. Using the thread as a painted line, playing with the marks and motifs the machine allows that creates contrast in both surface and color. They are sewn directly with no preliminary sketches, just instinctive gesture, sometimes in a similar color to enhance a texture, other times contrasting as a new element. The entangled threads that dangle down emphasize the materiality. Working so closely to the surface, she is aware of the senses of seeing, breathing, touching and feeling……………escaping into these new surfaces.
Alexandra Rutsch Brock has exhibited in solo and group shows most recently at The Keck School at USC, CA, The Painting Center, NY, Village West Gallery, NJ and Misericordia University, PA.
Her work has been featured in Studio Visit Magazine SV Vol44. Her recent co-curations include “HyperAccumulators” with Elizabeth Saperstein at Pelham Art Center, NY and “Among Friends” project with artists Patricia Fabricant and Beth Dary...
Category
2010s Abstract Expressionist Abstract Paintings
Materials
Thread, Gouache, Archival Paper
Alexandra Rutsch Brock, Seeing Breathing, 2020, gouache, thread, 8 x 15 in
By Alexandra Rutsch Brock
Located in Darien, CT
These new small-scale paintings were created using gouache on handmade paper. Alexandra Rutsch Brock then “drew” with a sewing machine using various colored threads. Using the thread as a painted line, playing with the marks and motifs the machine allows that creates contrast in both surface and color. They are sewn directly with no preliminary sketches, just instinctive gesture, sometimes in a similar color to enhance a texture, other times contrasting as a new element. The entangled threads that dangle down emphasize the materiality. Working so closely to the surface, she is aware of the senses of seeing, breathing, touching and feeling……………escaping into these new surfaces.
Alexandra Rutsch Brock has exhibited in solo and group shows most recently at The Keck School at USC, CA, The Painting Center, NY, Village West Gallery, NJ and Misericordia University, PA.
Her work has been featured in Studio Visit Magazine SV Vol44. Her recent co-curations include “HyperAccumulators” with Elizabeth Saperstein at Pelham Art Center, NY and “Among Friends” project with artists Patricia Fabricant and Beth Dary...
Category
2010s Abstract Expressionist Abstract Paintings
Materials
Thread, Gouache, Archival Paper
Josette Urso, That Daffodil, 2019, Ink Brush Drawing, 12 x 13 in
By Josette Urso
Located in Darien, CT
The view from my studio, looking across Brooklyn’s lower lying factory and warehouse buildings toward the tall grandness of Manhattan, is incredibly complex and at times overwhelming...
Category
2010s Abstract Landscape Drawings and Watercolors
Materials
Ink, Archival Paper
Josette Urso, Broken, 2018, Ink Brush Drawing, 12 x 13 in
By Josette Urso
Located in Darien, CT
The view from my studio, looking across Brooklyn’s lower lying factory and warehouse buildings toward the tall grandness of Manhattan, is incredibly complex and at times overwhelming...
Category
2010s Abstract Landscape Drawings and Watercolors
Materials
Ink, Archival Paper
Josette Urso, On Spot, 2019, Ink Brush Drawing, 12 x 13 in
By Josette Urso
Located in Darien, CT
The view from my studio, looking across Brooklyn’s lower lying factory and warehouse buildings toward the tall grandness of Manhattan, is incredibly complex and at times overwhelming...
Category
2010s Abstract Landscape Drawings and Watercolors
Materials
Ink, Archival Paper
Josette Urso, Backyard 3, 2005, Ink Brush Drawing, 6 x 8 in
By Josette Urso
Located in Darien, CT
The view from my studio, looking across Brooklyn’s lower lying factory and warehouse buildings toward the tall grandness of Manhattan, is incredibly complex and at times overwhelming...
Category
Early 2000s Abstract Landscape Drawings and Watercolors
Materials
Ink, Archival Paper
Josette Urso, Backyard 2, 2005, Ink Brush Drawing, 6 x 8 in
By Josette Urso
Located in Darien, CT
The view from my studio, looking across Brooklyn’s lower lying factory and warehouse buildings toward the tall grandness of Manhattan, is incredibly complex and at times overwhelming...
Category
Early 2000s Abstract Landscape Drawings and Watercolors
Materials
Ink, Archival Paper
Josette Urso, Backyard 1, 2005, Ink Brush Drawing, 6 x 8 in
By Josette Urso
Located in Darien, CT
The view from my studio, looking across Brooklyn’s lower lying factory and warehouse buildings toward the tall grandness of Manhattan, is incredibly complex and at times overwhelming...
Category
Early 2000s Abstract Landscape Drawings and Watercolors
Materials
Ink, Archival Paper
Patricia Fabricant, 062820, 2020, Gouache On Panel, 12 x 9 inches, Optics, Color
By Patricia Fabricant
Located in Darien, CT
Throughout her career as a painter Patty Fabricant has pivoted back and forth between figurative and abstract work. Each time she makes the switch it feels abrupt, and yet increasing...
Category
2010s Abstract Geometric Abstract Paintings
Materials
Gouache, Panel
Patricia Fabricant, 051920, 2020, Gouache On Paper, 12 x 9
By Patricia Fabricant
Located in Darien, CT
Throughout her career as a painter Patty Fabricant has pivoted back and forth between figurative and abstract work. Each time she makes the switch it feels abrupt, and yet increasing...
Category
2010s Abstract Geometric Abstract Paintings
Materials
Gouache, Laid Paper
Patricia Fabricant, 051720, 2020, Gouache On Paper, 12 x 9 inches, Color, Optics
By Patricia Fabricant
Located in Darien, CT
Throughout her career as a painter Patty Fabricant has pivoted back and forth between figurative and abstract work. Each time she makes the switch it feels abrupt, and yet increasing...
Category
2010s Abstract Geometric Abstract Paintings
Materials
Gouache, Laid Paper
Patricia Fabricant, 052420, 2020, Gouache On Panel, 14 x 11 in
By Patricia Fabricant
Located in Darien, CT
Throughout her career as a painter Patty Fabricant has pivoted back and forth between figurative and abstract work. Each time she makes the switch it feels abrupt, and yet increasing...
Category
2010s Abstract Geometric Abstract Paintings
Materials
Gouache, Panel
Patricia Fabricant, 042620, 2020, Gouache On Panel, 10 x 8.5 in, P&D Geometric
By Patricia Fabricant
Located in Darien, CT
Throughout her career as a painter Patty Fabricant has pivoted back and forth between figurative and abstract work. Each time she makes the switch it feels abrupt, and yet increasing...
Category
2010s Abstract Geometric Abstract Paintings
Materials
Gouache, Panel
Jo Yarrington, Uh Oh, 2020, mixed media, 3.5 x 4 x 8 in
By Jo Yarrington
Located in Darien, CT
Jo Yarrington has always been interested in chance and the found {moment, object, person}. How random experiences click in to place, form a narrative, reveal a truth. All the work ...
Category
2010s Conceptual Mixed Media
Materials
Metal
Jo Yarrington, blue cylinder with red weaving and codes, mixed media, 16 x 12 in
By Jo Yarrington
Located in Darien, CT
Jo Yarrington has always been interested in chance and the found {moment, object, person}. How random experiences click in to place, form a narrative, reveal a truth. All the work ...
Category
2010s Conceptual Mixed Media
Materials
Linen, Thread, Found Objects, Archival Paper
Jo Yarrington, Red Weaving and Codes, 2020, Mixed media, 15 x 12 in
By Jo Yarrington
Located in Darien, CT
Jo Yarrington has always been interested in chance and the found {moment, object, person}. How random experiences click in to place, form a narrative, reveal a truth. All the work ...
Category
2010s Conceptual Mixed Media
Materials
Linen, Thread, Found Objects, Wax, Archival Paper
Jo Yarrington, Conversation with Lovejoy, 2020, photo wax Xerox_combined 10 x 18
By Jo Yarrington
Located in Darien, CT
Jo Yarrington has always been interested in chance and the found {moment, object, person}. How random experiences click in to place, form a narrative, reveal a truth. All the work ...
Category
2010s Conceptual Mixed Media
Materials
Found Objects, Wax, Photographic Paper
Jo Yarrington, Raging Women Behind The Veil, 2020, Mixed Media
By Jo Yarrington
Located in Darien, CT
Jo Yarrington has always been interested in chance and the found {moment, object, person}. How random experiences click in to place, form a narrative, reveal a truth. All the work ...
Category
2010s Conceptual Mixed Media
Materials
Linen, Thread, Found Objects
Jo Yarrington, Red Code Mapping, 2020, Mixed Media, 7 x 13x 9 inches, Text
By Jo Yarrington
Located in Darien, CT
Jo Yarrington has always been interested in chance and the found {moment, object, person}. How random experiences click in to place, form a narrative, reveal a truth. All the work ...
Category
2010s Conceptual Mixed Media
Materials
Linen, Thread, Paper, Found Objects
Ellen Hackl Fagan, Seeking the Sound of Cobalt Blue_Bottled_2004_acrylic, ink
By Ellen Hackl Fagan
Located in Darien, CT
Seeking the Sound of Cobalt Blue is a series of larger paintings on 8 ply museum board and large sheets of rag paper and clayboard panels that have been created since the winter of 2...
Category
Early 2000s Color-Field Abstract Paintings
Materials
Acrylic, Panel, Pigment, Ink
Mary Dwyer, Elizabeth Cady Stanton_Seneca Falls 1870s_2014_acrylic on board,
By Mary Dwyer
Located in Darien, CT
These new paintings illuminate individuals of the American Suffrage Movement. Elizabeth Cady Stanton, Ida B Wells and Alice Paul, each one intelligent, brave and incredibly relentless in the struggle to attain voting rights for American women.
This series of paintings portrays the ardent women involved in the American Suffrage Movement which led up to the 19th Amendment...
Category
2010s Folk Art Portrait Paintings
Materials
Acrylic, Board
Mary Dwyer, Nellie Bly, 2017, watercolor on paper, Suffragists and Journalists
By Mary Dwyer
Located in Darien, CT
The inspiration for Mary Dwyer's work revolves around storytelling, historic events, a love of political cartoons and early portraiture paintings. An integral part of this work is research. Spurred by an innate curiosity, she creates political, historical and personal paintings. In the last few years Dwyer has been researching and painting the American Suffrage movement. In this research she discovered that the people working as both Suffragists and Abolitionists also started their own newspapers and published their own pamphlets. They became journalists, as no one was covering their story.
Dwyer's paintings are a celebration of both the voter’s rights activist and the visual pageantry of the Suffrage movement. The use of color in her Suffrage paintings speak to the vibrant pageantry and the visual marketing used during the movement. Sashes, button, banners, flags and ribbons were made by women and marketed for women.
The significance of free press is paramount in a free and fair society. The importance of journalist has become a theme that has continued in her present work.
Recently she has been working on a Memorial Paintings...
Category
2010s Feminist Portrait Paintings
Materials
Acrylic, Archival Paper
Mary Dwyer, Rachel Carson, 2017, watercolor on paper, Suffragists and Journalists
By Mary Dwyer
Located in Darien, CT
The inspiration for Mary Dwyer's work revolves around storytelling, historic events, a love of political cartoons and early portraiture paintings. An integral part of this work is research. Spurred by an innate curiosity, she creates political, historical and personal paintings. In the last few years Dwyer has been researching and painting the American Suffrage movement. In this research she discovered that the people working as both Suffragists and Abolitionists also started their own newspapers and published their own pamphlets. They became journalists, as no one was covering their story.
Dwyer's paintings are a celebration of both the voter’s rights activist and the visual pageantry of the Suffrage movement. The use of color in her Suffrage paintings speak to the vibrant pageantry and the visual marketing used during the movement. Sashes, button, banners, flags and ribbons were made by women and marketed for women.
The significance of free press is paramount in a free and fair society. The importance of journalist has become a theme that has continued in her present work.
Recently she has been working on a Memorial Paintings...
Category
2010s Feminist Portrait Paintings
Materials
Acrylic, Archival Paper
Mary Dwyer, Ida Tarbell, 2017, watercolor on paper, Suffragists and Journalists
By Mary Dwyer
Located in Darien, CT
The inspiration for Mary Dwyer's work revolves around storytelling, historic events, a love of political cartoons and early portraiture paintings. An integral part of this work is research. Spurred by an innate curiosity, she creates political, historical and personal paintings. In the last few years Dwyer has been researching and painting the American Suffrage movement. In this research she discovered that the people working as both Suffragists and Abolitionists also started their own newspapers and published their own pamphlets. They became journalists, as no one was covering their story.
Dwyer's paintings are a celebration of both the voter’s rights activist and the visual pageantry of the Suffrage movement. The use of color in her Suffrage paintings speak to the vibrant pageantry and the visual marketing used during the movement. Sashes, button, banners, flags and ribbons were made by women and marketed for women.
The significance of free press is paramount in a free and fair society. The importance of journalist has become a theme that has continued in her present work.
Recently she has been working on a Memorial Paintings...
Category
2010s Feminist Portrait Paintings
Materials
Acrylic, Archival Paper
Ellen Hackl Fagan_Technicolor Bubble Wrap II_2020_paint, ink, plaster
By Ellen Hackl Fagan
Located in Darien, CT
Seeking the Sound of Cobalt Blue is a series of paintings and sculptures that have been created since the spring of 2014.
Using domestic construction materials from her garage, extras from home improvement projects or the garden, have been captured, much like a photogram, but with paint, not silver. By blending photography and painting, Fagan finds that the patterns created with industrial, mass-produced objects around the house and garage, speak to her interest in producing paintings that link to sound. These works are portraits of the artist’s home, its history, and the materials used to build that maintain her home.
Ellen Hackl Fagan builds connections between color and sound using installations, interactive games, and collaborative projects that combine color-and-texture saturated paintings with music...
Category
2010s Arte Povera Abstract Paintings
Materials
Ink, Acrylic, Pigment, Plaster
Ellen Hackl Fagan, Seeking the Sound of Cobalt Blue_Air, 2020, Minimalism
By Ellen Hackl Fagan
Located in Darien, CT
Seeking the Sound of Cobalt Blue is a series of paintings on large sheets of rag paper that have been created since January of 2014.
Using domestic construction materials from her ...
Category
2010s Minimalist Abstract Paintings
Materials
Paper, Acrylic, Pigment
Ellen Hackl Fagan_Seeking the Sound of Cobalt Blue_Paver 3_2020_found object
By Ellen Hackl Fagan
Located in Darien, CT
Seeking the Sound of Cobalt Blue is a series of paintings and sculptures that have been created since the spring of 2014.
Using domestic construction materials from her garage, extras from home improvement projects or the garden, have been captured, much like a photogram, but with paint, not silver. By blending photography and painting, Fagan finds that the patterns created with industrial, mass-produced objects around the house and garage, speak to her interest in producing paintings that link to sound. These works are portraits of the artist’s home, its history, and the materials used to build that maintain her home.
Ellen Hackl Fagan builds connections between color and sound using installations, interactive games, and collaborative projects that combine color-and-texture saturated paintings with music...
Category
2010s Arte Povera Abstract Paintings
Materials
Concrete
Ellen Hackl Fagan_Seeking the Sound of Cobalt Blue_Paver 1_2020_found object
By Ellen Hackl Fagan
Located in Darien, CT
Seeking the Sound of Cobalt Blue is a series of paintings and sculptures that have been created since the spring of 2014.
Ellen Hackl Fagan_SeekingtheSoundofCobaltBlue_Found Object...
Category
2010s Arte Povera Abstract Paintings
Materials
Concrete
Ellen Hackl Fagan_Seeking the Sound of Cobalt Blue_Paver 2_2020_found object
By Ellen Hackl Fagan
Located in Darien, CT
Seeking the Sound of Cobalt Blue is a series of paintings and sculptures that have been created since the spring of 2014.
Using domestic construction materials from her garage, extras from home improvement projects or the garden, have been captured, much like a photogram, but with paint, not silver. By blending photography and painting, Fagan finds that the patterns created with industrial, mass-produced objects around the house and garage, speak to her interest in producing paintings that link to sound. These works are portraits of the artist’s home, its history, and the materials used to build that maintain her home.
Ellen Hackl Fagan builds connections between color and sound using installations, interactive games, and collaborative projects that combine color-and-texture saturated paintings with music...
Category
2010s Arte Povera Abstract Paintings
Materials
Concrete
Ellen Hackl Fagan, Seeking the Sound of Cobalt Blue_North Country_2020_
By Ellen Hackl Fagan
Located in Darien, CT
Seeking the Sound of Cobalt Blue is a series of larger paintings on 8 ply museum board and large sheets of rag paper and clayboard panels that have been created since the winter of 2...
Category
2010s Color-Field Abstract Paintings
Materials
Acrylic, Panel, Pigment
Ellen Hackl Fagan, Seeking the Sound of Cobalt Blue_Iceland_2020_Color Field
By Ellen Hackl Fagan
Located in Darien, CT
Seeking the Sound of Cobalt Blue is a series of larger paintings on 8 ply museum board and large sheets of rag paper and clayboard panels that have been created since the winter of 2...
Category
2010s Color-Field Abstract Paintings
Materials
Acrylic, Panel, Pigment
Ellen Hackl Fagan, Seeking the Sound of Cobalt Blue_Bliss_4_2020_Color Field
By Ellen Hackl Fagan
Located in Darien, CT
Seeking the Sound of Cobalt Blue is a series of larger paintings on 8 ply museum board and large sheets of rag paper and clayboard panels that have been created since the winter of 2...
Category
2010s Color-Field Abstract Paintings
Materials
Acrylic, Panel, Pigment
Ellen Hackl Fagan, Seeking the Sound of Cobalt Blue_Bliss_3_2020_Color Field
By Ellen Hackl Fagan
Located in Darien, CT
Seeking the Sound of Cobalt Blue is a series of larger paintings on 8 ply museum board and large sheets of rag paper and clayboard panels that have been created since the winter of 2...
Category
2010s Color-Field Abstract Paintings
Materials
Acrylic, Panel, Pigment
Ellen Hackl Fagan, Seeking the Sound of Cobalt Blue_Bliss_1_2020_Color Field
By Ellen Hackl Fagan
Located in Darien, CT
Seeking the Sound of Cobalt Blue is a series of larger paintings on 8 ply museum board and large sheets of rag paper and clayboard panels that have been created since the winter of 2...
Category
2010s Color-Field Abstract Paintings
Materials
Acrylic, Panel, Pigment
Ellen Hackl Fagan, Seeking the Sound of Cobalt Blue_Air Capture_2020_Color Field
By Ellen Hackl Fagan
Located in Darien, CT
Seeking the Sound of Cobalt Blue is a series of larger paintings on 8 ply museum board and large sheets of rag paper and clayboard panels that have been created since the winter of 2...
Category
2010s Color-Field Abstract Paintings
Materials
Acrylic, Pigment, Panel
Andra Samelson, Next to Nothing 14, 2001, ink on mat board, 40x 32 inches
By Andra Samelson
Located in Darien, CT
Andra Samelson’s work explores the relationship of microcosm and macrocosm, emptiness and form. The imagery in her paintings is often associated with molecular and galactic systems. ...
Category
Early 2000s Suprematist Abstract Drawings and Watercolors
Materials
Ink, Illustration Board
Andra Samelson, Roundabout, 2016, Acrylic Paint, Rag Paper
By Andra Samelson
Located in Darien, CT
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...
Category
2010s Abstract Geometric Abstract Paintings
Materials
Acrylic, Rag Paper
Andra Samelson, Orbital, 2016, Acrylic Paint, Rag Paper
By Andra Samelson
Located in Darien, CT
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...
Category
2010s Abstract Geometric Abstract Paintings
Materials
Acrylic, Rag Paper
Andra Samelson, Target Practice, 2016, Acrylic on Paper
By Andra Samelson
Located in Darien, CT
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...
Category
2010s Abstract Geometric Abstract Paintings
Materials
Acrylic, Paper
Andra Samelson, Microcosm 3, 2016, Canvas, Found Objects, Acrylic Paint
By Andra Samelson
Located in Darien, CT
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...
Category
2010s Abstract Geometric Abstract Sculptures
Materials
Canvas, Found Objects, Acrylic
Annette Cords, Local Generation Y, 2015, Archival Pigment Print
By Annette Cords
Located in Darien, CT
How we read visual signs and information and how we construct meaning as a result of our reading are central issues in my work.
In my Jacquard tapestries I examine the twin pract...
Category
21st Century and Contemporary Street Art Abstract Prints
Materials
Archival Pigment
Annette Cords, Local Generation Y, 2015, Archival Pigment Print
By Annette Cords
Located in Darien, CT
How we read visual signs and information and how we construct meaning as a result of our reading are central issues in my work. In my Jacquard tapestries I examine the twin practices...
Category
21st Century and Contemporary Street Art Abstract Prints
Materials
Archival Pigment
