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Linda Cunningham, Altered Currents 8, Sand-Cast Bronze Natural Patina, 2016-2018
By Linda Cunningham
Located in Darien, CT
Bronze pours from salvaged military scrap form a forest of leaf-like natural elements, undulating and seeming to grow out from an unseen ground. The bronzes are formed by a gestural ...
Category

2010s Abstract Abstract Sculptures

Materials

Bronze

Linda Cunningham, Altered Currents 7, Sand-Cast Bronze Natural Patina, 2016-2018
By Linda Cunningham
Located in Darien, CT
Bronze pours from salvaged military scrap form a forest of leaf-like natural elements, undulating and seeming to grow out from an unseen ground. The bronzes are formed by a gestural ...
Category

2010s Abstract Abstract Sculptures

Materials

Bronze

Linda Cunningham, Altered Currents 6, Sand-Cast Bronze Natural Patina, 2016-2018
By Linda Cunningham
Located in Darien, CT
Bronze pours from salvaged military scrap form a forest of leaf-like natural elements, undulating and seeming to grow out from an unseen ground. The bronzes are formed by a gestural ...
Category

2010s Abstract Abstract Sculptures

Materials

Bronze

Linda Cunningham, Altered Currents 5, Sand-Cast Bronze Natural Patina, 2016-2018
By Linda Cunningham
Located in Darien, CT
Bronze pours from salvaged military scrap form a forest of leaf-like natural elements, undulating and seeming to grow out from an unseen ground. The bronzes are formed by a gestural ...
Category

2010s Abstract Abstract Sculptures

Materials

Bronze

Linda Cunningham, Altered Currents 4, Sand-Cast Bronze Natural Patina, 2016-2018
By Linda Cunningham
Located in Darien, CT
Bronze pours from salvaged military scrap form a forest of leaf-like natural elements, undulating and seeming to grow out from an unseen ground. The bronzes are formed by a gestural ...
Category

2010s Abstract Abstract Sculptures

Materials

Bronze

Liz Sweibel, Untitled (Scrapings #3), 2016, Wood, Paint, Found Objects
By Liz Sweibel
Located in Darien, CT
The freestanding sculptures in this portfolio are made from the “sticks”: a pile of found wood that Sweibel has been pulling from to make new works since about 2002. The pile consist...
Category

2010s Abstract Abstract Sculptures

Materials

Wood, Paint, Found Objects

Levan Mindiashvili, 'Suites', 2015, Archival Paper, Ink, Acrylic Paint
By Levan Mindiashvili
Located in Darien, CT
Levan Mindiashvili is a Georgian born visual artist currently living and working in Brooklyn, NY. After graduating from Tbilisi State Academy of Arts and numerous exhibitions in Europe and in his native Georgia, Levan continued postgraduate studies at The National University of Art of Buenos Aires (Argentina). While in Buenos Aires, he had curated several shows at The Laguanacazul Art Gallery and was a performer of the experimental theater company Ensamble Caustico. Among his awards are “Emerging Artist of 2011, Movistar Arte Joven” (Buenos Aires, Argentina) and FABLES Commission Grant for Public Art Projects (Fourth Arts Block, New York, 2014). Recent solo exhibitions include “Studies For Unintended Archeology”, The Vazquez Building, (Brooklyn, 2015), “Borderlines” The Lodge Gallery (New York, 2014), “Urban Identities” Kunstraub99 (Cologne, 2013). Current curatorial project include “Heritage” at The Georgian National Museum (Tbilisi, 2013) and at The RichMix Arts Center (London, 2015). Upcoming shows include “Kiosk”, ODETTA gallery...
Category

21st Century and Contemporary Post-Minimalist Abstract Prints

Materials

Ink, Acrylic, Archival Paper

Levan Mindiashvili, 'Suites', 2015, Ink, Acrylic Paint, Archival Paper
By Levan Mindiashvili
Located in Darien, CT
Levan Mindiashvili is a Georgian born visual artist currently living and working in Brooklyn, NY. After graduating from Tbilisi State Academy of Arts and numerous exhibitions in Europe and in his native Georgia, Levan continued postgraduate studies at The National University of Art of Buenos Aires (Argentina). While in Buenos Aires, he had curated several shows at The Laguanacazul Art Gallery and was a performer of the experimental theater company Ensamble Caustico. Among his awards are “Emerging Artist of 2011, Movistar Arte Joven” (Buenos Aires, Argentina) and FABLES Commission Grant for Public Art Projects (Fourth Arts Block, New York, 2014). Recent solo exhibitions include “Studies For Unintended Archeology”, The Vazquez Building, (Brooklyn, 2015), “Borderlines” The Lodge Gallery (New York, 2014), “Urban Identities” Kunstraub99 (Cologne, 2013). Current curatorial project include “Heritage” at The Georgian National Museum (Tbilisi, 2013) and at The RichMix Arts Center (London, 2015). Upcoming shows include “Kiosk”, ODETTA gallery...
Category

21st Century and Contemporary Post-Minimalist Abstract Prints

Materials

Ink, Acrylic, Archival Paper

Linda Cunningham, Altered Currents 3, Sand-Cast Bronze Natural Patina, 2016-2018
By Linda Cunningham
Located in Darien, CT
Bronze pours from salvaged military scrap form a forest of leaf-like natural elements, undulating and seeming to grow out from an unseen ground. The bronzes are formed by a gestural ...
Category

2010s Abstract Abstract Sculptures

Materials

Bronze

Linda Cunningham, Altered Currents 2, Sand-Cast Bronze Natural Patina, 2016-2018
By Linda Cunningham
Located in Darien, CT
Bronze pours from salvaged military scrap form a forest of leaf-like natural elements, undulating and seeming to grow out from an unseen ground. The bronzes are formed by a gestural ...
Category

2010s Abstract Abstract Sculptures

Materials

Bronze

Linda Cunningham, Altered Currents 1, Sand-Cast Bronze Natural Patina, 2016-2018
By Linda Cunningham
Located in Darien, CT
Bronze pours from salvaged military scrap form a forest of leaf-like natural elements, undulating and seeming to grow out from an unseen ground. The bronzes are formed by a gestural ...
Category

2010s Abstract Abstract Sculptures

Materials

Bronze

Ellen Hackl Fagan, Doremi_Musicians-J, 2012, Ink, Gouache, Rag Paper
By Ellen Hackl Fagan
Located in Darien, CT
ColorSoundGrammar Ellen Hackl Fagan There is a long history of sound/color synaesthesia work, from Isaac Newton’s color organ to Alexander Scriabin’s “Prometheus,” but not much ...
Category

21st Century and Contemporary Abstract Expressionist Abstract Drawings a...

Materials

Ink, Gouache, Rag Paper

Steven Baris, Chunkchain A11, 2019, oil on mylar, 14 x 14 inches
By Steven Baris
Located in Darien, CT
Over the past few years Steven Baris Has been fascinated by the rapid proliferation of fulfillment and distribution centers, sprouting like mushrooms throughout metropolitan regions....
Category

2010s Abstract Geometric Abstract Paintings

Materials

Mylar, Oil

Steven Baris, Chunkchain A10, 2019, oil on mylar, 14 x 14 inches
By Steven Baris
Located in Darien, CT
Over the past few years Steven Baris Has been fascinated by the rapid proliferation of fulfillment and distribution centers, sprouting like mushrooms throughout metropolitan regions....
Category

2010s Abstract Geometric Abstract Paintings

Materials

Mylar, Oil

Steven Baris, Chunkchain A9, 2019, oil on mylar, 14 x 14 inches
By Steven Baris
Located in Darien, CT
Over the past few years Steven Baris Has been fascinated by the rapid proliferation of fulfillment and distribution centers, sprouting like mushrooms throughout metropolitan regions....
Category

2010s Abstract Geometric Abstract Paintings

Materials

Mylar, Oil

Steven Baris, Chunkchain A8, 2019, oil on mylar, 14 x 14 inches
By Steven Baris
Located in Darien, CT
Over the past few years Steven Baris Has been fascinated by the rapid proliferation of fulfillment and distribution centers, sprouting like mushrooms throughout metropolitan regions....
Category

2010s Abstract Geometric Abstract Paintings

Materials

Mylar, Oil

Steven Baris, Chunkchain A7, 2019, oil on mylar, 14 x 14 inches
By Steven Baris
Located in Darien, CT
Over the past few years Steven Baris Has been fascinated by the rapid proliferation of fulfillment and distribution centers, sprouting like mushrooms throughout metropolitan regions....
Category

2010s Abstract Geometric Abstract Paintings

Materials

Mylar, Oil

Steven Baris, Chunkchain A6, 2019, oil on mylar, 14 x 14 inches
By Steven Baris
Located in Darien, CT
Over the past few years Steven Baris Has been fascinated by the rapid proliferation of fulfillment and distribution centers, sprouting like mushrooms throughout metropolitan regions....
Category

2010s Abstract Geometric Abstract Paintings

Materials

Mylar, Oil

Steven Baris, Chunkchain A5, 2019, oil on mylar, 14 x 14 inches
By Steven Baris
Located in Darien, CT
Over the past few years Steven Baris Has been fascinated by the rapid proliferation of fulfillment and distribution centers, sprouting like mushrooms throughout metropolitan regions....
Category

2010s Abstract Geometric Abstract Paintings

Materials

Mylar, Oil

Steven Baris, Chunkchain A4, 2019, oil on mylar, 14 x 14 inches
By Steven Baris
Located in Darien, CT
Over the past few years Steven Baris Has been fascinated by the rapid proliferation of fulfillment and distribution centers, sprouting like mushrooms throughout metropolitan regions....
Category

2010s Abstract Geometric Abstract Paintings

Materials

Mylar, Oil

Steven Baris, Chunkchain A3, 2019, oil on mylar, 14 x 14 inches
By Steven Baris
Located in Darien, CT
Over the past few years Steven Baris Has been fascinated by the rapid proliferation of fulfillment and distribution centers, sprouting like mushrooms throughout metropolitan regions....
Category

2010s Abstract Geometric Abstract Paintings

Materials

Mylar, Oil

Steven Baris, Chunkchain A2, 2019, oil on mylar, 14 x 14 inches
By Steven Baris
Located in Darien, CT
Over the past few years Steven Baris Has been fascinated by the rapid proliferation of fulfillment and distribution centers, sprouting like mushrooms throughout metropolitan regions....
Category

2010s Abstract Geometric Abstract Paintings

Materials

Mylar, Oil

Steven Baris, Chunkchain A1, 2019, oil on mylar, 14 x 14 inches
By Steven Baris
Located in Darien, CT
Over the past few years Steven Baris Has been fascinated by the rapid proliferation of fulfillment and distribution centers, sprouting like mushrooms throughout metropolitan regions....
Category

2010s Abstract Geometric Abstract Paintings

Materials

Mylar, Oil

ODETTA at Home, Textiles, Vintage Anatolian Kayseri Kilim, early 20th c, wool
Located in Darien, CT
This is an early 20th c. Central Anatolian Kayseri handmade kilim from Central Turkey. This kilim is in a very good condition. Nice colors and patterning with overstiching. This kili...
Category

Early 20th Century Abstract Geometric More Art

Materials

Wool

Andra Samelson, Next to Nothing 9, 2001, 25 x 30 inches, Ink on Mat Board
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 Abstract Abstract Drawings and Watercolors

Materials

Ink, Illustration Board

Andra Samelson, Next to Nothing 12, 2001, Ink on Mat Board, 40 x 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 Abstract Abstract Drawings and Watercolors

Materials

Ink, Illustration Board

Andra Samelson, Next to Nothing 11, 2001, Ink on Mat Board, 32 x 40 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 Abstract Abstract Drawings and Watercolors

Materials

Ink, Illustration Board

Katherine Jackson, Suspension of Disbelief II, 2015, Graphite, Paper, Framed
By Katherine Jackson
Located in Darien, CT
Drawing, glass, and light: these three ingredients are the basis of Katherine Jackson’s work. She begins with drawing, which sometimes becomes an end...
Category

2010s Conceptual Still-life Sculptures

Materials

Graphite, Glass

Katherine Jackson, Suspension of Disbelief, 2015, Graphite, Paper, Framed
By Katherine Jackson
Located in Darien, CT
Drawing, glass, and light: these three ingredients are the basis of Katherine Jackson’s work. She begins with drawing, which sometimes becomes an end...
Category

2010s Conceptual Still-life Sculptures

Materials

Glass, Graphite

Katherine Jackson, Little Oil_Vitrine 2, 2019, Glass, Steel, Wood, Plexi, LEDs
By Katherine Jackson
Located in Darien, CT
Drawing, glass, and light: these three ingredients are the basis of Katherine Jackson’s work. She begins with drawing, which sometimes becomes an end in itself. But often the images ...
Category

2010s Conceptual Still-life Sculptures

Materials

Steel

Katherine Jackson, Little Oil_Vitrine 1, 2019, Glass, Steel, Wood, Plexi, LEDs
By Katherine Jackson
Located in Darien, CT
Drawing, glass, and light: these three ingredients are the basis of Katherine Jackson’s work. She begins with drawing, which sometimes becomes an end in itself. But often the images ...
Category

2010s Conceptual Still-life Sculptures

Materials

Steel

Jo Yarrington, See-matics - Voice, 2019, acrylic, 9 x 22 inches
By Jo Yarrington
Located in Darien, CT
Jo Yarrington’s photographs, prints, works on paper, glass sculptures and architecturally-based installations have been shown in exhibitions at the Aldrich Contemporary Art Museum, Y...
Category

2010s Conceptual Abstract Sculptures

Materials

Plexiglass

Jo Yarrington, See-matics - Answer, 2019, acrylic, 9 x 22 inches
By Jo Yarrington
Located in Darien, CT
Jo Yarrington’s photographs, prints, works on paper, glass sculptures and architecturally-based installations have been shown in exhibitions at the Aldrich Contemporary Art Museum, Y...
Category

2010s Conceptual Abstract Sculptures

Materials

Plexiglass

Jo Yarrington, See-matics Wish_2019_acrylic_9 x 22 inches
By Jo Yarrington
Located in Darien, CT
Jo Yarrington’s photographs, prints, works on paper, glass sculptures and architecturally-based installations have been shown in exhibitions at the Aldrich Contemporary Art Museum, Y...
Category

2010s Conceptual Abstract Sculptures

Materials

Plexiglass

Jo Yarrington, Mute-Ability_Composition 6, 2019_acrylic, steel, player piano rol
By Jo Yarrington
Located in Darien, CT
Jo Yarrington’s photographs, prints, works on paper, glass sculptures and architecturally-based installations have been shown in exhibitions at the Aldrich Contemporary Art Museum, Yale University, Cornell University, the Museum of Glass, the DeCordova Museum and Sculpture Park, Artists Space, St. John the Divine Cathedral, Grounds for Sculpture, the Museum of American Glass and ODETTA, among others. International exhibitions have included Guangzhou Academy of Fine Arts Museum, Glasgow School of Art, Glasgow Cathedral, Glasgow University, Galeria Sala Uno and Centro de las Artes de Guanajuato. She represented the United States at the Sharjah Biennial, United Arab Emirates and participated in the Berlin Biennial. in 2010 she received the Bronze Prize, the Museum of Contemporary Art, Skopje, Macedonia. Yarrington is a recipient of artist grants and Fellowships from the Pollock Krasner Foundation, the New York Foundation for the Arts, the Pennsylvania Council on the Arts and the Connecticut Commission on Culture and Tourism. She has received Residency Fellowships from the MacDowell Colony, the Museum of Glass, the Museum of American Glass, the Bridge Virtual Residency/ SciArt Center, the Lucile Walton Fellow/Mountain Lake Biological Station, the Virginia Center for Creative Arts, the Anderson Center and the Ucross Foundation, among others. International grants and fellowships have included the Banff Center for Arts and Creativity/Canada, SIMS Residency/ Iceland, Cill Rialaig Artists Residency/Ireland, the Burren College of Art Residency/Ireland and the American Scandinavian Foundation. She is a Professor of Visual and Performing Arts at Fairfield University and lives and works in New York City. STATEMENT In site-specific exhibitions, public art commissions, collaborative and individual projects Jo Yarrington has used varied combinations of glass, waxed surfaces, found artifacts and experimental analog photography to investigate the way we perceive – searching for, experimenting with and developing throughout a sensory-based vernacular. Her mostly translucent materials function as physical framework and symbolic membrane. Light, both natural and ambient, provides a kinetic or time-based element to her work. Scale and the integration of architecture are also pivotal components. In the 6-part installation for the two-person exhibition Illuminated, Yarrington continues her interest in the connections between vision, sound and language. In Mute-ability: Compositions 1 – 6, her title for this light-based comprehensive work, she combines the words mute and malleability. The work focuses on found piano rolls, a music storage medium, originally conceived as coded notations or ‘note control data’ for music produced in pneumatic player pianos...
Category

2010s Conceptual Abstract Sculptures

Materials

Steel

Jo Yarrington, Mute-Ability_Composition 5, 2019_acrylic, steel, player piano rol
By Jo Yarrington
Located in Darien, CT
Jo Yarrington’s photographs, prints, works on paper, glass sculptures and architecturally-based installations have been shown in exhibitions at the Aldrich Contemporary Art Museum, Yale University, Cornell University, the Museum of Glass, the DeCordova Museum and Sculpture Park, Artists Space, St. John the Divine Cathedral, Grounds for Sculpture, the Museum of American Glass and ODETTA, among others. International exhibitions have included Guangzhou Academy of Fine Arts Museum, Glasgow School of Art, Glasgow Cathedral, Glasgow University, Galeria Sala Uno and Centro de las Artes de Guanajuato. She represented the United States at the Sharjah Biennial, United Arab Emirates and participated in the Berlin Biennial. in 2010 she received the Bronze Prize, the Museum of Contemporary Art, Skopje, Macedonia. Yarrington is a recipient of artist grants and Fellowships from the Pollock Krasner Foundation, the New York Foundation for the Arts, the Pennsylvania Council on the Arts and the Connecticut Commission on Culture and Tourism. She has received Residency Fellowships from the MacDowell Colony, the Museum of Glass, the Museum of American Glass, the Bridge Virtual Residency/ SciArt Center, the Lucile Walton Fellow/Mountain Lake Biological Station, the Virginia Center for Creative Arts, the Anderson Center and the Ucross Foundation, among others. International grants and fellowships have included the Banff Center for Arts and Creativity/Canada, SIMS Residency/ Iceland, Cill Rialaig Artists Residency/Ireland, the Burren College of Art Residency/Ireland and the American Scandinavian Foundation. She is a Professor of Visual and Performing Arts at Fairfield University and lives and works in New York City. STATEMENT In site-specific exhibitions, public art commissions, collaborative and individual projects Jo Yarrington has used varied combinations of glass, waxed surfaces, found artifacts and experimental analog photography to investigate the way we perceive – searching for, experimenting with and developing throughout a sensory-based vernacular. Her mostly translucent materials function as physical framework and symbolic membrane. Light, both natural and ambient, provides a kinetic or time-based element to her work. Scale and the integration of architecture are also pivotal components. In the 6-part installation for the two-person exhibition Illuminated, Yarrington continues her interest in the connections between vision, sound and language. In Mute-ability: Compositions 1 – 6, her title for this light-based comprehensive work, she combines the words mute and malleability. The work focuses on found piano rolls, a music storage medium, originally conceived as coded notations or ‘note control data’ for music produced in pneumatic player pianos...
Category

2010s Conceptual Abstract Sculptures

Materials

Steel

Jo Yarrington, Mute-Ability_Composition 4, 2019_acrylic, steel, player piano rol
By Jo Yarrington
Located in Darien, CT
Jo Yarrington’s photographs, prints, works on paper, glass sculptures and architecturally-based installations have been shown in exhibitions at the Aldrich Contemporary Art Museum, Yale University, Cornell University, the Museum of Glass, the DeCordova Museum and Sculpture Park, Artists Space, St. John the Divine Cathedral, Grounds for Sculpture, the Museum of American Glass and ODETTA, among others. International exhibitions have included Guangzhou Academy of Fine Arts Museum, Glasgow School of Art, Glasgow Cathedral, Glasgow University, Galeria Sala Uno and Centro de las Artes de Guanajuato. She represented the United States at the Sharjah Biennial, United Arab Emirates and participated in the Berlin Biennial. in 2010 she received the Bronze Prize, the Museum of Contemporary Art, Skopje, Macedonia. Yarrington is a recipient of artist grants and Fellowships from the Pollock Krasner Foundation, the New York Foundation for the Arts, the Pennsylvania Council on the Arts and the Connecticut Commission on Culture and Tourism. She has received Residency Fellowships from the MacDowell Colony, the Museum of Glass, the Museum of American Glass, the Bridge Virtual Residency/ SciArt Center, the Lucile Walton Fellow/Mountain Lake Biological Station, the Virginia Center for Creative Arts, the Anderson Center and the Ucross Foundation, among others. International grants and fellowships have included the Banff Center for Arts and Creativity/Canada, SIMS Residency/ Iceland, Cill Rialaig Artists Residency/Ireland, the Burren College of Art Residency/Ireland and the American Scandinavian Foundation. She is a Professor of Visual and Performing Arts at Fairfield University and lives and works in New York City. STATEMENT In site-specific exhibitions, public art commissions, collaborative and individual projects Jo Yarrington has used varied combinations of glass, waxed surfaces, found artifacts and experimental analog photography to investigate the way we perceive – searching for, experimenting with and developing throughout a sensory-based vernacular. Her mostly translucent materials function as physical framework and symbolic membrane. Light, both natural and ambient, provides a kinetic or time-based element to her work. Scale and the integration of architecture are also pivotal components. In the 6-part installation for the two-person exhibition Illuminated, Yarrington continues her interest in the connections between vision, sound and language. In Mute-ability: Compositions 1 – 6, her title for this light-based comprehensive work, she combines the words mute and malleability. The work focuses on found piano rolls, a music storage medium, originally conceived as coded notations or ‘note control data’ for music produced in pneumatic player pianos...
Category

2010s Conceptual Abstract Sculptures

Materials

Steel

Jo Yarrington, Mute-Ability_Composition 3, 2019_acrylic, steel, player piano rol
By Jo Yarrington
Located in Darien, CT
Jo Yarrington’s photographs, prints, works on paper, glass sculptures and architecturally-based installations have been shown in exhibitions at the Aldrich Contemporary Art Museum, Y...
Category

2010s Conceptual Abstract Sculptures

Materials

Steel

Jo Yarrington, Mute-Ability_Composition 2, 2019_acrylic, steel, player piano rol
By Jo Yarrington
Located in Darien, CT
Jo Yarrington’s photographs, prints, works on paper, glass sculptures and architecturally-based installations have been shown in exhibitions at the Aldrich Contemporary Art Museum, Yale University, Cornell University, the Museum of Glass, the DeCordova Museum and Sculpture Park, Artists Space, St. John the Divine Cathedral, Grounds for Sculpture, the Museum of American Glass and ODETTA, among others. International exhibitions have included Guangzhou Academy of Fine Arts Museum, Glasgow School of Art, Glasgow Cathedral, Glasgow University, Galeria Sala Uno and Centro de las Artes de Guanajuato. She represented the United States at the Sharjah Biennial, United Arab Emirates and participated in the Berlin Biennial. in 2010 she received the Bronze Prize, the Museum of Contemporary Art, Skopje, Macedonia. Yarrington is a recipient of artist grants and Fellowships from the Pollock Krasner Foundation, the New York Foundation for the Arts, the Pennsylvania Council on the Arts and the Connecticut Commission on Culture and Tourism. She has received Residency Fellowships from the MacDowell Colony, the Museum of Glass, the Museum of American Glass, the Bridge Virtual Residency/ SciArt Center, the Lucile Walton Fellow/Mountain Lake Biological Station, the Virginia Center for Creative Arts, the Anderson Center and the Ucross Foundation, among others. International grants and fellowships have included the Banff Center for Arts and Creativity/Canada, SIMS Residency/ Iceland, Cill Rialaig Artists Residency/Ireland, the Burren College of Art Residency/Ireland and the American Scandinavian Foundation. She is a Professor of Visual and Performing Arts at Fairfield University and lives and works in New York City. STATEMENT In site-specific exhibitions, public art commissions, collaborative and individual projects Jo Yarrington has used varied combinations of glass, waxed surfaces, found artifacts and experimental analog photography to investigate the way we perceive – searching for, experimenting with and developing throughout a sensory-based vernacular. Her mostly translucent materials function as physical framework and symbolic membrane. Light, both natural and ambient, provides a kinetic or time-based element to her work. Scale and the integration of architecture are also pivotal components. In the 6-part installation for the two-person exhibition Illuminated, Yarrington continues her interest in the connections between vision, sound and language. In Mute-ability: Compositions 1 – 6, her title for this light-based comprehensive work, she combines the words mute and malleability. The work focuses on found piano rolls, a music storage medium, originally conceived as coded notations or ‘note control data’ for music produced in pneumatic player pianos...
Category

2010s Conceptual Abstract Sculptures

Materials

Steel

Jo Yarrington, Mute-Ability_Composition 1, 2019_acrylic, steel, player piano rol
By Jo Yarrington
Located in Darien, CT
Jo Yarrington’s photographs, prints, works on paper, glass sculptures and architecturally-based installations have been shown in exhibitions at the Aldrich Contemporary Art Museum, Yale University, Cornell University, the Museum of Glass, the DeCordova Museum and Sculpture Park, Artists Space, St. John the Divine Cathedral, Grounds for Sculpture, the Museum of American Glass and ODETTA, among others. International exhibitions have included Guangzhou Academy of Fine Arts Museum, Glasgow School of Art, Glasgow Cathedral, Glasgow University, Galeria Sala Uno and Centro de las Artes de Guanajuato. She represented the United States at the Sharjah Biennial, United Arab Emirates and participated in the Berlin Biennial. in 2010 she received the Bronze Prize, the Museum of Contemporary Art, Skopje, Macedonia. Yarrington is a recipient of artist grants and Fellowships from the Pollock Krasner Foundation, the New York Foundation for the Arts, the Pennsylvania Council on the Arts and the Connecticut Commission on Culture and Tourism. She has received Residency Fellowships from the MacDowell Colony, the Museum of Glass, the Museum of American Glass, the Bridge Virtual Residency/ SciArt Center, the Lucile Walton Fellow/Mountain Lake Biological Station, the Virginia Center for Creative Arts, the Anderson Center and the Ucross Foundation, among others. International grants and fellowships have included the Banff Center for Arts and Creativity/Canada, SIMS Residency/ Iceland, Cill Rialaig Artists Residency/Ireland, the Burren College of Art Residency/Ireland and the American Scandinavian Foundation. She is a Professor of Visual and Performing Arts at Fairfield University and lives and works in New York City. STATEMENT In site-specific exhibitions, public art commissions, collaborative and individual projects Jo Yarrington has used varied combinations of glass, waxed surfaces, found artifacts and experimental analog photography to investigate the way we perceive – searching for, experimenting with and developing throughout a sensory-based vernacular. Her mostly translucent materials function as physical framework and symbolic membrane. Light, both natural and ambient, provides a kinetic or time-based element to her work. Scale and the integration of architecture are also pivotal components. In the 6-part installation for the two-person exhibition Illuminated, Yarrington continues her interest in the connections between vision, sound and language. In Mute-ability: Compositions 1 – 6, her title for this light-based comprehensive work, she combines the words mute and malleability. The work focuses on found piano rolls, a music storage medium, originally conceived as coded notations or ‘note control data’ for music produced in pneumatic player pianos...
Category

2010s Conceptual Abstract Sculptures

Materials

Steel

ODETTA at Home, Textiles, Vintage Afghan Maldari Runner, early 20th c, wool
Located in Darien, CT
This is an afghan maldari kilim, handmade from Afghanistan This kilim is in a very good condition. Nice colors and patterning. This kilim would enhance any room. Lovely on wooden flo...
Category

Early 20th Century Abstract Geometric More Art

Materials

Wool

Jesse Hickman, Note Four Twenty Seven Sixteen, 2016, Enamel, Wood
By Jesse Hickman
Located in Darien, CT
Over the past few years, Jesse Hickman has been making minimal abstract paintings on wood with few constraints. He calls this series Notes, thinking of these pieces as drawn sketches...
Category

21st Century and Contemporary Abstract Geometric Abstract Sculptures

Materials

Enamel

Jesse Hickman, Note Three Twelve Sixteen (Nebraska), 2016, Wood, Enamel
By Jesse Hickman
Located in Darien, CT
Over the past few years, Jesse Hickman has been making minimal abstract paintings on wood with few constraints. He calls this series Notes, thinking of these pieces as drawn sketches...
Category

21st Century and Contemporary Abstract Abstract Sculptures

Materials

Enamel

Loren Eiferman, 2V, 180 Pieces of Wood with Celluclay, 2015, Polymer, Wood, Clay
By Loren Eiferman
Located in Darien, CT
Over many decades Loren Eiferman has created and mastered a unique technique of working with wood—her primary material. First, she begins with a drawing of an idea. Then she takes...
Category

2010s Abstract Abstract Sculptures

Materials

Clay, Wood, Polymer

Loren Eiferman, 1v, 151 Pieces of Wood, 2016, Wood Sculpture
By Loren Eiferman
Located in Darien, CT
Over many decades Loren Eiferman has created and mastered a unique technique of working with wood—her primary material. First, she begins with a drawing of an idea. Then she takes a daily walk in the woods surrounding her studio and collects tree limbs and long sticks that have fallen to the ground. She never chops down a living tree or uses green wood. Eiferman allows the wood time to cure in the studio to make sure it won’t check or crack. Next, she debarks the branch and looks for shapes found within each piece of wood. Using a Japanese hand saw, she cuts and connect these small shapes together using dowels and wood glue. Then, all the open joints get filled with a home made putty, which is then sanded so she can see the newly formed shapes. This process is until the new sculpture appears like the original line drawing but in space. She wants the work to appear as if it grew in nature, when in fact each sculpture is composed of over 100 small pieces of wood that are seamlessly jointed together. Her work can be called the ultimate recycling: taking the detritus of nature and giving it a new life. We have all at one point or another picked up a stick from the ground—touched the wood, peeled the bark off with our fingernails. Her work taps into that same primal desire of touching nature and being close to it. Trees connect us back to nature, back to this Earth. Her work has a meditative quality to it—a quiet, calming energy. Her influences are many; from looking at nature and plant life on this Earth to researching the heavenly bodies in the images beamed back from the Hubble Telescope. From studying ancient Buddhist mandalas and designs to delving deeper into quantum physics. And from researching mysterious manuscripts to studying the patterns inside our brains. For Invocation, we are exhibiting her newest body of work, inspired by the illustrations found in the Voynich Manuscript. This 250-page book, is believed to have been written in the early 15th century, of a mysterious origin and purpose. Written in an unknown language and currently housed at Yale University’s Beinecke Rare Book Library, the manuscript has eluded all attempts in the intervening centuries to decode or decipher its purpose and meaning. This enigmatic book is divided into 6 different sections (herbal, astronomical, biological, cosmological, pharmaceutical and recipes). Having discovered the images contained in this codex over the Internet, Eiferman felt an immediate, profound and inexplicable connection to this manuscript and its creator. The artist is currently transposing the “herbal” section of manuscript into sculptures. This section has drawings in it of plants and flowers that do not really exist in nature—past or present. These aren’t just pretty images of flowers—they also contain the wacky root systems and seemingly out of proportion leaves, stamens and pistils. Loren Eiferman was born in Brooklyn, NY. She received her BFA from SUNY Purchase. Her work has been exhibited extensively throughout the Tri-State region including gallery and museum exhibitions in the Hudson Valley and Connecticut. Her work is included in numerous corporate and private art collections. In 2014 she was awarded a NYC MTA Arts & Design art commission to produce steel railings...
Category

2010s Abstract Abstract Sculptures

Materials

Putty, Wood

Loren Eiferman, Calabi-Yau, 165 wood pieces, 2013, Wood, Putty, Wood Sculpture
By Loren Eiferman
Located in Darien, CT
Over many decades Loren Eiferman has created and mastered a unique technique of working with wood—her primary material. First, she begins with a drawing of an idea. Then she take...
Category

2010s Abstract Abstract Sculptures

Materials

Wood, Putty

Loren Eiferman, Galaxy, 129 Pieces of Wood, 2012, Wood, Putty, Wood Sculpture
By Loren Eiferman
Located in Darien, CT
Over many decades Loren Eiferman has created and mastered a unique technique of working with wood—her primary material. First, she begins with a drawing of an idea. Then she takes a daily walk in the woods surrounding her studio and collects tree limbs and long sticks that have fallen to the ground. She never chops down a living tree or uses green wood. Eiferman allows the wood time to cure in the studio to make sure it won’t check or crack. Next, she debarks the branch and looks for shapes found within each piece of wood. Using a Japanese hand saw, she cuts and connect these small shapes together using dowels and wood glue. Then, all the open joints get filled with a home made putty, which is then sanded so she can see the newly formed shapes. This process is until the new sculpture appears like the original line drawing but in space. She wants the work to appear as if it grew in nature, when in fact each sculpture is composed of over 100 small pieces of wood that are seamlessly jointed together. Her work can be called the ultimate recycling: taking the detritus of nature and giving it a new life. We have all at one point or another picked up a stick from the ground—touched the wood, peeled the bark off with our fingernails. Her work taps into that same primal desire of touching nature and being close to it. Trees connect us back to nature, back to this Earth. Her work has a meditative quality to it—a quiet, calming energy. Her influences are many; from looking at nature and plant life on this Earth to researching the heavenly bodies in the images beamed back from the Hubble Telescope. From studying ancient Buddhist mandalas and designs to delving deeper into quantum physics. And from researching mysterious manuscripts to studying the patterns inside our brains. For Invocation, we are exhibiting her newest body of work, inspired by the illustrations found in the Voynich Manuscript. This 250-page book, is believed to have been written in the early 15th century, of a mysterious origin and purpose. Written in an unknown language and currently housed at Yale University’s Beinecke Rare Book Library, the manuscript has eluded all attempts in the intervening centuries to decode or decipher its purpose and meaning. This enigmatic book is divided into 6 different sections (herbal, astronomical, biological, cosmological, pharmaceutical and recipes). Having discovered the images contained in this codex over the Internet, Eiferman felt an immediate, profound and inexplicable connection to this manuscript and its creator. The artist is currently transposing the “herbal” section of manuscript into sculptures. This section has drawings in it of plants and flowers that do not really exist in nature—past or present. These aren’t just pretty images of flowers—they also contain the wacky root systems and seemingly out of proportion leaves, stamens and pistils. Loren Eiferman was born in Brooklyn, NY. She received her BFA from SUNY Purchase. Her work has been exhibited extensively throughout the Tri-State region including gallery and museum exhibitions in the Hudson Valley and Connecticut. Her work is included in numerous corporate and private art collections. In 2014 she was awarded a NYC MTA Arts & Design art commission to produce steel railings...
Category

2010s Abstract Abstract Sculptures

Materials

Putty, Wood

Loren Eiferman, Satellite, 2010, 125 pieces of wood, copper, patina
By Loren Eiferman
Located in Darien, CT
Over many decades Loren Eiferman has created and mastered a unique technique of working with wood—her primary material. First, she begins with a drawing of an idea. Then she take...
Category

2010s Abstract Abstract Sculptures

Materials

Copper

Loren Eiferman, Voynich #1, 124 Pieces of Wood, 2015, Wood, Putty, 54x30x20 in
By Loren Eiferman
Located in Darien, CT
Over many decades Loren Eiferman has created and mastered a unique technique of working with wood—her primary material. First, she begins with a drawing of an idea. Then she takes a daily walk in the woods surrounding her studio and collects tree limbs and long sticks that have fallen to the ground. She never chops down a living tree or uses green wood. Eiferman allows the wood time to cure in the studio to make sure it won’t check or crack. Next, she debarks the branch and looks for shapes found within each piece of wood. Using a Japanese hand saw, she cuts and connect these small shapes together using dowels and wood glue. Then, all the open joints get filled with a home made putty, which is then sanded so she can see the newly formed shapes. This process is until the new sculpture appears like the original line drawing but in space. She wants the work to appear as if it grew in nature, when in fact each sculpture is composed of over 100 small pieces of wood that are seamlessly jointed together. Her work can be called the ultimate recycling: taking the detritus of nature and giving it a new life. We have all at one point or another picked up a stick from the ground—touched the wood, peeled the bark off with our fingernails. Her work taps into that same primal desire of touching nature and being close to it. Trees connect us back to nature, back to this Earth. Her work has a meditative quality to it—a quiet, calming energy. Her influences are many; from looking at nature and plant life on this Earth to researching the heavenly bodies in the images beamed back from the Hubble Telescope. From studying ancient Buddhist mandalas and designs to delving deeper into quantum physics. And from researching mysterious manuscripts to studying the patterns inside our brains. For Invocation, we are exhibiting her newest body of work, inspired by the illustrations found in the Voynich Manuscript. This 250-page book, is believed to have been written in the early 15th century, of a mysterious origin and purpose. Written in an unknown language and currently housed at Yale University’s Beinecke Rare Book Library, the manuscript has eluded all attempts in the intervening centuries to decode or decipher its purpose and meaning. This enigmatic book is divided into 6 different sections (herbal, astronomical, biological, cosmological, pharmaceutical and recipes). Having discovered the images contained in this codex over the Internet, Eiferman felt an immediate, profound and inexplicable connection to this manuscript and its creator. The artist is currently transposing the “herbal” section of manuscript into sculptures. This section has drawings in it of plants and flowers that do not really exist in nature—past or present. These aren’t just pretty images of flowers—they also contain the wacky root systems and seemingly out of proportion leaves, stamens and pistils. Loren Eiferman was born in Brooklyn, NY. She received her BFA from SUNY Purchase. Her work has been exhibited extensively throughout the Tri-State region including gallery and museum exhibitions in the Hudson Valley and Connecticut. Her work is included in numerous corporate and private art collections. In 2014 she was awarded a NYC MTA Arts & Design art commission to produce steel railings...
Category

2010s Abstract Still-life Sculptures

Materials

Wood, Putty

Loren Eiferman, Winter Solstice, 2012, 165 Pieces of Wood, Putty, Wood Sculpture
By Loren Eiferman
Located in Darien, CT
Over many decades Loren Eiferman has created and mastered a unique technique of working with wood—her primary material. First, she begins with a drawing of an idea. Then she takes a daily walk in the woods surrounding her studio and collects tree limbs and long sticks that have fallen to the ground. She never chops down a living tree or uses green wood. Eiferman allows the wood time to cure in the studio to make sure it won’t check or crack. Next, she debarks the branch and looks for shapes found within each piece of wood. Using a Japanese hand saw, she cuts and connect these small shapes together using dowels and wood glue. Then, all the open joints get filled with a home made putty, which is then sanded so she can see the newly formed shapes. This process is until the new sculpture appears like the original line drawing but in space. She wants the work to appear as if it grew in nature, when in fact each sculpture is composed of over 100 small pieces of wood that are seamlessly jointed together. Her work can be called the ultimate recycling: taking the detritus of nature and giving it a new life. We have all at one point or another picked up a stick from the ground—touched the wood, peeled the bark off with our fingernails. Her work taps into that same primal desire of touching nature and being close to it. Trees connect us back to nature, back to this Earth. Her work has a meditative quality to it—a quiet, calming energy. Her influences are many; from looking at nature and plant life on this Earth to researching the heavenly bodies in the images beamed back from the Hubble Telescope. From studying ancient Buddhist mandalas and designs to delving deeper into quantum physics. And from researching mysterious manuscripts to studying the patterns inside our brains. Her newest body of work is inspired by the illustrations found in the Voynich Manuscript. This 250-page book, is believed to have been written in the early 15th century, of a mysterious origin and purpose. Written in an unknown language and currently housed at Yale University’s Beinecke Rare Book Library, the manuscript has eluded all attempts in the intervening centuries to decode or decipher its purpose and meaning. This enigmatic book is divided into 6 different sections (herbal, astronomical, biological, cosmological, pharmaceutical and recipes). Having discovered the images contained in this codex over the Internet, Eiferman felt an immediate, profound and inexplicable connection to this manuscript and its creator. The artist is currently transposing the “herbal” section of manuscript into sculptures. This section has drawings in it of plants and flowers that do not really exist in nature—past or present. These aren’t just pretty images of flowers—they also contain the wacky root systems and seemingly out of proportion leaves, stamens and pistils. Loren Eiferman was born in Brooklyn, NY. She received her BFA from SUNY Purchase. Her work has been exhibited extensively throughout the Tri-State region including gallery and museum exhibitions in the Hudson Valley and Connecticut. Her work is included in numerous corporate and private art collections. In 2014 she was awarded a NYC MTA Arts & Design art commission to produce steel railings...
Category

2010s Abstract Abstract Sculptures

Materials

Wood, Putty

Loren Eiferman, 5r, 146 Pieces of Wood with Rope and Wax, 2016, Wood Sculpture
By Loren Eiferman
Located in Darien, CT
Over many decades Loren Eiferman has created and mastered a unique technique of working with wood—her primary material. First, she begins with a drawing of an idea. Then she takes...
Category

2010s Abstract Abstract Sculptures

Materials

Wood

Loren Eiferman, 14 V, 2017, 94 Pieces of Wood, 48 x 22 x 18 in, wood sculpture
By Loren Eiferman
Located in Darien, CT
Over many decades Loren Eiferman has created and mastered a unique technique of working with wood—her primary material. First, she begins with a drawing of an idea. Then she takes a daily walk in the woods surrounding her studio and collects tree limbs and long sticks that have fallen to the ground. She never chops down a living tree or uses green wood. Eiferman allows the wood time to cure in the studio to make sure it won’t check or crack. Next, she debarks the branch and looks for shapes found within each piece of wood. Using a Japanese hand saw, she cuts and connect these small shapes together using dowels and wood glue. Then, all the open joints get filled with a home made putty, which is then sanded so she can see the newly formed shapes. This process is until the new sculpture appears like the original line drawing but in space. She wants the work to appear as if it grew in nature, when in fact each sculpture is composed of over 100 small pieces of wood that are seamlessly jointed together. Her work can be called the ultimate recycling: taking the detritus of nature and giving it a new life. We have all at one point or another picked up a stick from the ground—touched the wood, peeled the bark off with our fingernails. Her work taps into that same primal desire of touching nature and being close to it. Trees connect us back to nature, back to this Earth. Her work has a meditative quality to it—a quiet, calming energy. Her influences are many; from looking at nature and plant life on this Earth to researching the heavenly bodies in the images beamed back from the Hubble Telescope. From studying ancient Buddhist mandalas and designs to delving deeper into quantum physics. And from researching mysterious manuscripts to studying the patterns inside our brains. For Invocation, we are exhibiting her newest body of work, inspired by the illustrations found in the Voynich Manuscript. This 250-page book, is believed to have been written in the early 15th century, of a mysterious origin and purpose. Written in an unknown language and currently housed at Yale University’s Beinecke Rare Book Library, the manuscript has eluded all attempts in the intervening centuries to decode or decipher its purpose and meaning. This enigmatic book is divided into 6 different sections (herbal, astronomical, biological, cosmological, pharmaceutical and recipes). Having discovered the images contained in this codex over the Internet, Eiferman felt an immediate, profound and inexplicable connection to this manuscript and its creator. The artist is currently transposing the “herbal” section of manuscript into sculptures. This section has drawings in it of plants and flowers that do not really exist in nature—past or present. These aren’t just pretty images of flowers—they also contain the wacky root systems and seemingly out of proportion leaves, stamens and pistils. Loren Eiferman was born in Brooklyn, NY. She received her BFA from SUNY Purchase. Her work has been exhibited extensively throughout the Tri-State region including gallery and museum exhibitions in the Hudson Valley and Connecticut. Her work is included in numerous corporate and private art collections. In 2014 she was awarded a NYC MTA Arts & Design art commission to produce steel railings...
Category

2010s Abstract Abstract Sculptures

Materials

Wood

Diane Englander, White and Wood XVI, 2015, Wood, Mixed Media
By Diane Englander
Located in Darien, CT
A native New Yorker, Diane had an earlier career including 17 years as a management consultant to local nonprofits concerned with poverty or disenfranchisement; work in NYC governmen...
Category

2010s Mixed Media

Materials

Acrylic, Wood, Mixed Media

Diane Englander, Red and Wood III, Wood, Mixed Media
By Diane Englander
Located in Darien, CT
A native New Yorker, Diane had an earlier career including 17 years as a management consultant to local nonprofits concerned with poverty or disenfranchisement; work in NYC governmen...
Category

2010s Arte Povera Mixed Media

Materials

Wood, Mixed Media, Acrylic

Diane Englander, White and Wood XIV, 2015, Wood, Mixed Media
By Diane Englander
Located in Darien, CT
A native New Yorker, Diane had an earlier career including 17 years as a management consultant to local nonprofits concerned with poverty or disenfranchisement; work in NYC governmen...
Category

2010s Arte Povera Mixed Media

Materials

Wood, Mixed Media, Acrylic

Diane Englander, White and Wood I, 2013, Wood, Mixed Media
By Diane Englander
Located in Darien, CT
A native New Yorker, Diane had an earlier career including 17 years as a management consultant to local nonprofits concerned with poverty or disenfranchisement; work in NYC governmen...
Category

2010s Arte Povera Mixed Media

Materials

Wood, Mixed Media, Acrylic

Diane Englander, White and Wood IX, 2014, Wood, Mixed Media
By Diane Englander
Located in Darien, CT
A native New Yorker, Diane had an earlier career including 17 years as a management consultant to local nonprofits concerned with poverty or disenfranchisement; work in NYC governmen...
Category

2010s Arte Povera Mixed Media

Materials

Wood, Mixed Media, Acrylic

Diane Englander, Red and Buff on Orange XI, 2017, Mixed Media
By Diane Englander
Located in Darien, CT
A native New Yorker, Diane had an earlier career including 17 years as a management consultant to local nonprofits concerned with poverty or disenfranchisement; work in NYC governmen...
Category

2010s Arte Povera Mixed Media

Materials

Mixed Media, Acrylic, Cardboard

Diane Englander, Red and Buff on Orange 4, 2017, Mixed Media
By Diane Englander
Located in Darien, CT
A native New Yorker, Diane had an earlier career including 17 years as a management consultant to local nonprofits concerned with poverty or disenfranchisement; work in NYC governmen...
Category

2010s Mixed Media

Materials

Acrylic, Cardboard, Graphite, Mixed Media

Diane Englander, Red and Wood II, 2015, Mixed Media, Wood
By Diane Englander
Located in Darien, CT
A native New Yorker, Diane had an earlier career including 17 years as a management consultant to local nonprofits concerned with poverty or disenfranchisement; work in NYC governmen...
Category

2010s Arte Povera Mixed Media

Materials

Acrylic, Wood, Mixed Media

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