ODETTA Abstract Sculptures
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Estate of David Hayes_Form Study_plaster coated cut styrofoam_abstract sculpture
By David Hayes
Located in Darien, CT
ODETTA is pleased to offer this important sculpture from the Estate of David Hayes.
David Vincent Hayes (March 15, 1931 – April 9, 2013) was an American sculptor..
These Form Studi...
Category
1970s Abstract Abstract Sculptures
Materials
Polystyrene, Plaster, Acrylic
Estate of David Hayes_Form Study_plaster coated cut styrofoam_abstract sculpture
By David Hayes
Located in Darien, CT
ODETTA is pleased to offer this important sculpture from the Estate of David Hayes.
David Vincent Hayes (March 15, 1931 – April 9, 2013) was an American sculptor..
These Form Studi...
Category
1970s Abstract Abstract Sculptures
Materials
Polystyrene, Plaster, Acrylic
Estate of David Hayes_Form Study_plaster coated cut styrofoam_abstract sculpture
By David Hayes
Located in Darien, CT
ODETTA is pleased to offer this important sculpture from the Estate of David Hayes.
David Vincent Hayes (March 15, 1931 – April 9, 2013) was an American sculptor..
These Form Studi...
Category
1970s Abstract Abstract Sculptures
Materials
Polystyrene, Plaster, Acrylic
Estate of David Hayes_Form Study_plaster coated cut styrofoam_abstract sculpture
By David Hayes
Located in Darien, CT
ODETTA is pleased to offer this important sculpture from the Estate of David Hayes.
David Vincent Hayes (March 15, 1931 – April 9, 2013) was an American sculptor..
These Form Studi...
Category
1970s Abstract Abstract Sculptures
Materials
Plaster, Polystyrene, Acrylic
Estate of David Hayes_Form Study_plaster coated cut styrofoam_abstract sculpture
By David Hayes
Located in Darien, CT
ODETTA is pleased to offer this important sculpture from the Estate of David Hayes.
David Vincent Hayes (March 15, 1931 – April 9, 2013) was an American sculptor..
These Form Studi...
Category
1970s Abstract Abstract Sculptures
Materials
Plaster
Estate of David Hayes_Form Study_carved plaster of paris_1970_abstract sculpture
By David Hayes
Located in Darien, CT
ODETTA is pleased to offer this important sculpture from the Estate of David Hayes.
David Vincent Hayes (March 15, 1931 – April 9, 2013) was an American sculptor..
Hayes received a...
Category
1970s Abstract Abstract Sculptures
Materials
Plaster
Estate of David Hayes_Form Study_carved plaster of paris_1970_abstract sculpture
By David Hayes
Located in Darien, CT
ODETTA is pleased to offer this important sculpture from the Estate of David Hayes.
David Vincent Hayes (March 15, 1931 – April 9, 2013) was an American sculptor..
Hayes received a...
Category
1970s Abstract Abstract Sculptures
Materials
Plaster
Estate of David Hayes_Form Study_carved plaster of paris_1970_abstract sculpture
By David Hayes
Located in Darien, CT
ODETTA is pleased to offer this important sculpture from the Estate of David Hayes.
David Vincent Hayes (March 15, 1931 – April 9, 2013) was an American sculptor..
Hayes received a...
Category
1970s Abstract Abstract Sculptures
Materials
Plaster
Estate of David Hayes_Form Study_carved plaster of paris_1970_abstract sculpture
By David Hayes
Located in Darien, CT
ODETTA is pleased to offer this important sculpture from the Estate of David Hayes.
David Vincent Hayes (March 15, 1931 – April 9, 2013) was an American sculptor..
Hayes received a...
Category
1970s Abstract Abstract Sculptures
Materials
Plaster
Jaff_Blow_2014_hand cut paper_minimalism
By Liz Jaff
Located in Darien, CT
Liz Jaff creates intricate constructions which use repetition, patterns and forms from nature and architecture to explore ideas of love, commitment, sacrifice and memory of time and ...
Category
2010s Abstract Geometric Abstract Sculptures
Materials
Archival Paper
Jaff_Little Swivel._2022_hand cut paper_minimalism
By Liz Jaff
Located in Darien, CT
Liz Jaff creates intricate constructions which use repetition, patterns and forms from nature and architecture to explore ideas of love, commitment, sacrifice and memory of time and ...
Category
2010s Abstract Geometric Abstract Sculptures
Materials
Archival Paper
Margaret Roleke, Pop pop, 2018, spent shot gun shells, wire, zipties, steel box
By Margaret Roleke
Located in Darien, CT
Margaret Roleke has created the sculpture “Pop,pop” specifically for the Las Gravitas exhibition at ODETTA. The title refers both to the fun and colorful hues of the piece that pop ...
Category
2010s Pop Art Abstract Sculptures
Materials
Steel, Wire
Margaret Roleke, Weapons of Mass Destruction, 2019, light box with video
By Margaret Roleke
Located in Darien, CT
Margaret Roleke creates politically aware work. Children’s war toys and packaging for these toys have fascinated her and become integrated elements in my wall reliefs and paper piece...
Category
2010s Pop Art Abstract Sculptures
Materials
Metal
Estate of David Hayes_Landscape Sculpture #52, painted steel, abstraction
By David Hayes
Located in Darien, CT
ODETTA is pleased to offer this important sculpture from the Estate of David Hayes
David Vincent Hayes (March 15, 1931 – April 9, 2013) was an American sculptor.
Hayes received a B...
Category
1980s Abstract Abstract Sculptures
Materials
Enamel, Steel
Estate of David Hayes_Landscape Sculpture, painted steel, abstraction
By David Hayes
Located in Darien, CT
ODETTA is pleased to offer this important sculpture from the Estate of David Hayes
David Vincent Hayes (March 15, 1931 – April 9, 2013) was an American sculptor.
Hayes received a B...
Category
Early 2000s Abstract Abstract Sculptures
Materials
Enamel, Steel
Liz Sweibel, Untitled (Scrapings #10), 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 consisted of more than a dozen four- to seven-foot lengths of hardwood, each an uneven inch in depth and width. The sticks were warped, with worn yellow paint on one side and raw wood on the other three. Over the years she has painted the raw sides of the sticks, cut the wood into shorter lengths, and sliced paint off – and kept the residue from these actions. Sweibel has also made sculptures ranging from full-length sticks to tiny stick splinters. She built these sculptures using sliced-off paint.
Timeworn materials and objects have an intelligence that the artist looks for and listens to. Shaping and reshaping material to find new form and elicit new insights in the material itself is the territory she is mining. The limitations of the process are its strengths. Her work is concerned with fragility, precariousness, adaptability, and strength. It is a visual response to powerful yet unseen forces - like wind and thoughts - that threaten, propel, ruin, and protect.
Liz Sweibel is a multidisciplinary artist working in drawing, sculpture, installation, and digital photography and video. Her spare, personal language of abstraction transforms ordinary materials into statements about connectedness and responsibility: every action has an impact, the effects persist in space and over time, and we are accountable. By drawing attention to simple, ordinary “stuff of life” and referencing both shared and personal history, Sweibel’s work explores and reflects back fundamental experiences in response to our world and relationships. Her intention is to reinvigorate viewers’ awareness of the everyday – in its raw beauty and precariousness – in hopes that they might bring heightened senses of sight and care to their daily lives.
Sweibel has participated in solo, two-person, and group exhibits in New York, Massachusetts, Maine, Connecticut, Michigan, and Tennessee since 1998. In 2016, Sweibel’s work was in the group shows Lightly Structured at Sculpture Space NYC, Precarious Constructs at the Venus Knitting Art...
Category
2010s Abstract Expressionist Abstract Sculptures
Materials
Wood, Paint, Found Objects
Charles Birnbaum, 372 Wall Piece No.20, 2017, porcelain, 19.5x15.5x7 in, Visionary
By Charles Birnbaum
Located in Darien, CT
Charles Birnbaum is a sculptor and a self-taught photographer. He graduated from Kansas City Art Institute where he studied ceramics and was one of a select group of the esteemed Ken...
Category
2010s Baroque Abstract Sculptures
Materials
Digital Pigment, Porcelain
Charles Birnbaum, 371_Wall Piece No.19_2017_porcelain_19x13x5 in_Visionary
By Charles Birnbaum
Located in Darien, CT
Charles Birnbaum is a sculptor and a self-taught photographer. He graduated from Kansas City Art Institute where he studied ceramics and was one of a select group of the esteemed Ken...
Category
2010s Baroque Abstract Sculptures
Materials
Porcelain
Susan Hensel_Skewed Geometry 8_digital embroidery_11.5 x 11.5 inches
Located in Darien, CT
Susan Hensel designs images in the computer using specialized software. It is a form of drawing in stitches that combines aspects of both Adobe Photoshop...
Category
2010s Abstract Geometric Mixed Media
Materials
Fabric, Thread
Susan Hensel_Skewed Geometry 7_digital embroidery_11.5 x 11.5 inches
Located in Darien, CT
Susan Hensel designs images in the computer using specialized software. It is a form of drawing in stitches that combines aspects of both Adobe Photoshop...
Category
2010s Abstract Geometric Mixed Media
Materials
Fabric, Thread
Susan Hensel_Skewed Geometry 6_digital embroidery_12x12in_
Located in Darien, CT
Susan Hensel designs images in the computer using specialized software. It is a form of drawing in stitches that combines aspects of both Adobe Photoshop...
Category
2010s Abstract Geometric Mixed Media
Materials
Fabric, Thread
Susan Hensel_Skewed Geometry 2_digital embroidery_12x12in_
Located in Darien, CT
Susan Hensel designs images in the computer using specialized software. It is a form of drawing in stitches that combines aspects of both Adobe Photoshop...
Category
2010s Abstract Geometric Mixed Media
Materials
Fabric, Thread
Susan Hensel_Skewed Geometry 1_digital embroidery_12x12in_
Located in Darien, CT
Susan Hensel designs images in the computer using specialized software. It is a form of drawing in stitches that combines aspects of both Adobe Photoshop...
Category
2010s Abstract Geometric Mixed Media
Materials
Fabric, Thread
Susan Hensel_Hard Geometry 6_embroidery on fabric mounted on painted Arches
Located in Darien, CT
Susan Hensel designs images in the computer using specialized software. It is a form of drawing in stitches that combines aspects of both Adobe Photoshop...
Category
2010s Abstract Geometric Mixed Media
Materials
Fabric, Acrylic, Archival Paper
Susan Hensel_Hard Geometry 4_embroidery on fabric mounted on painted Arches
Located in Darien, CT
Susan Hensel designs images in the computer using specialized software. It is a form of drawing in stitches that combines aspects of both Adobe Photoshop...
Category
2010s Abstract Geometric Mixed Media
Materials
Fabric, Acrylic, Archival Paper
Susan Hensel_Hard Geometry 3_embroidery on fabric mounted on painted Arches
Located in Darien, CT
Susan Hensel designs images in the computer using specialized software. It is a form of drawing in stitches that combines aspects of both Adobe Photoshop...
Category
2010s Abstract Geometric Mixed Media
Materials
Fabric, Acrylic, Archival Paper
Susan Hensel_Hard Geometry 2_embroidery on fabric mounted on painted Arches
Located in Darien, CT
Susan Hensel designs images in the computer using specialized software. It is a form of drawing in stitches that combines aspects of both Adobe Photoshop...
Category
2010s Abstract Geometric Mixed Media
Materials
Fabric, Acrylic, Archival Paper
Susan Hensel_Hard Geometry 1_embroidery on fabric mounted on painted Arches
Located in Darien, CT
Susan Hensel designs images in the computer using specialized software. It is a form of drawing in stitches that combines aspects of both Adobe Photoshop...
Category
2010s Abstract Geometric Mixed Media
Materials
Fabric, Acrylic, Archival Paper
Carol Salmanson, Double Diamonds, 2018, LED, plexiglas, gels, irridescent paint
By Carol Salmanson
Located in Darien, CT
Memory is at its most magical when it conjures up not the event, but its surrounding perceptual and emotional space. Flashes of reflected light, movement seen out of the corner of eye, bits of sound or feeling – these are what ignite memory, giving it form and bringing it to life.
Light both beams into and envelops you. Carol Salmanson started working with it in 2003 after painting for many years because of these singular spatial qualities. They enable herto build whole worlds with color and shape, ones that resonate with memory and experience. Painters have often talked about depicting light. Today’s technology allows me to use light as medium as well as subject.
Double Diamond is made with layers of light that beam onto reflective material; its two different configurations of diamonds are mounted on a strip that also layers light. The location in the beams creates a glowing frieze that radiates outwards, giving the viewer a first a sense of surprise, and then wonder.
Carol Salmanson is an artist working with light and reflective materials to create installations, sculptures, and wall pieces. She received a B.S. in Biological Psychology from Carnegie-Mellon University and an M.B.A. from the University of Chicago. She attended the Arts Students League, the School of Visual Arts as a Public Art Resident, and the National Academy of Fine Arts as an Abbey Mural Workshop Fellow.
Public art projects include Water Bubbles, an installation in twenty windows of the abandoned landmark Constructivist White Tower in Yekaterinburg, Russia. Other window installations include the venues Station Independent Projects, Time Equities’ Art-in-Buildings program, OK Harris Works of Art, 254 Park Avenue South, and Mixed Greens Gallery, all in New York. Her outdoor sculptures include Tri-Quadular Cone in Summit, NJ, and Lot’s Ex-Wife in Brooklyn. She will have an installation, Crown Colony, in the window at 266 W. 37th St, in September of this year.
Solo and two-person exhibition venues include SL Gallery (NY), Slag Contemporary (Brooklyn), Station Independent Projects (NY), Brian Morris...
Category
2010s Color-Field Abstract Sculptures
Materials
Plexiglass, Polyester, LED Light, Acrylic
Andra Samelson, Pemarom, 2013-2022, 1300 + cds, Edition of 5, Abstract Sculpture
By Andra Samelson
Located in Darien, CT
The word in Tibetan for lotus is “Pema.” In Buddhism the lotus is a symbol of purity. The lotus is planted and rooted in the mud, but grows up through the water and into the vast sky...
Category
2010s Conceptual Abstract Sculptures
Materials
Mirror, Plastic, Acrylic Polymer, Found Objects, Other Medium
Loren Eiferman, Nature Will Heal, 108 Pieces of Wood, 2016, Wood, Found Objects
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, Found Objects
Mary Schiliro, Cat's Cradle 6, 2006, acylic on Mylar, 36 x 18 in, Abstraction
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
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
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
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
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
Dishtowel Fold, 2018, polyester cord, PVC rod, stainless steel, 94.5 x 49 x26 in
By Daniel G. Hill
Located in Darien, CT
In recent years, Daniel G. Hill has been fixated on the work’s method of construction and its physical presence. During the winter of 2014, he began a new line of inquiry, translati...
Category
2010s Minimalist Abstract Sculptures
Materials
Stainless Steel
Flipside, 2018, polyester cord, PVC rod, stainless steel, 96 x 42.5 x 17.5 in
By Daniel G. Hill
Located in Darien, CT
In recent years, Daniel G. Hill has been fixated on the work’s method of construction and its physical presence. During the winter of 2014, he began a new line of inquiry, translati...
Category
2010s Minimalist Abstract Sculptures
Materials
Stainless Steel
Daniel G. Hill, Sling, 2016, stainless steel wire, music wire, 34 x 24 x 15 in
By Daniel G. Hill
Located in Darien, CT
In recent years, Daniel G. Hill has been fixated on the work’s method of construction and its physical presence. During the winter of 2014, he began a new line of inquiry, translati...
Category
2010s Minimalist Abstract Sculptures
Materials
Stainless Steel, Wire
Nancy Baker, Yellow Tower , 2019, painting, collage, board, 15 x 15 x 2 inches
By Nancy Baker
Located in Darien, CT
These new paintings and works on paper are the outgrowth of experimentation that seeks to bring the work to a newer outpost of Baker’s search for an honest self-revelation. The new s...
Category
2010s Rococo Abstract Sculptures
Materials
Acrylic, Wood Panel, Board, Archival Pigment
Nancy Baker, Bulwark, 2019, painting, collage, cut out board, 15 x 15 x 2 inches
By Nancy Baker
Located in Darien, CT
These new paintings and works on paper are the outgrowth of experimentation that seeks to bring the work to a newer outpost of Baker’s search for an honest self-revelation. The new s...
Category
2010s Rococo Abstract Sculptures
Materials
Acrylic, Board, Archival Pigment, Wood Panel
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
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
Glass, Graphite
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
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
