The gallery is comprised of 3 rooms so I am going to post the art in each room separately, beginning with the room 1. As usual, I will link to the artist's web site when possible and include a full and detail as well as the artist statement, if available.
Before you get started viewing all the luscious art, may I take a moment to say just how thrilled I am that my red boat is in such fantastic company? There's Ellen Schiffman (top left) Kari Lonning (middle) and Amy Bilden (right). Truth be told, I did a little happy dance right there in the gallery when I found out who my hanging mates were.
And now, enjoy!
Men I Have Known: Bad Boy (2013)
yarn, fabric, safety pins
Men I Have Known: Bad Boy (2013), detail
Men I Have Known: Bad Boy (2013), detail
For me, every sculpture becomes an improvisation in awkward beauty: clumpy fabric, rough and smooth textures, ragged edges. Because the loom I use has only two heddles, instead of keeping track of a pattern, I can focus on aesthetic decisions. My hands act as the shuttle, guiding the bobbin through the shed. My fingers beat the weft. Manipulated manually, the fabric becomes organic, fluid, personal. As if it has free will, the weft escapes from my fingers. I can't replicate a straight line. Luckily, I don't want to. Juliet Martin
pigment on cast handmade paper
Cast Rocks, detail
Mount Koyasan: Ancestors
photomontage, glass beads,
sequins, cotton, thread
Mount Koyasan: Ancestors, detail
Diane Pollack (top)
Whimsy 6, detail
The work poured out of me! Lo and behold, during the six weeks of my stay, I produced over twenty of them! Diane Pollack
A Little (American-Jewish) Princess
linen, photo transfer,
pearl beads, embroidery thread
This work is from a series called "Daddy's Girl," about my relationship with my father, who died in 2012 at the age of 95. By creating these pieces, I found a way to process my grief by physically associating some mundane objects he kept close at hand every day of his life--his handkerchiefs--with the photographs he took of me as a young girl, an only child who often felt lonely, uneasy, and awkward, yet anxious to please and succeed. Each piece portrays an emotionally charged moment in my early childhood when my father was especially present and influential concerning my awareness of myself as a girl, and at times when I may have subconsciously internalized his silent, but palpable, hopes, dreams, and expectations of me.
In the photograph I'm dressed to go to synagogue on a spring day. I'm wearing Jackie Kennedy-like white gloves, a decidedly patriotic-colored dress, my best shoes. And I seem uncomfortable, perhaps because the dress is scratchy, or maybe it's the entire outfit that labels me as more American than I felt at that moment. It's a feeling that quite honestly has followed me throughout my life. That as a Jew, I will always be an outsider, vulnerable, and never 100 percent American.
string, ink, handmade paper
Although willing to depart from my original idea as a work progresses, I usually start with a very clear image from nature. So it was with Snowmoon. My unobstructed view of the night sky has allowed me much study of the moon making its arc to the horizon. Always partial to the circle, I often make work that refers to the moon and the darkened edges that so reliably creep across the brilliant sphere.
Kabu 2000/104 (2000), front
Kabu 2000/104 (2000), front detail
Kabu 2000/104 (2000), back
Kabu 2000/104 (2000), back detail
Kobayashi studied at the Musashino Art University of Toyko, between 1965 and 1969, specializing in textile printing and weaving. Since 1981, she has had many solo exhibitions in Japan and has participated in numerous international group shows. The artist has recently collaborated with her husband, artist Masakazu Kobayashi. They live and work in Toyko.
Kimono Form 1: VERY LOUD MESSAGE FROM FUKUSHIMA
vinyl tape, cotton, thread, ceramic beads, in cartridge rollers
Kimono Form 1: VERY LOUD MESSAGE FROM FUKUSHIMA, detail
VERY LOUD MESSAGE FROM FUKUSHIMA starts with the enormity of the catastrophic nuclear plant failure and its threatening implications for the non-survival of all living beings on earth; human folly at its most dangerous. I used ink cartridge rollers as beads in groups of four to symbolize the failed cooling towers. Arlé Sklar-Weinstein
Where Sky Meets Water
dyed rattan reed, encaustic medium
(bee's wax and demar resin)
As for most of my baskets, this one began with the colors I wanted to use, then the design unfolded as I worked. My brother had been taking about his love of the beach, the water, the sounds, and the peaceful solitude. His thoughts resonated, and I discovered that I was weaving them into this piece. As I added the orange, I was thinking of a sunset but I discovered that instead, I was adding shore birds... The setting sun was added to the "sky" in the deep blue band above the "beach."It's rare for me to be so literal or representational, but the more I wove, the more I was immersed in the idea. Kari Lonning
Majesty of the Slow White Crawl
Majesty of the Slow White Crawl, detail
The Majesty of the Slow White Crawl emerged as I planned a bucket-list trip to Patagonia. My mind was filled with thoughts and images of glaciers, snow-capped mountains, frigid temperatures--and great expanses of white beauty. Ellen Schiffman
Jennifer Coyne Qudeen
The Red Boat
tea bags, digital print of photo taken by the artist, thread
My work with tea bags explored and expands on the concept of memories, whether real or imagined, through the use of marks--the tea's own as well as my handmade marks, direct rust prints, digital prints, and hand and machine stitching.
The translucent quality of the tea bag paper seems the perfect medium for expressing and storing memories, as with time they become ethereal. Jennifer Coyne Qudeen
metal, stone, bone, twine
Zen Altar, detail
I created this sculpture as a place of peace and calm. It is meant to be a Zen oasis of offering and tranquility.
The twine is used to embrace the altar and also to dangle a stone that represents balance and serenity. Lucy M Krupenye
Nancy C Woodward
ink, abaca tissue, thread, burlap
Nancy C Woodward
Blue Heirloom, detail
Working from a photograph I took of a tree, a design took shape that evoked memories of an old oriental rug belonging to my godfather, Uncle Burr. As I worked on this piece, the emerging design conjured up early memories of that wonderful man. I had a sense of Uncle Burr whispering familiar words to me: "Awful nice job, Nancy Carol." He was the only person who used my middle name as a term of endearment. Throughout this process, I felt his kindness and support. Nancy C Woodward
Save The Planet
linen, wool, ribbon, twine, silk, crocheted flowers,
beads, bells,buttons, plastic bags,
needle-felted bird's nest (courtesy of Liz Alpert Fay)
Save The Planet, detail
hand-dyed Finn wool,