Connecticut - Abstract Sculptures
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Item Ships From: Connecticut
The Time of Our Time Has Come and Gone, 2018, Gaffer tape on floor
By David Borawski
Located in Darien, CT
David Borawski lives and works in Hartford, Connecticut, and received his BFA from the Hartford Art School of the University of Hartford.
A multi-media installation artist, his work...
Category
2010s Conceptual Connecticut - Abstract Sculptures
Materials
Tape
Jose Soto, FOCUS II, 2016, Birch, Paint
By Jose Soto
Located in Darien, CT
FOCUS is a public art sculpture about the viewer’s growing visual perception and bodily experience. It consists of two large rectangular-shaped pieces, one placed in a vertical posit...
Category
21st Century and Contemporary Abstract Geometric Connecticut - Abstract Sculptures
Materials
Birch, Paint
Liz Sweibel, Untitled (Splinter 2 ), 2014, Wood, Paint, Found Objects
By Liz Sweibel
Located in Darien, CT
Liz Sweibel primarily makes sculpture, installations, and drawings. She uses a spare, personal language of abstraction to explore liminal spaces and unseen forces: wind, history, va...
Category
2010s Minimalist Connecticut - Abstract Sculptures
Materials
Wood, Paint, Found Objects
Andra Samelson, Microcosm 2, 2016, Canvas, Wood, 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 Connecticut - Abstract Sculptures
Materials
Canvas, Wood, Found Objects, Acrylic
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 Connecticut - Abstract Sculptures
Materials
Fabric, Dye, Plastic
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 Connecticut - Abstract Sculptures
Materials
Plexiglass
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 Connecticut - 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 Connecticut - Abstract Sculptures
Materials
Ceramic, Fabric, Thread, Dye, Found Objects
Yvette Cohen, Thin Air 2
3, 2011, oil, shaped canvas, wood dowel, Minimalist
By Yvette Cohen
Located in Darien, CT
Yvette Cohen’s oil paintings of geometric masses of color on shaped canvas become objects that fluctuate between two and three dimensions, bridging the divide between sculpture and ...
Category
2010s Minimalist Connecticut - Abstract Sculptures
Materials
Canvas, Wood, Oil
Diane Englander, White Form on Red Wood, 2018, scrapwood and acrylic, 12 x 13 in
By Diane Englander
Located in Darien, CT
Diane Englander uses formal means to create a place between discord and tranquility, a zone with a charged harmony that energizes as it also provides refuge. That often requires that the prettiness of an initial surface is made ugly, or there’s a conscious choice to avoid balance in the composition.
Hers is a largely intuitive process, the materials entice her. Inspiration from the world that we don't call “art” is where she finds her muse: a wall, a landscape, a window shade transfused with light, a stretch of sand and shadow. Most influential are predecessors like Burri, Vicente, Tapies, Motherwell, Rauschenberg, medieval cloisonné, Vermeer, Breughel, and many, many more.
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 government; and several years as a lawyer at a large NYC law firm.
“I was brought up going to galleries and museums, a sometimes reluctant attendant to my parents’ passion for looking and for collecting. My own expressive energy must have simmered internally for years, occasionally emerging in photography, in quilt-making, in other tentative explorations, and certainly in providing opportunity and materials for my children to create. Not until those children were nearly grown did I come unequivocally to the need to make art myself.”
In late 2006 Diane began making collages that started her on her current path; in late 2007 she left her consulting job to focus on her artwork full-time.
She has studied with Bruce Dorfman at the Art Students League in New York, and has had solo exhibits at the Alexey von Schlippe...
Category
2010s Abstract Geometric Connecticut - Abstract Sculptures
Materials
Acrylic, Wood
Gil Scullion, You Forget, 2017, 20 sheets of stacked hand-cut paper
By Gil Scullion
Located in Darien, CT
Where do we come from? Where are we going? What the hell is going on here? 2017-2018 Hand cut paper in wood box
Gil Scullion’s conceptual text-based work has been featured in exhibi...
Category
2010s Conceptual Connecticut - Abstract Sculptures
Materials
Paper
Karen Schiff, Space Eyes, 2016, Wood, Gouache
By Karen Schiff
Located in Darien, CT
Karen Schiff is an artist and wordsmith based in New York; she has always been a reader as well as a visual artist. Her drawings, paintings, installations, and performances combine t...
Category
2010s Abstract Geometric Connecticut - Abstract Sculptures
Materials
Wood, Gouache
Cabinet of Wonders, Persistence and the Fugitive
By Greg Garvey
Located in Darien, CT
This flat file installation is a kind of Wunderkammer – a Cabinet of Wonder or Curiosity containing a small idiosyncratic collection of select wonders and oddities of the natural wor...
Category
2010s Conceptual Connecticut - Abstract Sculptures
Materials
Wood, Video, Found Objects
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 Connecticut - Abstract Sculptures
Materials
Steel
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 Connecticut - Abstract Sculptures
Materials
Canvas, Found Objects, Acrylic
Fritz Horstman, Formwork for a Rectangle 2, 2014, Wood, Plywood
By Fritz Horstman
Located in Darien, CT
While working on a large building project several years ago the artist, Fritz Horstman was struck by the poetry in the unfinished state of the construction site. He was drawn specifically to the space between the plywood walls that were raised as formworks for the pouring of cement. That space could only exist for a few hours before the cement truck...
Category
2010s Conceptual Connecticut - Abstract Sculptures
Materials
Wood, Plywood
"Wild in the Woods" abstract horse, mixed media textile sculpture
By Norma Minkowitz
Located in Wilton, CT
"Wild in the Woods" fiber, wood, mixed media, 40 x 11 x 16, 1997.
This mixed media textile sculpture was done by American fiber artist, Norma Minkowitz (b. 1937). The interlacing te...
Category
1990s Contemporary Connecticut - Abstract Sculptures
Materials
Textile, Thread, Mixed Media, Wood
Dorothy Mayhall, Monument 4, 1994, Terracotta, Acrylic Paint
By Dorothy Mayhall
Located in Darien, CT
Dorothy Mayhall's small sculptures are little monuments to be toyed with and handled. They should be picked up, fondled, and examined like a rock or shell you collect on the beach be...
Category
1990s Abstract Geometric Connecticut - Abstract Sculptures
Materials
Terracotta, Acrylic
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 Connecticut - Abstract Sculptures
Materials
Mylar, Plexiglass, Acrylic
Richard Bottwin, Mike
s Arm, 2018, poplar, plywood, acrylic paint
By Richard Bottwin
Located in Darien, CT
Architecture, functional objects and the human gestures that occur when interacting with these structures inform the vocabulary of Richard Bottwin’s sculpture. The plywood surfaces,...
Category
2010s Abstract Geometric Connecticut - Abstract Sculptures
Materials
Poplar, Plywood, Acrylic
Norma Márquez Orozco, The Sun, 2016, Translucent Paper, 30 x 30, Minimalist
By Norma Marquez Orozco
Located in Darien, CT
Norma Marquez Orozco explores concepts of impermanence, perception, form and balance through physical movement of the work itself in a lucid, game-like context, like puzzles. All the elements are made of paper, molded into three-dimensional forms. The repetitive geometric shapes are assembled inside boxes built out of translucent paper. The arrangement is random and unfixed to allow movement and unpredictable composition.
The harmonies and tensions in the work arise from different exchanges between the colors, the patterns, and the geometric and organic shapes, as well as the sense that change is constantly occurring as the elements shift and move.
When one looks at these compositions, you see them for the first time, every time, because what is creating and completing the artwork is always changing; such as light, weather and forms merge and interact. As a result of these dynamic relationships, the work extends beyond her personal hand, sustaining an appearance and composition entirely of its own.
Norma Márquez Orozco was
born
in
Chicago,
Illinois,
and
raised
in
Guadalajara,
Jalisco,
Mexico.
Her work can be seen as an investigation into the way relationships emerge and evolve when elements like color, form, shape, lines, angle and pattern are blended, shifted and layered.
She currently lives and works in New York City. Marquez Orozco
has
curated
exhibitions throughout
New
York
and
has hosted
lectures
and
artist
talks
for
the
public. In
2001
she founded
Floor4Art, an
alternative
space
in
West
Harlem
that
houses
artist’s
studios
and
exhibition
space
aimed
at
producing,
promoting
and
connecting
artists.
Exhibition venues include: ODETTA, Brooklyn, NY, Longwood Art Gallery, Queens Museum, The (S)Files 007/ El Barrio...
Category
2010s Minimalist Connecticut - Abstract Sculptures
Materials
Archival Paper
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 Connecticut - Abstract Sculptures
Materials
Glass, Graphite
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 Connecticut - Abstract Sculptures
Materials
Enamel
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 Connecticut - Abstract Sculptures
Materials
Wood
Sylvia Schwartz,
Brush Stroke, sculptural element in Red Plane
, 2016, Resin
By Sylvia Schwartz
Located in Darien, CT
Sylvia Schwartz
In her structures, silicone molds are cast from both natural and hand-made forms, including clay coils, volcanic rock patterns, seaweed, and the artist’s own fingerprints. Leaving the human trace evident through the repetition of shapes and textures in both the natural and man-made elements, provides a measure of stability, a reference point. These manmade and natural forms merge, revealing our inexplicable dependence on nature. Through this melding of two entities, new life is breathed into the art object.
Paper as a primary medium allows Schwartz to sculpt, draw and paint simultaneously. The flow of the pulp (a natural phenomenon in itself) meshes with the molded forms creating a structure that seems to rest on the edge between painting and sculpture. The duality between light and heavy, interior and exterior, planned and accidental, order and chaos, leading ultimately to a sense of life.
Red...
Category
2010s Abstract Expressionist Connecticut - Abstract Sculptures
Materials
Resin, Handmade Paper
Gil Scullion, You Walk, 2017, 20 sheets stacked hand-cut paper
By Gil Scullion
Located in Darien, CT
Where do we come from? Where are we going? What the hell is going on here? 2017-2018 Hand cut paper in wood box
Gil Scullion’s conceptual text-based work has been featured in exhibi...
Category
2010s Conceptual Connecticut - Abstract Sculptures
Materials
Paper
Joseph Fucigna, Green/Red Putty Drip, 2018, Silicone, House Paint, Wood Panel
By Joseph Fucigna
Located in Darien, CT
Joseph Fucigna is a multi-media artist whose work is rooted in process, play and the innate qualities of the materials used. Through experimentation, play and innovation he creates sculptures, paintings and drawings that are known for their power to transform materials, inventiveness and odd but suggestive subject matter. The ultimate goal is to create an artwork that is a perfect balance between suggestive content, and the formal qualities of the material that allow both to be active participants.
Joseph Fucigna received his Masters of Fine Arts degree from the School of Visual Arts in New York City. He also attended the Triangle Workshop in Pine Plains, NY and worked with the renowned sculptor Sir Anthony Caro and critic Clement Greenberg.
Fucigna is a full-time Professor of Art at Norwalk Community College and is the Chair of the Studio Arts Program. Fucigna has also taught in the Art Department at the State University of New York, Stony Brook. Presently, he resides and works in Weston, CT.
Fucigna has exhibited nationally including shows at the Fitchburg Art Museum in Massachusetts, Real Art Ways in Connecticut, the United Nations, Grounds for Sculpture in New Jersey, the Lyman Allyn Art Museum in Connecticut, the New York State Museum in Albany, NY and the Burchfield Art Center in Buffalo NY.
He has had one-person exhibitions at the Fred Giampietro Gallery, Sculpture Barn, Norwalk Community College Art Gallery, Artist Space New Haven and the Bannister...
Category
2010s Arte Povera Connecticut - Abstract Sculptures
Materials
Silicone, House Paint, Wood Panel, Putty
Yvette Cohen, 3+2, Triptych_2011_oil, shaped canvas, wood dowel, Minimalist
By Yvette Cohen
Located in Darien, CT
Yvette Cohen’s oil paintings of geometric masses of color on shaped canvas become objects that fluctuate between two and three dimensions, bridging the divide between sculpture and ...
Category
2010s Minimalist Connecticut - Abstract Sculptures
Materials
Canvas, Wood, Oil
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 Connecticut - Abstract Sculptures
Materials
Fabric, Thread, Plaster, Dye, Found Objects
Karen Schiff, Space Eyes, 2016, Wood, Gouache
By Karen Schiff
Located in Darien, CT
Karen Schiff is an artist and wordsmith based in New York; she has always been a reader as well as a visual artist. Her drawings, paintings, installations, and performances combine t...
Category
2010s Abstract Geometric Connecticut - Abstract Sculptures
Materials
Wood, Gouache
Gil Scullion, You Need, 2017, 20 sheets of stacked hand-cut paper
By Gil Scullion
Located in Darien, CT
Where do we come from? Where are we going? What the hell is going on here? 2017-2018 Hand cut paper in wood box
Gil Scullion’s conceptual text-based work has been featured in exhibi...
Category
2010s Conceptual Connecticut - Abstract Sculptures
Materials
Paper
Fritz Horstman, Formwork for Branching Stream, 2017, Wood, Walnut
By Fritz Horstman
Located in Darien, CT
While working on a large building project several years ago the artist, Fritz Horstman was struck by the poetry in the unfinished state of the construction site. He was drawn specifically to the space between the plywood walls that were raised as formworks for the pouring of cement. That space could only exist for a few hours before the cement truck...
Category
2010s Conceptual Connecticut - Abstract Sculptures
Materials
Wood, Walnut
Gil Scullion, Your Convictions, 2017, 20 sheets of stacked hand-cut paper
By Gil Scullion
Located in Darien, CT
Where do we come from? Where are we going? What the hell is going on here? 2017-2018 Hand cut paper in wood box
Gil Scullion’s conceptual text-based work has been featured in exhibi...
Category
2010s Conceptual Connecticut - Abstract Sculptures
Materials
Paper
Karen Schiff, Space Eyes, 2016, Wood, Acrylic Paint, Watercolor
By Karen Schiff
Located in Darien, CT
Karen Schiff is an artist and wordsmith based in New York; she has always been a reader as well as a visual artist. Her drawings, paintings, installations, and performances combine t...
Category
2010s Abstract Geometric Connecticut - Abstract Sculptures
Materials
Wood, Acrylic, Watercolor
Jo Yarrington, Ghost girls_Slide Carousel, 2018, Photographic Film, Found Object
By Jo Yarrington
Located in Darien, CT
Radioluminescence is the phenomenon by which light is produced in a material by bombardment with ionizing radiation and can be used as a low-level light source for night illumination of instruments or signage or other applications where light must be produced for long periods without external energy sources. Radioluminescent paint used to be used for clock hands and instrument dials...
Category
2010s Conceptual Connecticut - Abstract Sculptures
Materials
Photographic Film, Found Objects
Jo Yarrington, Ghost Girls, 2018, Organic Material, Photographic Film, Plastic
By Jo Yarrington
Located in Darien, CT
Radioluminescence is the phenomenon by which light is produced in a material by bombardment with ionizing radiation and can be used as a low-level light source for night illumination of instruments or signage or other applications where light must be produced for long periods without external energy sources. Radioluminescent paint used to be used for clock hands and instrument dials...
Category
2010s Conceptual Connecticut - Abstract Sculptures
Materials
Pins, Organic Material, Plastic, Photographic Film, Acrylic Polymer, Fou...
Emily Feinstein, Wood Drawing, 2016, Wood, Mahogany, Plywood
By Emily Feinstein
Located in Darien, CT
Emily Feinstein grew up with a father who was a cabinetmaker with a shop in the basement. She spent a lot of time making things and constructing with wood. Her ongoing interest in r...
Category
2010s Arte Povera Connecticut - Abstract Sculptures
Materials
Wood, Mahogany, Plywood
Dorothy Mayhall, Monument 1, 1995, Terracotta, Acrylic Paint
By Dorothy Mayhall
Located in Darien, CT
Dorothy Mayhall's small sculptures are little monuments to be toyed with and handled. They should be picked up, fondled, and examined like a rock or shell you collect on the beach be...
Category
1990s Abstract Geometric Connecticut - Abstract Sculptures
Materials
Terracotta, Acrylic
Emily Feinstein, Stillwater, 2016, Poplar, Wood, Paint
By Emily Feinstein
Located in Darien, CT
Emily Feinstein grew up with a father who was a cabinetmaker with a shop in the basement. She spent a lot of time making things and constructing with wood. Her ongoing interest in r...
Category
2010s Connecticut - Abstract Sculptures
Materials
Wood, Paint, Poplar
Ricahard Bottwin,
Lily Leaping
, 2016, Wood
By Richard Bottwin
Located in Darien, CT
Architecture and functional objects inform the vocabulary of Richard Bottwin’s sculpture. The plywood surfaces, laminated with wood veneers or painted with acrylic colors, are confi...
Category
2010s Abstract Geometric Connecticut - Abstract Sculptures
Materials
Wood
Fritz Horstman, Formwork for a Rectangle, 2015, Plywood, Wood
By Fritz Horstman
Located in Darien, CT
While working on a large building project several years ago the artist, Fritz Horstman was struck by the poetry in the unfinished state of the construction site. He was drawn specifically to the space between the plywood walls that were raised as formworks for the pouring of cement. That space could only exist for a few hours before the cement truck...
Category
2010s Conceptual Connecticut - Abstract Sculptures
Materials
Wood, Plywood
"See Me" Norma Minkowitz, Contemporary mixed media figurative sculpture
By Norma Minkowitz
Located in Wilton, CT
This two-piece mixed media figurative sculpture was done by American fiber artist, Norma Minkowitz (b. 1937). The interlacing technique that Minkowitz ...
Category
2010s Contemporary Connecticut - Abstract Sculptures
Materials
Textile, Resin, Mixed Media, Thread
Arm and Hammer
By John McQueen
Located in Wilton, CT
twigs, twine, plastic from Arm
Hammer soap cartons
Category
Early 2000s Contemporary Connecticut - Abstract Sculptures
Materials
Plastic, Wood
Norma Márquez Orozco, Purple Shapes, 2018, Translucent Paper, Minimalist, 31x31
By Norma Marquez Orozco
Located in Darien, CT
Norma Marquez Orozco explores concepts of impermanence, perception, form and balance through physical movement of the work itself in a lucid, game-like context, like puzzles. All the elements are made of paper, molded into three-dimensional forms. The repetitive geometric shapes are assembled inside boxes built out of translucent paper. The arrangement is random and unfixed to allow movement and unpredictable composition.
The harmonies and tensions in the work arise from different exchanges between the colors, the patterns, and the geometric and organic shapes, as well as the sense that change is constantly occurring as the elements shift and move.
When one looks at these compositions, you see them for the first time, every time, because what is creating and completing the artwork is always changing; such as light, weather and forms merge and interact. As a result of these dynamic relationships, the work extends beyond her personal hand, sustaining an appearance and composition entirely of its own.
Norma Márquez Orozco was
born
in
Chicago,
Illinois,
and
raised
in
Guadalajara,
Jalisco,
Mexico.
Her work can be seen as an investigation into the way relationships emerge and evolve when elements like color, form, shape, lines, angle and pattern are blended, shifted and layered.
She currently lives and works in New York City. Marquez Orozco
has
curated
exhibitions throughout
New
York
and
has hosted
lectures
and
artist
talks
for
the
public. In
2001
she founded
Floor4Art, an
alternative
space
in
West
Harlem
that
houses
artist’s
studios
and
exhibition
space
aimed
at
producing,
promoting
and
connecting
artists.
Exhibition venues include: ODETTA, Brooklyn, NY, Longwood Art Gallery, Queens Museum, The (S)Files 007/ El Barrio...
Category
2010s Minimalist Connecticut - Abstract Sculptures
Materials
Archival Paper
Santiago Medina - RED PINNACLE TABLE TOP, Sculpture 2022
By Santiago Medina
Located in Stamford, CT
Edition of 7
Sculptor Santiago Medina Italian stainless steel sculptures are at marquee public art venues worldwide such as Harvard, Stanford University, City of Miami-Pinecrest Circ...
Category
2010s Contemporary Connecticut - Abstract Sculptures
Materials
Stainless Steel
Santiago Medina - COSMOS TABLE TOP, Sculpture 2022
By Santiago Medina
Located in Stamford, CT
Italian Stainless Steel With Hyperthermal Prismatic Patina
This sculpture will be shipped directly from the artist's studio.
Category
2010s Abstract Connecticut - Abstract Sculptures
Materials
Metal, Stainless Steel
Santiago Medina - Blue Secrets, Sculpture 2019
By Santiago Medina
Located in Stamford, CT
Italian stainless steel with turquoise tinting.
This sculpture will be shipped directly from the artist's studio.
Category
2010s Abstract Connecticut - Abstract Sculptures
Materials
Stainless Steel
Santiago Medina - Blue Serenity, Sculpture 2020
By Santiago Medina
Located in Stamford, CT
Special suspended/hanging Italian stainless steel with turquoise tinting.
Category
2010s Abstract Connecticut - Abstract Sculptures
Materials
Stainless Steel
Santiago Medina - Red Fortitude, Sculpture 2018
By Santiago Medina
Located in Stamford, CT
Italian stainless steel with red tinting.
This sculpture will be shipped directly from the artist's studio.
Category
2010s Abstract Connecticut - Abstract Sculptures
Materials
Stainless Steel
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 Connecticut - Abstract Sculptures
Materials
Wood, Mixed Media, Acrylic
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 Connecticut - Abstract Sculptures
Materials
Glass, Graphite
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 Connecticut - Abstract Sculptures
Materials
Steel
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 Connecticut - Abstract Sculptures
Materials
Plexiglass
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 Connecticut - Abstract 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 Connecticut - Abstract Sculptures
Materials
Wood, Putty
Diane Englander, White and Wood 13 2015, scrapwood and acrylic , 7.25 x 12 x 1.25
By Diane Englander
Located in Darien, CT
Diane Englander uses formal means to create a place between discord and tranquility, a zone with a charged harmony that energizes as it also provides refuge. That often requires tha...
Category
2010s Abstract Geometric Connecticut - Abstract Sculptures
Materials
Wood, Acrylic
David Borawski, The First Act of Violence, 2019, Gaffers tape, dimensions vary
By David Borawski
Located in Darien, CT
David Borawski lives and works in Hartford, Connecticut, and received his BFA from the Hartford Art School of the University of Hartford.
A multi-media installation artist, his work...
Category
2010s Conceptual Connecticut - Abstract Sculptures
Materials
Tape
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 Connecticut - Abstract Sculptures
Materials
Mylar, Plexiglass, Acrylic
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 Connecticut - Abstract Sculptures
Materials
Stainless Steel
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 Connecticut - Abstract Sculptures
Materials
Plexiglass, Polyester, LED Light, Acrylic
