Angus’ genius is the embrace of what is wholly natural, if unexpected. Yes, the insects are real, and no, she has not altered them in any way except to position their wings and legs.
Booker was inspired to explore tires as a material while walking the streets of New York in the 1980s, when retreads and melted pools of rubber from car fires littered the urban landscape.
Dawe’s architecturally scaled weavings are often mistaken for fleeting rays of light. It is an appropriate trick of the eye, as the artist was inspired to use thread in this fashion by memories of the skies above Mexico City and East Texas, his childhood and current homes, respectively.
Employing mundane materials such as toothpicks, straws, Styrofoam cups, scotch tape, and index cards, Donovan gathers up the things we think we know, transforming the familiar into the unrecognizable through overwhelming accumulation.
Dougherty has crisscrossed the world weaving sticks into marvelous architectures. Each structure is unique, an improvised response to its surroundings, as reliant on the materials at hand as the artist’s wishes: the branches tell him which way they want to bend.
Echelman’s woven sculpture corresponds to a map of the energy released across the Pacific Ocean during the Tohoku earthquake and tsunami, one of the most devastating natural disasters in recorded history.
To commemorate the Renwick’s reopening, Grade selected a hemlock tree in the Cascade Mountains east of Seattle that is approximately 150 years old–the same age as this building.
The marbles used in this installation are the same industrial fiberglass product Henry Huan Lin and other glass-blowing pioneers experimented with then, which were soon abandoned by artists as technical knowledge matured.
Only part of Villareal’s artwork is visible in the materials suspended above the staircase. This hardware serves primarily as a vehicle for the visual manifestation of code–an artist-written algorithm employing the binary system of 1s and 0s telling each LED when to turn on or off.