Art by Medium: Dye

Interested in communicating ideas of history, place and nature in her painting practice, Jennifer Wolf utilizes natural dyes and minerals to feature a historically significant palett...

Interested in communicating ideas of history, place and nature in her painting practice, Jennifer Wolf utilizes natural dyes and minerals to feature a historically significant palett...

Interested in communicating ideas of history, place and nature in her painting practice, Jennifer Wolf utilizes natural dyes and minerals to feature a historically significant palett...

Interested in communicating ideas of history, place and nature in her painting practice, Jennifer Wolf utilizes natural dyes and minerals to feature a historically significant palett...

"Lacuna 2", 2024, Paris, France This artwork, created with India ink on antique cotton, evokes a visceral play between texture, pattern, and absence. Titled "Lacuna", the piece is a...

"Onslaught", 2025, Paris, France The animalia oil painting on antique linen features a striking and abstract composition of a prominent predator skull depicted in a reddish-brown hu...

Interested in communicating ideas of history, place and nature in her painting practice, Jennifer Wolf utilizes natural dyes and minerals to feature a historically significant palett...

Interested in communicating ideas of history, place and nature in her painting practice, Jennifer Wolf utilizes natural dyes and minerals to feature a historically significant palett...

The work "Womanliness" is an exquisite and multilayered reflection on the nature of femininity, embodied in the painted (cold) batik technique on 100% silk. The canvas is stretched o...

Interested in communicating ideas of history, place and nature in her painting practice, Jennifer Wolf utilizes natural dyes and minerals to feature a historically significant palett...

VESUVIUS 2022 PARIS, FRANCE Graphically textural, yet bold, this abstract piece comes framed, and offers a neutral color palette. Inspired by the eruption of Mount Vesuvius in 79 AD...

"Day Remains II", 2023, Paris, France Rich painting of blue dye, deep red and yellow ochre oil paint, on natural, antique cotton. Consider pairing with its counterpart "Day Remains ...

JARDIN DES PLANTES 2024, PARIS Inspired by the artist's relationship to "Jardin Des Plantes", located in the 5th arrondissements of Paris, France, this original landscape depicts th...

Seeking to evolve the way in which she collaborates with nature, Jennifer Wolf’s most recent series of works combine her signature flow process with innovative new layers of painterl...

"Lacuna 1", 2024, Paris, France This artwork, created with India ink on antique cotton, evokes a visceral play between texture, pattern, and absence. Titled "Lacuna", the piece is a...

Gibigiana by Sedef Gali 2026 Oil and Acrylic on Canvas 63" × 63" Sedef’s artistic practice is deeply influenced by her upbringing in cities characterized by diverse cultures. Her...

"Final Offering" delves into intricate details of a poignant scene. The viewer's gaze is drawn to a statuesque figure, with a hand gracefully outstretched, engaging in the tender act of placing a crown of flowers onto what appears to be a sepulcher or marble tomb. The careful attention to the folds, texture, and draping in the subject's clothing stand out in this piece. The color palette chosen - formed with India ink on dyed canvas...

Seeking to evolve the way in which she collaborates with nature, Jennifer Wolf’s most recent series of works combine her signature flow process with innovative new layers of painterl...

PHYLUM FOUR 2024 Paris, France This painting features intriguing, intersecting folds, evoking shapes that are both floral and insect-like. The organic shadows suggest subtle relatio...

Love Letter To Self by Sedef Gali 2023 Oil and Acrylic on Canvas 59" × 72.8" Sedef’s artistic practice is deeply influenced by her upbringing in cities characterized by diverse c...

Jennifer Wolf, Spring Theory, 2015, natural dyes, mordants, acrylic medium on canvas over panel, 48" x 96", $18,500

Jennifer Wolf, Time Place Continuum, 2015, Natural Dyes,Mordants, Acrylic Medium on Canvas over Panel, 48" x 96", $18,500

OVERTURES LIKE THAT 2024 Paris, France This painting portrays a mysterious pattern. The almost living floral shapes and organic shadows allude to both beauty and danger in an abstr...

Ashton Howard Dye Sublimation “sunset sky”. In good condition measures 35x29

OF CERULEAN 2024 Paris, France Named after a specific shade of blue, this painting portrays an abstracted, organic floral pattern. The floral shapes and shadows allude to both beau...

"Day Remains I", 2023, Paris, France Rich painting of blue dye, deep red and yellow ochre oil paint, on natural, antique cotton. Consider pairing with its counterpart "Day Remains I...

"Ice Cream Stand. Stuart. 2015." is a Dye Sublimation Print on Aluminium. This print is available from an Edition of 10 + 2 Artist Proofs. Brown complete...

Eye Above III, 2021, embroidery and crystals on hand dyed canvas, eye, yellow, blue, red, and orange. Hand signed by artist Certificate of Authenticity in...

This piece titled "The Mother" is an original print by Annalise Gratovich and is made from woodcut with hand dyed paper. This piece measures 71"h x 39.5"w unframed. Annalise Gratovich is a print-centric artist living and working in Austin, Texas. She specializes in large scale woodcuts, etchings, and collage. Annalise’s work investigates her identity as the second generation daughter of a Ukrainian war...

"Villa of Diomedes" is an enchanting painting that weaves a captivating tale through its blue-green, white, and sienna accents. The artist skillfully employs a mix of pigments, dyes,...

Interested in communicating ideas of history, place and nature in her painting practice, Jennifer Wolf utilizes natural dyes and minerals to feature a historically significant palett...

"Carnival of Creeps, Fright Nights. West Palm Beach. 2017" is a Dye Sublimation Print on Aluminium. This print is available from an Edition of 10 + 2 Artist ...

This artwork was awarded and Pre-select by Bite , the exhibition, London 2012 , at The Mall Galleries, at the centre of London's famous The Mall, an iconic Avenue, in front of Buckin...

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...

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...

"The Carousel. Palm Beach Zoo. West Palm Beach. 2015" is a Dye Sublimation Print on Aluminium. This print is available from an Edition of 10 + 2 Artist Pro...

A rhythm exists here on the farm, beginning with the sunrise and the sounds of nature awakening. My art is a reaction to this sense of place. Whether I’m in the studio, tending to th...

Polly Apfelbaum Color Circle and Star, 2004 Fabric Marker and Fabric Dye on Velvet Cotton Signed and dated in ink by the artist on the front with artist's inkstamp. Frame Included Si...

Opaque and transparent colors work together in this beautiful Monotype painting by David Stephens (American, 20th century). Soft arcs of ochre, violet, and blue move across the surfa...

A rhythm exists here on the farm, beginning with the sunrise and the sounds of nature awakening. My art is a reaction to this sense of place. Whether I’m in the studio, tending to th...

"Coyote Wreath" By Johanna Mueller is a unique and detailed piece which depicts a coyote, curled among iconography of the forest, structured in a Native American style flat ink style...

The work "Hummingbird and Hibiscus" was made on atlas. Cold batik. “Thin brush” or “graceful drawing” technique. "...When the heat of the day has already subsided, you can enjoy the...

A rhythm exists here on the farm, beginning with the sunrise and the sounds of nature awakening. My art is a reaction to this sense of place. Whether I’m in the studio, tending to th...

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...

Wonderful vertical abstracted batik, a painting on fabric, of a beautiful rubber tree in yellow, green, & blue by Leventhal (American, 20th Century), circa 1990s. Signed lower left. ...

Medium: Charred and dyed basswood As an artist I strive to create elegant sculptures that capture the true essence of the subject matter. Form, line and surface are used as the visu...

"Arch Points" - Abstract Expressionist Indigo on Acrylic Resin Sculptural San Francisco abstract expressionist (American, 20th c.). Signed indistinctly lower right. Indigo dye and ...

dye, colored pencil & gouache on paper

Jean-Marie Guyaux’s artworks are unique for their blend of digital capture and non-photographic software. In the “Redux” series, he reinterprets classic masterpieces, projecting thes...

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...

dye on paper

A rhythm exists here on the farm, beginning with the sunrise and the sounds of nature awakening. My art is a reaction to this sense of place. Whether I’m in the studio, tending to th...

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...

A rhythm exists here on the farm, beginning with the sunrise and the sounds of nature awakening. My art is a reaction to this sense of place. Whether I’m in the studio, tending to th...

A rhythm exists here on the farm, beginning with the sunrise and the sounds of nature awakening. My art is a reaction to this sense of place. Whether I’m in the studio, tending to th...

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...

A rhythm exists here on the farm, beginning with the sunrise and the sounds of nature awakening. My art is a reaction to this sense of place. Whether I’m in the studio, tending to th...

A rhythm exists here on the farm, beginning with the sunrise and the sounds of nature awakening. My art is a reaction to this sense of place. Whether I’m in the studio, tending to th...

A rhythm exists here on the farm, beginning with the sunrise and the sounds of nature awakening. My art is a reaction to this sense of place. Whether I’m in the studio, tending to th...

Abstract Handmade Hanji paper. artists signed and dated lower right corner. The Yuns have created, in their works, a unique alchemy of ancient Asian techniques and more modern Wester...