Aphrodite'sPurse_vintage wire egg basket, cultured pearls, monofilament, Swarovski crystal beads, handblown glass nesting eggs, 25 x 20 x 20 in.
OVUM III - Homage to Margaret Fuller, 11 x 8 x 8 in., 2018, antique wire egg basket and wooden nesting eggs (ca. 1920)
OVUM II - Homage to Margaret Fuller, ostrich egg, paper, twigs, 5.75 x 10.5 x 8.5 in., 2016.
Interlude No. 4, silk thread, bone bead, music manuscript dated 1809, 7.5 x 7.5 in (220 knots)
Interlude No. 3, silk thread, bone bead, music manuscript dated 1809, 8.5 x 8.5 in. (516 knots) 2015
OVUM XIV-Breakthrough, silk thread, paper- 1880's Gronvold Colour Bookplates, 6.75 x 6.5 in
OVUM VIII_Breakthrough_ silk thread, paper-1897 bookplates 9 x9 in
OVUM VII_Breakthrough_ silk thread, paper_ bookplates1890_12.325 x 12.325 in.
PRESSING ON No. 94 antique sad iron scorched paper, raccoon fur 4 x 3.5 x 2.75 in. 2018
PRESSING ON No. 76 antique sad iron, linen thread and paper-pages by Hannah More 1791, 6 x 3.5 x 5.5 in. 2018
PRESSING ON No. 57 scorched doily, paper 8 x 6 x 4.75
PRESSING ON No. 66 antique sad iron, steel cut tacks, scorched paper -pages by Hannah More 1791, 4.5 x 2.75 x 4.25 in. 2018
PRESSING ON - Homage to Hannah More, No. 25, No. 10, No. 12, No. 44, No. 16 - , 5.5 × 4 × 4.5 in. – 3.5 x 2.25 x 2.5 in. (front, left to right ) - antique sad irons, scorched antique lace and paper: pages from An Estimate of the Religion of the Fashionable World, By One of the Laity, London, 1791, Hannah More
Carole Kunstadt
Artist Statement
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As a collagist, painter, book arts and fiber artist I often invoke a metaphysical quality of contemplation and timelessness. My works on/of paper reference artifacts, the material of antique books, music manuscripts, ephemera and photo postcards - deconstructing paper, images and text, and using it in metaphorical ways. Through the exploration and manipulation of the antique materials, history, memory and time merge in a hybrid form. My devotion to books is inspired by the ability of the written word to take the reader to other places through stories, poems and prayers. My process reveals how language can become visual through re-interpretation.