2wc Cycle Tapping: March, viscose, linen and fiber optic, 111.5” x 28”, 2014
3wc Cycle Tapping: May, viscose, linen and fiber optic, 117” x 34”, 2014
4wc Cycle Tapping: April, viscose, linen and fiber optic, 112” x 23”, 2014
5wc Cycle Tapping: June, viscose, linen and fiber optic, 120” x 33”, 2014
1cw Miracle, Włodzimierz Cygan, linen, wool and sisal, 56.5” x 47” x 6.5” 2006, $8,000
2wc Cycle Tapping, Włodzimierz Cygan, viscose, polypropylene, sisal, flax, fiber, optical, 2014, $10,000
3 & 4wc Cycle Tapping II & III, Włodzimierz Cygan, viscose, polypropylene, sisal, flax, fiber, optical, 2014, $10,000 each
Selected collections and exhibition venues:
Jean Lurcat Museum of Contemporary Tapestry, Angers France (International Triennial of Miniature Textiles, permanent collection); Kyoto Art Center, Japan (Ori-rhythm, International Exhibition of Textiles); Chiesa di San Francesco, Como, Italy (Miniartextiles); Royal Museums of Art and History, Brussels, Belgium (Web of Europe); National Gallery of Art, Warsaw, Poland; Central Museum of Textiles, Lodz Poland (International Triennial of Tapestry, permanent collection); Gdynia City Museum, Poland (International Baltic Triennial of Miniature Textiles, traveling exhibition); Zhengzhou, China (6th, 7th and 8th International Fiber Art Biennials, From Lausanne to Beijing); Cheongju, Korea (Cheongju International Craft Biennial); National Gallery, San Jose, Costa Rica (Miracle, traveling exhibition); Christian Museum, Esztergom, Hungary (Historical and Contemporary Tapestries); Hunterdon Art Museum, Clinton, New Jersey (International Contemporary Tapestry); Design Museum of Art, Riga Latvia (International Triennial of Textile and Fiber Art); Neumunster Textile Museum, Germany (permanent collection); Luneberg Museum, Germany; Rovaniemi Art Museum, Finland (Artapestry 4, traveling exhibition); Gallery Re-Medium, Lodz, Poland (Ater-Worlds, solo exhibition); Kansas City Art Institute, Missouri (Memorial Tapestry); Center for the Visual Arts, Denver, Colorado (American Tapestry Biennial). Recipient: Bronze Medal, 6th International Fiber Art Biennial, From Lausanne to Beijing; Grand Prix,12th International Triennial of Tapestry.
"When trying to determine why the means of artistic expression in tapestry was becoming archaic, I realised that one of the reasons might have to do with the custom of treating the threads of the weft as the chief medium of the visual message. . . .Yet fabric consists of both warp and weft. . . . These observations led me to wonder how the artistic language of textiles might benefit from . . . a warp whose strands would not be parallel and flat . . . but convergent, curved or three dimensional. . . . a convergent . . . warp fans out from a single point getting wider as it gets less dense . . . giv[ing] greater control and encourag[ing] modifications at all stages of the weaving . . . in the case of a curved warp . . . the strands run parallel to one another . . . along an arc. As they change direction, the strands enable the weaving of circles or arcs . . . Another way I like to arrange a warp is in an open-work structure in 3-D where the textile is made up of an arrangement of horizontally and vertically stretched strips of the warp whose surfaces are perpendicular to one another. The surface is a reflection of the structure of the warp, and the one usually shapes the other. Under the epidermis lies the supporting structure of the warp."