Paul Kuniholm is a sculptor of objects both durable and fugitive, creator of sculpture portrayed in mediated images and time-based art, creator of sculpture intervention and installation, for museums and governments internationally.

Paul Kuniholm creates steel sculpture for commissioned public art contracts and commercial acquisition.

Paul Kuniholm exhibits at Albuquerque Museum sculptural proposal for CITE partnered with Perkins+Will. 

Paul Kuniholm commissioned by Museum of Flight for sculpture; Astronauts On The Town.  Shown: Installation view, Future Of Flight Museum. A Brief Compendium Of The Future, digital sculpture, laser, looping video, solar array, arduino microprocessor, 18 coats hand-rubbed lacquered finish, glasfibre, c.108 inches high.

Paul Kuniholm received commissions from the city governments of, from top, Los Altos California, Hood River Oregon and the Town Of Castle Rock, CO.

Paul Kuniholm installed the world's largest dreamcatcher in a tree near his studio at 2409 1st Avenue Seattle WA 98121.

Paul Kuniholm commissioned by the city governments of, from top, Olympia Washington, Fort Collins Colorado and San Rafael California, three editions of steel sculpture Gula Enhorning .

    Paul Kuniholm commissioned by  Storefronts Seattle, A Shunpike Project, South Lake Union, 987 Mercer Street, Seattle WA, 98109.  Sculpture temporarily installed with partner March 3-June 5, 2014.
      Titled "Time-Based Artwork, Gift 1, Materially Fiber Art(TBAG/MFA)" , the artwork is essentially a fiber art sculpture that serves as an exhibition system for a separate fiber artwork on video.
     Sculptor Paul Kunihølm uses intervention, butoh movement and sculptural objects reminiscent of what The London Daily Mail described as a "bizarre cardboard car" or other sculptural objects in fiber.  These processes and materials are used to narrate a story about community, time, family of origin, the absurdity of modern life, and tragic historic events. Join the artist as he creates a site-specific installation made possible by funding from Storefronts Seattle, a Shunpike project.
      TBAG/MFA distills parameters drawn by architecture, fiber arts, sculpture and time-based artworks down to essential elements, then puts them back together in a way that suggests organic accumulation, like a beaver dam or spider web.
     Narratively, TBAG/MFA discusses time and community using fiber arts materials such as vellum over aircraft-grade spruce to create the first use of Shoji screen as a fine art component to suggest high-rise hardscapes. Quotidian cardboard stands in for a luxury motorcar, symbol of contemporary abundance. Wicker and vellum relate to codes of dress/identity.
      TBAG/MFA invites comparisons to the work of Kim Jones and David Hammons.
      Maximum viewer impact can be achieved by visiting the artwork when the video element is activated each day of the exhibition at approximately sunset.  The video element only displays for about one hour each day at sunset.
     Intentionally brief, the artist's organizing principle sought to create an esoteric ephemera of the video content of the artwork, in opposition to continuous and invasive media programming of the current period.


Paul Kuniholm, Can't Always Get What You Want, 2013, Location-Categoric Sculpture Installation, 52 Serially-Produced sculptures encased in 100 Mass-Produced cardboard boxes installed and removed by bicycle, 52 Serially-Produced screen prints, silk, milk, weasel musk, corn husks, narwhal tusk, single-channel video 4:05 with electronically incubated soundtrack, flapjacks, qr code, lodestone, whalebone, cellphone garnished with arduino and arugula, graphite, oil on canvas. Location-Categoric: Safeco Plaza, one-time workplace of the artist.

Paul Kuniholm's digital sculpture Cardboard Commandments 2010 was curatorially-selected and will exhibit in the Tenth Northwest Biennial at Tacoma Art Museum January 21-May 20, 2012.

Paul Kuniholm creates sculpture PopUp funded by Seattle OffIce Of Arts CityArtist Grant, Paul Kuniholm received from The City Of Seattle Office Of Arts And Culture a commission to present a sculpture pop-up in Cal Anderson Park May 2015..

Paul Kuniholm exhibits sculpture "Spruce Root Hat Dresses" at Kentucky Museum of Art and Craft.

Paul Kuniholm wearable artwork intervenes at Seattle Art Museum January 24, 2014.

Paul Kuniholm exhibits wearable artworks with cardboard car tutu/butoh prop for Seattle Gigapixel ArtZoom scheduled to debut January 2014 at a private exhibition in The Seattle Art Museum.



Paul Kuniholm exhibits wearable artworks at Nordic Heritage Museum in support of Nordic Heritage Museum Chief Curator Dr. Lizette Graden's touring exhibit "Dressing Swedish: From Hazelius to  Salander" showing at the Nordic Heritage Museum September 12 through November 10, 2013 exploring the complex relationship between Swedish fashion and traditional Swedish folk costumes

Paul Kuniholm debuts at Seattle Art Museum several wearable artworks July 18, 2013.


Paul Kuniholm exhibits artwear, one-day pop-up installation in Vancouver, BC, for Nancy Lee's Lifted, July 20, 2014.

Paul Kuniholm commissioned to create Site-Specific Installation using Intervention with live models providing their shape to cellophane tape torso forms which were then used as an exhibit system for wearable artworks in the installation. Installation sited at 601 South Main Street, Seattle, WA 98104

Paul Kuniholm intervenes with wearable artwork and wicker items from the permanent collection of the Nordic Heritage Museum July 3, 2013.  The wicker items were made by Paul Kuniholm's great-grandfather John Emil Kuniholm.


Paul Kuniholm wearable art intervention with Butoh choreography at Seattle City Hall April 23, 2014.

Artwear Intervention, July 3, 2014, 108 Prefontaine Place South, Seattle, WA 98104. Paul Kuniholm, Artist, intervenes at 1st Thursday Pioneer Square in plain view of the 4culture headquarters. Titled "esoteric ephemera (coming)" (alternately known as e.e. coming), Artwear Intervention, 108 Prefontaine Pl. S., 98104, 7/3/2014. e.e. coming is an artwear intervention by artist Paul Kuniholm, narrating oceans, each color representing a component of seawater. butoh performative, a car effigy made of lace, the artist's hat constructed by a 3-D printer, the use of wicker, the profile of the dresses to emulate that of native spruce root hats- each and every detail of this fiber/sculptural/performative artwork is saturated in various stories and influences from a myriad of sources. as many stories as materials and genres evidenced.

Paul Kuniholm exhibits "The Ultimate Sacrifice", 2012, archival inkjet print, edition size 6 at Montserrat College Museum 17 Cox, "#20FTSANTA November 1 - December 23, 2012 Juried by Rachelle Beaudoin