While Ernesto Neto's sculptural forms and environments often employ string or rope, these are frequently worked into shape using traditional techniques such as macrame and crochet.
Although we've (generally) attempted to exclude such practices from our overview of current string art, the monumental scale of many of Neto's works means that, visually, his pieces lose some of their association with domestic handicraft, becoming instead fantastical arrangements of intertwined cord.
In addition, Neto's installations often invite physical interaction, designed to be directly experienced in ways which many more delicate string-based works intrinsically deny.
Originally inspired by fishermen's nets, US artist Janet Echelman's increasingly monumental installations fill outdoor (and occasionally indoor) public space with what she describes as 'aerial lace'.
Reacting to atmospheric conditions such as air movement, Echelman's works are often dramatically lit to emphasise their looming yet volumetrically insubstantial form.
Chinese-born American artist Beili Liu's increasingly acclaimed, multi-disciplinary practice utilises various fibres and 'female' crafts such as sewing in the construction of particularly poetic installations.
Many of her works have a genesis in Chinese proverb or myth, such as Lure (below), which interprets the ancient notion that invisible red threads connect new-born children to those with whom they are fated to share their lives.
Other, more recent works, such as Stalemate (below) utilise hundreds of cords to suspend two large, stake-like forms in space: embodiments of "fierce energy" ... restrained by webs of "slender, soft, feminine threads".
Greek artist Alexandros Psychoulis has frequently used string and yarn in sprawling, semi-figurative installations.
God's Nails (2012), takes its title from Solaris, Stanislaw Lem's famous science-fiction novel, and attempts a commentary on the unruly social and political landscapes that dominate contemporary Greece.
The controversial 2003 Body Milk (left and below) employs pink thread to construct a series of stylised tableaux based on the true account of Ayat Al Akra, an 18-year-old Palestinian girl who carried out a suicide bomb attack on a Jerusalem supermarket.
Although the work was condemned by many, Psychoulis has denied that the piece is directly supportive of Al Akra's actions, but instead intended to illustrate his interest in a widely publicised and particularly emotive atrocity.
The thread (much of it formed into lace) is, in this respect, partially representative of the vast skeins of online documentation researched by the artist in order to arrive at his conclusions.
Japanese artist and master weaver Machiko Agano has, for several decades, produced delicate installative and sculptural works in a range of fibres and experimental materials, such as fishing line and wire.
Although her practice is essentially associated with Fibre Arts, the spectacular execution of her numerous string-based projects merits their inclusion here.