Assemblages

Page 4 of 7
Greg Gierlowski, Annie Mackenzie, Shmuela Padnos, Yanick Sasseville, Tirzo Martha, Michael Leyton, Twyla Reardon Arthen, T. Wiklund, Greg Nuttall, Jay W. Ames, Bogdan Korczowski, Phyllis Senghaas, Amy Wetterlin, Marybeth Drake, Sylvia Volpi offering original Assemblage artworks.


Contemporary Art / Assemblage / Previous / Next
Greg Gierlowski: 'Miles Davis Lamp 4', 2007 Assemblage, Abstract Figurative. The same as Davis Lamp 3 - except shade has also hand- hewed cristals and base- trumpet is different. See both and compare. Earlier Lamps - no. 1 and 2, with differently simmilar shades and trumpets as bases are already sold to art- collectors: one in Poland and second in England. There ...
Abstract Figurative - Assemblage
43 x 72 cm (16.9 x 28.3 inches)
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Greg Gierlowski: 'Miles Davis Lamp3', 2006 Assemblage, Abstract Figurative.  Art- lamp dedicated to the memory of great Miles Davis. Shade of stained glass, semiprecious stones and 3 resin relief- moulds of his face visualising 3 main periods of his life and music.Real trumpet as a base. ...
Abstract Figurative - Assemblage
42 x 70 cm (16.5 x 27.6 inches)
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Annie Mackenzie: 'illusion', 2008 Assemblage, Communication.  found objects, given a second life ...
, 2008
Communication - Assemblage
18 x 30 inches (45.7 x 76.2 cm)
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Shmuela Padnos: 'muse', 2007 Assemblage, Music.
, 2007
Music - Assemblage
9 x 9 inches (22.9 x 22.9 cm)
Yanick Sasseville: 'Black Hole', 2007 Assemblage, Undecided.  Acrylic, Lead, Ashes and metal wire and plaster structure ...
, 2007
Undecided - Assemblage
48 x 80 inches (121.9 x 203.2 cm)
Tirzo Martha: 'Blessphemy', 2006 Assemblage, Culture.
, 2006
Culture - Assemblage
87 x 150 cm (34.3 x 59.1 inches)
Tirzo Martha: 'Sex religion and politics do not match', 2006 Assemblage, Political.  The world political situation is dominated by scandals of sexual or religious origin. ...
Political - Assemblage
87 x 128 cm (34.3 x 50.4 inches)
Tirzo Martha: 'Measure', 2005 Assemblage, Political. A specific act or course...
, 2005
Political - Assemblage
10 x 32 cm (3.9 x 12.6 inches)
Michael Leyton: 'Dark Castle', 1993 Assemblage, Abstract.
Abstract - Assemblage
48 x 60 inches (121.9 x 152.4 cm)
Michael Leyton: 'Garden Deep', 1993 Assemblage, Abstract.
Abstract - Assemblage
48 x 60 inches (121.9 x 152.4 cm)
Twyla Reardon Arthen: 'Embedded', 2004 Assemblage, nature. A collection of found objects, wax, acrylic, reflective dust & beads painted and stitched together into a salvaged circular metal frame. ...
, 2004
nature - Assemblage
20 x 20 inches (50.8 x 50.8 cm)
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T. Wiklund: 'Joker One   Joker One', 2003 Assemblage, Political.
Political - Assemblage
11 x 14 inches (27.9 x 35.6 cm)
T. Wiklund: 'Two Towers', 2004 Assemblage, Political.
, 2004
Political - Assemblage
14 x 11 inches (35.6 x 27.9 cm)
Shmuela Padnos: 'patsy and robert', 2004 Assemblage, Americana. patsy clien and robert johnson on wooden doors. robert johnson oil portrait with the crossroads 61 and 49 and a rubbing from one of his graves in itta bena, misssissippi...
Americana - Assemblage
5 x 6 feet (1.52 x 1.83 m)
Greg Nuttall: 'Buddhists Foot', 1997 Assemblage, Other. acrylic, plaster, wood, metal switch...
Other - Assemblage
10 x 12 inches (25.4 x 30.5 cm)
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Greg Nuttall: 'Resurrection of Venus', 2001 Assemblage, Other. acrylic, silicone, plastic, wood, glass...
Other - Assemblage
22 x 36 inches (55.9 x 91.4 cm)
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Jay W. Ames: 'Emergence', 2003 Assemblage, Abstract. A strong spirit emerging from a solid form. Black walnut, brass wire, steel, acrylic resin. ...
, 2003
Abstract - Assemblage
12 x 24 inches (30.5 x 61.0 cm)
Jay W. Ames: 'Mothers Tears', 2003 Assemblage, Abstract. ceramic, burnt plywood, latex, nylon. ...
Abstract - Assemblage
18 x 50 inches (45.7 x 127.0 cm)
Jay W. Ames: 'Pull', 2003 Assemblage, Abstract. A circle, a frame. A broken, expanding center. The pull of human interaction. Steel, fiber, acrylic resin, ceramic, rope, pulley. ...
, 2003
Abstract - Assemblage
42 x 66 inches (106.7 x 167.6 cm)
Jay W. Ames: 'Lunar Crucifix', 2003 Assemblage, Abstract. She was there, too. Black walnut, oak, latex, nylon, burnt plywood. ...
Abstract - Assemblage
19 x 37 inches (48.3 x 94.0 cm)
Bogdan Korczowski: 'Korczowski Cartontheque', 2003 Assemblage, Abstract. installation...
Abstract - Assemblage
0 x 0 inches (0.0 x 0.0 cm)
Bogdan Korczowski: 'Cartontheque', 2000 Assemblage, Abstract. Korczowski installation
Abstract - Assemblage
0 x 0 inches (0.0 x 0.0 cm)
Bogdan Korczowski: 'CARTONTHEQUE', 2000 Assemblage, Abstract. KARTONTEKA/ CARTONTHEQUEinstallation, oil and acrylique on cartoon....
Abstract - Assemblage
500 x 300 cm (196.8 x 118.1 inches)
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Phyllis Senghaas: 'An Issue of Truth', 2002 Assemblage, Visionary. This work has a computer animation that has been exhibited with it, with compelling effect. It is a Mixed Media wall hanging Assemblage, with a watercolor painting comprising the portrait part. There is a Computer Animation of the same image ( with music and some variation) that was exhibited looping underneath ...
Visionary - Assemblage
26 x 31 inches (66.0 x 78.7 cm)
Amy Wetterlin: 'Ascension', 2002 Assemblage, Abstract. This is a travel through dimensions during your afterllife, your ultimate goal is to reach heaven...
, 2002
Abstract - Assemblage
3 x 5 feet (0.91 x 1.52 m)
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Marybeth Drake: 'Oya', 2000 Assemblage, Culture. Seated altar figure of an image received through collective unconscious.She is made from plaster, wire, papiermache, cloth, and found objects. I had not studied African art prior to my vision. This summer I attended a week long institute on African American Art and identity at the Virginia Museum ...
, 2000
Culture - Assemblage
38 x 52 inches (96.5 x 132.1 cm)
Marybeth Drake: 'Hand Mandala', 2000 Assemblage, Other. The second in my series of 100 variations of hands. Yes, that' s a hula hoop. It is cloth covered. I found it that way in a disount store and had to have it! My favorite hand on this one is the one that is made of aspirins. This collage ...
Other - Assemblage
36 x 48 inches (91.4 x 121.9 cm)
Marybeth Drake: '32 hands', 1999 Assemblage, Other. 32 variations of hands. My goal is 100.These hang in my elementary school classroom near Buena Vista, Virginia. ...
, 1999
Other - Assemblage
72 x 48 inches (182.9 x 121.9 cm)
Sylvia Volpi: 'SCARE', 2001 Assemblage, Mask.
, 2001
Mask - Assemblage
100 x 150 cm (39.4 x 59.1 inches)
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Ross Jonnes: 'best scroll saw updated', 2020 Assemblage, Abstract Landscape. Versatility is Certainly one of its most engaging attributes of a reciprocating noticed.  There are a number of various blades that may be fitted onto reciprocating saws, relying on what it s good to do.  You possibly can match them to chop wooden or metallic, as an example, and you ...
Abstract Landscape - Assemblage
5.5 x 4.5 inches (14.0 x 11.4 cm)
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(Page 4 of 7) - MORE ARTWORKS

Artists Describing Their Art:

Greg Gierlowski - Light has always played important role in my creations. Light comming through translucent artwork interests me and fascinates me the most. Therefore I turned into glass and started to experiment with translucent creations. My admiration for Art Nouveau artists that had created a lot of beautiful everyday-use objects of art resulted in creation of applied arts' objects such as art-lamps. When one has backlight at ones disposal, there's whole new field of artistic expresion - not only on one front surface of glass panel but on two, or even four or more, when two or three layers of glass can be used as a kind of sandwich that builds deeper into artwork for 3D effects. That's what I'm working on now and what's seems to attract international viewers & art-critics more and more now-a-days, to the point of of achieving latest awards and honours ( mainly from Italy....

Shmuela Padnos - ARE YA READY TA GET THE BIG LEG BLUES FROM THE GAS MAN AS THE SPECIAL RIDER MAKES YOU MISSISSIPPI MOAN? ARE YA GONNA RIDE THE NEW HAMHOUND CRAVES A BLACK SNAKE MOAN WITH THE LITTLE LEG OUTSIDE WOMAN BLUES? WELL TAKE A LITTLE WALK WITH ME AS i TELL YOU ABOUT THAT CHERRY WOMAN ARTIST SHMUEL A PADNOS. AS THE DEVIL SENT THE RAIN TA N'AWLINS SHMUEL A WAS CONCEIVED DURING MARTI GRAS FUN OF LE BON TON ROULET. 9 MONTHS LATER IN THE FOOT HILLS OF NORTH CAROLINA, LAND OF RATTLE SNAKIN DADDY& STEP IT UP & GO, SHMUEL A WAS BORN. ALTHOUGH EXPOSED TO THE EAST COAST PICKIN OF BLIND BOOY FULLER, BUDDY MOSS& JOSH WHITE BY HER GRANDPARENTS, SHMUELA WAS ALWAYS FOUND WITH A PAINTBRUSH IN HER HAND INSTEAD OF A GUITAR. SHE FOUND THE MOVING OF THE BRUSH CREATED ITS OWN FUNKY SOUND&RHYTHM....

Yanick Sasseville - [English] Artistic Process Why should art be perfect when human beings aren't? After exploring hyperrealism for nearly 10 years, the need to create in immediate reaction to what surrounds me has manifested itself. Exploring new themes and emotions, often labeled as taboos by our society, such as sadness, anger and solitude. Through my work, I want the viewer to be conscious of his actions and of their impact. I try to bring people to question the beliefs and values. The quality of the final result is no longer measured as it used to, on the realism and detail scale as they have stopped being tools and have become obstacles to the pure emotion and the movement necessary to the expression of my subject. I have let technicality go so that emotion could be felt through the work. The collection of materials is important to me. I use organic matters (ash, feathers, etc.) and a variety of found objects, all of which contribute to the particular attributes of each piece. These objects become mine as I give them a new direction. This third dimension they add brings a new drive to the work which, in turn, either changes the very...

Tirzo Martha - The material doesn't need to be filled with words. It speaks for itself. It is our consciousness that has to translate it for us. My work is a loyal mirror of our societies, a reflection of a fragment from the thin line between fiction and reality. Tirzo Martha 2004...

Michael Leyton - In his MIT Press book, Symmetry, Causality, Mind (630pages) and his book in Springer-Verlag, A Generative Theory of Shape (550pages), Michael Leyton has elaborated an extensive theory of why art has such a powerful impact on the human mind. This results in an ability to intensify the content of artworks through an increased understanding of compositional organization, that Leyton has provided in his scientific work, which includes his mathematical foundations for geometry. For example, theorems of his, such as the Symmetry-Curvature Duality Theorem, which are now used in over 40 disciplines including many branches of medicine and engineering, also explain the human perceptual response to art-works. Not only has he demonstrated this in his lengthy published analyses of classical and modern artists, but he has also demonstrated that it is possible to surpass the intensity of these artists. This he has done by using the theory developed in his books in the creation of his own artworks - his paintings, his published architectural designs, and the published scores of his musical compositions. The portfolio at the present site is currently under construction. While this is in progress, the reader can gain an extensive introduction to Leyton's artistic ...

T. Wiklund - Over the last 30 years I have worked in painting, mixed media, video, collage, assemblage, installations and photography. I continue to work in several media over the same periods - In the recent past it has included digital photography, assemblage, and oil pastel drawings on paper. The digital work in photography is new to me but I have been a photographer for 40 years as well as a traditional collage artist.So I have combined two of my interest in some of the newer photos... My work shown here in assemblage is in general reflective of the times we live in with some references to the ritualism and mysticism of tribal cultures. While the drawings I see as more as'memories of some experience or thought' but like all memories they lie in the past and present.... ...

Jay W. Ames - In these abstract works I am exploring the mystery of a moment. The subjects may be personal, a relationship, experience, or question, or an observation of human interactions or natural occurrences. The common theme is the intricacy of moments of intense phenomenon. I leave the work when there is an ambiguous sense of something happening, a suggestion or implication rather than a statement, as in a partially remembered dream. Each piece starts as a journey, an exploration. I consider each piece a conversation, a dialogue. I feel I have succeeded when the ambiguities in a work lead me to question levels of experience--rational, emotional and mystical, which exist simultaneously. A static work of art can "freeze a moment". I want to take the skin off a moment, see inside, and show it. In my latest work I am creating small textural pieces on paper. Most are 5x7 inches. I have found that these pieces create an intimate viewing experience as the viewer is drawn in for a close look by the textural surfaces. I have collaged in a variety of materials including fibers, feathers, dried paint chips, and various papers. ...

Bogdan Korczowski -

Phyllis Senghaas - Art is a manifestation of the mind, discerned through works of the hand. This is a way to see and touch the heart and mind of another. For me, art must be visually and emotionally compelling. It must draw me in, pull me by the senses, and touch a part of me that is preverbal, in a part of my mind that I cannot explain, describe, control, or put my finger on. It is more emotion than reason. Many of my recent paintings have been based on "visions" that I receive spontaneously. I cannot always figure them out, but give them a lot of thought in formulating a title, conposition, coloring, and final execution. I have some I cannot fuly explain, and others that I come to understand. I like to allow the viewer to find a meaning that is there for them alone. These recent paintings have been self-portraits. I started doing self-portraits because I enjoy drawing and painting figures and portraits, but in our current society, few are willing or able to sit and pose for any length of time. The natural subject for artists for hundreds of years has been the self-portrait. These have ...

Amy Wetterlin - I strive to exalt the human spirit through capturing composition, structures (organic and non)and repeating patterns. The patterns and forms create an abstract while maintaining balance and movement of life force. Life either moves or is stagnant...it's up to you. Thanks for looking! Cheers Amy...

Marybeth Drake - I make my art from dreams( including daydreams),wordplay,and visions. I prefer 3-dimensional assemblage pieces and collect man-made and natural materials, junk, and even furniture everywhere I go. I like making art from recylced and cast off items. I am a true pack rat. Recently I picked up an old skill--sewing--and have started designing some funky dresses made of combined fabrics and trims from vintage and gently used clothing. I love the stalwart spirits of trees through all seasons. I enjoy making sculpture and collage that gives trees personality with facial expressions and gestures. When people tell me they love my work, I say it isn't work,it is play. I teach writing classes and try to bring my creativity to class to inspire students to think outside their personal boxes....

Sylvia Volpi - PHILOSOPHY: To be an artist is to be creative, autonomous, conscious, bold... It is to dare and allow yourself the delirium, reach the imaginary, the fantasy, the pleasure, the beauty ... To wish for the real and to wish for the impossible. It's to open wide, through your work, desires, fights and sorrows in a disclosure. The creative process is the product of the hand , the mind, the imagination and of the work, which is motivated by the search for a conquer: THE CONSTRUCTION OF YOUR OWN SELF. ...