Bronze Sculptures (649)

Artists Describing Their Art:

Alain Added - Alain Added est un peintre et sculpteur. Alain Added dessine des le plus jeune age et fait ses premiers vrais dessins vers l'age de 13-14 ans. Il utilise l'encre de Chine pendant plus de 10 ans, puis s'est naturellement dirige vers la couleur. << Le noir et blanc et la couleur sont deux univers vraiment diffe- rents. C'est la meme demarche qu'un romancier qui passerait a la mise en scene. D'un cote on laisse jouer son inspiration, de l'autre on la canalise. >> Peindre est pour lui un besoin, un acte liberatoire et un plaisir detache de la realite de la peinture. L'art a ete pour lui un veritable moyen de s'evader lors de periodes difficiles, cependant il ne peint pas avec une intention et ne peut expliquer une toile qu'a posteriori. Apres plus de 30 ans de peinture, Alain Added se met a la sculpture. << La gestation de 3O annees de peinture a fait que la sculpture s'est concre- tisee presque naturellement. >> Les personnages qu'il sculpte appartiennent a son monde imaginaire. Pour lui le rapport sensuel dans la cre...

Cybele Rowe - If you are looking at one of my artworks whether it is painting or sculpture, be It a figure, a vessel or an abstract form, there is a stream of consciousness that has led me to the last point of movement in my latest work. It is this stream that makes my art. The stream is about managing to ask questions that make life interesting to me as the artist. It is about stretching my mind and emotions into the "What if?" and the" I wonder why's?" My art is not a response to my life lived nor is it a reaction to my present environment. My art is about striving to interpret my past, present and future involving the known and unknown without fear and redelivering age old concepts in brand new husks. My art is an interpretation, a filter of a mind striving to be conscious whilst being creative and imagining the splendid vulnerability of existence in its many forms. By binding myself almost to the point of suffocation and then untangling the crazy web to a simple elegant evocative image is the best way I can describe the process of my art making. As a sculptor...

Niccola Devereaux - About the work Reality sits on shifting sands and often itaEURtms enough to observe. The interplay between the metaphysical and the physical however, pulls me toward art. Art as existential practice encompasses what exists, and what could exist, and their interstitial discourse. Experience is a construct anyway; art constructs and deconstructs addressing the possible, the real, and the gaps between. Anything can be artaEUR"human perspective gives it breath of life. From that initial point however, it must fend for itself. ...

Mark Yale Harris - The purpose of my artwork is to provoke a perceptual, internal, and intellectual response for the viewer, a visual that speaks to life's experiences. To create symbols of universal connection and the relationship that one has to another and to nature. Furthermore, art conveys my nonverbal view of life. An ongoing portrayal of myself, my behavior, adventure, exploration, risk taking, and my non-acceptance of convention and the status quo. I am continually in search of the new, the different, and I am fascinated with the unconventional. Life has a hard, aggressive side, as does much of my work, represented by rigid, angular lines. However, the soft side is also apparent, visible as curves and soft forms. I used the invaluable experience of the mentorship of Bill Prokopiof and Doug Hyde, along with my own vision, to create an evolving body of work in alabaster, marble, limestone, and bronze, often combining different elements to bring forth a duality in the sculpture that I make. My work is included in private and public collections internationally....

Domingo Garcia - Premios / Awards 1967-68 GRANT , Casa del Arte, San Juan, to study/travel throughout Europe and North Africa 1972 Guggenheim GRANT in painting, New York, NY 1977 GRANT , Washington Review of the Arts, for best poster design of the year 1980 SENIOR GRANT for Work Accomplished, National Endowment for the Arts,Washington D.C. 1990 AWARD given for "Year's Best Solo Show", "Iconos de Nuestra Historia", International Art Critics Association (IACA), member of UNESCO 1999 HOMAGE for " Best Exhibition of the Year" and " Best Retrospective Solo Exhibition of the Year", International Art Critics Association (IACA), member of UNESCO 2007 SPECIAL AWARD given for " Best of the Year: 60 Year Retropective Exhibition", International Art Critics Association,(IACA), member of UNESCO 2011 HOMAGE for his contribution to Latin American Art and the adquisition of two of his masterpieces for the permanent collection of Museum of Fine Arts Houston, June 2011 ...

Robert Pulley - A friend told me recently that it was helpul for her to know how an art work is created and how the artist thinks. That led me to consider what I have to say about my art work. When one looks at my sculpture I hope one sees strength, mystery, sensuousness, spiritual energy and more. How these constructions in modeled clay can stir such responsed in myself and others is a mystery to me, but I can say something about my methods and way of thinking. I have always been intuitive, reactive and spontaneous. I love improvisation, expression and the power of chance and serendipity. This may not seem obvious in large pieces that must be carefully crafted over weeks or months. Here is how it works. When I began the first pieces in this body of work many years ago they were purely improvisational. I would begin each piece with a flat slab of clay that I cut into a shape that would be the bottom of the sculpture. I usually had a vague idea of the proportions I wanted. This general notion set the theme within which I worked. In the manner of free jazz I would consider ...

Jacques Malo - A native of Cap de la Madeleine, Jacques Malo began his studies in fine arts at College and the University of Quebec at Trois-Rivieres, Quebec, Canada. During these years of training, he further explores the materials and assembly techniques of modern sculpture. In 1982 my artistic journey really took off, going away more and more of domination and the influence of my teachers of fine arts. The importance I attach to the spontaneity in the creative process was problematic in sculpture. Then I began to make an approach using Styrofoam as a material and the technique of direct carving, allowed me to shape volumes with a gesture so eager to be possible in size, the images arose in my mind. To get a solid finish and acceptable, I used the fibreglass, resin and paint spray. This artistic journey was the subject of my solo exhibition at the Imagier, gallery of art in Aylmer in 1984. The event'Sculptors at work' allowed me to explore other material, marble. Always with the technique of direct carving, I began to explore this area in order to truly know its challenges and achieve more, to measure my ability to overcome such material. ...