Bronze Sculptures

Artists Describing Their Art:

Stefan Van Der Ende - My sculptures are Solutions for Non/existing Problems . Now is the time to collect them. They are rare and unique ,and there are not many of them , also due to the big amount of time it takes to make the biggerones in wood and stone . They are made dreaming/thinking and working intensively , whith the intention to be able communicate emotion through their abstract/associative visual appearence which relate to subconcious processes in the human mind .(specialy mine ofcourse ) There are often more pictures of one sculpture , because ,as you know you have to see sculptures from more sides , to get a good impression . Mijn sculpturen zijn oplossingen voor niet /bestaande problemen . het is nu de tijde om ze te gaan verzamelen Ze zijn zeldzaam en speciaal , en er zijn er niet zoveel te koop , ook als gevolg van het feit dat het een grote hoeveelheid tijd kost om ze te maken ( speciaal die in hout en steen ) Ze worden gemaakt in een intensief proces van denken dromen en werken . Met het doel uiteindelijk via hun abstract/associatieve visuele aanwezigheid emoties via abstracte vorm te communiceren via de interpreatie van de beschouwer .door het raken van onderbewuste oude lagen in ...

Donna Bernstein - PLEASE VISIT MY WEBSITE AT:

Mavis Mcclure - Mavis McClure Born: 1967 Selected Exhibitions: 2004 Chaco Gallery (w/Nathan Oliveria & Peter Voulkos) 2002 Oakland City Gallery (w/Viola Frey), Oakland, CA 2001 Solo Show, LewAllen Contemporary 2000 "From the Fire", Bedford Gallery, Walnut Creek, CA "Contemporary Figure", LewAllen Contemporary, Santa Fe 1999 Solo Show, Jan Baum, Los Angeles, CA "Enduring Form", LewAllen Contemporary, Santa Fe SOFA Chicago, Sandy Carson, Denver, CO 1998 Solo Show, Virginia Breier, San Francisco, CA "Pedestals & Stretchers", LewAllen Contemporary, Santa Fe, NM "30 Ceramics", John Natsoulas Gallery, Davis, CA Olive Grove Sculpture Walk, Auberge du Soleil 1997 "Saving Grace", A New Leaf Gallery, Berkeley, CA "30 Ceramics", John Natsoulas Gallery, Davis, CA 1996 "Au Plien Air", A New Leaf Gallery, Berkeley, CA Ceramic Sculpture, Virginia Breier, San Francisco, CA Publications: American Craft San Francisco Chronicle Santa Fe Magazine ArtWeek Albuquerque Journal Contra Costa Times San Jose Mercury News Trend Magazine Interior Design New York Times Collections: Doug Ring, Los Angeles, CA American Museum of Ceramic Art Fourth Street Shopping District, Berkeley, CA CB & Dick Watts, Los Altos, CA Howard & Matilda Rubin, Santa Fe, NM Estate of Jerry Garcia, Mill Valley, CA Mary & John Carrington, Newport Coast, CA Anita Roddick, West Sussex, England Robin & Leonard ...

Ahmed Al Safi - -Born in Diwanya / Iraq 1971 Bachelor sculpture College Of Fine Arts /Baghdad University One man show: - French Cultural Centre/ Baghdad 1999 Abbaye de La Pree /France 2006 Exhibition and movie-show about the daily life of the artist in the "espace culturel Acerma" 2006 Exhibition during live concert - Abbaye de La Pree July 2007 Exhibition in the Hospital of Issoudun from 17th of Nevember to 1st of December 2007 Co-exhibitions - exhibition of Fine Art College/ Baghdad 1994 - exhibition of Babylon Festival 1995 - exhibition of Mohr Al Dain for youth artists/ Athar Gallery 1998 - Most exhibitions held in Hewar gallery including:- 1- Miniatures exhibition 2002 2- The exhibition of the sculptors paint 2002 - Most exhibitions held in Al Mizzan gallery including: - The exhibition of the Iraqi graphic .2001 - The exhibition of the forgotten country Paris/ Paris Municipality 2000 - The 44th Annual international Awarded Exhibition.sanDiego.2000 - The exhibition of the wounded country Amman /Jordon 2000 - Biennial Al Sharja. U.A.E /2001 - Narrow Space Gallery, Clonmel Ireland ,June,18th ,2004 - The Annual Art Ireland International Art Fair, Dublin 19 to 21 November. 2004 Exhibition of "ancients residents of the Abbaye de La Pree" in the "L'association...

Tim Holmes - A good work of art should be startling every time one sees it. Such a work begins a dialogue between the viewer and the art, and the more meaning that is implanted in the art, the deeper that dialogue can be. The value of any work of art is not in its price or its history, but in the inherent energy, its ability to act as a catalyst of responses in the viewer. Likewise, the most successful viewer is not one with the best education or the finest taste, but one who can respond to the work with the greatest sensitivity. Hopefully, my art provides no answers and removes no doubts. My intent, rather, is to ask tough questions - to comfort the afflicted and afflict the comfortable - to plunge the viewer into that wondrous process of dialogue. The interaction is usually not a verbal or even a conscious one, but often one that continues, at various levels of awareness, as long as the viewer and the artwork are within range of each other. (Incidentally, a similar dialogue occurs between me and each of my works, sometimes over a long period of time.) I believe every artist has a responsibility to ...

Richard Becker - I believe in the positive potential of humankind and art's role in making the world a better place. And I am committed to do important things with this gift -- to make significant contributions where I can. I also enjoy creating works that just flow from my head. I believe that my progressing deafness plays a profound role; in what I see and how I communicate ideas thru this art. Right now my time is split between these head-works and the exhilarating world of commissions. Perhaps this is all in preparation for my "Hanging Heart," a modern day Trevi Fountain -- and a medal that inspires a great deed. -- rb 2008...

Don Dougan - My work comprises both abstracted and figurative imagery executed in a variety of mixed materials, with stone being the predominate medium. Other materials used (usually in conjunction with stone) include foundry cast metals, carved and joined wood, cast and fabricated plastics, cold-worked and kiln-formed glass, cast and carved hydraulic cements, cast/formed paper, welded/fabricated metals, gilding, and found/assembled objects. The more abstracted imagery is worked in pedestal pieces, large freestanding sculptures, and in wall-mounted relief sculptures. The figurative lip series is usually presented in wall-mounted reliefs, deep shadowbox framing, and occasionally as either a pedestal piece or a large freestanding work. The most recently begun series of work comprises pedestal-sized pieces using the imagery of the ship or the boat hull. Each series or each type of work allows me to express aspects of the human condition - the more abstracted works tend to reveal a more universal emotional/rational characterization of subject matter, the lip series tends to allow sensuality, humor, and more visceral expressions, while the ship series delves into personal/cultural memories and emotional journeys. For more images and information on myself, my work, and my working methods please visit my ...

Zahava Sherez - Perfect Moment December 2009 My definition of a Perfect Moment: when two entities, be they human, object, animal, or nature, are able to hold on to their inner core, to the integrity of their identity, yet find a place of connection where they mold to each other creating mutual support. Why vessels? I have been attracted to vessels since an early age. I grew up in a country where archeology is everywhere, where holding a piece of clay from a broken vessel awakens the imagination. Who was that person that created that container hundreds or thousands of years ago? What was stored in this vessel? Food, coins, stories? What secrets? To me vessels are a metaphor for anything that contains a treasure, be it tangible or emotional, spiritual. Here are two entities captured in a perfect moment of connection sharing, if only for that brief moment, their inner treasures. Technique I work with clay as a carver. I mix various clays, of different textures and colors, to achieve the look of an archeological vessel that has been reassembled. I begin with a solid mound of clay and use my body, a mallet and knives to rough the form. When I'...