Daniel Lombardo, Hunter Brown, Patxi Xabier Lezama Perier, Charles Mctheeney, Vadim Kharchenko, Max Tolentino, Diana Carey, Bob Hill, Alexey Klimov, Federico Molinaro offering original Steel Sculptures artworks. Modernist sculptors and the event of public art sculptures in the late 1950's and 1960' brought about a large group of artists that also experimented with other non traditional materials to create large sculptures. This is where steel comes into play. Immediately, names such as Richard Serra and Alexander Calder, Davis Smith come to mind. Sir Anthony Caro also used steel to weld large scale works or John Chamberlain created large scale compositions from steel. For example Mark di Suvero and abstract expressionist sculptor used wooden timbers, tires, scrap metal and structural steel. This exploration of different materials transformed over time into a focus on H-beams and heavy steel plates. Richard Serra on the other hand used a material called weathering steel (COR-TEN steel) for many of his sculptures. This type of steel was developed to eliminate the need for painting but forming a stable rust-like appearance if exposed to weathering. Many modern sculptors either weld steel compositions to a final artistic product and also use sheets of steel for their artworks.
Browse over works of contemporary art for sale in the price range . On this page you can find works by Daniel Lombardo, Hunter Brown, Patxi Xabier Lezama Perier, Charles Mctheeney, Vadim Kharchenko, Max Tolentino, Diana Carey, Bob Hill, Alexey Klimov, Federico Molinaro.
Daniel Lombardo - My art is first informed by the human figure, its essential vertical presentation with a focus on unique but related frontal and rear views, and the gestalt of interconnected shapes that are both linear and volumetric. It is secondarily informed by totem poles of the Native Americans of the Pacific Northwest and other tribal cultures from around the world, with their stacked and interconnected elements that may represent key figures or concepts in their myths and legends, combined to "tell a tale" or remind of basic cultural tenets. Though my sculptures do not represent any specific events, I imagine my pieces as abstract tales both of personal events or generally themes of human experience. The pieces develop from gestural sketches based on this visual language of interconnected forms merging and diverging usually along a vertical axis. Most recently I have worked in forged steel which has fostered new gestural elements that this material inspires. ...
Max Tolentino - I do not think of art as a rationalization of an artistic thought or perhaps I am not still able to think this way. What fascinates me is the exercise of art; it is doing something that can express my personal point of view of things and the perception and the expression of the world as I see. Anything that carries human significance may cause me an emotion with the same intensity that I see at any museum in the world. Art is an emotional and intellectual product to me. Since my late starting in arts I have been sculpting my way in the artistic scenario with a differenced curiosity so that my overture to this environment gives me a privileged position. Doubts - no doubt - will arise, as my works transit between the formalism and the concept, between the beautiful and the political in art. But the doubts belong more to the one who sees then to me. Maybe I want to go further than the cultural concepts i?1/2 not that I pay much attention to it - but perhaps one day appreciating from outside I may glimpse a chance to be inside thus contributing in a certain way to this world ...
Diana Carey - I developed a passion for the creation of metal forms while studying at the Academy of Art in San Francisco. Each piece is unique and is discovered as I create it. There is no direct path from one piece to the next, instead, each evolves from the material. Once I start working on the piece I move with it as it starts taking shape. I want the metal to flow, the pieces to be light and airy, counterbalancing the rigidity of the steel I am working with. My sculptures are there to be touched and felt. Touching my sculptures can move a person along the same wavelength I felt as I was creating it. I know a piece has succeeded when I see smiles on the faces of people looking at it. People have said that my work makes them happy as they see and experience it. As I work on my sculptures ...
Diana Carey -
Alexey Klimov - ARTIST STATEMENT I think that absolute freedom in art is no more than a mirage. Like a vanishing point, not only it is not achievable, but also constant strive for being totally uninhibited fundamentally contradicts the very nature of art. I discovered that by trying to free myself I instead only created un-freedom within, but at the same time I recognized it as a blessing because this un-freedom, to my great surprise, flowered into my very own freedom. I built my personal space inside it, I fenced in all I was made of and then I gladly confined myself into this space and opened all the windows to share whataEURtms inside with others. This is the moment of great joy for me because this space has never existed before I have created it. Not unlike theater, my work attempts to counterpart outside reality with no ambition to compete with it. It is just a window into my parallel world, my very own, not so little Universe. ...
Federico Molinaro - "In all my sculptures I always try to convey the feeling of motion, lightness, suppleness, three features in sharp contrast with the rigidity and the heaviness of the materials used, such as iron and steel. The motion is conveyed by the action or the shape which should be winding, never stiff. The suppleness comes from the peculiar working technique the iron, all riddled with holes, allows you to glimpse at the backside, communicating a feeling of "passing through....
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