Sculpture For Sale - Price Range: $1000 - $1999 (413)

Artists Describing Their Art:

Gunnel Watkins - My intention is to experience creative expression inside the context of the transpersonal. transaEURC/peraEURC/sonaEURC/al/transE^pEtmrsEtmnl/ Adjective: Of, denoting, or dealing with states or areas of consciousness beyond the limits of personal identity. Forms arise spontaneously and naturally from present circumstancesaEUR|..reflection, meditation, dreams and ritual open up dialogues with form bringing mind and heart back into balanceaEUR|aEUR|.central to my artistic expression, is the premise, that the art-making process is salutary in and of itself. I work with art and people with special needs; and, as an end-of-life Doula. aEURoeWhen the soul wants to experience something, she throws out an image in front of her and steps into it aEURoe Meister Eckhart ...

Gunnel Watkins - Eric Jacobson - My work is influenced by a variety of sources from mandalas to contructivism "drawing in space" and nature: artists like David Smith, Mark Di Suvero, Miro, Picasso, etc. My current work incorporates brass tubing with mobiles and water. Some of these create sound as well. I have also created steel "frames", often octagonal that enclose a series of elements floating within this environment. I have been exploring the use of depth(perspective), color and balance in my work. I am very interested in the "layers" that make up each person's life history and mind, and therefore create layers in my sculpture to symbolize this. I often see things in the world as having an" inner and an outer", sometimes revealed to the world at large and sometimes hidden. This includes the human mind. People often keep parts of themselves hidden or protected even sometimes from themselves. Sometimes thes things are revealed in artwork. My sculptures also involve the relationship of the natural and man-made environments and the balance or imbalance between them....

Marcio Faria - Born in SAPSo Paulo, Brazil. in 1979, MA!rcio Faria is graduated and post-graduated in fine arts. In recent years, has been dedicated to research with flat geometric shapes, trying to discover new ways of organizing planes in space. On a constant pursuit of volumes, proportions and lines, the artist has the urban landscape of the city of SAPSo Paulo as a starting point for your projects....

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. ...

Austen Pinkerton - Artists Statement Austen Pinkerton If I turn my mind to it very quickly I can come up with several ideas for works aEUR|paintings, drawings, or sculptures. Sometimes ideas come to me when I least expect it, or when my mind is on other things. Ideas can be related to my current experiences, or to my feelings about things that are happening to me in my life at that particular time. Alternatively they can be related to a current interest, or something that occupies my attention at that moment, and my ideas and feelings about which Id like to share with others. A lot of my work is autobiographicalaEUR|either directly or indirectly, consciously or subconsciously. It is frequently very personal, and expresses events or circumstances or experiences in my life. I usually work in either Acrylic on Canvas, Crayon or Pastel, or both together, with Gouache, on card, Drawing in pencil, or Ink, or both, or with creating SculptureaEUR|for which I use fired artists clay. Sculpture follows a completely different set of rules and values from two-dimensional art, obviously, I think of it as Drawing in three dimensions and I take this into account when creating mine. In...

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 ...

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. ...

Elnaz Nourizadeh - Art for me is life. When I create a sculpture or a simple bowl, I feel alive. I like to create things that have feelings, emotions and motion. I create two types of artworks, sculptures and pottery. In my pottery I express my raw ideas in irregular and often asymmetric shapes of vessels and combination of different glazes and colours. This gives me the time to control my emotions and excitement. Each of my sculptures manifests a period in my life; emotions, everything I feel, see and experience. Overtime my sculptures have transitioned from statements about restrictions in my life to ideas of freedom and breaking the barriers. I get my ideas from everyday things I see in the streets, music I listen to, the news I read or a new artwork that catches my eye. I start making samples and experimenting with the idea and reading and researching about it until it becomes mature enough to build a sculpture. I prefer clay as my main medium because it gives me freedom and allows to create any shape I desire and refine the shape as it dries. ...

Kelly Castello - Kelly Castello is artist based in the beautiful city of Belo Horizonte in Eastern Brazil. She specialises in 3D modelling using wireframe and plaster and sometimes papier mache to save weight. Although producing mostly original designs she has recently produced many replicas of Venetian face masks from the 17th century. Intended mainly as ornaments these are also robust enough to be worn as originally intended. More recently she has focussed on animal sculptures including lifelike owls and is currently working on a life-size young ostrich. ...

Stan Harmon - Retirement brought Stan Harmon's passion into the daylight. Finally quitting his "day job", after a career with an environmental water management company, Harmon found himself able to devote more time to artistic endeavors that he had previously crammed into late night hours after everyone else was asleep. Following his dream to learn to blow glass he enrolled at the famous Penland School of Craft in the North Carolina mountains, quickly succumbing to the addictive nature of glass blowing. However, blowing glass requires at least one helper and that wouldn't fit into his new schedule (which was no schedule). Not to mention the constant overhead involved in firing a glass furnace 24/7. While at Penland, Harmon was introduced to the technique of kiln-forming glass which being taught in the next studio. This proved to be the best of both worlds, embracing the serendipity of hot glass creation and the advantages of a flexible schedule because a computer runs the kiln, taking care of the most time consuming aspects of creation. Thus no helper was needed, no outrageous gas bill to stress about, and still reaping the creative opportunities afforded by hot glass. Kiln-formed or fused glass ...

Stan Harmon -