Sculpture For Sale - Price Range: $400 - $499

Artists Describing Their Art:

Mac Worthington - BIO Internationally recognized and locally renowned, Mac Worthington continues his inspirational fine art past his studio and into your home. Each piece reflects his desire for difference and neglect for the norm. Born and raised in Canton, Ohio also known as i?1/2Little Chicagoi?1/2, Mac was privileged to be molded around a family of artists. His father John i?1/2Jacki?1/2 Worthington was a local artist, well-known for this bronze sculptures, specifically busts for movie stars and sports figures included in the Pro Football Hall of Fame located in Canton, Ohio. His mother Marion Worthington was skilled in enameling and silver work. The combination of creative talent and environment made him destined for artistic success. Serving in the jungles of Vietnam at the age of nineteen Mac interpreted the indescribable feelings of war into powerful expressions of art. He attributes additional creativeness to influences such as Hells Angels, Elvis, Bob Dylan, Marlon Brando and the 60i?1/2s era. Going back to his roots he entered the world of heavy metal. Teaching himself to weld he used steel and iron to create massive, grandiose outdoor sculptures. Becoming more skilled with his mediums, he discovered the versatile use of high tech aluminum. This skill ...

Lawrence Tuber - My Newest work involves blowing a multi layered blank on which I carve intricate decoration. I am using images ideas that I have been drawing since childhood. I am from Mars. I also make multi-vessel sculptures using blown and optical glass components creating families of vessels. I have been a vessel maker for 30 years. heck out my Etsy site at

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....

Bart Soutendijk - I have been making Wire Wall Murals on a commission basis since 1972. A Wire Wall Mural is the final step in a simplification process that starts with a photograph or group of photographs. I make and remake the line drawing to emphasize only the essence of the subject. I ask, myself: "What is it about this image that makes is unique." Then I strip away the lines that are not required to convey that quality. Finally, like the poet who reviews every word, I re-examine every turn and curve as I bend the wire into that image -- a large line drawing in space. The final installation, a solid line in front of a moving shadow, has scale enough to suit a large space without dominating the room. After I make a wire wall sculpture I hang it up and "live with it" for a while. Sometimes I cut away additional material, add more, or change bends before I consider the sculpture ready for a home, gallery, or museum. I say: Nothing is permanent, as long as you have pliers. ...

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 ...

Rufus Adeniyi - I am a widely traveled Nigerian Aesthetics consultant. A graduate of University of London, Goldsmith. I believed in Art as a way of life and a reflection of the spiritual and socio-economic life of the people. My flair for natural things of beauty has no measure. Apart from my Art gallery, I also run a consultancy firm in all forms of artistic embellishment in fine furnishing for corporate bodies, private individuals and diplomatic missions. Married and strongly believe in modesty and fair play....

Rufus Adeniyi - Louise Parenteau - ARTISTIC STATEMENT I studied fine arts at the University Of Quebec In Montreal (1986-1991). I was involved in various artistic activities in which I took a strong stand against injustice, poverty, and social exclusion. My work took shape using different methods of research and observation. I articulated my artistic approach inspired by existential human sufferings. I created portraits of individuals with unusual physical traits, expressions, deformities, attitudes... These characters inspired me to use colour in contrasts and splashes. My aim was to express the life animating the characters by an internal light. For my installations, I used a physical space to transpose socio-political situations and dramatic events. With the barest resources, my intention was to stimulate the interest of the viewer. My material supplies: Acrylic, rubbish, wood, metal, rust, polystyrene panels, personal objects, used clothing, etc. In 1995, I realized that I had reached limits with my artistic approach. I decided to have a period of questioning with the aim of going further in my research in terms of intention and expression. This process enabled me to explore, to experiment with different materials and to reposition myself using sculpture as my main form of expression. Ever...

Ali Gallo - Uncovering and bringing to the surface what boils beneath creates the tension necessary for a dialog to begin between the idea and the artist and/or the art and the viewer. Finding anyway to create this tension, gouging, scratching, laying, etc in a painting or sculpture allows for deeper inspection, providing the incredible power of metaphor for the human condition....

Sal Villano - The inspiration for creating my sculpture grew from a lifetime love of trees. I am in awe of the stately presence and silent majesty they posses. I find the structure of trees to be one of the perfections in nature. With their roots embracing the earth; in winter they show their bones, in spring gentle buds, in summer a canopy of green and in fall a magical kaleidoscope of colors. Beauty, pure beauty. ...

Berthold Neutze - Artists Statement Art from wood is either turned (pretty bowl), roughly hewed (pure artistic laziness) or from selected ugliness regarding to the choice of wood. The flashy the material the less you see the sloppy work of the artist Why do I use wood after all? Besides hard and splintery beechwood? The work is risky and tedious, demands concentration and sensitivity for the material's structure - thus a challenge for craftmanship. Together with the subtle texture and unexitedly tint of beechwood that makes it to my favourite material. Beechwood allows undisguised view towards the form language. The shiny smooth surface means a distance to ,,harsh" nature to me. The outcoming piece is a picture, not copy. The tactile dimension. There is this invitation to the spectator to touch it, to feel the inherent warmth of wood, to feel out the incorporated strings and muscles to append another dimension to his phantasy. Subject follows function. My abstract -, as well as the anthropo- and zoomorphic sculptures emerge from the curiosity what other structures evolution could find - or improve - to add another niche in nature. I mostly work without preceding drawings und start to work unintentionally; the ,,idea" evolves during the progress - the ...