Sculpture For Sale - Price Range: $500 - $1000

Artists Describing Their Art:

Robert Hargrave - Beauty is often found in unexpected places. Few people would expect anything made from plywood to be beautiful, yet they are surprised and intrigued when they learn this fact about my work. I laminate a very special Birch plywood from Russia to a darker Lauan plywood from Indonesia, then carve them to reveal the previously hidden core. The results are often compared to some rare and exotic wood, skillfully brought to life. The Plywood Sculpture line consists of nearly seventy contemporary designs that are functional as well as decorative. There are over two dozen mirrors in many shapes and sizes. The designs range from figurative to geometric, from celestial to functionally conservative. Several figurative sculptures are balanced by some furniture designs. The line is rounded out by many gift items, such as picture frames, boxes and other accessories." All of my designs have a fluid sense of movement, emphasized by the black glue line. The alternating light and dark woods have a variety of colors in natural, however dyed colors offer even more possibilities. Each piece is signed and given a smooth, maintenance free lacquer finish. A free, full color catalog is available upon request. ...

Dermot O'Brien - Over the past fifteen years i have developed my own very unique art form working with wood and light. Using light as an added dimension to highlight the spaces between the wood a new sculpture is created. The sculptures always consist of several shapes the light exploring and defining the relationship between the bodies....

Gabor Bertalan - CURRICULUM VITAE I WAS BORN IN SALGOTARJAN, HUNGARY IN 1956. I ATTENDED SCHOOL IN BUDAPEST. I LEARNED SCULPTURAL ARTS THROUGH PRIVATE CHANNELS, PARTLY IN HUNGARY UNDER THE DIRECTIONS AND WITH THE HELP OF ATTILA BOBALY AND JOZSEF SOMOGYI, AND PARTLY IN MENTON, FRANCE. IN 1996 I ATTENDED THE SUMMER ART ACADEMY OF THE UNIVERSITY OF APPLIED ARTS IN BUDAPEST. I HAD INDIVIDUAL EXHIBITIONS IN THE MADACH GALLERY OF SALGOTARJAN IN 1993, IN THE SERBIAN CHURCH OF BALASSAGYARMAT IN 1997, AND IN THE UJPEST GALLERY IN 2004. GROUP EXHIBITIONS: 1993: SZECSENY 1995: BUDAPEST, MENTON 1996: BALASSAGYARMAT, SALGOTARJAN, NAGYATAD 1999, 2000, 2003, 2005: SALGOTARJAN - SPRING EXHIBITION, OPEN-AIR SCULPTURE EXHIBITION 2000: CANNES 2005: NAGYATAD, NATIONAL EXHIBITION OF WOOD SCULPTURES SZECSENY, WINTER EXHIBITION - PRIZE OF THE TOWN OF SALGOTARJAN CURRENTLY I LIVE AND WORK IN BUDAPEST. INITIALLY I WORKED EXCLUSIVELY WITH WOOD. NOW THE MATERIAL OF MY SCULPTURES IS MAINLY WAX AND BRONZE CAST AFTER A WAX MOULD. MY THOUGHTS, FEELINGS AND THE PLASTIC FORMS GUIDED BY THE FORMER ARE FOCUSED ON TWO MAIN CONCEPTS: "NATURALNESS AND SIMPLICITY" ...

Cris Orfescu - NANOART I create Art from Science using Technology. My art is a reflection of the technological movement. I consider NanoArt to be a more appealing and effective way to communicate with the general public and to inform people about the new technologies of the 21st Century raising the public awareness of Nanotechnology and its impact on our lives. Nanotechnology deals with the synthesis, manipulation and characterization of matter at the sub-100 nanometers level. Nanotechnology is still an emerging area although commercial products are already on the market. I bring the small world in front of my audience by visualizing with a scanning electron microscope the nanolandscapes and the nanosculptures I create by physical and chemical processes. I paint and manipulate digitally the monochromatic electron images and print them on canvas or fine art paper with archival inks specially formulated to last for a long time (giclee prints). This way, the scientific images become artworks and could be showcased for a large audience to educate the public with creative images that are appealing and acceptable. ...

Marcin Biesek - I present in this place some part of my art. Especially wood&plaster sculpture,ceramics and mixed media paintings. I live in Kingston upon Hull ( East Riding of Yorkshire- UK) .I am a memeber of Kingston Art Group.(kingstonartgroup.co.uk) I have started ceramics course in Hull College and I really enjoyed.I try keep my arts and it give me a lot's of satisfy. I found some new ways to develop my ideas and project's. I had some exhibitions-personal also group exhibitions(Reveal Open Studios ,Hull College, Middleton Hall Gallery(Hull University) and Ferens Art Gallery in Hull. And still I try to find new ways to show what I do. Subject's of my art is usually human. I try observe a people in move also relation's between. I try develop ideas of Giacometti ,Manuel Neri and school of Contemporary art. But I still learn all masters(like Rodin) work's. ...

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 ...

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 ...

Bozena Happach - My sculptures illustrate the complexity and beauty of human form in two and three-dimensional compositions. I intend to demonstrate the depth as well as the foibles of the human endeavor, along the journey of both physical and spiritual evolution. ...

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 ...

Lou Lalli - The shaping and use of stone is a vital part of the human endeavor. The fashioning of tools and implements by stone age peoples, the votive Venus figures of the Neolithic period, cycladic sculpture of the eighth millennium BC, classical sculpture of Greece and Egypt and all the sculpture to the present indicates that stone sculpture is intrinsic to human expression. Sculpting in stone directly links me to the people of the past. The subject and ideas I choose are derived from the past thus strengthening that link. The resolutions of the technical problems are the same that sculptors in the past confronted and solved. Although modern tools and implements facilitate my work I am still doing what all sculptors and stone carvers have done in the past; chipping, abrading and polishing the stone to release the form contained therein. My ideas and subjects are borrowed from antiquity with each piece telling a story. Antiquity provides a wealth of resources for my work; warriors, the myths, Venus figures, beasts, demigods and shaman/priests are the subjects I appropriate. In executing an idea, the importance of light and shadow, through the use of negative space is a primary concern in the ...