Philippe Guillerm

Falling in Love in Virgin Gorda

Philippe Guillerm began his professional life in Paris, France, where he was born in the late 1950s. He has traveled around the world on his forty-ei...

Philippe Guillerm began his professional life in Paris, France, where he was born in the late 1950s. He has traveled around the world on his forty-ei...

Philippe Guillerm began his professional life in Paris, France, where he was born in the late 1950s. He has traveled around the world on his forty-ei...

Philippe Guillerm began his professional life in Paris, France, where he was born in the late 1950s. He has traveled around the world on his forty-ei...

Philippe Guillerm began his professional life in Paris, France, where he was born in the late 1950s. He has traveled around the world on his forty-ei...

"Tyler" is a charcoal drawing on plywood from Denise Stewart-Sanabria's award-winning series of free-standing representational figures. Inspired by her ...

This wall piece was created by New York artist, Bethany Krull using found drift would and found snail shells. The glistening snail forms are hand sculpted directly onto the wood usi...

This is a one of a kind original surrealist figurative sculpture made from wood by San Diego artist, Debbie Korbel. Its dimensions are 72" x 66" x 42". A...

Mechelen dolls are rare wooden devotional figurines (mainly walnut was used), which were made by some members of the Guild of Saint Luke. The figures, all individual saints, were made from reference models using highly regulated carving and polychrome techniques. They had to meet several requirements. The shape of the rug had to meet certain criteria and the letter M (from Mechelen) had to be visible in the shape. These devotional or saint figurines...

The Palace at 3am (2022) by Gary Sczerbaniewicz. Wood, laser cut & etched chipboard, latex, plaster, and cast plastic.

Bridge To Total Freedom No.3 (Diminishing Returns) (2017) by Gary Sczerbaniewicz. Wood, laser-cut MDF, cast plastic, plaster, ink, acrylic, paper.

Text by Terence Sharpe There is a moment in Andrei Tarkovsky’s Solaris (1972) when the character Hari commits suicide by drinking liquid oxygen. As she is not actually a human, but an artificial hybrid product of the mysterious planet and the protagonists’ memories, she heals rapidly and is alive again minutes later. Her choice to take her own life is poignant, seemingly the action of a being becoming aware of its hopeless infinitude. Her realization that while the men will die on the space station or elsewhere, her existence is that of immortality, a deeply alienating notion that causes her to seek her own destruction. The Montreal artist Guillaume Lachapelle has one work that prompts a sense of eternal alienation that echoes Hari’s tragedy. The work greets the viewer with a empty doorway flanked by clinically white bookshelves...