Marlene Rose

Butterfly - Gold with Red Rainbird

2020

Vibrant Blue Freestanding Ring, 2023

Marlene Rose (b. 1967) Aqua Lotus Buddha, 2021 sand cast glass and steel sculpture 28.50 x 12 x 10 in

Marlene Rose (b. 1967) Mini Buddha Metallic, 2022 Sand Cast Glass & Steel 10 x 4 x 3 in

David Hayes (1931 - 2013) Capricorn, 2004 Painted welded steel 66 x 55 x 45 in

David Hayes (1931 - 2013) Screen Sculpture #83, 1997 Painted, welded diamond plated steel 60 x 53 x 21 in

David Hayes (1931 - 2013) Rouge et Noir Deux (Small) – Black, Red, 2008 Painted welded steel. 14.50 x 10.50 x 9.50 in

Please allow a three month turnaround time for piece to be made. The Geologic Screens Series The Geologic Screens are studies from the Colorado Cascade Mural. David pieced together ...

Created by San Jose based glass artist, Treg Silkwood, the "Smokey Grey Nautilus" is an intricate sculpture of a seashell created entirely out of glass. Using layers of grey, ochre and white pigment, Treg masterfully captures the intricate details that are typically found on a nautilus. This breathtaking piece measures 13"h x 11"w x 5"d  and comes with a custom metal stand affixed with a rubber coating to ensure stability of the sculpture. About the Artist: Treg Silkwood is a glass artist whose career spans over three decades. He is recognized as a premier California Marine Artist and one of the foremost artists working in glass. Taking inspiration from walks along the California coast, Treg’s artwork explores his fascination with the many species of shells and natural objects he’s collected from his excursions. In response to these elegant forms, Treg creates blown glass sculptures that not only enrich his appreciation for the intricate complexities of the natural world but also form a personal connection to a place which he calls home. Treg has a BFA in glass from Alfred University and studied abroad at the Academy of Applied Arts in Prague, where he learned Czech mold-making and coldworking techniques. Post graduation, Treg worked as a glass blower recreating Early American Glassware at Greenfield Village, within The Henry Ford Museum in Dearborn, MI. He was an artist-in-residence at The Corning Museum of Glass in New York and part of the original crew that created The Corning Musuem of Glass Roadshow. In 2002, Treg and his wife Candace, established Silkwood Glass, a custom glass company specializing in marine life sculpture...

Reflection A mass-produced plaster bust of JFK faces an anonymous cast Asian female with slightly mirrored gold ecliptic glass between them that reflects t...

Referencing industrial space detritus and the allure of artifacts, this disc floats free from the constraints of the wall and mesmerizes with a hypnotically beautiful jeweled center....

Artist Commentary: Helix Oculi is made from black bamboo, called Phyllostachys Nigra Bory, or Tiger bamboo, gathered from the Portland region, and fused glass elements made in my st...

Laughter, discomfort, perplexity: these are all plausible reactions to the work by sculptor Cal Lane. The artist’s most recent body of work is an affective assemblage of incongruous parts that, taken together, violate our mental patterns and expectations. Charged with contradictions, metaphor, sexual undertones, and unsettling associations, Lane’s unlikely combinations use absurdity as a way of pointing to western society’s normalized habits and conventions, often with an emphasis on gender and sexuality. For the exhibition Try Me, Lane installs a basketball court in the gallery. The two basketball hoops on opposing walls are embellished with silver-coated frames and lustrous mirrors, which serve as decorative backboards. In place of nets, women’s black lace underwear delicately hang from hoops. A decorative rug stenciled with court lines performs as the court floor. It is a mise-en-scène set in motion by viewer’s reconciliation of the individual parts to the whole, and to their original function. Panties regard themselves in the mirror or perhaps measure up their opponent, which, not without irony, is the mirror image of itself. Themes of gender and sexuality are performed and imagined in the upward voyeuristic gaze of the viewer and the expected swoosh of the ball into the net. This is further elaborated by phallic impressions formed by court lines and their likeness to a work of modernist abstraction—a movement wrought by notions of masculinity. The decorative rug’s connection to femininity and domesticity juxtaposes the rigid geometry. Lane further explores the historical gendering of technology, industry, and war in her series of wallpaper drawings, which depict war submarines on cloud patterned wallpaper. The innocence of the submarine in popular culture and its reality as a phallic war object...