Cast Stone Nude Sculptures

Neptune is the creator of horses and is the god of the sea as well as the owner of a powerful weapon, the Trident. Poseidon is the Greek Neptune and is one of the big three gods...

Cast Alvastone. Inscribed on base; "(c) 1971 AMR". Authorized replica of Henry Moore's Reclining Female (1945) in the collection of the Detroit Institute of Arts. Cast by Alva Museu...

An original signed acrylic painted cast marble sculpture by American artist Jack Graves III (1988-) titled "Laocoön and His Sons Sculpture", 2021....

LOVERS American Scene Modern Sculpture WPA Mid-Century Modernism Female Artist Anita Weschler (1903 – 2000) "Lovers," 14 ½ h x 8 x 8 inches, plus a 3 i...

A fine cubist unsigned sculpture titled “Reclining Woman” by American artist Peter Winslow Milton (b. 1930). Milton was born in Lower Marion, Pennsylvania and is best known as one of America’s top tier printmakers. The artist commented on the sculpture - “About my 1958 Reclining Woman sculpture...

Born in Wettingen, Switzerland, into an artistically talented family, Evelyne Brader-Frank has been expressing herself through soapstone, bronze, and steel for over twenty years. Her...

unique, concrete and steel sculpture Expressing Situations and Beings in Human Form Sculptor Troy Williams unites the timeless and the contemporary in sculptures of rare beauty and meaning Beyond all the narrative potential of the three obvious physical dimensions of Troy Williams’ sculpture there are many other considerations that contribute greatly to the enjoyment, appreciation, and understanding of his entrancing 360-degree works of figurative art. Among these are the emotional responses and intellectual interpretations that first go into the artist’s creative process and then into every subsequent spectator’s viewings at least somewhat differently each time. Some artists insist on leaving these entirely up to each viewer, but Williams is glad to enrich the experience by inviting the viewer in for a little insight into the artist’s intention. Certain ambiguities and unintended provocations might otherwise arise, as Williams uses original combinations of materials or ideas in highly original ways. For the sophisticated clientele of Glenn Green Galleries Williams specializes in figurative and facial sculptures hewn from fallen woods he finds while running near his home in the mountains of north central New Mexico. Williams has in the past worked with exotic woods, but now avoids them in a desire to protect the people, plants, and animals that depend on a vibrant, healthy, and unexploited local ecosystems. Finding dead and downed wood also introduces an element of serendipitous chance into the sculptor’s process of selection and inspiration. Nature provides an exquisite mass of workable solids, surfaces, patterns, and curves in cottonwood and the many varieties of juniper this sculptor favors. Troy Williams simply rescues these from the elements and then elevates them to timeless treasures by relating them to themes that express our deepest nature. Awake to the most beautiful twists, turns, and striations already present in these found mediums, Williams is naturally and passionately drawn to every stage of freeing the underlying sculpture. Following the wood’s ingrained tendencies is always a creative guide for Williams. Growing up in an Indiana farming community, his dad a family practice doctor and his mother an artist, Troy has always felt an affinity for the earth and especially its mountains. He initially came west to study agriculture at Fort Lewis College in Durango, Colorado, attracted there by a setting where his athletic nature could find full expression. His interest in an agriculture career gave way to his love of the mountains. In order to continue living in them and enjoy the hiking, climbing, and running he also loved, Troy worked for several years in a solar business, progressing from manufacturing to installations to design. On a fortuitous errand for a cousin back home, Troy happened into silversmithing and began producing simple, hammered ear cuffs. At this point the artistic nature that he had earlier suppressed in favor of athletics began to emerge strongly, and he expanded into more complex designs as he learned and mastered goldsmithing and lapidary. Another quantum leap occurred when he made his first copper face for a pendant. He couldn’t wait to see the face on a larger scale and was eager for the challenge of learning another art. He began sculpting metal, then stone, then came upon wood as his medium of choice. Wood had immediate allure: scented, expanding, contracting, and seeming to breathe. Williams was seduced by its warmth, the play of light on the complexion of its grain, and the inherent life force so evident in wood. He also learned to coax creative advantage from some of wood’s pitfalls, like soft spots, tricky grains composed of woody xylem and softer phloem; and to avoid the conditions that make it splinter. A quality of segmentation or fragmentation characterizes Williams’s sculptures and provides great visual satisfaction along with intriguing thematic provocation. One is struck by the beautiful outlines that might never be apparent had Williams not removed segments or created interior voids expressly to reveal them. When sculpting a face, Williams focuses on aspects that are mask-like, floating, and alive with contours that might not be visible were the artist to sculpt the full head. The segmentation in his exquisitely refined female figurative works incorporates solids, hollows, and curvilinear elements for reasons that are at once artistic, philosophical, and experiential. Besides attending basic college art classes, to understand more fully the human figure, Troy spent a summer in Europe...

Rustic Athena, cottonwood concrete female nude mixed media sculpture pale green Expressing Situations and Beings in Human Form Sculptor Troy Williams unites the timeless and the contemporary in sculptures of rare beauty and meaning Beyond all the narrative potential of the three obvious physical dimensions of Troy Williams’ sculpture there are many other considerations that contribute greatly to the enjoyment, appreciation, and understanding of his entrancing 360-degree works of figurative art. Among these are the emotional responses and intellectual interpretations that first go into the artist’s creative process and then into every subsequent spectator’s viewings at least somewhat differently each time. Some artists insist on leaving these entirely up to each viewer, but Williams is glad to enrich the experience by inviting the viewer in for a little insight into the artist’s intention. Certain ambiguities and unintended provocations might otherwise arise, as Williams uses original combinations of materials or ideas in highly original ways. For the sophisticated clientele of Glenn Green Galleries Williams specializes in figurative and facial sculptures hewn from fallen woods he finds while running near his home in the mountains of north central New Mexico. Williams has in the past worked with exotic woods, but now avoids them in a desire to protect the people, plants, and animals that depend on a vibrant, healthy, and unexploited local ecosystems. Finding dead and downed wood also introduces an element of serendipitous chance into the sculptor’s process of selection and inspiration. Nature provides an exquisite mass of workable solids, surfaces, patterns, and curves in cottonwood and the many varieties of juniper this sculptor favors. Troy Williams simply rescues these from the elements and then elevates them to timeless treasures by relating them to themes that express our deepest nature. Awake to the most beautiful twists, turns, and striations already present in these found mediums, Williams is naturally and passionately drawn to every stage of freeing the underlying sculpture. Following the wood’s ingrained tendencies is always a creative guide for Williams. Growing up in an Indiana farming community, his dad a family practice doctor and his mother an artist, Troy has always felt an affinity for the earth and especially its mountains. He initially came west to study agriculture at Fort Lewis College in Durango, Colorado, attracted there by a setting where his athletic nature could find full expression. His interest in an agriculture career gave way to his love of the mountains. In order to continue living in them and enjoy the hiking, climbing, and running he also loved, Troy worked for several years in a solar business, progressing from manufacturing to installations to design. On a fortuitous errand for a cousin back home, Troy happened into silversmithing and began producing simple, hammered ear cuffs. At this point the artistic nature that he had earlier suppressed in favor of athletics began to emerge strongly, and he expanded into more complex designs as he learned and mastered goldsmithing and lapidary. Another quantum leap occurred when he made his first copper face for a pendant. He couldn’t wait to see the face on a larger scale and was eager for the challenge of learning another art. He began sculpting metal, then stone, then came upon wood as his medium of choice. Wood had immediate allure: scented, expanding, contracting, and seeming to breathe. Williams was seduced by its warmth, the play of light on the complexion of its grain, and the inherent life force so evident in wood. He also learned to coax creative advantage from some of wood’s pitfalls, like soft spots, tricky grains composed of woody xylem and softer phloem; and to avoid the conditions that make it splinter. A quality of segmentation or fragmentation characterizes Williams’s sculptures and provides great visual satisfaction along with intriguing thematic provocation. One is struck by the beautiful outlines that might never be apparent had Williams not removed segments or created interior voids expressly to reveal them. When sculpting a face, Williams focuses on aspects that are mask-like, floating, and alive with contours that might not be visible were the artist to sculpt the full head. The segmentation in his exquisitely refined female figurative works incorporates solids, hollows, and curvilinear elements for reasons that are at once artistic, philosophical, and experiential. Besides attending basic college art classes, to understand more fully the human figure, Troy spent a summer in Europe...

Inflatable Love Doll #10 (2015-2017) 22 x 13 x 12 inches (70 x 30 x 38 cm) Concrete, plastic ___________________________ A series of feminine cement chests comprised of plastic sex dolls...

Deborah Ballard is best known for conceiving of figures and groupings of figures who relate to one another (and the viewer) through their body language, relationships and dialogue. She allows for her figures to effect and be affected by the mental and physical aspects of everyday life that are anything but commonplace. “I feel that these figures will invite each viewer to bring their individual experiences, creating meaningful interactions with the sculpture,” says Ballard. Ballard casts her own bronzes, stones and plasters, yet she shuns editions. Her constant experimentation with technique and media makes every sculpture unique. Ballard earned her undergraduate degree in ceramics from Southern Methodist University in 1981, and her MFA in sculpture in 1990. Since then, Ballard has taught sculpture classes at numerous institutions including SMU and the Creative Arts Center in Dallas. In 2000, Ballard was an artist-in-residence and instructor in a dual partnership between Booker T. Washington High School for the Performing and Visual Arts and the Dallas Museum of Art. Among the many grants and awards Ballard has received are an installation at Connemara Conservancy in Plano, Texas, and a residency at Seaside in Florida. Also, she received grants for the Art Park Project and a Buffalo Bayou installation, both in Houston. In 2008, she designed the Voices of Peace award presented to Maya Angelou by Hope for Peace & Justice in Dallas. Her work is in the permanent collections of the Meadows Museum at SMU, as well as the San Angelo Museum of Art in Texas, and the Museum of Art of Monterey, Mexico. She was previously represented by Edith Baker Gallery in Dallas for 20 years, and has been represented by Valley House since 2004, where she had her first solo exhibition in 2007. In 2015, Ballard's work entered the collection of the HALL Texas Sculpture...