Walnut Mixed Media

"Fruit of Poet" by Dai Ban, 2021 42" X 22" X 12" Foam Board, Venetian Plaster, Beeswax, Pigment Dai Ban designed this dynamic abstracted wall sculpture in his studio in the Berkshi...

Abstract geometric, minimalist, three dimensional wall sculpture in light grey Precision board, Venetian Plaster, pigments, and beeswax Despite it's stone-like appearance, the scul...

The Ragisména series, which in Greek means cracked, has its materiality manifested through the desire to recreate and make feelings, memories and mythology tangible in the physical w...

The Ragisména series, which in Greek means cracked, has its materiality manifested through the desire to recreate and make feelings, memories and mythology tangible in the physical w...

Monumental panel of 15 handmade fibreglass relief sculptures from the artist's own home. Each sculpture is signed and unique, with beautiful tarnished...

Abstract minimalist three-dimensional wall sculpture in light grey and black "Please Leave Us Alone" by Dai Ban, 2020 29 x 24 x 10 inches Precision board, Venetian Plaster, Beeswax, Pigment Lightweight sculpture (weighs about 5 lbs.) and hangs on the wall with a French cleat Excellent condition and ready to hang as is Signed, verso This contemporary, abstract horizontal wall sculpture...

I created this piece to celebrate the quiet beauty and resilience found in simplicity. Using ceramics and clay, I shaped delicate petals that bloom in pristine white, inviting calm a...

Raymond Graber's celestial light sculptures transform the sense of perception, challenging the human eye’s sense for scale and time with a transcendenta...

Bronze heron by American sculptor Wayne Williams. Signed and dated 1993. Edition 2/2. Mounted on a walnut base. From Finger Lakes Magazine 2001: Art is everywhere in the Finger Lakes. Inspired by the region’s diverse scenery and lifestyles, artists pursue their creativity outdoors, in studios and in workshops. In the many well-established museums and galleries or at the newer fledgling arts organizations, a wide array of artistic styles and talents are represented. Often the artists, like Wayne Williams, share their artistic skill and passion through teaching at local colleges. Williams, who is retired after a 35-year career at Finger Lakes Community College, found his calling there. “I didn’t want to teach in public schools,” explains Williams of his career choice. “I wanted to be at the college level. CCFL (the Community College of the Finger Lakes, as it was then known) was literally creating a college, right from scratch.” The year was 1968 and Williams was charged with coordinating the new college’s art program. Rand Darrow, a CCFL student in that first year, remembers attending Williams’ art classes in a commercial building on Main Street just south of the railroad tracks in Canandaigua. Darrow appreciated his instructor’s relaxed manner. “He was a great teacher,” recalls Darrow, “cracking jokes all the time.” Darrow graduated with a major in Liberal Arts and continued on to SUNY Oswego where he earned a BA in fine arts. He taught art to elementary and middle school students for 30 years. These days Williams and Darrow typically cross paths at the Wayne County Arts Council in Newark where Williams and his wife, Marleen, are heavily involved. Williams offers classes in figure drawing and sculpture and hangs the gallery’s shows, including his former student’s “Slavic Tales of Novgorod” this past August. “I’d like to take a sculpture class from him,” says Darrow. In 2003 when Williams retired, the college honored him and another retiring art professor, Tom Insalaco, by renaming its art gallery the Williams-Insalaco Art Gallery. It was known formerly as Gallery 34 to recognize its origins at 34 North Main Street in Canandaigua. Williams held professor’s rank from 1976 and served as director of the art gallery beginning with its opening in 1983. Williams, who was born and raised in Newark, New York, says he began doing art at about age 8. By the time he was in junior high school his career direction seemed clear. He received local and national awards for his art and a scholarship to Syracuse University, from which he graduated in 1958 with a Bachelor of Fine Arts in sculpture. He continued with graduate work at Syracuse, receiving an MFA in sculpture in 1962. He worked full time as a sculptor until he began teaching. At one point Williams admits he wanted to be a painter, but didn’t want to adopt the abstract expressionist style in vogue in the 1950s, preferring to pursue the realist tradition. He advises any would-be artist to “do what you do because you love it.” After graduation he traveled abroad, spending time in Belgium, the land of his ancestors. “My family’s name was originally Willems,” explains the 73-year old who still relishes the time spent in the Flemish countryside. Williams speaks excitedly about art, referencing the lives of great artists. He acknowledges that American artists do not have the same stature as those in Europe, where Old Masters like Brueghel and Rembrandt are national heroes. These days the energetic Williams, known primarily as a sculptor, is active at the Phelps Arts Center where he is on the board of directors. In mid-September when a group of visitors on a motor coach tour explored artworks displayed in the beautiful church-turned- gallery, they were treated to a large number of Williams’ bronze and metal sculptures, along with his charcoal drawings. “I’ve always loved his work because he deals with things, people, and animals you understand,” says the center’s Director Emeritus Marion Donnelly, who has known him for many years. Outside the Phelps Community Historical Society, Williams’ life-size figure of a farmer raises his pitchfork above a colorful flower garden on the front lawn. Inspired by the peasants working the fields in Europe, the metal figure is shown with wooden shoes. This is Williams’ largest copper piece, loaned to the Phelps museum in connection with Artistry in Sculpture, a community exhibition in 2009. Williams added a new base using a metal wagon...

Modern artist George L.K. Morris created this abstract biomorphic nonobjective plaster sculpture during the WPA era of the 1930s / 40s. Monogrammed. Though George Lovett Kingsland Morris studied with realist painters John Sloan and Kenneth Hayes Miller at the Art Students League, the influence of their points of view was replaced by that of abstractionists Amedee Ozenfant and Fernand Leger. The paintings of Morris were two-dimensional, hard-edged and brightly colored. Born in New York City in 1905, Morris became a full-fledged abstractionist and a founder in 1936 of the American Abstract Artists. He edited "The World of Abstract Art, the group's publication, and was their president from 1948-1950. Morris had graduated from Yale in 1928 and studied at the League until 1930, when he went to Paris to attend the Academie Moderne. A sculptor, writer, art critic and teacher in addition to abstract painter Morris himself later taught at the Art Students League from 1943-1944, as well as St. John's College, Annapolis, Maryland, 1960-1961. Morris' intrinsic abstract bent was made even clearer by his positive feeling for Hans Arp's sculpture. He and Arp edited the French art magazine, "Plastique." Morris also edited the "Bulletin of the Museum of Modern Art" and "Partisan Review." He died in 1975 in New York City. George LK...

Megan Klim's mixed media work juxtaposes several materials on one picture plane.  She highlights their inherent qualities to create surface tension which sparks a conversation and in...

Megan Klim's mixed media work juxtaposes several materials on one picture plane.  She highlights their inherent qualities to create surface tension which sparks a conversation and in...