Miniature Abstract Sculptures

Aluminum

The title of Benjamin Heller’s group of sculptures, “Inner Tidal” refers to an “Intertidal Zone”, which is the edge of an ecosystem that is alternately above and below the waterline ...

In apparent disagreement with the state of grace of human anatomy, Nicola Cucchiaro goes to the very origins of artistic endeavor. His production consists of combining and displacing...

Sara Fine-Wilson's "Emerge" is a small abstract mixed media ceramic and plaster sculpture measuring 8 x 8 x 6 inches. Multiple ceramic elements were previously hand formed and extrud...

Vase blue flower. 2017. Stone mass, h 17,5 cm, diam. 21.5 cm

Girl Seated a la Japonaise, 1964, polished bronze. It was exhibited at The Chapman Gallery NYC in 1968. Cast at Morris Singer Foundry and numbered 4/6 signed with the artists monogram. Helaine Blumenfeld OBE (born, New York 1942) is an American Sculptor working in Britain and Italy, best known as an artist who has pioneered new methods of carving in stone and for her semi-abstract marble, granite and bronze sculptures which are located around the world as Public art. Her forms are often abstractions of human forms and of elements in nature. She is widely recognized as the most significant sculptor of her generation and "the heir apparent to HenryMoore and Barbara Hepworth." In 1973, Blumenfeld, who had recently moved to England, exhibited at Kettle's Yard in Cambridge England. These early sculptures, which were mostly cast in bronze were largely figurative work in the tradition of sculptors such as Constantin Brâncuși, Jacob Epstein, Jean Arp, Henri Gaudier-Brzeska, Henry Moore and of course her one time teacher Ossip Zadkine. In 1985, the Alex Rosenberg Gallery in New York showed her sculpture in dialogue with Henry Moore In 1978, Blumenfeld's first visit to Pietrasanta in Italy marked a turning point in her work as she started carving in marble, mostly at Studio Sem, founded in the 1950s by Sem Ghelardini (1927-1997) who gained international notoriety producing the large scale works of Henry Moore, César Baldaccini, Emile Gilioli, Joan Mirò, Georges Adam and many other celebrated sculptors during the first wave of modern abstract sculpture in the 1960s. Throughout the 1980s and 1990s Blumenfeld's sculpture, now less clearly figurative but still often of portraying couples and family units in multiple configurations, was exhibited at the Bonino Gallery in New York and in solo and group shows around the world. A member of the Visual Arts Panel of the Arts Council of Great Britain between 1981 and 1988, Blumenfeld was elected a member of the Royal British Society of Sculptors in 1993. Blumenfeld has created over 80 large scale sculptures in bronze, granite, marble and steel in Europe and the United States for private and public clients, including the British Petroleum headquarters in London, the Lincoln Center in New York the Cass Sculpture Foundation at Goodwood and Family (Blumenfeld) at the Henry Reuss Plaza in Milwaukee and The Lancasters at Lancaster Gate in London. At Cambridge University, her sculpture has been commissioned by Clare Hall (Flame, 2004) and Newnham College...

Herinnering 2 Memory 2 Bronze People on Bench Figurative Sculpture Contemporary Jits Bakker was a versatile Dutch artist: sculptor, painter, watercolorist, drawer, glass artist, sil...

FROM THE SPACE TO YOUR DESK!!!. . . BLUETOOTH AND RADIO SPEAKER INCLUDED!!!! A more traditional HUICHOL style sculpture. Looks great in any room!!! ALTERATION ART . . . is a colla...

MATHEMATICAL THEOREM, a ceramic relief sculpture of high-fired clay pigmented with engobes, is a recent work by artist Harold Wortsman. This black & wh...

Artwork made with spray acrylic on poplar with gloss clearcoat Scott Troxel draws on the aesthetics of bygone technology and the forward-looking designs of the Atomic Age and mid-ce...

FOCUS is a public art sculpture about the viewer’s growing visual perception and bodily experience. It consists of two large rectangular-shaped pieces, one placed in a vertical posit...

Vertical 7, a ceramic sculpture of wood-fired clay pigmented with oxides, is a work by New York artist Harold Wortsman. Vertical 7 was recently exhibited at "Harold Wortsman: Time and Space" at the Orange Art Foundation, February-March 2022, New York City. Note the blending of geometric and organic forms in this work – it is characteristic of his practice – warm, contemporary, uniquely crafted, yet speaks to ancient, primitive traditions of art-making that cross cultures and histories. Highly attuned to the art of Africa, the Middle East, India and Asia, his forms are organic abstracts with masculine and feminine attributes that resonate together as a pleasing enigma. They make sense immediately, yet never give up all their secrets. From Harold Wortsman – "With sculpture, my material of choice is high-fired clay. Pieces are first low-fired in an electric kiln. I do not use glazes. Instead, I use oxides applied to the bisqued (low-fired) clay. As with a tattoo, oxides permit the surface underneath to breathe. The work is then high-fired in a gas kiln with double reduction to cone 10. The final temperature is 2,300 degrees F. At a certain point, oxygen intake is reduced to the kiln. Because the fire has reached a critical mass, it needs oxygen and chemically takes it from the clay and the oxides. Like a jazz improvisation, each kiln load comes out slightly different." From Jonathan Goodman – "Wortsman has increasingly moved into his own – a place in which the relations between the abstractions of volume and the intimations of very old culture are merged in a way that is new." – Essay, "Harold Wortsman: Time and Space", Orange Art Foundation, February 2022, New York City. Harold Wortsman is a sculptor and printmaker based in Brooklyn, NY. He “creates forms that bring to mind archaic cult objects and exude a quiet concentrated strength.” (Argauer Zeitung, Switzerland). His work, an edgy mix of freedom and clarity, can be found in public and private collections in the US, including The Library of Congress, Yale University, The New York Public Library Print Collection, The New York Historical Society, Smith College, Indiana University’s Lilly Library, Brandeis University, The Newark Public Library Special Collections Division, and the Jane Voorhees Zimmerli Art Museum Print Archive. Also in private and public collections in Europe, including the Municipal Collection of the City of Brugg, Switzerland. Harold studied at the New York Studio School of Drawing, Painting and Sculpture, with sculptor George Spaventa...

Musical plate 2011, porcelain, 4x33,5x24,5 cm inside in the plate small pearls, which make a pleasant sound reminiscent of the sound of the sea, when you move the plate

This small abstract vessel by Connecticut-based ceramicist, Jon Puzzuoli, is made with glazed ceramic and 18k gold luster. The bottom, matte white base of the vessel is exposed under...

PABLO PICASSO (1881-1973) Frise gravée (Unique) Unique plaster mould. Used in the creation of editioned ceramics at the Madoura studio in Vallauris, plaster moulds like this one we...

Artist/Designer: Gavin Zeigler (American, b. 1962) Marking(s); notes: stamped signature; ed. 5/6 Materials: bronze Additional Information: Sculpture

Liz Sweibel primarily makes sculpture, installations, and drawings. She uses a spare, personal language of abstraction to explore liminal spaces and unseen forces: wind, history, va...

Sorel Etrog (1933 - 2014) is arguably Canada's most famous sculptor. His work can be found in numerous museum and private collections including the Tate, the AGO and LACMA. His pub...

Signed and dated 2025. OPEN FOR COMMISSIONS!!! ALTERTATION ART . . . is a collaboration process between Rick Wolfryd, fine artist and art dealer with over 40 years experience, and ...

An original conceptual sculpture by contemporary artist Dianne Baker, created in 2015 using wood, paint, metal, rubber and plexi.

Signed and dated 2025. OPEN FOR COMMISSIONS!!! ALTERTATION ART . . . is a collaboration process between Rick Wolfryd, fine artist and art dealer with over 40 years experience, and ...

keywords; #sinuous, focus on material, sculptural folds, Aldo Chaparro, use of common materials, creased crinkled and wrinkled, angular, abstract sculpture, angular, process-oriented...

"Large Orange Hive", Contemporary, Ceramic, Sculpture, Stoneware, Underglaze

Size: 13x9x14 cm Pedestal not included Medium: Wood, acrylic and holographic print At Escat Gallery we are committed to maintaining the highest st...

Three Duck Egg Blue Horse Hair Raku Fired Ball Vases by Tamsin Levene. Three Duck Egg blue horse hair raku fired ball vases. Set contains small vase, medium vase, and large vase.  ...

Patricia Miranda's work includes interdisciplinary installation, textile, paper and books. The textiles incorporated in these new pieces are vintage linens from her Italian and Irish grandmothers and sourced from friends and strangers around the country. Each donation is documented and integrated into the work. Textile as a form that wraps the body from cradle to grave. The role of lacemaking in the lives of women both economically and historically is packed with metaphorical potential. The relationship of craft and women’s work (re)appropriated by artists today to environmental and social issues is integral to the artist's research. Her work is process oriented; materials are submerged in natural dyes from oak gall wasp nests, cochineal insects, turmeric, indigo, and clay. She forages for raw materials, cook dyes, grind pigments, ecofeminist actions that consider environmental impacts of objects. The process is left visible as dyestuff is unfiltered in the vat and finished work. Sewn into larger works, Miranda incorporates hair, pearls, bone beads, Milagros, cast plaster. The distinct genetics and environmental and cultural history of each material asserts its voice as collaborator rather than medium. The lace inserts a visceral femininity into the pristine gallery, and exerts a ghostly trace of the history of domestic labor. The combination of earth and lace references human and environmental devastation and the conflation of nature and women’s bodies as justifications for exploitation. Mournful and solastalgic, they are lamentations to the violence against women and the earth. Patricia Miranda is an interdisciplinary artist, curator, educator, and founder of The Crit Lab, graduate-level critique seminars and Residency for artists, and MAPSpace project space. She has been Visiting Artist at Vermont Studio Center, the Heckscher Museum, and University of Utah; and been awarded residencies at I-Park, Weir Farm, Vermont Studio Center, and Julio Valdez Printmaking Studio. She received an Anonymous Was a Woman Covid19 Artist Relief Grant, an artist grant from ArtsWestchester/New York State Council on the Arts, and was part of a year-long NEA grant working with homeless youth. Miranda currently teaches graduate curatorial studies at Western Colorado University, and develops programs for K-12, museums, and institutions such as Franklin Furnace. Her work has been exhibited at ODETTA, NYC; ABC No Rio, NYC; Alexey von...

Dimensions: 15.5 X 7 X 7 in. The organic shaped vase showcases an applied light gold colored threaded design enveloping the clear body, around. Hand signed Constantini S. It came from an important estate in the Palm Beach area. Made in Murano, handmade according to the ancient Murano glass tradition. Master Sergio Costantini was born in Venice in 1956 and learned the technique of glass processing from the famous Master Glassmakers of Murano A. Barbini, Licio Zanetti, L. Mellara. His works are exhibited globally in the most important museums and art galleries. Venetian glass (Italian: vetro veneziano) is thought to have been made for over 1,500 years, and production has been concentrated on the Venetian island of Murano since the 13th century. Murano glassmakers created cristallo—which was almost transparent and considered the finest glass in the world. Murano glassmakers also developed a white-colored glass (milk glass called lattimo) that looked like porcelain. They later became Europe's finest makers of mirrors. Murano glassmaking began a revival in the 1920s. Today, Murano and Venice are tourist attractions, and Murano is home to numerous glass factories and a few individual artists' studios. Its Museo del Vetro (Glass Museum) in the Palazzo Giustinian contains displays on the history of glassmaking as well as glass sculpture samples ranging from Egyptian times through the present day. The Venetian glassmakers of Murano are known for many innovations and refinements to glassmaking. Among them are Murano beads, cristallo, lattimo, chandeliers, and mirrors. Additional refinements or creations are goldstone, multicolored glass (millefiori), and imitation gemstones made of glass. Aventurine glass, also known as goldstone glass, is translucent brownish with metallic (copper) specks. Calcedonio is a marbled glass that looked like the semi precious stone chalcedony. This type of glass was created during the 1400s by Angelo Barovier, who is considered Murano's greatest glassmaker. Ercole Barovier, a descendant of Murano's greatest glassmaker Angelo Barovier, won numerous awards during the 1940s and 1950s for his innovations using the murrine technique. Sommerso is a form of artistic Murano glass that has layers of contrasting colors (typically two), which are formed by dipping colored glass into another molten glass and then blowing the combination into a desired shape. The outermost layer, or casing, is often clear. Sommerso was developed in Murano during the late 1930s. Flavio Poli was known for using this technique, and it was made popular by Seguso Vetri d'Arte and the Mandruzzato family in the 1950s. This process is a popular technique for vases, and is sometimes used for sculptures. Some of Venice's historical glass factories in Murano remain well known brands today, including De Biasi...

Untitled Sculpture by Sterling Allen, 2020 Additional information: Dimensions: 8.5 × 10.5 × 9.5 in (21.6 × 26.7 × 24.1 cm) About Artist: Sterling Allen holds a BFA from the Univers...

In 1972, the women’s movement was in full flower. Suzanne Benton had been an early activist, a founder and organizer of NOW Chapters, CT Feminists in the Arts, Women, Metamorphosis 1 (in New Haven, CT, the first women’s art festival in the USA). She'd already been creating metal sculpted masks and working with them in mask tale performances of Women of Myth and Heritage. Her inaugural performance of Sarah and Hagar n 1972 took place at Lincoln Center in NYC. Benton then became the artistic director and producer of an evening on Broadway, Four Chosen Women (performers included herself as mask tale performer, author Anais Nin, actress Vinie Burroughs and dancer Joan Stone). The evening took place at the Edison Theatre, November 22, 1972. While developing the evening on Broadway, Benton met renowned Swedish actress and Hollywood star, Viveca Lindfors. Viveca was then working on her solo performance, I AM A WOMAN, and was looking for a unique theatre set for the show. The happenstance that brought Viveca and Suzanne together. At that same time, recent travel to Macchu Picchu inspired her with the mountain’s great stones sitting on the edge of precipices. These vast stones led her to create welded steel Seated Sculpture Works. Viveca was intrigued by the concept and let her own imagination fly. Imagining a set of welded steel sculpture, she took the leap in commissioning Suzanne with complete faith in artist's ability to fulfill her mandate. Benton created groups of welded sculptures for two theater sets. Protection is one of three sculptures in first set created in 1973. Mother and Child, Pelvic Woman, Facing Each Other are three of five works from the 1974 second set. The first toured with her shows throughout the East Coast and into Toronto, Canada. The second set, created to nest together could travel as checked baggage for international and domestic airline travel. They flew to Denmark in 1980 for her performance at the UN sponsored 1980 Women’s International Conference, Copenhagen. In addition to creating the theatre sets, Benton mounted exhibitions of her masks and sculptures in the lobbies of theatres where she performed (NYC and Northampton). Continuing on with this theme, Becoming is her 1975 Seated Sculpture Work. The theatre sets were returned at the final end of its long run. These Seated Sculpture Works have often been featured in exhibitions, including both the 2003 and 2005 retrospectives. They are part of an oeuvre of 797 sculptures and masks. What attracted her to welded sculpture? This excerpt from her book, The Art of Welded Sculpture, Van Nostrand Reinhold, 1975 speaks of its lure: "Early in my life, when I had decided to become an artist, I had had an inner vision of being able to hold the physical material of my art in such a way as to bring it into existence with my hands. In welding, I wear a mask, a heavy apron, and gloves. I heat the metal and make it bend so smoothly and gracefully; I cut the metal, rigid metal, into endless shapes; I join the pieces by causing them to flow together with the heat of the flame. Welding was a return to my adolescent vision. It was fulfillment. At that beginning time I felt that even if I went no further, this experience in itself gave me astounding satisfaction. It was as thrilling as the moment of birth. It was my birth." (Pelvic Woman and Protection are illustrated in the book): What began in 1965 became by 2017 an oeuvre of 797 sculptures and masks. The magic of the welding mask...

Colin Webster Watson (1926-2007, New Zealand), sleeping horse, sculpture, bronze, supported on wooden base, signed, AP Sculpture Of A Suspended Horse Colin Webster-Watson (1926, Pa...

Alain LOVATO (born in 1943) Preparatory sculpture for the monumental “Signal oblique” project (Lyon, Parc de la Cerisaie), circa 1980 White, red and ochre lacquered polychrome steel ...

Gallifa Study X By Barry Flanagan 1992 Bronze 27.9 x 13.7 x 9.8 cm Edition of 8 Provenance: Private UK collection

A smaller maquette/model for a larger piece titled "Gateways" wood and aluminum sculpture by Doris Ann Warner (American, 1925-2010). Signed "Warner" on bottom. Estate of Doris Warner...

Robert Kushner, born in 1949, in California, lives in New York, and is a painter and sculptor. He gained attention in the early seventies as a performance artist, using food, fabric and nudity. Kushner was associated with the Pattern and Decoration movement and used fabric collage in large-scale, bold paintings of the figure. Since 1987 he has used flowers as the subject of his paintings, more recently adding a cornucopia of fruits and vegetables to his repertoire. Kushner's use of rich color harmonies and bold, fluid drawing, mark his belief in the importance of beauty in our lives. Kushner draws from a unique range of influences, including Islamic and European textiles, Henri Matisse, Georgia O'Keeffe, Charles Demuth, Pierre Bonnard, Tawaraya Sotatsu, Ito Jakuchu...

Moeder Studie 2 Mother Study 2 Figurative Bronze Woman Sculpture In Stock Jits Bakker was a versatile Dutch artist: sculptor, painter, watercolorist, drawer, glass artist, silversmi...

While working on a large building project several years ago the artist, Fritz Horstman was struck by the poetry in the unfinished state of the construction site. He was drawn specifically to the space between the plywood walls that were raised as formworks for the pouring of cement. That space could only exist for a few hours before the cement truck...

Contemporary Cast Glass, Optical Effect, Design, Blue, "Cuttyaugh Rocks Boat" Steven Weinberg's "Cuttyaugh Rocks Boat" is a remarkable contemporary glass sculpture, expertly crafted...

The freestanding sculptures in this portfolio are made from the “sticks”: a pile of found wood that Sweibel has been pulling from to make new works since about 2002. The pile consist...

Based in Chicago, IL, contemporary artist Michael Thompson creates unique kites, collages and mixed media works assembled from material fragments of past and present collected in his travels. In his ongoing series of memory jugs, Thompson adorns stoneware vessels with a kaleidoscope of ceramic shards, found objects, and pocket-sized trinkets he collected over the course of his life. Also known as forget-me-not jugs or spirit jars, memory jugs are African American folk art objects that honor a loved one who has recently passed. Small tokens and mementos of the deceased are gathered and affixed to the exterior of a jug or vase, an abundance of memories that celebrates a life lived to the fullest. Michael Thompson applies this tradition to his own practice, creating tactile assemblages of this and that. Formed in the manner of collage, each jug honors the lost memories of generations past and his own memories of personally discovering each item. With varied sources for materials including Kyoto, Turkey, and Mexico, a great number of the found shards are 18th and 19th century ceramics...

In addition to the professional photos here, I have added some "home made" ones that I think better show off the exquisite character of the wood the artist used to create this large,...

Modern collection of realistically rendered tupperware cups made out of beeswax and pigment by California artist George Stoll. The piece features a set of...

Roses By The Sea by Neva Setlow is created with layered colored Plexiglass, both flat and round. It is 16x16x2filled with bright colors and dimension. It is on a wood frame and wi...

Hand Built and glazed ceramic. Free standing, safe for outdoors. My interest in clay as an artistic medium began in 1984. Like most beginners in the medium, I focused on creating ...

Andra Samelson’s work explores the relationship of microcosm and macrocosm, the celestial and terrestrial. Her imagery is often associated with molecular and galactic systems. Combin...

Patricia Miranda's work includes interdisciplinary installation, textile, paper and books. The textiles incorporated in these new pieces are vintage linens from her Italian and Irish grandmothers and sourced from friends and strangers around the country. Each donation is documented and integrated into the work. Textile as a form that wraps the body from cradle to grave. The role of lacemaking in the lives of women both economically and historically is packed with metaphorical potential. The relationship of craft and women’s work (re)appropriated by artists today to environmental and social issues is integral to the artist's research. Her work is process oriented; materials are submerged in natural dyes from oak gall wasp nests, cochineal insects, turmeric, indigo, and clay. She forages for raw materials, cook dyes, grind pigments, ecofeminist actions that consider environmental impacts of objects. The process is left visible as dyestuff is unfiltered in the vat and finished work. Sewn into larger works, Miranda incorporates hair, pearls, bone beads, Milagros, cast plaster. The distinct genetics and environmental and cultural history of each material asserts its voice as collaborator rather than medium. The lace inserts a visceral femininity into the pristine gallery, and exerts a ghostly trace of the history of domestic labor. The combination of earth and lace references human and environmental devastation and the conflation of nature and women’s bodies as justifications for exploitation. Mournful and solastalgic, they are lamentations to the violence against women and the earth. Patricia Miranda is an interdisciplinary artist, curator, educator, and founder of The Crit Lab, graduate-level critique seminars and Residency for artists, and MAPSpace project space. She has been Visiting Artist at Vermont Studio Center, the Heckscher Museum, and University of Utah; and been awarded residencies at I-Park, Weir Farm, Vermont Studio Center, and Julio Valdez Printmaking Studio. She received an Anonymous Was a Woman Covid19 Artist Relief Grant, an artist grant from ArtsWestchester/New York State Council on the Arts, and was part of a year-long NEA grant working with homeless youth. Miranda currently teaches graduate curatorial studies at Western Colorado University, and develops programs for K-12, museums, and institutions such as Franklin Furnace. Her work has been exhibited at ODETTA, NYC; ABC No Rio, NYC; Alexey von...

Marble and wood

My series of Gathering sculptures are table-top pieces made from laminated plywood and rusted steel, combining organic elements with industrial elements. The wood is varied in color ...

John Gill Mug (INV# NP3731) stoneware and glaze 4.75 x 5.5 x 4.25 2015 signed by artist

The freestanding sculptures in this portfolio are made from the “sticks”: a pile of found wood that Sweibel has been pulling from to make new works since about 2002. The pile consisted of more than a dozen four- to seven-foot lengths of hardwood, each an uneven inch in depth and width. The sticks were warped, with worn yellow paint on one side and raw wood on the other three. Over the years she has painted the raw sides of the sticks, cut the wood into shorter lengths, and sliced paint off – and kept the residue from these actions. Sweibel has also made sculptures ranging from full-length sticks to tiny stick splinters. She built these sculptures using sliced-off paint. Timeworn materials and objects have an intelligence that the artist looks for and listens to. Shaping and reshaping material to find new form and elicit new insights in the material itself is the territory she is mining. The limitations of the process are its strengths. Her work is concerned with fragility, precariousness, adaptability, and strength. It is a visual response to powerful yet unseen forces - like wind and thoughts - that threaten, propel, ruin, and protect. Liz Sweibel is a multidisciplinary artist working in drawing, sculpture, installation, and digital photography and video. Her spare, personal language of abstraction transforms ordinary materials into statements about connectedness and responsibility: every action has an impact, the effects persist in space and over time, and we are accountable. By drawing attention to simple, ordinary “stuff of life” and referencing both shared and personal history, Sweibel’s work explores and reflects back fundamental experiences in response to our world and relationships. Her intention is to reinvigorate viewers’ awareness of the everyday – in its raw beauty and precariousness – in hopes that they might bring heightened senses of sight and care to their daily lives. Sweibel has participated in solo, two-person, and group exhibits in New York, Massachusetts, Maine, Connecticut, Michigan, and Tennessee since 1998. In 2016, Sweibel’s work was in the group shows Lightly Structured at Sculpture Space NYC, Precarious Constructs at the Venus Knitting Art...

ALTERATION ART . . . is a collaboration process between Rick Wolfryd, fine artist and art dealer with over 40 years experience, and various Mexican Huichol artists and Mexican Huicho...

Angelica’s multi-layered works are informed by her ongoing efforts to create a less reactive and more responsive presence in the world. They act as the muse to meditations on the man...

Romania-born Antonovici is best-known as Constantin Brancusi’s protege. He worked closely with the master sculptor in his studio until he emigrated to the USA in 1953. Modern Cross,...

Contemporary abstract sculpture by David Paul Kay. Mixed media created with up-cycled material turned into rock formations. "Untitled in Black and White" H8 x W7 x D4 2025 New York...

Morning Light by Neva Setlow is created with layered colored Plexiglass, both flat and round. It is 12x12x2 created with bright colors and dimension. It is filled with blues and y...

Marble

Linda Schmidt’s fabric sculptures intertwine public and private, luxury and common. There is a sense of egalitarianism present in both the way Schmidt so...

Ukrainian conceptual artist Dunja Jankovic focuses her work on screen printing, which serves as her primary method of production. She begins with paper that has been treated with wax...

Diane Englander uses formal means to create a place between discord and tranquility, a zone with a charged harmony that energizes as it also provides refuge. That often requires that the prettiness of an initial surface is made ugly, or there’s a conscious choice to avoid balance in the composition. Hers is a largely intuitive process, the materials entice her. Inspiration from the world that we don't call “art” is where she finds her muse: a wall, a landscape, a window shade transfused with light, a stretch of sand and shadow. Most influential are predecessors like Burri, Vicente, Tapies, Motherwell, Rauschenberg, medieval cloisonné, Vermeer, Breughel, and many, many more. A native New Yorker, Diane had an earlier career including 17 years as a management consultant to local nonprofits concerned with poverty or disenfranchisement; work in NYC government; and several years as a lawyer at a large NYC law firm. “I was brought up going to galleries and museums, a sometimes reluctant attendant to my parents’ passion for looking and for collecting. My own expressive energy must have simmered internally for years, occasionally emerging in photography, in quilt-making, in other tentative explorations, and certainly in providing opportunity and materials for my children to create. Not until those children were nearly grown did I come unequivocally to the need to make art myself.” In late 2006 Diane began making collages that started her on her current path; in late 2007 she left her consulting job to focus on her artwork full-time. She has studied with Bruce Dorfman at the Art Students League in New York, and has had solo exhibits at the Alexey von Schlippe...

Diane Englander uses formal means to create a place between discord and tranquility, a zone with a charged harmony that energizes as it also provides refuge. That often requires tha...

1.75 x 3.75 x 2 Mixed Media 2023 Each mini is a unique and original artwork. Biomorphic sculpture that draws you to play with it.