Ceramic Abstract Sculptures

Ceramic Titled and signed in the mass under the base polychrome enamel decoration initialled with the initials "SD" on the bottom right diameter : 24.70 cm This plate in Moustiers e...

Works by Samuelle Green

“Untitled” 2018-2019 Porcelain, Paper Clay Cone 6 Size: 33.25 in. x 17 in. COA provided Danielle Weigandt explores the construct of events in time and their role in our lives. Time ...

Unique artwork. Ceramic sculpture

Porcelain Edition : 397/900 Publisher : Artcurial Diameter: 29 cm Inside diameter (in the back): 18 cm LCD5312

Untitled XXIV, by Charo Oquet Glazed ceramic and enamel Overall size: 27 H in x 23.5 W in. x 1 D in. Set of 14 Glazed Ceramic Discs Individual size: 1. 6” x 6” x 0.25" 2. 7" x 6” x...

Céramique à fourrure par l'artiste Angélique de Chabot. Angelique de Chabot est une artiste plasticienne et céramiste française. En mélangeant les mediums argileux et animales, elle ...

Sculpture murale de l'artiste Pascale Hamelin. Pascale Hamelin est une sculptrice française. Ses visages et ses formes racontent le souvenir du passé,...

The two artists and industrial designers, Ampi Arozarena and Elena De La Fuente describe form and color as their core of exploration. They admire the dual identity the two elements c...

Céramique et plume de perdrix par Angélique de Chabot. Angelique de Chabot est une artiste plasticienne et céramiste française. En mélangeant les mediums argileux et animales, elle ...

4 x 4 x 4 Wall Cube by Kaiser Suidan Signed very easy to hang on a wall or purchase several for a grid Each cube is sold separately “My recent work is a s...

Céramique à plume par l'artiste française Angélique de Chabot. Angelique de Chabot est une artiste plasticienne et céramiste française. En mélangeant les mediums argileux et animales...

While her work ranges in scale from dainty diminutive pedestal objects to large sprawling installations, there is a common thread that runs through these seemingly disparate bodies o...

John Glick Rare Shino Mural (INV# NP3559) stoneware and Shino glaze 2 x 13.5 x 8" 1998

FREE SHIPPING WORLDWIDE! Artisan: Martin Olivas Quintana MASTERPIECE Carved polychrome jar decorated with a sgraffito and painted hummingbird, flowers ...

Jim Leedy Untitled Slab with Colored Tears (#891) Raku-Fired Stoneware 1989 Approx. 20 in in diameter COA provided Comes with original papers Ref.: #891 Ref...

Torbjorn Kvasbo (Torbjørn Kvasbø) House #12 - To My Ancestors Medium: Stoneware, Slab Built, Woodfired Year: 1991 Size: 7.5 x 20 x 8 inches Comes with ...

The two artists and industrial designers, Ampi Arozarena and Elena De La Fuente describe form and color as their core of exploration. They admire the dual identity the two elements c...

Metallic porcelain multiple. Numbered 13872/2300 on the base. Original printed booklet numbered 1382/2300 in ink on the justification page. Produced by Bernardaud, Limoges. Published...

Supporting perspective, 2019 Carved porcelain Measures: 11 1/2 × 7 1/2 × 1 in 29.2 × 19.1 × 2.5 cm and Curled girl, 2019 Carved porcelain 11 1/2 × 7 × 1/2 in 29.2 × 17.8 × 1.3 cm He...

This painted ceramic tile by Italo Scanga, epitomizes the characteristics of his oeuvre. Polychrome and vibrant art from the Memphis Milano era. This is signed with his initials. This is reminiscent of the mid century work of Jean Lurcat and Jean Picart le Doux. Italo Scanga (June 6, 1932 - July 7, 2001), an Italian-born American artist, was known for his sculptures, prints and, paintings, mostly created from found objects. In his youth in Calabria, Italy he worked as a cabinetmaker's apprentice and studies sculpture with a man who carved statues of saints. Italo Scanga was an innovative neo Dada, neo-Expressionist, and neo-Cubist multimedia artist who made assemblage, collage, sculptures of ordinary objects and created prints, glass, and ceramic works. Modern Italian abstract geometric folk art. Scanga's materials included natural objects like branches and seashells, as well as kitsch figurines, castoff musical instruments and decorative trinkets salvaged from flea markets and thrift shops. He combined these ingredients into free-standing assemblages, which he then painted. Although visually ebullient, the results sometimes referred to gruesome episodes from Greek mythology or the lives and deaths of martyred saints. He considered his artistic influences to be sweepingly pan-cultural, from African sculpture to Giorgio de Chirico. He often collaborated with the sculptor Dale Chihuly, who was a close friend. Constructed of wood and glass, found objects or fabric, his ensembles reflect a trio of activities—working, eating, and praying. These activities dominate the lives of those who live close to the land, but they are also activities that are idealized by many who contemplate, romantically, a simpler, bucolic life. Italo graduated from Michigan State University where he befriended fellow artists Richard Merkin and David Pease. He studied under Lindsey Decker who introduces him to welding and sculpture after his initial interest in photography. Also studies with Charles Pollock, the brother of Abstract Expressionist Jackson Pollock. His first teaching job was at University of Wisconsin (through 1964). where he met Harvey Littleton, a fellow instructor. He later moves to Providence, Rhode Island,I to teach at Rhode Island School of Design (RISD). Is colleagues with artists Richard Merkin and Hardu Keck. Starts a correspondence with HC Westermann. Spends summers teaching at Brown University; colleague of Hugh Townley. Moves to State College, PA, and teaches at Pennsylvania State University for one year. Meets artists Juris Ubans, Harry Anderson, Richard Frankel, and Richard Calabro, who remain friends throughout his career. 1967: David Pease helps him get a tenure track position at Tyler School of Art in Philadelphia, PA, . Artists he works closely with include Ernest Silva, Lee Jaffe, Donald Gill, and William Schwedler. Meets graduate student Dale Chihuly while lecturing at RISD and develops a lifelong friendship. 1969: One person exhibition, Baylor Art Gallery, Baylor University, Waco, TX. Works very closely with students Larry Becker and Heidi Nivling (who later run a gallery in Philadelphia, PA), and Harry Anderson. Welcomes many artists into his home including Donald Judd, Dan Flavin, Bruce Nauman (a former student), Vito Acconci, Ree Morton and Rafael Ferrer. 1973: "Saints Glass" at 112 Greene Street Gallery, NYC. Installation at the Institute of Contemporary Art at University of Pennsylvania, Philadelphia, PA. Meets Gordon Matta Clark and contributes to an artist cookbook. Goes to Pilchuck Glass School, Stanwood, WA, founded by Dale Chihuly, as a visiting artist. He continues to work there annually through 2001. Works over the years with Pilchuck artists Richard Royal, Seaver Leslie, Jamie Carpenter, Joey Kirkpatrick, Flora Mace, Robbie Miller, Billy Morris, Buster Simpson, Toots Zynsky, Howard Ben Tre...

This sculpture from Linda Stein’s Knights of Protection series functions both as a defender in battle and a symbol of pacifism. Stein's works are in mor...

Due to the current situation related to the Novel Coronavirus pandemic, our gallery will donate 10% of our commission from this sale to the Kansas City Artists Coalition, which has b...

Large Madoura Pottery Ceramic Platter Stamped "MADOURA PLEIN FEU" This is not marked Picasso. It is an early piece. i am uncertain who the artist is. It app...

Yukio Yamamoto Untitled Ceramic 1988 Approx. 19 x 22 x 12 in COA provided Comes with original papers Ref.: 924802-1011 Yukio Yamamoto was born in the Ako district of Hyogo Prefecture, Japan, in 1925. In 1953, he spent a year as a research student at the Tanabe class of the Department of Ceramics at Kyoto Institute of Technology. Yukio studied the history of pottery of the past centuries of this well-known Hemiji Castle domain. He would also research kiln designs through fieldwork as his thesis project. By 1954, he built his first Noborigama chambered climbing kiln in Tenjin-Cho, Himeji City, teaching the old-world firing process classes. This would become the first step in Yamamoto’s revival of the Tozan style of Anagama and Noborigama down-draft style wood-fired kilns. In 1600, the kiln process had been at its height and had mainly provided wares to Himeji Castle. As an artist, he typically worked in ash-covered high-fired unglazed ceramics...

Untitled XXI, by Charo Oquet Glazed Ceramic 18.5 H in x 14 D in. 2019 These gravity-defying ceramics stacked constructions struggle to soar beyond the boundaries of the spaces that...

This sculpture from Linda Stein’s Knights of Protection series functions both as a defender in battle and a symbol of pacifism. Stein's works are in mor...

It’s a Party, by Charo Oquet Glazed Ceramic 16” x 15.5" x 14” 2018 These gravity-defying ceramics stacked constructions struggle to soar beyond the boundaries of the spaces that contain them, often appearing to teeter in the brink of collapse. They are essentially diasporic, coming from various territorial and conceptual geographies that are the instruments of connection between today and the past and a new future. I try to create pieces where a process of mestizaje capable of arming dissident ways of live, intertwined with my family history. The colors, bright, chaotic, disruptive of a rich tropical load, bright light, universe of the Caribbean pallet, have archetypal symbols connected to the African heritage, visual party made plastic, symphonic permanence, with a transmission of joy, cheerful feelings that evoke directly the therapeutic action of planting, building and maintaining a garden, in this case, a permanent garden, which is mud in a state of crystallization (ceramics). ----------------------------------------------- Charo Oquet is a Miami-based artist that uses painting, installation, performance, photography, and film, among other media, to investigate issues of displacement, identity, migration, gender, or sociopolitical and cultural issues and to document and reflect on issues of de-colonial aesthesis and the role of contemporary culture in a global reality. Her work is a subjective observation by someone who is concerned with her surroundings and the culture she left behind. Her interdisciplinary work has been extensively exhibited internationally and has been well-reviewed by art critics and recognized by scholars in books and other publications. In addition to reviews in the Miami Herald, Atlantica Art Journal, African Arts, Art in America, Art Nexus and Art New Zealand, among others, Antonio Zaya Publisher produced and distributed a book of her work, Charo Oquet – Lo Que Ve La Sirena (2002). Her work is also included in such books and catalogs as New Hoodoo - Art of a Forgotten Faith (2008), Files by Octavio Zaya, Miami Contemporary Artists New Zealand's National Museum Te Papa Calendar 2009, Dominican Contemporary Artists and Supermix. Oquet has had numerous solo exhibitions in Museums and galleries around the world such as the Bass Museum, Miami Beach; Casal Solleric, Palma de Mallorca, Convento de Santo Domingo, Lanzarote, Canary Islands, Spain ( curated by Antonio Zaya) and Oquet’s work has been included in numerous international exhibitions. Oquet’s work is in several museum collections such as the Fort Lauderdale Museum of Art, Frost Art Museum, Florida International University, Miami, FL; CAAM, Centro Atlántico de Arte Moderno, Word Bank, Las Palmas de Gran Canarias, Spain; Bass Museum of Art, Miami Beach, Florida; New Zealand National Museum, Wellington, N.Z.; Dowse Art Museum, Lower Hutt, New Zealand; Govett-Brewter Art Gallery, New Plymouth, New Zealand; Foresight Collection, Auckland, New Zealand; Ministry of Foreign Affairs, Wellington, New Zealand; Gulf & Western Americas Corp., New York; Museo de las Casas...

100% Art, 2020 Grayson Perry Glazed porcelain plate From the edition of an unknown size Published by the Holbourne Museum, Bath Diameter: 21 cm (8.3 in)

Yellow Flowers, by Charo Oquet Glazed Ceramic 18 H in x 19 D in. 2018 These gravity-defying ceramics stacked constructions struggle to soar beyond the boundaries of the spaces that...

Vendedor de pájaros - Bird seller Made with natural clay, copper wire and polychrome painting. Hand-modeled technique and cooked in an oven. LISTING =================================== 1 Ceramic Sculpture of a Bird seller =================================== DETAILS =================================== Time of Preparation: 2.5 months Made: Izuca de Matamoros, Puebla, México. Dimensions: 8" x 10" x 5" in or 20 x 25 x 13 cm Artisan: Taller Alfonso Castillo Orta...

Sculpted of earthenware paper clay, this dynamic work by Canadian artist Susan Collett is multi-fired to achieve complex surfaces. The work is rich with craquelure in hues of blue, p...

Sayed Haider Raza 2007 Ceramic with polychrome enamel decoration Original work in 8 copies of 1/8 to 8/8 Signed “RAZA” lower right and signed “RAZA” in black felt on the back Numbere...

Grant Levy-Lucero Dottie's Beauty Garnier (INV# NP3571) stoneware and glaze 24 x 12.5 x 13" 2018 signed by artist

Untitled VII, by Charo Oquet Ceramic 17. H in x 13 D in. 2018 These gravity-defying ceramics stacked constructions struggle to soar beyond the boundaries of the spaces that contain...

Bruno DESPLANQUES (Born in 1966, France) Orange rhombohedron (G) Enamelled Baillet clay H. 14 cm ; L. 14 cm ; P. 14 cm 2021

“My work reflects on experiences of transformation, alchemy and the sublime, manifesting in sculptures that undulate between soft and hard, alive and static, real and imagined. These works shape-shift, oscillating between abstraction, flora, fauna and mineral. This has the effect of compressing time, with elements frozen in mid-transformation. This dislocation reflects on mortality and ephemerality, exploring the space in between stages in our lives as well as embracing fantasies of alternative dimensions as a means of escapism.” - Artist Statement Sasha Koozel Reibstein...

Due to the current situation related to the Novel Coronavirus pandemic, our gallery will donate 10% of our commission from this sale to the Kansas City Artists Coalition, which has been supporting local Kansas City Artists for the past 40 years. The Kansas City Artists Coalition (KCAC), is a non-profit, artist-centered, artist-run alternative space, supporting artists at every level in their career through exhibitions, continuing education and artist studios. Title : Eroded Tumbling Blocks...

Carol Fleming Untitled Sphere (Brown, teal) Medium: Ceramic, glaze Year: 2020 Size: 12" diameter COA provided ----------------------- Creating is the best and deepest part of me, t...

Earthenware with colored slips. Epoxy. Cone 04 textured and satin glazes. Signed, titled, and dated in ink on bottom. Milnes served as Dean of the College of Visuals Arts and Design at the University of North Texas from January 2006 to his retirement in August 2014, when he moved to Asheville, NC with his wife Karen, re-establishing Arbitrary Forms Studio there. A sculptor and ceramist, he served previously as Director of the School of Art and Design at San Jose State University in California, Director of the School of Art at Louisiana State University, and as Chair of the Art Department at Edinboro University of Pennsylvania. He taught at the Penland School of Crafts in 1972 and 1979. Milnes is the past president of the National Council of Art Administrators and the National Association of Schools of Art and Design. He has served as a consultant or evaluator for more than sixty universities, colleges, and independent schools of art in the US and abroad and served in Dallas on the Board of Directors of the Business Council for the Arts and as Chair of the Community Advisory Board for KERA, the NPR station for North Texas. He was recently named a Fellow and Lifetime Member of NASAD and served on the Board of Directors of the Center for Craft in Asheville, NC and as co-chair of the Blue Ridge Public Radio Strategic Planning Committee. He is a member of the Southern Highland Crafts Guild.

Diptych. Lukas Ulmi’s work unveils the hidden beauty of shapes taking stones, seemingly static forms, incomplete or meaningless objects and turning them into authentic sculptures wh...

Altar, a ceramic sculpture of high-fired clay pigmented with oxides, is a work by New York artist Harold Wortsman. Altar 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, Poet & Art Critic – "Wortsman re-examines ancient and modern traditions in light of what it means to make art." – Tussle Magazine, July 2019. 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...

Earthenware with colored slips. Epoxy, acrylic paint. Cone 04 textured and satin glazes. Signed, titled, and dated in ink on bottom by Robert Milnes Milnes served as Dean of the Col...

Signed and dated. «Waited for someone, for something, for anything, for too long» was part of O. F. Hvidsten's first solo-exhibition «This will n...

Balanced sculptural composition by an unknown artist. Two pieces of a clay sculpture have been glazed in green and pink, with a white shape stretching across them. The pieces are mou...

Dorothy Mayhall's small sculptures are little monuments to be toyed with and handled. They should be picked up, fondled, and examined like a rock or shell you collect on the beach be...

Colourfield by EDMUND DE WAAL (b. 1964) Ten glazed porcelain vessels Largest 9.2 high x 19.9 cm in diameter (3 ⁵/₈ x 7 ⁷/₈ inches) Impressed with the artist's...

Minimal, clean abstract indented white orb containing an interior circular orb resting within the larger piece. A wonderful ceramic sculpture by Jane B. Grimm who began her artistic ...

Tête de faune, Picasso, Tile,Ceramic,Sculpture, Design, Postwar, Mythological Tête de faune Unique work circa 1968 Painted and partially glazed ceramic, square tile 15.2 x 15.2 cm C...

Beautiful original and unique white 3D sculpture in low fire ceramic from Pop Art pioneer and internationally collected sculptor, Jane B. Grimm. 19 x 19 x 19 inches. Artist signed an...

Rondo VI is 12 x 12 x 12 inches. Minimal, clean abstract work of art by Jane B. Grimm who began her artistic career in the 1960’s, when her free-form sculptural jewelry exploded onto...

Carol Fleming Untitled Sphere (multi-color) Medium: Ceramic, glaze Year: 2020 Size: 12" diameter COA provided ----------------------- Creating is the best and deepest part of me, t...

Matt Mitros was born in Philadelphia, PA. Upon completing his BFA at Penn State University, he was an Artist-In-Residence at Arrowmont School of Arts & Crafts as well as the Archie B...

Due to the current situation related to the Novel Coronavirus pandemic, our gallery will donate 10% of our commission from this sale to the Kansas City Artists Coalition, which has been supporting local Kansas City Artists for the past 40 years. The Kansas City Artists Coalition (KCAC), is a non-profit, artist-centered, artist-run alternative space, supporting artists at every level in their career through exhibitions, continuing education and artist studios. Title : Untitled Materials : Stoneware, Glaze, underglaze, wire Date : 2019 Dimensions : each blue hexagon measures 3.5" x 5.5" x 5.5 Rachel Hubbard Kline's work explores the wistfulness of personal connections to historical domestic objects and material culture. Kline seeks symbiosis in the relationship of surfaces to forms and addresses the hierarchy of importance between the form itself and the image or decoration. Objects both functional and decorative, factor into the banality and routineness of daily life. As the current political and social climate continues to shift, She seeks to compare past and present means of the production of goods and labor. Surface design inspired by vintage textile prints from family quilts and other historical motifs appear in Kline's work. The vessel acts as a stand in for the body and a metaphor for preservation. Kline's series of jars and jugs are intended to preserve memories of family members and places by using specific colors, patterns and objects she remembers from childhood to the present. Rachel Hubbard Kline is an art educator and artist in her hometown Kansas City, MO. With a background in fashion and art history, she explores relationships of fine art and craft in the disciplines of drawing, painting, ceramics, and fiber. Hubbard draws on her Midwestern roots and ties to rural farm life to reflect on past ways of life based on collections and artifacts. Hubbard Kline has been the recipient of educator residencies at the Kansas City Art Institute, a participant in the Connecting Collections teacher institute in New York, and Educator Conferences and AP Teacher Training at the Savannah College of Art and Design. She earned a Master of Arts in Teaching from Park University in 2010, a Bachelor of Arts from the University of Connecticut in 2007, and attended Parsons School of Design. She is currently pursuing her Master of Fine Arts in Studio Art at the Maryland Institute College of Art. Contemporary Ceramics, Functiona lCeramics, Pattern, Stoneware, Underglaze, Glaze, Decals, Luster, Craft, Fine Art, Contemporary Craft, Contemporary Fine Art, Beatrice Wood, Nampeyo, Karen Karnes, Tammy Garcia, Melanie Sherman, Mary Rose Young...

Decorative Rosenthal ceramic plate produced in collaboration with artists Otto Piene from 1973. A modern design in Piene's abstract modernist style. Porcelain plate with box and sign...

Signed and dated. Nils Erichsen Martin's ceramics has a distinct style. He takes on a scientific approach with his artwork, researching into the different aspects of how form is per...

Brock DeBoer’s artistic process as a ceramic sculptor utilizes porcelain, historical motifs and surface treatments to recontextualize detritus, outdated objects. For DeBoer the sourc...

FOR THE OLD ONES, a ceramic sculpture of high-fired clay pigmented with oxides, sitting on a slab of limestone. It is a recent work by artist Harold Wortsman. Note the blending of volumetric and organic form in this work, the mark-making and perforations on the surface, the striking colors of black and copper in variable stripes – 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—like naked skin. 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 painted on. Like a jazz improvisation, each kiln load comes out slightly different." From Jonathan Goodman, Poet & Art Critic – "Wortsman re-examines ancient and modern traditions in light of what it means to make art." – Tussle Magazine, July 2019. 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...