Found Objects Abstract Sculptures

Artist Commentary: This artwork is intended as a gently rotating, dimensional mandala. It has a baroque-upcycled aesthetic that playfully transcends the utility of the can-tab. The shape recalls a chandelier or and upside-down layer cake. Sparkling moiré patterns emerge in the hanging chains as viewers circumnavigate the art. One can experience the artwork as a sparkling, crystalline mystery from a distance, then as a familiar but incalculable marvel up close. Keywords: kinetic art, suspended art, upcycled, sparkling , metal Details: A kinetic, sensory sculpture made from post-consumer can-tabs, safety pins, steel armature and ceiling mounted motor. 84"l x 55"w x 55"d. 65 lbs. rotates at 1 to 1-1/2 rpm Artist Biography: Since 2002, award winning artist Virginia Fleck...

KX2 is a collaboration combining the strengths of artists and sisters Ruth Avra and Dana Kleinman who create mathematically inspired sculpture merging metal and painting. From a dist...

Exhibited in "Benji Stiles: A Human Day" at Reeves Art + Design. In “A Human Day,” a solo show dedicated to the work of contemporary multidisciplinary artist Benji Stiles, we explor...

KX2 is a collaboration combining the strengths of artists and sisters Ruth Avra and Dana Kleinman who create mathematically inspired sculpture merging metal and painting. From a dist...

Found art sculpture by Australian-American environmental and counterculture artist Marr Grounds. This work was likely created in the 1960s when Grounds was active at UC Berkeley, and...

Artist Commentary: This piece is made from a truck tire with metal and pvc running through it that touches each side of the space. Keywords: abstract, yellow, tire, canes Artist Biography: Mia Capodilupo is a sculptor and installation artist originally from Boston, MA. She received a BA from University of Chicago, studied sculpture at Massachusetts College of Art and received an MFA in Sculpture from the San Francisco Art Institute. She has participated in solo and group shows and residencies in museums, galleries and alternative spaces around the country. She has received several grants from the City of Chicago...

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...

Artist Commentary: Aluminum can-tabs chained together with safety pins are layered, massed and attached to an MDF backing creating a dense sparkling texture. The can-tabs are reflective, glinting in the light, catching the eye of those who pass by them. These shield-like, glittering wall pieces have the presence of valuable treasure, but closer inspection reveals that the treasure is made from can-tabs, one of many common disposable items that continuously pass through our hands. Keywords: assemblage, post consumer can-tabs Details: This is a wall mounted scuplture made from post consumer can-tabs and safety pins mounted on green MDF. A hanging cleat is attached on back. signed on back. No paints are use in this piece. The can-tabs are manufactured in many colors according to thier brand. Artist Biography: Since 2002, award winning artist Virginia Fleck...

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...

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...

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...

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...

Jo Yarrington’s photographs, prints, works on paper, glass sculptures and architecturally-based installations have been shown in exhibitions at the Aldrich Contemporary Art Museum, Yale University, Cornell University, the Museum of Glass, the DeCordova Museum and Sculpture Park, Artists Space, St. John the Divine Cathedral, Grounds for Sculpture, the Museum of American Glass and ODETTA, among others. International exhibitions have included Guangzhou Academy of Fine Arts Museum, Glasgow School of Art, Glasgow Cathedral, Glasgow University, Galeria Sala Uno and Centro de las Artes de Guanajuato. She represented the United States at the Sharjah Biennial, United Arab Emirates and participated in the Berlin Biennial. in 2010 she received the Bronze Prize, the Museum of Contemporary Art, Skopje, Macedonia. Yarrington is a recipient of artist grants and Fellowships from the Pollock Krasner Foundation, the New York Foundation for the Arts, the Pennsylvania Council on the Arts and the Connecticut Commission on Culture and Tourism. She has received Residency Fellowships from the MacDowell Colony, the Museum of Glass, the Museum of American Glass, the Bridge Virtual Residency/ SciArt Center, the Lucile Walton Fellow/Mountain Lake Biological Station, the Virginia Center for Creative Arts, the Anderson Center and the Ucross Foundation, among others. International grants and fellowships have included the Banff Center for Arts and Creativity/Canada, SIMS Residency/ Iceland, Cill Rialaig Artists Residency/Ireland, the Burren College of Art Residency/Ireland and the American Scandinavian Foundation. She is a Professor of Visual and Performing Arts at Fairfield University and lives and works in New York City. STATEMENT In site-specific exhibitions, public art commissions, collaborative and individual projects Jo Yarrington has used varied combinations of glass, waxed surfaces, found artifacts and experimental analog photography to investigate the way we perceive – searching for, experimenting with and developing throughout a sensory-based vernacular. Her mostly translucent materials function as physical framework and symbolic membrane. Light, both natural and ambient, provides a kinetic or time-based element to her work. Scale and the integration of architecture are also pivotal components. In the 6-part installation for the two-person exhibition Illuminated, Yarrington continues her interest in the connections between vision, sound and language. In Mute-ability: Compositions 1 – 6, her title for this light-based comprehensive work, she combines the words mute and malleability. The work focuses on found piano rolls, a music storage medium, originally conceived as coded notations or ‘note control data’ for music produced in pneumatic player pianos...

Radioluminescence is the phenomenon by which light is produced in a material by bombardment with ionizing radiation and can be used as a low-level light source for night illumination of instruments or signage or other applications where light must be produced for long periods without external energy sources. Radioluminescent paint used to be used for clock hands and instrument dials...

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...

This flat file installation is a kind of Wunderkammer – a Cabinet of Wonder or Curiosity containing a small idiosyncratic collection of select wonders and oddities of the natural wor...

The installation, Orchestrations, explores the vernacular in vintage piano roles. The physical perforations in the piano roll paper, coded notations for sound, act as a vehicle for l...

Abstract expressionist oil painting with assembled objects by Bay Area artist Michael Pauker (American, b. 1957). Against a yellow and black background, the artist has attached several objects, including plastic letters, cigar boxes, and glass slides. Unsigned, but was acquired with a collection of his work. Unframed. Image size: 20"H x 24"W Bay Area artist and art educator Michael Pauker was born in New York in 1957 and knew he wanted to be an artist from the age of 15. He earned a Bachelor’s in Fine Arts at SUNY Purchase in his native state of New York. In 1989 he went on to earn an M.F.A at Mills College in Oakland and was awarded the City of Oakland Artist Fellowship in Painting. He has been a Bay Area resident since 1988. His work has been exhibited widely across the U.S., as well as in Japan and Costa Rica, and is included in the collection of the Fine Arts Museums of San Francisco. Exhibitions include: 2007 Contemporary Art Museum, San Jose, Costa Rica 2007 “The Ebay Art Project,” Works/San Jose, San Jose, CA 2003 “Found Imagery: The Art of Collage,” Fresno Art Museum,Fresno, CA 2003 “Cut, Copy, Paste,” De Saisset Museum, Santa Clara, CA 2003 “20th Annual Exhibition,” Berkeley Art Center, Berkeley, CA 2002 “40 by 40...

"Senufo (Gbon) Statute of Royalty" is a sculpture by thr Senufo peoples of Gabon. It is wood, mixed fiber, textiles, and cowry shells. 14" x 8" x 3" The...

A fine abstract expressionist assemblage by American artist Varujan Boghosian (1926-2020). Boghosian was born in New Britain, CT and after serving in the United States Navy, he attended Central Connecticut Teachers College and the Vesper George School of Art in Boston. In 1953, he had a Fulbright grant to paint in Italy, and from 1956 to 1959, he worked with Josef Albers, geometric abstractionist, at Yale University where he earned both his BFA and MFA. Boghosian became a professor of sculpture at Dartmouth College in New Hampshire, and became primarily known for his assemblages in which he uses a variety of incongruous objects such as parts of weathered barn...

KX2 is a collaboration combining the strengths of artists and sisters Ruth Avra and Dana Kleinman who create mathematically inspired sculpture merging metal and painting. From a dist...

KX2 is a collaboration combining the strengths of artists and sisters Ruth Avra and Dana Kleinman who create mathematically inspired sculpture merging metal and painting. From a dist...

'Calendar Wheel' is an original assemblage by the American artist Charles Berg. Within a divided drawer, Berg has assembled a variety of found objects: metal balls, a clock, a sheet of copper punched with the word 'wind,' a Victorian card of a woman, etc. The artwork takes its name, however, from a transparent 1935 calendar in the lower right. Berg here is following the tradition other artists who specialize in assemblage, including Joseph Cornell, Robert Rauchenberg, and Betye Saar...

Artist Commentary: This kinetic artwork is intended as a gently rotating, dimensional mandala. It has a baroque-upcycled aesthetic that playfully transcends the utility of the can-tab. Sparkling moiré patterns emerge as the artwork rotates slowly. One can experience the artwork as a sparkling, crystalline mystery from a distance, then as a familiar but incalculable marvel up close. Fun fact: it is powered by a disco ball motor Keywords: kinetic art,sensory art, suspended art, upcycled, sparkling , metal Details: A kinetic, sensory sculpture made from post-consumer can-tabs, safety pins, steel armature and ceiling mounted motor. 84"l x 44"w x 44"d x 40 lbs. rotates at 1 to 1-1/2 rpm Artist Biography: Since 2002, award winning artist Virginia Fleck...

KX2 is a collaboration combining the strengths of artists and sisters Ruth Avra and Dana Kleinman who create mathematically inspired sculpture merging metal and painting. From a dist...

Jerry Foyster, (1932- ), is a pioneering American Op Art artist based in New York. He exhibited in the seminal 1965 exhibition called 'The Responsive Eye' held at the Museum of Mod...

ANASTASIA PELIAS was born in New Orleans, LA to Greek parents. Her artistic practice is rooted in the dual cultural identity of both her native and ancestral roots in New Orleans, LA...

Artist Commentary: Abstract forms emerge from remembrances of disco dancing, Earth Wind & Fire, darkness, heat, perspiration and glitz. Materials are twisted into ambiguous shapes, s...

Sharon Brooks, the imaginative creator of the mixed media assemblage sculpture "Too Much Tea," describes it as a whimsical and delightful artwork. The centerpiece of this piece is a silver tray, cleverly supported by pounded silver cones that securely hold a wooden plate in place through drilled holes. This arrangement not only provides stability but also adds a touch of resilience to the sculpture. In her creative manipulation, Brooks has added a playful twist by incorporating the head of a doll sitting atop a teapot. It appears as if the doll is emerging from the teapot, with her arms playfully sticking out of the snout. This unique concept adds a sense of charm and intrigue to the artwork, reinventing the traditional tea-serving experience. The sculpture is further enhanced by the presence of multiple trays...

Mia Scarpa (American, b. 1997) "Paradise City" Mixed Media Sculpture, 2022. 59.5" H x 18.25" W x 7.25" D. Provenance: From a Los Angeles Collection. Exhibitions: Thinkspace, Glend...

Manuele Bernardi was born in 1959 in Saint-Tropez. She lives and works in Roussillon, in the south of France. After completing studies at the Roederer Academy in Paris, she completed...

Artist Commentary: An interactive hybrid of social experiment and sculptural object, envelopes the sitter into it’s cushiony softness, referencing a Victorian courting chair...

An original conceptual blown glass wall sculpture by American artist Roberley Bell. IN CURRENT SHOW The Corridors Gallery at Hotel Henry Fall Show Untitled (double dip...

Artist Commentary: Paired with "Conversation Piece (erect)" this work was inspired by childhood memories of formal dinner parties in our split-leve...

Each of the works is 14" x 16" x 1". They are meant to be hung together either vertically or horizontally. Diane Baker is a mixed media and fiber-related sculptor working out o...

Diane Baker is a mixed media and fiber-related sculptor working out of Buffalo, NY. She has exhibited throughout the United States and in Canada and is included in several public and...

Artist Commentary: Remembering formal dinners my mother would arrange in our modest midwestern, suburban home, this piece and it's companion, Conversation Piece...

Artist Commentary: This soft, pepto-bismol pink sculpture intertwined around a found traditional lamp and wrapped around the table it is sitting on reminded me of people who are look...

A sculpture by David Mach. "Matchstick Head" is a small sculpture executed in matchsticks & depicting an abstracted mask by contemporary artist David Mach.

A fine abstract expressionist assemblage by American artist Varujan Boghosian (1926-2020). Boghosian was born in New Britain, CT and after serving in the United States Navy, he attended Central Connecticut Teachers College and the Vesper George School of Art in Boston. In 1953, he had a Fulbright grant to paint in Italy, and from 1956 to 1959, he worked with Josef Albers, geometric abstractionist, at Yale University where he earned both his BFA and MFA. Boghosian became a professor of sculpture at Dartmouth College in New Hampshire, and became primarily known for his assemblages in which he uses a variety of incongruous objects such as parts of weathered barn doors, antique dolls' heads, old leather, marbles, and ping-pong balls. This three piece assemblage includes a Union Leader tobacco can...

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 where weight...

A wonderful abstract expressionist three dimensional construction by American artist Varujan Boghosian (1926-2020). Boghosian was born in New Britain, CT and after serving in the United States Navy, he attended Central Connecticut Teachers College and the Vesper George School of Art in Boston. In 1953, he had a Fulbright grant to paint in Italy, and from 1956 to 1959, he worked with Josef Albers, geometric abstractionist, at Yale University where he earned both his BFA and MFA. Boghosian became a professor of sculpture at Dartmouth College in New Hampshire, and became primarily known for his assemblages in which he uses a variety of incongruous objects such as parts of weathered barn doors, antique dolls' heads, old leather, marbles, and ping-pong balls. This construction consists of antique lithographs laid on board, including a shooting target sheet, and metal jacks, all presented on an antique celestial map...

“Grist” 2017 Fabricated wood, steel, reclaimed wheels, paint 47 h X 31 w X 35 d (inches) Signed Provenance: The collection of the artist Born in Jamaica, West Indies, and raised in Rochester, New York, Earl James...

Six Stainless steel discs measuring 14x4x4 cms each hung individually on the wall with a wooden hanging provision on the back of each disc, can be hung in any way as a set of six. S...

Materials: found and painted paper, metal base Non-objective artist Aimée Farnet Siegel works with color and line through the medium of hand-painted and manipulated paper. Her work...

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 where weight...

An abstract sculpture by Post War artist Tim Hawkinson depicting yellow shoes encased in plaster in a red shoe box. Signed underneath, "Tim Hawkinson, Tim...

Artist Commentary: This is from a series of sculptures created by casting different materials into a concrete form tube (sonotube) and combining that wit...

Artist Commentary: It all starts with Linnie Rose Oswald. She was my Great-Grandmother, the eighth of Elnore Rose's nine children. (All but one were girls.) During the 1920s she operated her own business and posed for a photo beside the laundry's vehicle. Family stories tell of a feisty red-headed woman with a will of iron, a temper, and a very strong work ethic who drove down the middle of Huntington, West Virginia's city streets as if she owned them. In all likelihood, Linnie needed these qualities. Being a female business woman in this era had to be hard! She would have gotten the right to vote around then. Later, Linnie owned almost a block of town and rented apartments. I remember her from the days when managing her apartments was problematic. Linnie lived to be ninety-six years old but dementia took her years beforehand. I was in college when she died in a nursing home in Kentucky. The last time I saw her, she wasn't aware of the visit. Her mind was elsewhere ... talking about the clothes she was making and the quilts she would stitch. What a woman! Keywords: art quilt, textile, paint Artist Biography: Susan Lenz...

Artist Commentary: This chaise, originally covered in lime green cotton upholstery, sat in my studio for months, acting as a daybed for my miniature poodle. Finally after several att...

Artist Commentary: This piece is constructed from my grandmother's dressing table mirror, a found table base, and dismembered segments of a soft sculpture I had previously made and n...

Collection of Three Painted and Collage Glass Bottles, comprising: small bottle with gold painted accents, 1977, signed "HA" and dated to the underside, one bottle with silver-painte...

A fine abstract expressionist assemblage by American artist Varujan Boghosian (1926-2020). Boghosian was born in New Britain, CT and after serving in the United States Navy, he attended Central Connecticut Teachers College and the Vesper George School of Art in Boston. In 1953, he had a Fulbright grant to paint in Italy, and from 1956 to 1959, he worked with Josef Albers, geometric abstractionist, at Yale University where he earned both his BFA and MFA. Boghosian became a professor of sculpture at Dartmouth College in New Hampshire, and became primarily known for his assemblages in which he uses a variety of incongruous objects such as parts of weathered barn...

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 where weight...

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

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 where weight...

This sculpture represents the idea of human balance in infinity. The symbol of construction while balancing a feather, symbol of freedom and lightness.

Inspired by everyday life, his travels, current events, and the people he meets, Grégoire creates poignant abstract and figurative sculptures and paintings. In 2018 at the Dubai Glob...

Dionisios Fragias is a New York -based artist born on the Greek island of Kefalonia and raised in New York City. He is the protege of the artist Jeff Koons whose years-long mentorshi...

Contemporary pastel abstract painted motorcycle kiddie ride by New Jersey based artist Russ Rubin. The work features Russ' signature muted desert inspired ...