Glaze Abstract Sculptures

Original Hand-built sculptural ceramics to enrich the mind and feed the soul. - Stoneware, Porcelains, Metallic Gold Glaze Artist Statement: As a sculptor, I use clay to bring to li...

Original Hand-built sculptural ceramics to enrich the mind and feed the soul. - Stoneware, Porcelains, Metallic Gold Glaze Artist Statement: As a sculptor, I use clay to bring to li...

Katie Yang's abstract ceramic sculptures delve into the unknowable nature of our world, exploring the interplay between control and chance. Influenced by artistic traditions from bot...

Katie Yang's abstract ceramic sculptures delve into the unknowable nature of our world, exploring the interplay between control and chance. Influenced by artistic traditions from bot...

BRANDON REESE Spades • Glazed Stoneware and Pecan 7.00w x 29.50h x 7.00d in $3,800.00

BRANDON REESE Storm • glaze stoneware, walnut 10.00w x 16.00h x 6.00d in $1,800.00

BRANDON REESE Champ • Glazed Stoneware and wood 7.00w x 29.50h x 7.00d in $3,800.00

BRANDON REESE Dalli • glazed stoneware and walnut 10.00w x 14.00h x 8.00d in $1,800.00

BRANDON REESE Whiting • Glazed stoneware and Sycamore 12.00w x 14.00h x 7.00d in $1,800.00

Hand built heavily glazed solid ceramic structure by NY artist Judy Engel. Expressionist style hand built and heavily glazed in a high metallic palladium glaze. Judy's first introd...

This carved abstract expressionist blue vase is made of stoneware and glazed outside. It can add a super abstract vide to your decoration. It is NOT glazed inside.

Sara Fine-Wilson's “Swarming Bulge" is a gestural 22 x 7 x 6 inch ceramic sculpture in cream and warm gray. It is hand built and wheel constructed in white stoneware. Individual hand formed details are layered over the entire surface creating a graceful and fluid form. The surface is coated in a warm cream matte glaze that becomes darker gray and glossy along the edges that have been caught during the soda firing process. The glaze emphasizes the contrast between surfaces and edges. Fine Wilson’s ceramic work contains elements of both raw and refined surfaces including cracks, ruptures and pooling of glaze. Sara Fine-Wilson is a contemporary sculptor based in the Boston area...

Sara Fine-Wilson's “Column Swarm" is a gestural 22 x 9 x 8 inch ceramic sculpture in white and gray. It is hand built and wheel constructed in white stoneware. Individual hand formed details are layered over the entire surface creating a graceful and fluid form. The surface is coated in a cool white matte glaze that becomes darker gray and glossy along the edges that have been caught during the soda firing process. The glaze emphasizes the contrast between surfaces and edges. Fine Wilson’s ceramic work contains elements of both raw and refined surfaces including cracks, ruptures and pooling of glaze. Sara Fine-Wilson is a contemporary sculptor based in the Boston area...

Peter Voulkos Ceramic Sculptural Dish, ca. 1985 Sculpted ceramic Hand-signed by artist, Incised signature on the base. 1.5 x 11.5 inches This charger plate by Voulkos features a Greek-influenced stylized birds and leaf design. Peter Voulkos is an American artist of Greek descent. The abstraction of animal and nature elements paired with the earthy, mottled gray and brown against brown background make this work beautiful. This work was featured in the exhibition "On Black Mountain: The Bauhaus Legacy in America", at the Sager Braudis Gallery (now Sager Reeves), in Columbia Missouri from April 5, 2019 to April. 27, 2019 and is reproduced in page 53 of the exhibition catalogue. We will provide a complimentary copy of the exhibition catalogue to the buyer of this work. Born in 1924 to Greek immigrant parents in the town of Bozeman, Montana, Peter Voulkos is one of America’s most significant sculptors of the 20th century. Voulkos got his start in art in the late 1940s, when he was studying at Montana State College, Bozeman on the G.I. Bill, after being drafted and serving as an airplane armorer-gunner in the Pacific in World War II. In classes with Frances Senska, he discovered ceramics, the medium that would characterize his career. After graduating from Montana State College, Bozeman in 1951, Voulkos moved west and earned his MFA from the California College of Arts and Crafts in Oakland, California. Returning to Montana after graduation, Voulkos attracted attention “as a prodigious natural potter and a producer of elegantly thrown functional earthenware,” according to Roberta Smith for the New York Times. He also produced dinnerware to sell through high-quality stores, and was noted for his wax-resist method of decoration.Voulkos gained a reputation as a master of ceramics techniques, winning twenty-nine prizes and awards from 1949 through 1955. However, a summer spent teaching at the experimental Black Mountain College (he was invited to teach at BMC by Karen Karnes) near Asheville, North Carolina in 1953 resulted in a dramatic shift in Voulkos’s artistic priorities, as well as his aesthetic. It was at Black Mountain College that Voulkos met Robert Rauschenberg, John Cage, Merce Cunningham and Charles Olson. He then visited New York City (as a guest of pianist David Tudor and Mary Catherine Richards) and encountered Philip Guston, Willem de Kooning and Franz Kline—Abstract Expressionist painters who influenced the new direction Voulkos would go on to pursue. In 1954, Voulkos was invited to teach at the Los Angeles County Art Institute (now Otis), and he established a new ceramics department and graduate program that attracted other young artists including John Mason, Ken Price, Billy Al Bengston and Paul Soldner. It was here that, inspired by the scale and spontaneity of the New York School, Voulkos began to build progressively larger works that cast aside utility and abandoned ceramic conventions. Decoration became aggressive, as he slashed at and pierced the clay, which he then energetically painted with glaze. Peter Voulkos exhibited these new works in shows at the Landau Gallery in Los Angeles, which announced to the world a new way of approaching ceramics. Disagreements with the more conservative administrators of the LA County Art Institute led to Voulkos’s departure for the University of California, Berkeley, in 1959. While at Berkeley, Voulkos experimented with bronze and produced large-scale bronze sculpture, while continuing his ceramic work and doing demonstrations of ceramics throughout the U.S. In 1979, a young ceramist named Peter Callas...

Green twirls flowers, by Charo Oquet Glazed Ceramic 18” x 16” 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...

Abstract Expressionist ceramic by French artist Claude Urbani. Signed to the front side and dated 93. Incised Antibes 1993 to the revers...

Untitled XXVI, by Charo Oquet Glazed ceramic and enamel Overall size: 25 H in x 23 W in. x 1 D in. Set of 10 Glazed Ceramic Discs Individual size: 1. 7” x 5” x 1" 2. 5" x 5” x 1” 3...

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...

This ceramic vessel sculpture by Jon Puzzuoli is made with glazed porcelain. It has a vibrant red and cream palette, with a round body and a fluted neck. ...

This ceramic vessel sculpture by Jon Puzzuoli is made with glazed porcelain. It has a round, deep grey and vibrant red body, a fluted neck finished in 18K gold luster, and a red lip....

This ceramic vessel sculpture by Jon Puzzuoli is made with glazed porcelain. It has a vibrant red and cream palette, with a round body and a fluted neck. The piece has a raku finish,...

This piece is mage of terracotta and glazed in cone 5.

"Self-portrait" Terracotta, underglazed, and glazed to cone 5

"Orchid Castle" Stoneware, Glazed to cone 6

Untitled XII, by Charo Oquet Ceramic 14 H in x 15 D in. 2018 These gravity-defying ceramics stacked constructions struggle to soar beyond the boundaries of the spaces that contain ...

Untitled XXXV, by Charo Oquet Glazed ceramic and enamel 9.5 H in x 9.5 D in. 2019 These gravity-defying ceramics stacked constructions struggle to soar beyond the boundaries of the...

Untitled XXXXVIII, by Charo Oquet Glazed Ceramic 13 H in x 15 H in. x 7 D in. 2019 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...

Untitled XXXXX, by Charo Oquet Glazed Ceramic 18 H in x 15 H in. x 5 D in. 2019 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...

Untitled XXXXV, by Charo Oquet Glazed Ceramic 14.5 H in x 8 H in. x 8 D in. 2019 These gravity-defying ceramics stacked constructions struggle to soar beyond the boundaries of the ...

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. Artist : Rachel Hubbard Kline Title : Fabricated Americana Materials : Stoneware, Glaze, Wire Date : 2019 Dimensions : 23x30x5 Description : 2 panels of wired ceramic tiles 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...

Untitled XV, by Charo Oquet Glazed 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 co...

Untitled XXXXVII, by Charo Oquet Glazed Ceramic 18 H in x 13 H in. x 4 D in. 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...

Untitled XXXXI, by Charo Oquet Glazed Ceramic 8.5 H in x 10 H in. x 3.5 D in. 2019 These gravity-defying ceramics stacked constructions struggle to soar beyond the boundaries of th...

Untitled IX, by Charo Oquet Ceramic 18 H in x 13 D in. 2018 These gravity-defying ceramics stacked constructions struggle to soar beyond the boundaries of the spaces that contain t...

Every which way, by Charo Oquet Glazed ceramic and enamel 6.5” x 6” x 4.5” 2019 These gravity-defying ceramics stacked constructions struggle to soar beyond the boundaries of the sp...

Untitled XXXVI, by Charo Oquet Glazed Ceramic 9 H in. x 8 W in. x 7 D in. 2018 These gravity-defying ceramics stacked constructions struggle to soar beyond the boundaries of the sp...

Untitled XXXXIII, by Charo Oquet Glazed Ceramic 13 H in x 10 H in. x 4 D in. 2019 These gravity-defying ceramics stacked constructions struggle to soar beyond the boundaries of the...

Untitled XXXXVI, by Charo Oquet Glazed Ceramic 12 H in x 10 H in. x 4 D in. 2018 These gravity-defying ceramics stacked constructions struggle to soar be...

Untitled XXIII, by Charo Oquet Glazed ceramic and enamel Overall size: 27.5 H in x 24.5 W in. Set of 14 Glazed Ceramic Discs Individual size: 1. 3.5” x 3.5” x 0.25" 2. 5" x 5” x 0.2...

Untitled XXXXIX, by Charo Oquet Glazed Ceramic 10 H in x 6 H in. x 3.5 D in. 2019 These gravity-defying ceramics stacked constructions struggle to soar b...

Untitled XXXVIII, by Charo Oquet Glazed Ceramic 9 H in x 9 D in. 2019 These gravity-defying ceramics stacked constructions struggle to soar beyond the boundaries of the spaces that...

Untitled XXII, by Charo Oquet Glazed ceramic and enamel Overall size: 24.5 H in x 24 W in. Individual size: 1. 6.5”x 6” x 0.25" 2. 6" x 5" x 1" 3. 6.5”x 6” x 0.25 4. 5" x 5” x 0.25”...

This raku ceramic vessel sculpture by Jon Puzzuoli is made with glazed porcelain. The base of the body is a deep umber color with at texture and matte finish, while the top portion i...

The sculpture is signed and numbered. Edition 1/1 About Series Four Seasons: I created this Spring, Summer, Autumn and Winter based on the abstract deformation of leaf sections. For the collection of Summer, I chose the glass material that enables the piece greenish, looking profound and fluctuating, or smooth and winding. It propels step by step like the leaf outline or fluctuating waves. This collection represents not only my abstract illustration of the growing power of all beings on earth, but also the expression of my thoughts on the subject of eternity, appreciating the tenacious and vigorous power of nature and human beings. When leaves fall back the root, they have themselves decayed through autumn and winter into spring and summer. In general, all beings on earth become a part of this cycle in another form. Nothing is eternal but the iteration that is vigorous and recurrent. - He Wenjue About the artist: He Wenjue was born in 1970 in Hunan Province, China. He received his MA in painting from Jilin Academy of Fine Arts. Member of Chinese Art Association, Member of Chinese Painting Association.The vice-President of Hunan Oil-Painting Association. Research Fellow of Beijing Academy of China Xieyi Oil Painting.He is currently the vice president of Hunan Oil Painting Society, a member of China Artists Association and a member of Chinese Oil Painting Society. His works have been displayed on exhibitions at“Scenery in Map”ShangHai Solo Exhibition、Solo Exhibition, Frank Schlag Gallery, Essen, Germany、Sense of the Sparkle: He Wenjue Singapore Solo Exhibition, Singapore、Water: Senses of Sparkle, Tang Gallery, Bangkok, Thailand、The 9th & The 10th National Annual Fine Arts Exhibition、The first Chinese Freehand Brushwork Oil Painting、4th Jakarta Contemporary Ceramics Biennale, 6th BICMA ,、Painting the Present, Certosa di San Giacomo, Via Certosa 1 - Capri, Capri, Italy、The 2nd Chinese Oil Painting Biennale, The National Art Museum of China、The Xinjiang International Art Biennial 2014、Ethics as the DNA Art: The 9th Florence Biennale、SEA OF PEACE: Japan-Korea Contemporary Art Exhibition, Incheon Art Platform, Incheon, Korea、Faces and Figures, Germany、East side, Michael Schultz Gallery, Berlin, Germany、Vanhaerents Museum Collection, Brussel Belgium、China...

Untitled XXXIX, by Charo Oquet Glazed Ceramic 9.5 H in x 4 D in. 2019 These gravity-defying ceramics stacked constructions struggle to soar beyond the boundaries of the spaces that...

Blue and Yellow, by Charo Oquet Glazed Ceramic 17” x 14” x19” 2018 These gravity-defying ceramics stacked constructions struggle to soar beyond the boundaries of the spaces that con...

The sculpture is signed and numbered. Edition 1/1 About Series Four Seasons: I created this Spring, Summer, Autumn and Winter based on the abstract deformation of leaf sections. For the collection of Summer, I chose the glass material that enables the piece greenish, looking profound and fluctuating, or smooth and winding. It propels step by step like the leaf outline or fluctuating waves. This collection represents not only my abstract illustration of the growing power of all beings on earth, but also the expression of my thoughts on the subject of eternity, appreciating the tenacious and vigorous power of nature and human beings. When leaves fall back the root, they have themselves decayed through autumn and winter into spring and summer. In general, all beings on earth become a part of this cycle in another form. Nothing is eternal but the iteration that is vigorous and recurrent. - He Wenjue About the artist: He Wenjue was born in 1970 in Hunan Province, China. He received his MA in painting from Jilin Academy of Fine Arts. Member of Chinese Art Association, Member of Chinese Painting Association.The vice-President of Hunan Oil-Painting Association. Research Fellow of Beijing Academy of China Xieyi Oil Painting.He is currently the vice president of Hunan Oil Painting Society, a member of China Artists Association and a member of Chinese Oil Painting Society. His works have been displayed on exhibitions at“Scenery in Map”ShangHai Solo Exhibition、Solo Exhibition, Frank Schlag Gallery, Essen, Germany、Sense of the Sparkle: He Wenjue Singapore Solo Exhibition, Singapore、Water: Senses of Sparkle, Tang Gallery, Bangkok, Thailand、The 9th & The 10th National Annual Fine Arts Exhibition、The first Chinese Freehand Brushwork Oil Painting、4th Jakarta Contemporary Ceramics Biennale, 6th BICMA ,、Painting the Present, Certosa di San Giacomo, Via Certosa 1 - Capri, Capri, Italy、The 2nd Chinese Oil Painting Biennale, The National Art Museum of China、The Xinjiang International Art Biennial 2014、Ethics as the DNA Art: The 9th Florence Biennale、SEA OF PEACE: Japan-Korea Contemporary Art Exhibition, Incheon Art Platform, Incheon, Korea、Faces and Figures, Germany、East side, Michael Schultz Gallery, Berlin, Germany、Vanhaerents Museum Collection, Brussel Belgium、China...

The sculpture is signed and numbered. Edition 1/1 About Series Four Seasons: I created this Spring, Summer, Autumn and Winter based on the abstract deformation of leaf sections. For the collection of Summer, I chose the glass material that enables the piece greenish, looking profound and fluctuating, or smooth and winding. It propels step by step like the leaf outline or fluctuating waves. This collection represents not only my abstract illustration of the growing power of all beings on earth, but also the expression of my thoughts on the subject of eternity, appreciating the tenacious and vigorous power of nature and human beings. When leaves fall back the root, they have themselves decayed through autumn and winter into spring and summer. In general, all beings on earth become a part of this cycle in another form. Nothing is eternal but the iteration that is vigorous and recurrent. - He Wenjue About the artist: He Wenjue was born in 1970 in Hunan Province, China. He received his MA in painting from Jilin Academy of Fine Arts. Member of Chinese Art Association, Member of Chinese Painting Association.The vice-President of Hunan Oil-Painting Association. Research Fellow of Beijing Academy of China Xieyi Oil Painting.He is currently the vice president of Hunan Oil Painting Society, a member of China Artists Association and a member of Chinese Oil Painting Society. His works have been displayed on exhibitions at“Scenery in Map”ShangHai Solo Exhibition、Solo Exhibition, Frank Schlag Gallery, Essen, Germany、Sense of the Sparkle: He Wenjue Singapore Solo Exhibition, Singapore、Water: Senses of Sparkle, Tang Gallery, Bangkok, Thailand、The 9th & The 10th National Annual Fine Arts Exhibition、The first Chinese Freehand Brushwork Oil Painting、4th Jakarta Contemporary Ceramics Biennale, 6th BICMA ,、Painting the Present, Certosa di San Giacomo, Via Certosa 1 - Capri, Capri, Italy、The 2nd Chinese Oil Painting Biennale, The National Art Museum of China、The Xinjiang International Art Biennial 2014、Ethics as the DNA Art: The 9th Florence Biennale、SEA OF PEACE: Japan-Korea Contemporary Art Exhibition, Incheon Art Platform, Incheon, Korea、Faces and Figures, Germany、East side, Michael Schultz Gallery, Berlin, Germany、Vanhaerents Museum Collection, Brussel Belgium、China...

Untitled XXVII, by Charo Oquet Glazed Ceramic 13.5 H in x 4.5 D in. 2019 These gravity-defying ceramics stacked constructions struggle to soar beyond the boundaries of the spaces t...

Untitled XXXXXIV, by Charo Oquet Glazed Ceramic and Enamel 8.5 H in x 8 D in. 2018 These gravity-defying ceramics stacked constructions struggle to soar beyond the boundaries of th...

The sculpture is signed and numbered. Edition 1/1 About Series Four Seasons: I created this Spring, Summer, Autumn and Winter based on the abstract deformation of leaf sections. For the collection of Summer, I chose the glass material that enables the piece greenish, looking profound and fluctuating, or smooth and winding. It propels step by step like the leaf outline or fluctuating waves. This collection represents not only my abstract illustration of the growing power of all beings on earth, but also the expression of my thoughts on the subject of eternity, appreciating the tenacious and vigorous power of nature and human beings. When leaves fall back the root, they have themselves decayed through autumn and winter into spring and summer. In general, all beings on earth become a part of this cycle in another form. Nothing is eternal but the iteration that is vigorous and recurrent. - He Wenjue About the artist: He Wenjue was born in 1970 in Hunan Province, China. He received his MA in painting from Jilin Academy of Fine Arts. Member of Chinese Art Association, Member of Chinese Painting Association.The vice-President of Hunan Oil-Painting Association. Research Fellow of Beijing Academy of China Xieyi Oil Painting.He is currently the vice president of Hunan Oil Painting Society, a member of China Artists Association and a member of Chinese Oil Painting Society. His works have been displayed on exhibitions at“Scenery in Map”ShangHai Solo Exhibition、Solo Exhibition, Frank Schlag Gallery, Essen, Germany、Sense of the Sparkle: He Wenjue Singapore Solo Exhibition, Singapore、Water: Senses of Sparkle, Tang Gallery, Bangkok, Thailand、The 9th & The 10th National Annual Fine Arts Exhibition、The first Chinese Freehand Brushwork Oil Painting、4th Jakarta Contemporary Ceramics Biennale, 6th BICMA ,、Painting the Present, Certosa di San Giacomo, Via Certosa 1 - Capri, Capri, Italy、The 2nd Chinese Oil Painting Biennale, The National Art Museum of China、The Xinjiang International Art Biennial 2014、Ethics as the DNA Art: The 9th Florence Biennale、SEA OF PEACE: Japan-Korea Contemporary Art Exhibition, Incheon Art Platform, Incheon, Korea、Faces and Figures, Germany、East side, Michael Schultz Gallery, Berlin, Germany、Vanhaerents Museum Collection, Brussel Belgium、China...

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...

Untitled XXXX, by Charo Oquet Glazed Ceramic 12 H in x 11 H in. x 5 D in. 2019 These gravity-defying ceramics stacked constructions struggle to soar beyond the boundaries of the sp...

Untitled XIX, by Charo Oquet Glazed Ceramic 17 H in x 13 D in. 2019 These gravity-defying ceramics stacked constructions struggle to soar beyond the boundaries of the spaces that c...

Untitled XXX, by Charo Oquet Glazed ceramic and enamel 4.5 H in x 7 D in. 2019 These gravity-defying ceramics stacked constructions struggle to soar beyond the boundaries of the sp...

Untitled III, by Charo Oquet Ceramic 16 H in x 16 D in. 2018 These gravity-defying ceramics stacked constructions struggle to soar beyond the boundaries of the spaces that contain ...

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...

Untitled XVI, by Charo Oquet Glazed Ceramic 21 H in x 15 D in. 2018 These gravity-defying ceramics stacked constructions struggle to soar beyond the boundaries of the spaces that c...