Plaster Abstract Sculptures

Block X is a unique plaster sculpture by contemporary artist Delphine Brabant, dimensions are 21 × 16 × 14 cm (8.3 × 6.3 × 5.5 in). The sculpture is signed and comes with a certific...

Forms is a unique plaster sculpture coloured in the mass by contemporary artist Delphine Brabant, dimensions are 23 × 36 × 15 cm (9.1 × 14.2 × 5.9 in). The sculpture is signed and co...

54 x 15 x 5.5 inches carved precision board & Venetian plaster This contemporary, abstract minimalist wall sculpture was made by Japanese artist, Dai Ban in 2017. The elegant minim...

Cast plaster Edition 35 of 100 7 x 7.5 x 4.2 cm (2.8 x 3 x 1.7 in) Signed, dated and titled on the reverse New, as issued. Sold within the original packaging Emin International

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

"Trash Fish" is an original piece byJedediah Morfit made from fiberglass reinforced plaster, googly eyes, paint. This piece measures 10.75"h x 24.75"w x 2.5"d and comes with a galler...

This low relief sculpture is created by casting hydrocal FGR 95 (a very hard plaster) over a hand sculpted oil clay design. Once the hydrocal is...

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

This free-standing sculpture titled "An Exact Record Of How It Happened" is an original artwork by Jedediah Morfit made of plaster, paint, wax, thermoplastic, epoxy, wood, rope. This piece measures 33.25"h x 10"w x 14"d. BIO Jedediah Morfit received his MFA in sculpture from the Rhode Island School of Design in 2005, where he was awarded the Sylvia Leslie Herman Young Scholarship and the Award Of Excellence. He was a Fellow at the Center For Emerging Visual Artists from 2007-2009, and received a New Jersey Council On the Arts Fellowship for sculpture in 2009. He received the Louise Kahn Award for Sculpture from the Woodmere Art Museum in 2006, and was awarded the Dexter Jones Award for Bas Relief from the National Sculpture Society in 2011 and 2012. In 2013, he was commissioned to create a series of new work for Artlantic:Wonder, which was named one of the 50 best...

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

84 x 24 x 10 inches Precision board and Venetian Plaster Elegantly slender, contemporary minimalist wall sculpture that is extremely lightweight. Long vertical lines, casting shado...

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

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

"Art in motion" is a series that offers artworks working with matter; concrete, cement, plaster, mortar, and natural pigments. These works are intended to be exhibited in several way...

32 x 12 x 6.5 carved precision board & Venetian plaster This contemporary, abstract minimalist wall sculpture was made by Japanese artist, Dai Ban in 2017. The elegant minimali...

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...

ODETTA is pleased to offer this important sculpture from the Estate of David Hayes. David Vincent Hayes (March 15, 1931 – April 9, 2013) was an American sculptor.. These Form Studi...

In his sculptures, drawings and paintings, Michael O’Keefe employs unpredictable processes as a means to discover content. He couples accident and chance with unconventional methods, tools, and materials as a means to move beyond the boundaries of his tendencies. In his recent sculptures of heads...

Group of Two Domenick Capobianco (American, b. 1928), Geometric Mixed Media Sculptures, both stamped "Domenick Capobianco Studio" to underside. Larger: 14" H x 17.5" W x 15.5" D. P...

ODETTA is pleased to offer this important sculpture from the Estate of David Hayes. David Vincent Hayes (March 15, 1931 – April 9, 2013) was an American sculptor.. These Form Studi...

ODETTA is pleased to offer this important sculpture from the Estate of David Hayes. David Vincent Hayes (March 15, 1931 – April 9, 2013) was an American sculptor.. These Form Studi...

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...

ODETTA is pleased to offer this important sculpture from the Estate of David Hayes. David Vincent Hayes (March 15, 1931 – April 9, 2013) was an American sculptor.. These Form Studi...

ODETTA is pleased to offer this important sculpture from the Estate of David Hayes. David Vincent Hayes (March 15, 1931 – April 9, 2013) was an American sculptor.. Hayes received a...

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...

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...

Artist: Claes Oldenburg (1929-2022) Title: Fire Plug Souvenir-'Chicago August 1968' (Platzker 10) Year: 1967 Medium: Cast plaster with acrylic paint Sculpture Size: 7.875 x 7.5 x 5.8...

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...

Sara Fine-Wilson's "Coming Up for Air" is a mixed media sculpture of multiple ceramic elements that were previously formed, fired, and glazed and the...

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

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

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

Sara Fine-Wilson's "Caterpillar" is a small 16 x 6 x 6 inch abstract mixed media sculpture in neutral white, gray and brown with a playful, raw and refined quality. In this whimsica...

This figurative sculpture titled "Deepfake National Monument" is an original artwork by Jedediah Morfit made of plaster, paint, pins, epoxy, adhesive, wood, rope, and hardware. This piece measures 32"h x 11"w x 27”d. BIO Jedediah Morfit received his MFA in sculpture from the Rhode Island School of Design in 2005, where he was awarded the Sylvia Leslie Herman Young Scholarship and the Award Of Excellence. He was a Fellow at the Center For Emerging Visual Artists from 2007-2009, and received a New Jersey Council On the Arts Fellowship for sculpture in 2009. He received the Louise Kahn Award for Sculpture from the Woodmere Art Museum in 2006, and was awarded the Dexter Jones Award for Bas Relief from the National Sculpture Society in 2011 and 2012. In 2013, he was commissioned to create a series of new work for Artlantic:Wonder, which was named one of the 50 best...

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

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

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

A minimalist depiction of a woman in a large hat by Constantin Antonovici. This white marble sculpture is composed almost entirely of two colliding ovals, with a few ridges visible o...

Achtung25 (Not the 25th version, but when it was made) is a vibrant large-scale mixed media wall sculpture. It is made from birch panels, stain and pigmented lacquer on MDF with a s...

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

Artist: Curtis Mitchell, American (1954 - ) Title: Broken Wall Year: 1989 Medium: Mixed Media Wall Sculpture (Plaster, Resin, Acrylic), signed and dated ...

Born in 1944 in the canton of Fribourg, Gilbert Pauli lived in Geneva, where he devoted himself to painting and sculpture, a passion he developed from his childhood. His favorite the...

A haunting, elongated head rendered with raw, expressive surface detail—Zura’s newest sculpture evokes a psychological intensity that feels unearthed rather than crafted. Stark and s...

Da sempre sono attratto dagli oggetti semplici, spesso dimenticati o fuori contesto. Riporto alla luce piccoli frammenti del quotidiano – giocattoli, gadget, elementi della cultura p...

Taking its name from the seven-tablet Babylonian creation myth, Enūma Elish unfolds across sculpture, video, engraving, and performance — summoning ancient mythologies into contempor...

ODETTA is pleased to offer this important sculpture from the Estate of David Hayes. David Vincent Hayes (March 15, 1931 – April 9, 2013) was an American sculptor.. These Form Studi...

ODETTA is pleased to offer this important sculpture from the Estate of David Hayes. David Vincent Hayes (March 15, 1931 – April 9, 2013) was an American sculptor.. Hayes received a...

ODETTA is pleased to offer this important sculpture from the Estate of David Hayes. David Vincent Hayes (March 15, 1931 – April 9, 2013) was an American sculptor.. Hayes received a...

ODETTA is pleased to offer this important sculpture from the Estate of David Hayes. David Vincent Hayes (March 15, 1931 – April 9, 2013) was an American sculptor.. Hayes received a...

Elfi Schuselka (Austrian, b. 1940), Abstract Composition, Mixed Media on Board, wire, plaster, and paint, signed verso. 8.25" H x 8.25" W x 1.25" D. Provenance: From the collection...

Wood, window screen, plaster, joint compound, polymer and acrylic paint

Wood, window screen, plaster, joint compound, polymer and acrylic paint

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

A study in strength and fragmentation, Horse Torso isolates the powerful core of the animal, capturing motion held in suspension. Muscular yet abstracted, the sculpture suggests endu...

Wood, window screen, plaster, joint compound, polymer and acrylic paint

In Sylvia Schwartz' structures, silicone molds are cast from both natural and hand-made forms, including clay coils, volcanic rock patterns, seaweed, and her own fingerprints. The h...

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

This piece is made by casting Hydrocal FGR95 (a very hard plaster) on top of an oil clay pattern. Once cured, the oil clay is removed, then paint and brass leaf are applied to the su...

Tom Nussbaum is known for a variety of work including drawings, paper cuts, prints, sculpture, children’s books, animations, functional design objects, and site-specific commissions....

Sara Fine-Wilson's "Levitate" is an abstract mixed media sculpture in neutral tones. Multiple ceramic elements were previously hand formed and extruded, then fired and incorporated i...