2010s Abstract Sculptures

Tyler James Goin is a Vancouver-based sculptor whose work bridges the industrial and the organic through clay and metal. With a background as a millwright machinist and a decade-long...

Tyler James Goin is a Vancouver-based sculptor whose work bridges the industrial and the organic through clay and metal. With a background as a millwright machinist and a decade-long...

Hand Built and glazed ceramic. Free standing, two pieces (sphere and stand). My interest in clay as an artistic medium began in 1984. Like most beginners in the medium, I focused ...

Charles Birnbaum is a sculptor and a self-taught photographer. He graduated from Kansas City Art Institute where he studied ceramics and was one of a select group of the esteemed Ken...

This crystalline glazed porcelain vessel by Jon Puzzuoli features an earthy green and sand-toned palette and a dark, narrow neck. The crystalline glaze over the surface creates the aesthetic of green "crystals" which form along the the surface of the piece. The artist's stamp can be found at the base of the vessel. Crystalline glazes are special ceramic glazes in which zinc-silicate crystals grow inside the glaze while it is still very hot. The crystals begin as microscopic seeds in the glaze, which form in random numbers and locations. When the kiln is cooled to the proper temperature, crystals start to grow. In order for crystals to grow, the glaze must be very fluid. Much of the glaze runs off the vessel during the firing into a catch basin...

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...

Magic Circle in Color by Rogan Brown Laser and hand cut paper, framed in a plexiglass shadowbox Available by commission. Please allow 12-14 weeks production time. A smaller version ...

Tyler James Goin is a Vancouver-based sculptor whose work bridges the industrial and the organic through clay and metal. With a background as a millwright machinist and a decade-long...

Karen Schiff is an artist and wordsmith based in New York; she has always been a reader as well as a visual artist. Her drawings, paintings, installations, and performances combine t...

Named "Prince d'Égypte", this sculpture was created by artist Lutfi Romhein using locally sourced stone from Aveyron, France. Dimensions & Weight : This artwork has a total height o...

This piece is from a new body of work called 'Vital Signs’ which will premiere at Ivy Brown Gallery in NYC and springs from the domain of hospitals and illness through combinations of hand-woven and tufted textiles and minimalist box-like objects that hang on walls or embed in the textiles themselves. The textiles refer to items of worn clothing, flattened identity, and superstition that come with illness and extended hospital stays. Their dominant color is blue, a hue known to calm the nervous system, but also the color of a failing body (cyanosis). The black and white objects...

Mixed Media Sculpture with Waxed Linen, Hammered Copper and Iron Wire Mary Giles (1944-2018) received her BS in Art Education from Mankato State University in Minnesota. After rece...

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...

My work bridges the divide between sculpture and painting and drawing. Paintings are geometric masses of color in oil paint and wood dowels, on shaped canvas. Often grouped in d...

Yvette Cohen’s oil paintings of geometric masses of color on shaped canvas become objects that fluctuate between two and three dimensions, bridging the divide between sculpture and ...

This textured abstract painting by Teodora Guererra features a warm orange and red palette with subtle white accents. The artist applies paint in thick layers and wide, energetic str...

"Navarro"- From the Small Pops Collection "Navarro" is a minimalist and modernist solid wood wall sculpture that brings bold statement to wherever it is placed. The piece was inspir...

Honor your inner superstar with a unique porcelain ceramic artwork from Katharine Morling's newest series, "The Paparazzi Collection". This sculpture titled "Camera with Double Lens" is handcrafted and especially designed in the artist's signature monotone black & white style by award winning ceramicist Katharine Morling. Morling's ceramic sculptures have been shown internationally at Bergdorf Goodman in New York, Liberty’s London, Miami, Italy, Kuwait, Algiers, Germany and France. She has also had solo exhibitions in Sweden, The Netherlands and throughout the UK. In 2019, Katharine Morling’s work was selected for the Royal Academy Summer Exhibition. It was the fifth time that Katharine Morling has exhibited in the Summer Exhibition and “Cut”, an over-sized chainsaw is the largest piece which Morling has shown to date. After graduating from the Royal College of Art in 2009, she was awarded first prize at the 2010 World Crafts Council Triennial in Belgium. Morling also represented the UK at the 2010 European Ceramic Context in Denmark. For COLLECT 2011, she showed a new installation Out of the House in the Project Space of the Saatchi Gallery. Other projects include created a large wall mounted installation for the new children’s ward commissioned by the Royal London Hospital...

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

Where do we come from? Where are we going? What the hell is going on here? 2017-2018 Hand cut paper in wood box Gil Scullion’s conceptual text-based work has been featured in exhibi...

jd Hansen is an American sculptor whose work explores the tension and interplay between vulnerability and strength, using human and animal forms rendered in bronze and stainless stee...

This abstract painting by Teodora Guererra features a blue and white palette ranging from deep blue-grey at the bottom of the composition, and fading up to light blue and white at th...

tabletop sculpture, indoor sculpture, metal, colorful; “Shelter – Chennai” is from my Shelter Series of tabletop sculptures. They make reference to the basic design of the human shel...

This textured abstract painting by Teodora Guererra features a deep, royal violet palette with subtle white and magenta accents. The artist applies paint in thick layers and wide, en...

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...

Aluminum sheet, metal wire and acrylic - mobile Amaury Maillet is a self-taught artist who explored art in Provence and Saint Martin in his childhood. ...

The Bruce High Quality Foundation Copper Plate Bruce Shadow Box Sculpture, 2017 Customized wooden shadow box featuring a copper printmaking plate with hand-painted Bruce face. Accomp...

Tyler James Goin is a Vancouver-based sculptor whose work bridges the industrial and the organic through clay and metal. With a background as a millwright machinist and a decade-long...

Marie Laforey is a self-taught artist based in New York, US who maintains a sustainable art practice using primarily organic material. Laforey enjoys the tactility of working with or...

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

"Small Mandala 2" by Rogan Brown Laser and hand cut paper, framed in plexiglass shadowbox Available by commission. Please allow 8-12 weeks production time. Rogan Brown creates abst...

Infinity loops. Ceramics and porcelain, h 35 cm; W 27 cm; D 24 cm White abstract sculpture from porcelain and ceramics

Imagination of the YinYang symbol in zinc The two semicircles are shown differently in this design than in the original YinYang symbol Masculinity is (also) represented in this desig...

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...

"Arapeda" is a sculpture inspired by pleated shells encrusted with various concretions. It receives life and carries it. "Arapeda" is made from sand-tinted concrete, pressed in a los...

Hand-crafted Glassfusing Glass Sculpture Glass Artwork for Sale "Ravenna Purple", is a hand-crafted sculpture of colored glass using the fusion process. This window model sculpture...

This hand-crafted glass sculpture "Sunset" vividly depicts a desert scene with cacti and an intense sunset. Thousands of artfully arranged pieces of glass blend together to create th...

Achille ATTARD Base of Culture – Laser engraving on honeycomb cardboard, 40 x 40 x 40 cm. The engraved surface of the cardboard cube reveals the structure that forms and supports i...

Arise. Stone mass, porcelain, h 61 cm White abstract sculpture from stone mass

textile & mixed media

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...

Over many decades Loren Eiferman has created and mastered a unique technique of working with wood—her primary material. First, she begins with a drawing of an idea. Then she takes a daily walk in the woods surrounding her studio and collects tree limbs and long sticks that have fallen to the ground. She never chops down a living tree or uses green wood. Eiferman allows the wood time to cure in the studio to make sure it won’t check or crack. Next, she debarks the branch and looks for shapes found within each piece of wood. Using a Japanese hand saw, she cuts and connect these small shapes together using dowels and wood glue. Then, all the open joints get filled with a home made putty, which is then sanded so she can see the newly formed shapes. This process is until the new sculpture appears like the original line drawing but in space. She wants the work to appear as if it grew in nature, when in fact each sculpture is composed of over 100 small pieces of wood that are seamlessly jointed together. Her work can be called the ultimate recycling: taking the detritus of nature and giving it a new life. We have all at one point or another picked up a stick from the ground—touched the wood, peeled the bark off with our fingernails. Her work taps into that same primal desire of touching nature and being close to it. Trees connect us back to nature, back to this Earth. Her work has a meditative quality to it—a quiet, calming energy. Her influences are many; from looking at nature and plant life on this Earth to researching the heavenly bodies in the images beamed back from the Hubble Telescope. From studying ancient Buddhist mandalas and designs to delving deeper into quantum physics. And from researching mysterious manuscripts to studying the patterns inside our brains. For Invocation, we are exhibiting her newest body of work, inspired by the illustrations found in the Voynich Manuscript. This 250-page book, is believed to have been written in the early 15th century, of a mysterious origin and purpose. Written in an unknown language and currently housed at Yale University’s Beinecke Rare Book Library, the manuscript has eluded all attempts in the intervening centuries to decode or decipher its purpose and meaning. This enigmatic book is divided into 6 different sections (herbal, astronomical, biological, cosmological, pharmaceutical and recipes). Having discovered the images contained in this codex over the Internet, Eiferman felt an immediate, profound and inexplicable connection to this manuscript and its creator. The artist is currently transposing the “herbal” section of manuscript into sculptures. This section has drawings in it of plants and flowers that do not really exist in nature—past or present. These aren’t just pretty images of flowers—they also contain the wacky root systems and seemingly out of proportion leaves, stamens and pistils. Loren Eiferman was born in Brooklyn, NY. She received her BFA from SUNY Purchase. Her work has been exhibited extensively throughout the Tri-State region including gallery and museum exhibitions in the Hudson Valley and Connecticut. Her work is included in numerous corporate and private art collections. In 2014 she was awarded a NYC MTA Arts & Design art commission to produce steel railings...

Sara Fine-Wilsons “Sway” is a gestural 17.5 x 14 x 9 inch ceramic sculpture in pale cream with accents of warm sepia, and grey. In this graceful and evocative sculpture individual sl...

Nicholas Licausi says of his work… “My artistic practice is driven by a fascination with emerging technologies and their capacity to redefine the frontiers of art, architecture, and...

Weaving is a form of drawing, of plotting and connecting lines. Fabricating a three-dimensional, transparent object using thin strips of paper with differing colors on either side re...

This hand-crafted glass sculpture and urn "Sunset" is a unique colored glass window model that vividly depicts a desert scene with cacti and an in...

"Off Minor" by Richard Heinrich, 1999 Steel Contemporary Abstract Sculpture, Industrial, Modern, Indoor, Outdoor

Sylvia Schwartz In her structures, silicone molds are cast from both natural and hand-made forms, including clay coils, volcanic rock patterns, seaweed, and the artist’s own fingerprints. Leaving the human trace evident through the repetition of shapes and textures in both the natural and man-made elements, provides a measure of stability, a reference point. These manmade and natural forms merge, revealing our inexplicable dependence on nature. Through this melding of two entities, new life is breathed into the art object. Paper as a primary medium allows Schwartz to sculpt, draw and paint simultaneously. The flow of the pulp (a natural phenomenon in itself) meshes with the molded forms creating a structure that seems to rest on the edge between painting and sculpture. The duality between light and heavy, interior and exterior, planned and accidental, order and chaos, leading ultimately to a sense of life. Red...

Aluminum sheet, metal wire and acrylic - mobile "Limited edition of 3 1/3 Available on request- 3 week turnaround" Amaury Maillet is a self-taught art...

Hand-crafted Glassfusing Glass Artwork Glass Urn Symbolic Memorial Art for Sale This unique glass artwork, model "Ravenna Purple", is a hand-crafted piece of colored glass using the...

Tamarind Wood and Lemurian Quartz Crystal come together in a dialogue between organic strength and crystalline clarity. The intricate grain of the wood contrasts with the purity of t...

A limited edition, yellow powder coated mild steel sculpture on a black steel base. The sculpture is typical to Uwe Pfaff's tongue in cheek approach, depicti...

Shredded and rolled non-profit and political solicitations, health care statements and spray varnish on cradled board. Jaynie Crimmins fabricates objects ...

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

Contemporary Stretched Fiber 2D Wall Hanging, Crocheted, Woven, Felted, Meyer Groot Foundation Honorable Mention Recipient 2025 "My work, both in painting and sculpture, involve ne...

Untitled Column (Timeless Remnants), 2025 Natural stone, 386 bricks This sculptural column remains unbound, nomadic, and ever-evolving. Its elements are arranged alternately along t...

Karen Schiff is an artist and wordsmith based in New York; she has always been a reader as well as a visual artist. Her drawings, paintings, installations, and performances combine t...

Architecture, functional objects and the human gestures that occur when interacting with these structures inform the vocabulary of Richard Bottwin’s sculpture. The plywood surfaces,...

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...

Norma Marquez Orozco explores concepts of impermanence, perception, form and balance through physical movement of the work itself in a lucid, game-like context, like puzzles. All the elements are made of paper, molded into three-dimensional forms. The repetitive geometric shapes are assembled inside boxes built out of translucent paper. The arrangement is random and unfixed to allow movement and unpredictable composition. The harmonies and tensions in the work arise from different exchanges between the colors, the patterns, and the geometric and organic shapes, as well as the sense that change is constantly occurring as the elements shift and move. When one looks at these compositions, you see them for the first time, every time, because what is creating and completing the artwork is always changing; such as light, weather and forms merge and interact. As a result of these dynamic relationships, the work extends beyond her personal hand, sustaining an appearance and composition entirely of its own. Norma Márquez Orozco was
 born
 in
 Chicago,
Illinois,
 and
 raised
 in
 Guadalajara,
 Jalisco,
 Mexico. Her work can be seen as an investigation into the way relationships emerge and evolve when elements like color, form, shape, lines, angle and pattern are blended, shifted and layered. She currently lives and works in New York City. Marquez Orozco
 has
 curated
 exhibitions throughout
 New
 York
 and
 has hosted
 lectures
 and
 artist
 talks
 for
 the
 public. In
 2001
 she founded
 Floor4Art, an
 alternative
 space
 in
 West
 Harlem
 that
 houses
 artist’s
 studios
 and
 exhibition
 space
 aimed
 at
 producing,
 promoting
 and
 connecting
 artists.
 Exhibition venues include: ODETTA, Brooklyn, NY, Longwood Art Gallery, Queens Museum, The (S)Files 007/ El Barrio...