Sylvia Schwartz

Sylvia Schwartz, 'Brush Stroke, sculptural element in Red Plane', 2016, Resin

2016

Deborah Freedman is a painter who lives and works in New York City. Her work is deeply informed by nature –especially the Catskill Mountains - and landscape painting of the 19th and early 20th century. After 9/11 when the Ashokan Reservoir became almost inaccessible and ”threatened” what had been idyllic became “disturbed”. The pictures became less ideal and less about location and more abstract and more emotional. The titles; Good Night Irene, Praying for Rain, Cold Spring, Disturbed Landscapes and The End of Snow describe these concerns. “This is landscape as an anatomy lesson; landscape conflated with human form. Landscape which holds the promise of physical pleasure. The abstraction holds the emotional content. If it sounds simplistic, imagine trying to organize a coherent vision of something that does not exist. It mixes the personal with the impersonal, landscape in the guise of familiarity.” Stewart Waltzer. Artnet. A partial list of collections include The Metropolitan Museum of Art, The New York Public Library, Rutgers University, The Department of State, the Library of Congress, IPCNY,The Hess Collection, CITI, Morgan Guarantee Trust, and Memorial Sloan Kettering Hospital. Freedman is a co-founder with Marjorie VanDyke of VanDeb Editions, a printmaking studio dedicated to collaborating with artists to experiment with intaglio and monotype, located in Long Island City, NYC. Residencies include the MacDowell Colony on a printmaking residency making monoprints using etched plates with highly textured surfaces. The tradition there is to invite other residents for studio visits or presentations which led to a collaboration with Alan Fletcher...

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 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 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...

A graceful metal sculpture created from altered/ transformed materials, Urban Transformation, industrial steel against a craggy, textured, bark-like bronze elements. ...

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 physical
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 emotional
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 Orozco's consi...

"Aesthetic of Fear Fear is like a paper cut on the fingertip, it itches, affects you if you try to ignore it. Hsu draw her research on understanding fears in psychology and how to u...

"Born Wild" Resin Sculpture 71" x 20" x 20" inch Ed. 3/4 by Richard Orlinski Provenance: Private collection Comes with original COA Richard Orlinski has been the biggest-selling ...

The art market confirms that Robert Combas is the most successful living French artist with Pierre Soulages. During the last two years, the value of his works has multiplied by 5 , proof with the last Artcurial auction sale from December 4th 2019. This sculpture "The Cannon Dancer" is one of the most interesting of his major works from the 90s where he touched on themes dear to him like: battles, war, religion, love, sex, women, mythology, music, genre scenes... - "Le danseur au canon", The Cannon Dancer Painted polychrome resin sculpture. This is a limited édition signed Combas, dated 95 and numbered 4/8 on the base. - Is it a carnival ? a character, a buffoon representing power by a cannon exhibited as a phallic object that symbolizes power. "The moment when the official hierarchies collapse, where the powerful become ridiculous and the fools the only wise respected. The moment of inversions, negations, derision and extravagance. Abel and Cain, Salome and Saint John the Baptist : whatever the time and the weapons, it is almost always the same story", said Combas. Robert Combas love to Deforms when, allowing itself disproportions, exaggerations and deletions, it gives birth to creatures with noses, lips or feet disproportionately inflated or stretched, even monstrous and comic. In this case, Combas flirts with satire, farce, the grotesque. Make love better than a war ! Robert COMBAS has been pursuing a unique approach since the 1980s. His eccentric and powerful representations of the world make this genius one of the emblematic figures of French contemporary art. The artist's work is now the subject of numerous retrospectives and institutional exhibitions. The enthusiasm of collectors becomes more important with each new public sale and its rating climbs which confirms the sustainable nature of the art of Robert COMBAS. He brought at the dawn of the 80s a new figurative painting. Present on the artistic scene since 1979 he is the creator of a movement that the artist Ben called the Free Figuration, movement comprising: Rémi...

This series of sculptures is called Emotional States. It was created in 2023 in Kyiv (Ukraine). I lived and worked all year in my hometown in the middle of a Big war. I experienced a...

This series of sculptures is called Emotional States. It was created in 2023 in Kyiv (Ukraine). I lived and worked all year in my hometown in the middle of a Big war. I experienced a...

"Aesthetic of Fear Fear is like a paper cut on the fingertip, it itches, affects you if you try to ignore it. Hsu draw her research on understanding fears in psychology and how to u...