Camey McGilvray

SEVEN MOONS

This wood and metal wall-sculpture is another in McGilvray's several depictions of heavenly bodies in the universe. In this artwork, a primary colored constellation is floating in a deep purple...

This wood and metal wall-sculpture is another in McGilvray's several depictions of heavenly bodies in the universe. In this artwork, a primary colored constellation is floating in a deep purple...

This oil and wood wall sculpture is inspired and informed by the graceful movements of the classic dancer. The dancers movements are abstracted stylistically to capture the rhythmic...

This oil and wood wall sculpture is inspired and informed by the graceful movements of the classic dancer. The dancers movements are abstracted stylistically to capture the rhythmic...

Green Hope Coil was reviewed in the Boston Globe. "Dewart sculpts gatelike forms and mandalas that read like sacred geometry. The gate template, two columns framing a central form, i...

The wall sculpture Bride III is part of Mcgilvrays series Women in Wood and Metal which celebrates the strength and beauty of women. Although the female figure is the starting point ...

Luminosité changeante II is a unique medium size contemporary modern sculpture painting relief by French-Dutch artist Olivier Julia. The relief is made f...

Made in Ukraine, 2020. Black. Minimalistic. Abstract. Spheres: from molecules to planets. Look around: mono sphere or billions of small combinations o...

Made in Ukraine, 2020. Meet this big interior golden flowers sculpture. Location and Delivery from: Ukraine Authors: Created by Rostyslav Kozhman a...

Made in Ukraine, 2020. Black. Minimalistic. Abstract. Spheres: from molecules to planets. Look around: mono sphere or billions of small combinations o...

Made in Ukraine, 2020. Meet this big interior golden cactus sculpture. Location and Delivery from: Ukraine Authors: Created by Rostyslav Kozhman and Iryna Antoniuk (Irena Tone) Mat...

This painting by Linda King Ferguson is part of her equivalence series, which began as a feminist project; works that subvert the historically male gaze and a material language speaking of gendered concerns. While typically, King Ferguson paints both sides of the canvas and cuts a flap on the the frontside to reveal the color of the back of the canvas, she unexpectedly does the opposite here. The painting is hung from the "frontside" of the canvas, revealing to us the raw edges of her linen canvas, stapled to the stretchers. Two oblong shapes of pink and red dominate the center of the painting. A thin semioval cut has been made inside of both of these shapes. Her color choices first came from Helen Molesworth’s essay, Painting With Ambivalence, published in WACK! Art of the Feminist Revolution. The Essay includes a large reproduction of Mary Heilmann’s 1979 painting...