David Moreno

Mi otro yo contigo y tu otro yo, 21st century, modern, sculpture, steel, house

2018

"Person on a Horse" is a concrete, glass and steel structure with horse in mid-stride looking up and forward. The person astride leans forward as in encouragement to the stead or in weariness of the journey, perhaps both. Leslie Hawk...

Upon discovering a weathered steel drum that had been warped to resemble the sleeve of a garment, artist Gordon Chandler was inspired to embark on a series of kimono sculptures formed from found metal scraps. With an eye to the aesthetic possibilities of this humble material, Chandler invests the reclaimed steel with sculptural fluidity and a wry sense of form. Flattened with the center portion rolled out, this discarded oil barrel takes on the look of a traditional kimono...

Eternal Recurrence #16 by Natasha Zupan Measure: 73" x 20" x 8" Edition of 10 in collaboration with deiNERI Limited edition prints on Acrylic glass with stand This work is signed and...

The modern Sculpture " VITA ” is a unique piece made from a burnout mold by David Marshall in 2015, sand cast brass in our foundry, handcrafted by the Artist in his workshop in Spai...

The modern Out and Indoor Sculpture " Taking A Stand” is a unique piece made from a burnout mold by David Marshall in 2015, sand cast brass in our foundry, handcrafted by the Artist...

Laughter, discomfort, perplexity: these are all plausible reactions to the work by sculptor Cal Lane. The artist’s most recent body of work is an affective assemblage of incongruous parts that, taken together, violate our mental patterns and expectations. Charged with contradictions, metaphor, sexual undertones, and unsettling associations, Lane’s unlikely combinations use absurdity as a way of pointing to western society’s normalized habits and conventions, often with an emphasis on gender and sexuality. For the exhibition Try Me, Lane installs a basketball court in the gallery. The two basketball hoops on opposing walls are embellished with silver-coated frames and lustrous mirrors, which serve as decorative backboards. In place of nets, women’s black lace underwear delicately hang from hoops. A decorative rug stenciled with court lines performs as the court floor. It is a mise-en-scène set in motion by viewer’s reconciliation of the individual parts to the whole, and to their original function. Panties regard themselves in the mirror or perhaps measure up their opponent, which, not without irony, is the mirror image of itself. Themes of gender and sexuality are performed and imagined in the upward voyeuristic gaze of the viewer and the expected swoosh of the ball into the net. This is further elaborated by phallic impressions formed by court lines and their likeness to a work of modernist abstraction—a movement wrought by notions of masculinity. The decorative rug’s connection to femininity and domesticity juxtaposes the rigid geometry. Lane further explores the historical gendering of technology, industry, and war in her series of wallpaper drawings, which depict war submarines on cloud patterned wallpaper. The innocence of the submarine in popular culture and its reality as a phallic war object...