Kevin Box

Seed Sower (Brown) 18/50

2020

jd Hansen crafts works with exceptional detail, utilizing texture and language in a unique way to create ephemeral and intricate bronzes. Hansen's work has been collected and exhibi...

Cast bronze, Edition of 12 Named for the Roman god of war; the fourth planet from the sun; the red planet. Sharon Loper creates transitory sculptures out of bronze, stone, and wood...

Born in Colorado and raised in Nebraska, Sandy Graves first forayed into the art world by presenting work as a child and 4-H member at local county fairs. As she continued her educat...

Painted cast stainless steel, patinated bronze, granite base “It took two years of tireless experimentation for me to develop the process of casting paper into bronze, another seven...

“I have always worked with opposites: light and shadow, concave and convex. Quetzalcóatl is the result of a work period in which I speak of generation and transformation.” -Pedro Cervantes...

Maxwell Carraher is a third generation fine artist living and working in Los Angeles.​ "I've been working in the medium of clay since I was a child. I often find the communication I ...

This bronze miniature sculpture has a unique patina that fades from a golden bronze to a vibrant metallic green. The Artist's Proof in a planned edition of 40, it is signed "Robert H...

The dogs and their human companion bravely traverse an endangered earth. Cast bronze sculpture, in an edition of 5. The human figure is 7 ½” x 4” x 2 ½”; the largest dog is 3 ½” h x ...

Brandon Vickerd has in the past explored anthropomorphic hybridity and technological impetus through taxidermy and mechanics. For the Wrong Place, Wrong Time exhibition, the artist revisits these themes, this time putting bronze casting in the spotlight. Vickerd imagines anachronistic and incongruous juxtapositions of this material, which is reminiscent of both antique statuary and modern public monuments. These associations provoke laughter or discomfort, and they detonate in the space of the gallery as well as in the urban setting in which a large part of its production is destined. This is undoubtedly where the contextual and temporal inconsistencies evoked by the title of the exhibition reside. Inspired by the material tradition of bronze, the artist relies heavily on references to Greek mythology, which he likes to subvert. With Atlas (2019), Vickerd makes a reversal of the famous story of the bearer of the globe. Rather than bravely supporting the weight of the world, the Titan seems assailed by multiple spheres that hide the top of his body, leaving only his distinguished shoes and his dress pants. The sculpture Flora Hominis (2019) illustrates a transitional state between the human and the plant whose detail evokes the metamorphosis of the nymph Daphne into a tree, once immortalized by Bernini. The artist presents here a fragmentary study of this monument commissioned by the Royal Botanical Gardens of Burlington, Ontario. While the statue aims to honor the founder of the place, the latter is made paradoxically unrecognizable by the vegetation that proliferates on his face. In this way, Vickerd replaces the heroic celebration of his subjects with a partial occultation of their identity. The sculptor deftly adjusts to classic themes the signifiers of the disappointed promises of modernist ideology. On the 50th anniversary of the first US moon landing, Oblivion (Dead Astronaut...

Guillaume Lachapelle’s artistic practice is shaped predominantly by sculpture, expressed in the form of installations and detailed miniature models. Lachapelle presents playful unive...

Brandon Vickerd has in the past explored anthropomorphic hybridity and technological impetus through taxidermy and mechanics. For the Wrong Place, Wrong Time exhibition, the artist revisits these themes, this time putting bronze casting in the spotlight. Vickerd imagines anachronistic and incongruous juxtapositions of this material, which is reminiscent of both antique statuary and modern public monuments. These associations provoke laughter or discomfort, and they detonate in the space of the gallery as well as in the urban setting in which a large part of its production is destined. This is undoubtedly where the contextual and temporal inconsistencies evoked by the title of the exhibition reside. Inspired by the material tradition of bronze, the artist relies heavily on references to Greek mythology, which he likes to subvert. With Atlas (2019), Vickerd makes a reversal of the famous story of the bearer of the globe. Rather than bravely supporting the weight of the world, the Titan seems assailed by multiple spheres that hide the top of his body, leaving only his distinguished shoes and his dress pants. The sculpture Flora Hominis (2019) illustrates a transitional state between the human and the plant whose detail evokes the metamorphosis of the nymph Daphne into a tree, once immortalized by Bernini. The artist presents here a fragmentary study of this monument commissioned by the Royal Botanical Gardens of Burlington, Ontario. While the statue aims to honor the founder of the place, the latter is made paradoxically unrecognizable by the vegetation that proliferates on his face. In this way, Vickerd replaces the heroic celebration of his subjects with a partial occultation of their identity. The sculptor deftly adjusts to classic themes the signifiers of the disappointed promises of modernist ideology. On the 50th anniversary of the first US moon landing, Oblivion (Dead Astronaut...

'Cock Pheasant' by Richard Smith has a real elegance in it's pose. The piece is a perfect addition to any collector of wildlife sculpture or outdoor enthusiast. Richard Smith has gained an international reputation for his works of art, he has exhibited at prestigious galleries such as the Tryon Gallery and W. H. Pattersons in London, The Sportsman’s Edge Gallery in New York, The Call of Africa in Fort Lauderdale, Florida and the Everard Reed Gallery in Johannesburg, South Africa. Richard has exhibited his paintings at the Leigh Yawkey Woodson Museum in the USA, the Natural History Museum and Tring Museum in Britain. He has sold at all the major auctions houses in London, such as Christie’s, Sotheby’s, Bonhams and Phillips. In 2013 Callaghans of Shrewsbury commissioned a series of life size bronze birds. His works include British birds such as the elusive Snipe sitting atop a fence post and the beautiful Little Blue penguin, a native of New Zealand. His works are all studied from life whilst either out in the field or in a museum with taxidermy. With incredible attention to detail Richard has breathed fresh air into this medium. Contemporary Bronze Wildlife Sculpture...