Tal Nehoray

Red mini buddha, Plexiglas, hand painted

2018

These colorful meditating Buddha silhouette statues are laser cut Plexiglas and acrylic hand-painted. They can stand alone, or come in couples, trios or more... This is a unique sta...

This Plexiglas Buddha trio is a set of 3 Mini bu statues in Gold (medium), black (mini) and grey (mini). It's an edgy shelf /desk decor, that will start off...

These colorful meditating Buddha silhouette statues are laser cut Plexiglas and acrylic hand painted. They can stand alone, or come in couples, trios or more... This is a unique statue that will start off a conversation and will bring a stylish decoration into your home/ office/ studio or business. It's the perfect gift to someone you love, or when you want to leave an impression. The meditating Buddha statue...

These colorful meditating Buddha silhouette statues are laser cut Plexiglas and acrylic hand painted. They can stand alone, or come in couples, trios or more... This is a unique statue that will start off a conversation and will bring a stylish decoration into your home/ office/ studio or business. It's the perfect gift to someone you love, or when you want to leave an impression. The meditating Buddha statue...

This sculpture is from Orly's latest body of works. It is part of an edition of 15 and comes signed and numbered. It is made of Jasmonite casting and covered with acrylic paint. "I ...

This sculpture is from Orly's latest body of works. It is part of an edition of 15 and comes signed and numbered. It is made of Jasmonite casting and covered with acrylic paint. "I ...

Bulldog by Perez Periarte Commissions accepted for your Pet please ask Please get in touch for commissions for your pet, to order, any size undertaken to suit your needs, perfect g...

In the discourse of contemporary art, the migrant occupies a liminal position only available in theory. Existing within the in-between space of Nation and State, culture and uncultur...

In his recent works sculptor Nicholas Crombach uses the markers of tradition to critique social rituals. Through the employment of the mythology and the rich visual culture of the hunt, Crombach assembles works which revel in contradiction. He has created a series of unexpected juxtapositions that examine the cultural significance and the complex issues percolating around hunting and sporting traditions in the 21st century. For this exhibition, Crombach riffs off the myth of Diana and Actaeon, which provides a poignant framework for his theme. In the original story, Actaeon, the hunter and grandson of King Cadmus, is in the forest with his dogs, when he spies Artemis (Diana) in her bath attended by her nymphs. Diana was the goddess of the hunt, but when the mortal Actaeon sees her, her nymphs try to cover her modesty. She splashes him with water, turning him from a mortal man into a stag, who flees into the forest only to be hunted down and killed by his own dogs. The hunter becomes the hunted. Crombach’s Fetch (2018) refers to the mythology of Diana and Actaeon as he transforms the lofty and classical story of metamorphoses into a game of fetch in the local park, constructed on a grand scale. In Fetch (2018), Crombach creates a hybrid between the art historical imagery from paintings of hounds hunting stags with the flashy colours and synthetic materials of modern day dog chew toys. The sculpture is displayed alongside a variety of chew toys that act as an index for the sculptures interpretation, some transformed into porcelain that has been marked with the aristocratic hunting motifs found on antique English pottery. Here, the assembly of works create a conversation on the blurred boundaries between: histories of domestication, the working relationships we have with animals, contemporary issues of hunting as “play”, tradition and survival. A second major new sculpture “End of the Chase” is a collapsed version of a Victorian period rocking horse housed in London’s V&A Museum Of Childhood. The sculpture responds to the 2014 hunting act that passed in Britain which in turn attempts to obliterate the tradition of hunting with hounds, most commonly associated with the fox hunt...

In 2015, I made a series of sculptures called "HYPERland" illustrating the utopia promised by the "liberal democracy" and the dystopia that is rather created by the market and financ...

Tuhin Kundu - Judge's Hammer - H : 17 x W : 21 x D : 5 inches Wood and Acrylic Paint About the Artist and his work : Education : Master of Fine Arts (MFA - MVA) from Rabindra Bhar...

Text by Nancy Webb It’s Saturday night and Karine Payette is in her studio. We meander into a conversation about the dog she used to have and her soft spot for German shepherds, an intensely obedient and loyal breed in a deceivingly wolf-like package. Payette’s most recent series of photographs, sculptures and video work seem to speak directly to this preoccupation with the multifaceted nature of human-animal relationships—the dialogues of control, intimacy, violence and domestication that subtly take place on an interspecies level. Her workspace is part laboratory, part prop closet—a bowl of fur sits not far from her computer. Somehow in this bright, open, chemical-clean scented room, Payette conjures wildness. We are taken to a strange place, the borderlands of interspecies mingling. At one extreme of the animal-human dynamics scale is the stalwart compliance of a professionally trained German shepherd who responds to commands with robotic precision. Here, power is comfortably held by an off-screen voice, animality pacified by a set of linguistic prompts. At the other end of the scale is a sculpture of a human figure clad in red, sharing a languorous kiss with a wolf. The story of Little Red Riding Hood is immediately called to mind, except that here our hooded protagonist seems to have bailed on grandmother’s orders, instead opting for a forest floor make-out with her canine stalker. This taboo mise-en-scène is a brazen inquiry into the boundaries we maintain with our animal counterparts. Its scale and three-dimensionality contribute to a feeling of immersion that the artist has been courting with her work for the past several years. It feels as though you’ve just walked in on something: you are implicated and your discomfort is like an invisible mist that coats these inanimate beings. Elsewhere in Payette’s suite of anthropomorphic works, the demarcation between species grows even fainter. A photographic series depicts the slow encroachment of fur, scales and feathers on human skin—a striking process of contamination facilitated by touch. The fusion of flesh, charcoal cat fur and a pale silky dress...