Gustavo Torres

Symbolic Forms of Life III

2016

Jedd Novatt (b. 1958) CXLXI, 2001 Bronze with brown/black patina18 x 18 x 16 in (45.72 x 45.72 x 40.64 cm)

Inspired by nature and his 60 pet birds, Hunt Slonem is renowned for his distinct neo-expressionist style. He is best known for his series of bunnies, butterflies and tropical birds, as well as his large-scale sculptures and restorations of forgotten historic homes. Slonem’s works can be found in the permanent collections of 250 museums around the world, including the Solomon R. Guggenheim Museum, the Metropolitan Museum of Art in New York City, the Whitney, the Miro Foundation and the New Orleans Museum of Art. Since his first solo show at the Fischbach Gallery in 1977, Slonem’s work has been showcased internationally hundreds of times, most recently at the Moscow Museum of Modern Art and the State Russian Museum in St. Petersburg. In 2017 and 2018, he was featured by the National Museum of the Republic of Kazakhstan, the National Gallery in Bulgaria, and in countless galleries across the United States and around the world. His flair and admiration for far-flung destinations has been a staple of his life since childhood. Slonem was born in 1951 in Kittery, Maine, and his father’s position as a Navy officer meant the family moved often during Hunt’s formative years, including extended stays in Hawaii, California and Connecticut. He would continue to seek out travel opportunities throughout his young-adult years, studying abroad in Nicaragua and Mexico; these eye-opening experiences imbued him with an appreciation for tropical landscapes that would influence his unique style. After graduating with a degree in painting and art history from Tulane University in New Orleans, Slonem spent several years in the early 1970s living in Manhattan. It wasn’t until Janet Fish offered him her studio for the summer of 1975 that Slonem was able to fully immerse himself in his work. His pieces began getting exhibited around New York, propelling his reputation and thrusting him into the city’s explosive contemporary arts scene. He received several prestigious grants, including from Montreal’s Elizabeth Greenshields Foundation, the National Endowment for the Arts, and the Cultural Counsel Foundation’s Artist Project, for which he painted an 80-foot mural of the World Trade Center in the late 1970s. He also received an introduction to the Marlborough Gallery, which would represent him for 18 years. Hunt Slonem tends to embrace the ephemeral beauty of nature, a characteristic that brings a nurturing, spiritual effect to his creations. Throughout his extensive career as a New York artist, Slonem has favored the subject of exotic birds, rabbits, and butterflies. Lately, his compositions have consisted of flat spaces with simple forms pushed to the front of the picture plane. The artist creates exotic forms with expressive and highly textural brushstrokes that are full of intense color, loosely inspired by artists of the German Expressionism movement such as Ernst Ludwig and Emil Nolde. Henry Geldzahler, a scholar of Hunt Slonem, notes that of contemporary artists, “he particularly admires the work of Malcolm Morely...

Inspired by nature and his 60 pet birds, Hunt Slonem is renowned for his distinct neo-expressionist style. He is best known for his series of bunnies, butterflies and tropical birds, as well as his large-scale sculptures and restorations of forgotten historic homes. Slonem’s works can be found in the permanent collections of 250 museums around the world, including the Solomon R. Guggenheim Museum, the Metropolitan Museum of Art in New York City, the Whitney, the Miro Foundation and the New Orleans Museum of Art. Since his first solo show at the Fischbach Gallery in 1977, Slonem’s work has been showcased internationally hundreds of times, most recently at the Moscow Museum of Modern Art and the State Russian Museum in St. Petersburg. In 2017 and 2018, he was featured by the National Museum of the Republic of Kazakhstan, the National Gallery in Bulgaria, and in countless galleries across the United States and around the world. His flair and admiration for far-flung destinations has been a staple of his life since childhood. Slonem was born in 1951 in Kittery, Maine, and his father’s position as a Navy officer meant the family moved often during Hunt’s formative years, including extended stays in Hawaii, California and Connecticut. He would continue to seek out travel opportunities throughout his young-adult years, studying abroad in Nicaragua and Mexico; these eye-opening experiences imbued him with an appreciation for tropical landscapes that would influence his unique style. After graduating with a degree in painting and art history from Tulane University in New Orleans, Slonem spent several years in the early 1970s living in Manhattan. It wasn’t until Janet Fish offered him her studio for the summer of 1975 that Slonem was able to fully immerse himself in his work. His pieces began getting exhibited around New York, propelling his reputation and thrusting him into the city’s explosive contemporary arts scene. He received several prestigious grants, including from Montreal’s Elizabeth Greenshields Foundation, the National Endowment for the Arts, and the Cultural Counsel Foundation’s Artist Project, for which he painted an 80-foot mural of the World Trade Center in the late 1970s. He also received an introduction to the Marlborough Gallery, which would represent him for 18 years. Hunt Slonem tends to embrace the ephemeral beauty of nature, a characteristic that brings a nurturing, spiritual effect to his creations. Throughout his extensive career as a New York artist, Slonem has favored the subject of exotic birds, rabbits, and butterflies. Lately, his compositions have consisted of flat spaces with simple forms pushed to the front of the picture plane. The artist creates exotic forms with expressive and highly textural brushstrokes that are full of intense color, loosely inspired by artists of the German Expressionism movement such as Ernst Ludwig and Emil Nolde. Henry Geldzahler, a scholar of Hunt Slonem, notes that of contemporary artists, “he particularly admires the work of Malcolm Morely...

Unique Bronze Sculpture

Bronze

Bronze Sculpture

Arman Hommage à Nadar, 1986 Bronze with black patina, sliced movie camera 22 x 9 x 12.63 inches AP from edition of 75

2021 Bronze 18 x 11 x 18 1/2 inches Unique Signed and dated, base

Spar, 2021 Bronze 18 x 11 x 18 1/2 inches Signed and dated, lower right

Sherry Owens Windows and Maidens #6, 2019 Bronze, patina, crepe myrtle, dye, milk paint, wax 11 x 14 3/4 x 11 3/4 inches For over 30 years, sculptor Sherry Owens has used the sinewy crepe myrtle tree to tell her story of the Texas landscape, death, renewal, beauty, and of today’s growing environmental concerns. Remnants of personal stories, visions and observations in nature are the driving forces in her work. She believes that what we see and do in our daily lives leaves a mark on our planet. It is the direct impact of human activities on the natural world, which is visualized in her artistic practice. She creates connections with nature using crepe myrtle trees found along the side of the road. Each stick is hand-carved and cut to fit, then laid in place and secured with a small myrtle peg. What takes precedence in the laborious process is the importance of detail and evidence of the artist’s hand and her interaction with the materials. Sherry Owens is a native Texan, currently living and working in Dallas, TX. She received a BFA from Southern Methodist University. Recent Texas solo exhibitions include The Grace Museum; Cris Worley Fine Arts; Martin Museum of Art; Art Museum of Southeast Texas; and a two-person site-specific installation at the Umlauf Sculpture Garden & Museum. She was also included in recent exhibitions at the Amon Carter Museum of American Art, TX and the Ogden Museum of Southern Art, LA. She has exhibited internationally in Austria, Denmark, Germany, Greece, India, Japan, Peru, and Turkey. Her work is currently on view in the Ground Zero 360 Remembrance Exhibition at the Museum of Biblical Art...

Sherry Owens Windows and Maidens #5, 2019 Bronze, patina, crepe myrtle, dye, milk paint, wax 9 1/4 x 14 1/4 x 9 inches For over 30 years, sculptor Sherry Owens has used the sinewy crepe myrtle tree to tell her story of the Texas landscape, death, renewal, beauty, and of today’s growing environmental concerns. Remnants of personal stories, visions and observations in nature are the driving forces in her work. She believes that what we see and do in our daily lives leaves a mark on our planet. It is the direct impact of human activities on the natural world, which is visualized in her artistic practice. She creates connections with nature using crepe myrtle trees found along the side of the road. Each stick is hand-carved and cut to fit, then laid in place and secured with a small myrtle peg. What takes precedence in the laborious process is the importance of detail and evidence of the artist’s hand and her interaction with the materials. Sherry Owens is a native Texan, currently living and working in Dallas, TX. She received a BFA from Southern Methodist University. Recent Texas solo exhibitions include The Grace Museum; Cris Worley Fine Arts; Martin Museum of Art; Art Museum of Southeast Texas; and a two-person site-specific installation at the Umlauf Sculpture Garden & Museum. She was also included in recent exhibitions at the Amon Carter Museum of American Art, TX and the Ogden Museum of Southern Art, LA. She has exhibited internationally in Austria, Denmark, Germany, Greece, India, Japan, Peru, and Turkey. Her work is currently on view in the Ground Zero 360 Remembrance Exhibition at the Museum of Biblical Art...

Sherry Owens Grandfather's Land, 2021 Bronze, patina, crepe myrtle, paint, wax 30 x 46 x 18 inches For over 30 years, sculptor Sherry Owens has used the sinewy crepe myrtle tree to tell her story of the Texas landscape, death, renewal, beauty, and of today’s growing environmental concerns. Remnants of personal stories, visions and observations in nature are the driving forces in her work. She believes that what we see and do in our daily lives leaves a mark on our planet. It is the direct impact of human activities on the natural world, which is visualized in her artistic practice. She creates connections with nature using crepe myrtle trees found along the side of the road. Each stick is hand-carved and cut to fit, then laid in place and secured with a small myrtle peg. What takes precedence in the laborious process is the importance of detail and evidence of the artist’s hand and her interaction with the materials. Sherry Owens is a native Texan, currently living and working in Dallas, TX. She received a BFA from Southern Methodist University. Recent Texas solo exhibitions include The Grace Museum; Cris Worley Fine Arts; Martin Museum of Art; Art Museum of Southeast Texas; and a two-person site-specific installation at the Umlauf Sculpture Garden & Museum. She was also included in recent exhibitions at the Amon Carter Museum of American Art, TX and the Ogden Museum of Southern Art, LA. She has exhibited internationally in Austria, Denmark, Germany, Greece, India, Japan, Peru, and Turkey. Her work is currently on view in the Ground Zero 360 Remembrance Exhibition at the Museum of Biblical Art...