Copper Sculptures

This statue is handcrafted by lost wax process which is one of the ancient process of metal craft. Aparmita is seated in "Padmasana" or lotus pose with two hands holding healing elix...

With heavy “Renaissance” innuendos, his work approaches our concept of “existence” and “reality.” Bellino questions the viewer’s awareness and convictions about the boundaries of “li...

This statue is handcrafted by lost wax process which is one of the ancient process of metal craft. Manjushree is seated on lotus with one hand holding a sword which is believed to cu...

This statue is handcrafted by lost wax process which is one of the ancient process of metal craft. Aparmita is seated in "Padmasana" or lotus pose with two hands holding healing elix...

This statue is handcrafted by lost wax process which is one of the ancient process of metal craft. Aparmita is seated in "Padmasana" or lotus pose with two hands holding healing elix...

This statue is hand crafted by lost wax process which is one of the ancient method of metal work. It is made up of copper and has a halo of flames. The flames are of sterling silver....

This statue is handcrafted by lost wax process which is one of the ancient process of metal craft. Vajrasattva is seated on lotus with one hand holding a Vajra which is a symbol of p...

This work of art was done with 14,570 delicately placed pins upon hanging ropes. The concentration of pins is what makes the tiger appear. They are all firmly inserted with resin whi...

This statue is handcrafted by lost wax process which is one of the ancient process of metal craft. Manjushree is seated on lotus with one hand holding a sword which is a symbol to cu...

This statue is handcrafted by lost wax process which is one of the ancient process of metal craft. Chengreshi is a form of Avalokiteshvara, also known as four armed buddha is seated ...

John Garrett was raised in southern New Mexico by parents who were both educators. They instilled in him an appreciation for the handmade with their collections of Native American a...

FREE SHIPPING TO WORLDWIDE! Artisan: Jose Antonio Martinez Velazquez FONART 1st. Place Metalwork  FONART 1st. Edition National Award "De Principio a Fin Tradiciones Populares Me...

This Avalokeshwor statue is handcrafted by lost wax process which is one of the ancient process of making metal sculpture. Standing Avalokeshwor figure has se...

This statue is handcrafted by lost wax process which is one of the ancient process of metal craft. Kubera is seated in easy pose with one hand holding a jewel and another a mongoose....

Elephant lidded kuduo container from the Ashanti peoples of Ghana. Kuduo were created to store valuable possessions such as gold dust and served the sym...

"Cinnabar" is an original sculpture by Dennis Robert. It is signed at the base. Copper pieces burst out from a piece of store, the style reminiscent of natural forms. 11" x 5" x 3" "Observing the natural landscape around me, I’m inspired by the unique patterns and distinctive shapes from plants, animals as well as the colors and textures of rocks. The seeming permanence of metal and stone used as compositional elements captures the essence of what I see, and I translate those elements and designs into sculptures. It starts with the stone. I use sandstone...

Virginia Mahoney’s “Remix 8: Inside Out” is a two-piece, abstract wall sculpture in yellow, brown, and red, made of ceramic shards (reclaimed from the artist’s destroyed ceramic vess...

The pictures you see here are not, as you might think, photographs of wildflowers. They are images of the remarkably lifelike, painstakingly detailed art of Trailer McQuilkin, whose wildflower sculptures are a blend of several artistic techniques. The product of this art form is unique; each sculpture is one of a kind, with its own individuality and its own beauty. A native of New Orleans, McQuilkin has lived and worked in Ocean Springs, Mississippi, for the past 35 years. In 1969 the artist began experimenting with methods of creating metal wildflower sculpture. He soon found that imitating nature − which many have held is the chief function of art − is a difficult process. He steadily gained mastery of this new complex form and continues today to hone his skills, refine his materials and techniques while expanding his vision of the next sculpture. McQuilkin uses sheet copper, copper wire, metal primer, oil paints, and natural materials in his work. His techniques include cutting, soldering, incising, and painting. Each step is performed with uncompromising attention to detail. Each sculpture has special challenges. It takes from two to five months to complete each piece. A careful examination of the finished sculpture reveals the tiniest fibers, the slightest discoloration and even an occasional insect-bitten leaf. His work is a completely original documentation of nature, trompe l’oeil art in the best sense. McQuilkin, who is largely self-taught, has achieved the highest level of skill and artistry. Therefore he produces complex and beautiful microhabitats. His work has taken him from the North Pole Basin at Crested...

Virginia Mahoney’s “Less” is a mixed-media sculpture in vest form that is primarily green with many prints and variations, and has attached ceramic tags in shades of green, on which words, referring to being less than others, are handwritten in metallic gold acrylic. Brass wires projecting inside emphasize the discomfort one feels when feeling “not enough.” Handwork, threads, and stitching are prominent. This lightweight but sturdy piece is 17 x 14 x 10 inches. “Less” is part of an ongoing series of garment sculptures, which manifest sensations of experiencing uncomfortable situations, doubt, regret, background thoughts or personal barriers. Mahoney devises unconventional ways of working with materials, and is inspired by new ideas in the process. Virginia Mahoney is a mixed-media sculptor in the Boston area, whose work reveals a fascination with words, ambiguity, and diverse methods of making. She reflects on sensation, reaction, and thought, using laborious processes and unexpected material combinations. Her work has been exhibited frequently in the eastern and central United States. Mahoney is represented by Fountain Street...

Stony Signs, wool, sisal, copper, 35" x 90", 1978. This Mid-Century Modern abstract woven tapestry was done by Postwar and Contemporary Polish textile...

Cast bronze, copper with patina on marble base. "I work primarily from the solitary, standing female form as a representation of the life giving, nurturing and creative force of Nat...

The pictures you see here are not, as you might think, photographs of wildflowers. They are images of the remarkably lifelike, painstakingly detailed art of Trailer McQuilkin, whose ...

"Wall Strikes" by John Ruppert Cast bronze, Stainless Steel, Copper, Iron, from a fragment of a tree struck by lightning Edition of 3 Over the past 35 years, John Ruppert has been w...

Virginia Mahoney’s “Blush” is a mixed-media sculpture in vest form that is pink, red, and orange, with attached ceramic tags on which words referring to embarrassment are handwritten. Ceramic spikes...

Carved marble, copper with patina on marble base. "I work primarily from the solitary, standing female form as a representation of the life giving, nurturing and creative force of N...

Cast bronze, copper with patina on marble base. "I work primarily from the solitary, standing female form as a representation of the life giving, nurturing and creative force of Nat...

Jonathan Seliger makes meticulous reproductions/ interpretations of mass produced objects and containers for everyday consumables. Here, having departed from his signature painted ca...

Artist: Unknown Medium: Hand-Hammered and Welded Copper and Wood Construction Size: 89 in. x 19 in. x 2 in. (226.06 cm x 48.26 cm x 5.08 cm)

Jonathan Seliger makes meticulous reproductions/ interpretations of mass produced objects and containers for everyday consumables. Here, having departed from his signature painted ca...

Jonathan Seliger makes meticulous reproductions/ interpretations of mass produced objects and containers for everyday consumables. Here, having departed from his signature painted ca...

Jonathan Seliger makes meticulous reproductions/ interpretations of mass produced objects and containers for everyday consumables. Here, having departed from his signature painted canvas constructions to explore aluminum, bronze and stainless steel fabrications which are sprayed with automotive enamels, he takes the once popular slogan “Super Size It” to the extreme presenting larger-than-life versions of a milk carton and a Hermes bag...

Jonathan Seliger makes meticulous reproductions/ interpretations of mass produced objects and containers for everyday consumables. Here, having departed from his signature painted ca...

Kim Seungwoo is a contemporary Korean sculptor, based in Seoul, South Korea, famous for his sculptures made of coins.

Geometrically shaped copper sculpture. The piece is the tone of shiny bright copper and has circular and triangular shapes to the work. It is not signed. Artist Biography: Matthew ...

eyelets, fabric, thread on wood Denise Yaghmourian’s material based sensibility results in works that reference Feminism, Minimalism, Post-Minimalism, the Pattern and Decoration mo...

This original piece by Luke O'Sullivan is made from wood that the artist has silkscreen printed onto with his original drawings and patterns, which he then cut and assembled into a three-dimensional, wall-hanging sculpture with additional wire and copper details. The finished piece measures 40”h x 35”w x 11”d. About the Artwork O’Sullivan creates invented buildings, places, and objects describing unexplored worlds conjuring a sense of discovery and adventure. Rise and Shine represents a shift from the artist’s earlier work featuring structures, facades, and panoramic landscapes toward a more detailed approach. These new works depict encapsulated, floating environments devoid of humans. The sculptural objects are keepsakes or relics from these faraway places. Each piece plays with the shifting relationships between two and three dimensions, surface and underworld. O’Sullivan’s recent screen prints introduce color, imbuing these works with a certain levity and illustrative quality. The playful nature of O’Sullivan’s work draws from Nintendo games, maps, science fiction movies, and movie set design. Likening his process to a lego set...

Kim Seungwoo is a contemporary Korean sculptor, based in Seoul, South Korea, famous for his sculptures made of coins.

Sculpture – ‘Red Neon Orb’ by Mark Beattie 2017 80 x 65 x 65cm Red neon, powder coated copper on mirror polished stainless steel plinth. ‘Red Neon Orb’ is one of the largest neon s...

jd Hansen creates art that explores the juxtaposition of vulnerability and strength using the human and animal form. Her work excavates the intricacies of human psychology, non-verba...

Chris Ahalt It's all perspective, 2016 Borosilicate glass, copper, bronze 24.25h x 7.75w x 6.25d in

Concorde Cap Shelter Serra 5.5”x7”x9” Electroplated Copper 2017 The Concorde Cap is one of an ongoing series of copper electroplated hats. Ranging from Superman to Nascar, the artist chooses hats from all walks of life before distilling through the electroplating process, transforming the once functional hat into an object of contemplation and beauty. Shelter Serra’s sculptures and drawings explore notions of mass consumption and cultural identity. He juxtaposes objects that are both mundane and immediately recognizable: a 40 ounce bottle of malt liquor cast in plaster, a Best Buy cap plated in copper, and a designer handbag cast in resin, to name a few. Casting and plating these objects in unlikely materials—resin, plaster, platinum silicone, and copper—Serra strips them of their intended functionality, thereby highlighting their underlying cultural symbolism and transforming branded products into objects of aesthetic contemplation. “Refining an aesthetic and making beautiful objects, whether that be a dress, bag, or sculpture," says Serra, "is a celebration of pure creativity and personal vision.” His Fake Gun...

Over many decades Loren Eiferman has created and mastered a unique technique of working with wood—her primary material. First, she begins with a drawing of an idea. Then she take...

An original conceptual hand carved and joined wood wall sculpture by Kevin Kegler. This work is currently featured in the artist's solo exhibition inside The Corridors Gallery at ...

Jonathan Seliger makes meticulous reproductions/ interpretations of mass produced objects and containers for everyday consumables. Here, having departed from his signature painted ca...

Jonathan Seliger makes meticulous reproductions/ interpretations of mass produced objects and containers for everyday consumables. Here, having departed from his signature painted canvas constructions to explore aluminum, bronze and stainless steel fabrications which are sprayed with automotive enamels, he takes the once popular slogan “Super Size It” to the extreme presenting larger-than-life versions of a milk carton and a Hermes bag...

For the last ten years, the work of Patrick Beaulieu has been built around the initiation of performative trajectories resulting in a corpus of visual artworks combining installatio...

In 1972, the women’s movement was in full flower. Suzanne Benton had been an early activist, a founder and organizer of NOW Chapters, CT Feminists in the Arts, Women, Metamorphosis 1 (in New Haven, CT, the first women’s art festival in the USA). She'd already been creating metal sculpted masks and working with them in mask tale performances of Women of Myth and Heritage. Her inaugural performance of Sarah and Hagar n 1972 took place at Lincoln Center in NYC. Benton then became the artistic director and producer of an evening on Broadway, Four Chosen Women (performers included herself as mask tale performer, author Anais Nin, actress Vinie Burroughs and dancer Joan Stone). The evening took place at the Edison Theatre, November 22, 1972. While developing the evening on Broadway, Benton met renowned Swedish actress and Hollywood star, Viveca Lindfors. Viveca was then working on her solo performance, I AM A WOMAN, and was looking for a unique theatre set for the show. The happenstance that brought Viveca and Suzanne together. At that same time, recent travel to Macchu Picchu inspired her with the mountain’s great stones sitting on the edge of precipices. These vast stones led her to create welded steel Seated Sculpture Works. Viveca was intrigued by the concept and let her own imagination fly. Imagining a set of welded steel sculpture, she took the leap in commissioning Suzanne with complete faith in artist's ability to fulfill her mandate. Benton created groups of welded sculptures for two theater sets. Protection is one of three sculptures in first set created in 1973. Mother and Child, Pelvic Woman, Facing Each Other are three of five works from the 1974 second set. The first toured with her shows throughout the East Coast and into Toronto, Canada. The second set, created to nest together could travel as checked baggage for international and domestic airline travel. They flew to Denmark in 1980 for her performance at the UN sponsored 1980 Women’s International Conference, Copenhagen. In addition to creating the theatre sets, Benton mounted exhibitions of her masks and sculptures in the lobbies of theatres where she performed (NYC and Northampton). Continuing on with this theme, Becoming is her 1975 Seated Sculpture Work. The theatre sets were returned at the final end of its long run. These Seated Sculpture Works have often been featured in exhibitions, including both the 2003 and 2005 retrospectives. They are part of an oeuvre of 797 sculptures and masks. What attracted her to welded sculpture? This excerpt from her book, The Art of Welded Sculpture, Van Nostrand Reinhold, 1975 speaks of its lure: "Early in my life, when I had decided to become an artist, I had had an inner vision of being able to hold the physical material of my art in such a way as to bring it into existence with my hands. In welding, I wear a mask, a heavy apron, and gloves. I heat the metal and make it bend so smoothly and gracefully; I cut the metal, rigid metal, into endless shapes; I join the pieces by causing them to flow together with the heat of the flame. Welding was a return to my adolescent vision. It was fulfillment. At that beginning time I felt that even if I went no further, this experience in itself gave me astounding satisfaction. It was as thrilling as the moment of birth. It was my birth." (Pelvic Woman and Protection are illustrated in the book): What began in 1965 became by 2017 an oeuvre of 797 sculptures and masks. The magic of the welding mask...

eyelets, fabric, thread on wood Denise Yaghmourian’s material based sensibility results in works that reference Feminism, Minimalism, Post-Minimalism, the Pattern and Decoration mo...

An original conceptual sculpture by Kevin Kegler. This work is currently featured in the artist's solo exhibition inside The Corridors Gallery at Hotel Henry.

In 1972, the women’s movement was in full flower. Suzanne Benton had been an early activist, a founder and organizer of NOW Chapters, CT Feminists in the Arts, Women, Metamorphosis 1 (in New Haven, CT, the first women’s art festival in the USA). She'd already been creating metal sculpted masks and working with them in mask tale performances of Women of Myth and Heritage. Her inaugural performance of Sarah and Hagar n 1972 took place at Lincoln Center in NYC. Benton then became the artistic director and producer of an evening on Broadway, Four Chosen Women (performers included herself as mask tale performer, author Anais Nin, actress Vinie Burroughs and dancer Joan Stone). The evening took place at the Edison Theatre, November 22, 1972. While developing the evening on Broadway, Benton met renowned Swedish actress and Hollywood star, Viveca Lindfors. Viveca was then working on her solo performance, I AM A WOMAN, and was looking for a unique theatre set for the show. The happenstance that brought Viveca and Suzanne together. At that same time, recent travel to Macchu Picchu inspired her with the mountain’s great stones sitting on the edge of precipices. These vast stones led her to create welded steel Seated Sculpture Works. Viveca was intrigued by the concept and let her own imagination fly. Imagining a set of welded steel sculpture, she took the leap in commissioning Suzanne with complete faith in artist's ability to fulfill her mandate. Benton created groups of welded sculptures for two theater sets. Protection is one of three sculptures in first set created in 1973. Mother and Child, Pelvic Woman, Facing Each Other are three of five works from the 1974 second set. The first toured with her shows throughout the East Coast and into Toronto, Canada. The second set, created to nest together could travel as checked baggage for international and domestic airline travel. They flew to Denmark in 1980 for her performance at the UN sponsored 1980 Women’s International Conference, Copenhagen. In addition to creating the theatre sets, Benton mounted exhibitions of her masks and sculptures in the lobbies of theatres where she performed (NYC and Northampton). Continuing on with this theme, Becoming is her 1975 Seated Sculpture Work. The theatre sets were returned at the final end of its long run. These Seated Sculpture Works have often been featured in exhibitions, including both the 2003 and 2005 retrospectives. They are part of an oeuvre of 797 sculptures and masks. What attracted her to welded sculpture? This excerpt from her book, The Art of Welded Sculpture, Van Nostrand Reinhold, 1975 speaks of its lure: "Early in my life, when I had decided to become an artist, I had had an inner vision of being able to hold the physical material of my art in such a way as to bring it into existence with my hands. In welding, I wear a mask, a heavy apron, and gloves. I heat the metal and make it bend so smoothly and gracefully; I cut the metal, rigid metal, into endless shapes; I join the pieces by causing them to flow together with the heat of the flame. Welding was a return to my adolescent vision. It was fulfillment. At that beginning time I felt that even if I went no further, this experience in itself gave me astounding satisfaction. It was as thrilling as the moment of birth. It was my birth." (Pelvic Woman and Protection are illustrated in the book): What began in 1965 became by 2017 an oeuvre of 797 sculptures and masks. The magic of the welding mask...

In 1972, the women’s movement was in full flower. Suzanne Benton had been an early activist, a founder and organizer of NOW Chapters, CT Feminists in the Arts, Women, Metamorphosis 1 (in New Haven, CT, the first women’s art festival in the USA). She'd already been creating metal sculpted masks and working with them in mask tale performances of Women of Myth and Heritage. Her inaugural performance of Sarah and Hagar n 1972 took place at Lincoln Center in NYC. Benton then became the artistic director and producer of an evening on Broadway, Four Chosen Women (performers included herself as mask tale performer, author Anais Nin, actress Vinie Burroughs and dancer Joan Stone). The evening took place at the Edison Theatre, November 22, 1972. While developing the evening on Broadway, Benton met renowned Swedish actress and Hollywood star, Viveca Lindfors. Viveca was then working on her solo performance, I AM A WOMAN, and was looking for a unique theatre set for the show. The happenstance that brought Viveca and Suzanne together. At that same time, recent travel to Macchu Picchu inspired her with the mountain’s great stones sitting on the edge of precipices. These vast stones led her to create welded steel Seated Sculpture Works. Viveca was intrigued by the concept and let her own imagination fly. Imagining a set of welded steel sculpture, she took the leap in commissioning Suzanne with complete faith in artist's ability to fulfill her mandate. Benton created groups of welded sculptures for two theater sets. Protection is one of three sculptures in first set created in 1973. Mother and Child, Pelvic Woman, Facing Each Other are three of five works from the 1974 second set. The first toured with her shows throughout the East Coast and into Toronto, Canada. The second set, created to nest together could travel as checked baggage for international and domestic airline travel. They flew to Denmark in 1980 for her performance at the UN sponsored 1980 Women’s International Conference, Copenhagen. In addition to creating the theatre sets, Benton mounted exhibitions of her masks and sculptures in the lobbies of theatres where she performed (NYC and Northampton). Continuing on with this theme, Becoming is her 1975 Seated Sculpture Work. The theatre sets were returned at the final end of its long run. These Seated Sculpture Works have often been featured in exhibitions, including both the 2003 and 2005 retrospectives. They are part of an oeuvre of 797 sculptures and masks. What attracted her to welded sculpture? This excerpt from her book, The Art of Welded Sculpture, Van Nostrand Reinhold, 1975 speaks of its lure: "Early in my life, when I had decided to become an artist, I had had an inner vision of being able to hold the physical material of my art in such a way as to bring it into existence with my hands. In welding, I wear a mask, a heavy apron, and gloves. I heat the metal and make it bend so smoothly and gracefully; I cut the metal, rigid metal, into endless shapes; I join the pieces by causing them to flow together with the heat of the flame. Welding was a return to my adolescent vision. It was fulfillment. At that beginning time I felt that even if I went no further, this experience in itself gave me astounding satisfaction. It was as thrilling as the moment of birth. It was my birth." (Pelvic Woman and Protection are illustrated in the book): What began in 1965 became by 2017 an oeuvre of 797 sculptures and masks. The magic of the welding mask...

Joseph Kosuth, father of conceptual art, once famously said: “Works of art that try to tell us something about the world are bound to fail (…)The absence of reality in art is exactly...

A unique function sculpture/handbag by American artistic duo Mollie and Ken Kash of Flying Anvil Metalworks. These functional handbags are the newest collaboration by the pair of ma...

Simply stunning. They shine like jewels…This is Shayne Dark’s Reflections of Nature Series. Dark’s superb sculptural work is informed by nature. This series of wall sculptures—tondos...

A jewel like surface of polished steel and bronze inlay reflects ambient light in this tondo by Shayne Dark. The pattern cut into the steel surface was sprayed with molten bronze to ...

A mixed media sculpture by James Johnson from 2002. A pregnant female figure of epoxy resin with copper wings and a simian face. Artist: James Johnson Title: Monkey Girl 2 Year...

Simply stunning. They shine like jewels…This is Shayne Dark’s Reflections of Nature Series. Dark’s superb sculptural work is informed by nature. This series of wall sculptures—tondos...

Simply stunning. They shine like jewels…This is Shayne Dark’s Reflections of Nature Series. Dark’s superb sculptural work is informed by nature. This series of wall sculptures—tondos...