Fabric Sculptures

This series of sculptures is called Emotional States. It was created in 2023 in Kyiv (Ukraine). I lived and worked all year in my hometown in the middle of a Big war. I experienced a...

Artist Commentary: Transitioning is part of my sculptural dress series. I was interested in experimenting with open and closed spaces and colors transitioning from yellow to pink. ...

Wood, fabric, cotton batting, and acrylic. Artist statement: "Represents my Haplogroup based on a collection of common inherited genes that trace ancestral lines back to an original parent through matrilineal mitochondria. U5b2 ties me – and millions of others – directly to an ancestral Mitochondrial Eve originating in the East African region of modern Kenya. U5b2’s wall-mounted boat...

This textured abstract painting by Teodora Guererra features a warm orange and red palette with subtle white accents. The artist applies paint in thick layers and wide, energetic str...

Sinuosity 149 in Green Absinthe is a hard tabletop sculpture from Ted VanCleave’s Sinuosity series, distinguished by its sinuous curvature and its sustained focus on material transfo...

We offer complimentary worldwide shipping and cover all tariffs and import taxes for this artwork. This exceptional artwork is currently on display and available for sale at Signet C...

This pair of abstract paintings by Teodora Guererra features a metallic gold palette. The paint is layered on canvas in thick strokes for a highly textured surface. These two paintin...

Hexagonal gold clay wall sculpture in hand molded ceramic relief designed for modular wall installation. This wall-mounted clay sculpture is composed of hand molded natural clay, lo...

Pagter’s minimalism is emblematic of the shared sensibilities of Scandinavian and Japanese artists, popularly termed 'Japandi'. Into Blue is one in a three part series. “In the refi...

This horizontal abstract painting by Teodora Guererra features a blue, teal, lavender and white palette. The artist layers thick strokes of paint using a palette knife in broad, hori...

Sunset Squirtle: Princess Saori’s Kawaii Realm by Saori Nakamishi unfolds as a luminous neo-pop installation where childhood nostalgia and contemporary kawaii aesthetics converge wit...

"Brick" is a unique piece by Eustace Mamba measures approx. 4.5"h" x 2.5"w x 5"d. Mamba creates an abstract portrait from found material, sewn canvas, acrylic, and oil paint. This sc...

Panda Plush Large

Description for all series "Tree of Life": "One day I was in the furniture workshop of my friends and noticed wooden logs in the corner. I have been working with wood all my life and...

Hanging crafted wood wall sculpture with a mini diorama of a vintage 80s dining room that can be seen through a viewfinder. Batteries included. More informa...

This abstract painting by Teodora Guererra features a blue and white palette ranging from deep blue-grey at the bottom of the composition, and fading up to light blue and white at th...

Flashe on muslin with mixed textiles

'We surround ourselves with elements from nature in the form of manicured lawns, sculpted trees, and our domesticated companions. We bend the natural world to our tastes and create a...

A pair of Anigre wood Italian mid-century modern chairs with removable fabric covered cushioned seats designed by American artist Jack Graves III (1988-), 2015. Chairs have sweeping ...

For sale is the highly sought-after collaboration between renowned Chinese artist and activist Ai Weiwei and German home improvement store Hornbach, Safety Jackets Zipped the Other W...

This is an abstract 3D wall sculpture in wood, acrylic, rope, and ink. it is from artist Paul Cava's "Wood Work" series, which applies the collage aesthetic he has incorporated into ...

Linda Stein, Rocking Staff 171 - Wood, Metal, Stone, Mixed Media Contemporary Sculpture In the 1980s, Linda Stein began a series called Ceremonial Scepters, where she imagined an ...

Born in Mexico City in 1953, artist Noé Katz lives and works in the U.S., and his paintings and sculptures can be found around the world. He received his formal training at the Schoo...

Mixed media artwork - bronze sculpture installed on velvet

Marurn II The vases from are made of ceramic and glazed and fired in different ways. The black case is fired Rau and on the lid is printed batik stamp. Each lid has its own theme - ...

Abstract oil painting titled Moon Light. it is signed in hebrew. it is not dated. inscription in Hebrew refers to a museum exhibition. MORDECHAI AVNIEL Minsk, Belarus, b. 1900, d. 1989 Mordecai Dickstein (later Avniel) was born in 1900 in Minsk, present-day Belarus. He studied fine arts in Yekaterinburg, Russia (1913–19) and at the Bezalel Academy of Art and Design, Jerusalem (1923). Avniel immigrated to Palestine in 1921 where he first worked as a pioneer in citrus plantations near Petah Tikva. In 1923, at the urging of Boris Schatz, he went to Jerusalem to further his art studies at Bezalel. He later taught painting and sculpture at the school, and served a term as director of the Small Sculpture Section of the Sculpture Department (1924–28). From 1935 on, Avniel lived in Haifa. Avniel was also a lawyer and a founding partner of the Haifa firm Avniel, Salomon & Company. Avniel regularly showed his work in group exhibitions of the Painters and Sculptors' Association of Israel. He was awarded the Herman Struck Prize (1952), Tenth Anniversary Prize for Watercolours, Ramat Gan (1958), Histadrut Prize (1961), and First Prize Haifa Municipality (1977). He represented Israel at the 1958 Venice Biennale and the 1962 International Art Seminar at Fairleigh Dickinson University. Avniel was a member of the Artists' Colony in Safed and maintained a studio on Mount Carmel. Mordechai Avniel is best known for his deft and singular landscape work. His works are held in numerous museums and collections both in Israel and abroad, including the Metropolitan Museum, New York and the Carnegie Institute, Pittsburgh, PA. Avniel's manipulations of light and colour share much with those of compatriot artists Shimshon Holzman and Joseph Kossonogi. Education 1913-19 Art School of Katrinburg, Russia 1923 Bezalel School of Art, Jerusalem Selected exhibitions: 2004: Our Landscape: Notes on Landscape Painting in Israel, University of Haifa Art Gallery, Haifa (online catalogue) 1965: Mordechai Avniel Retrospective, Haifa Municipality Museum of Modern Art, Haifa 1964: Galerie Synthèse, Paris 1962: New York University, New York 1961: Rina Gallery of Modern Art, Jerusalem The Autumn Exhibition Rina Gallery, Jerusalem Artists: Dedi Ben Shaul...

In Indigo 1, Chloe Hedden invites us into a meditative field of texture, movement, and hue. Part of her Fold series, this work uses hand-dyed linen in deep, inky indigo tones that ri...

My work bridges the divide between sculpture and painting and drawing. Paintings are geometric masses of color in oil paint and wood dowels, on shaped canvas. Often grouped in d...

textile & mixed media

Lesley Richmond was born in Cornwall, England. Lesley now lives in Vancouver, BC, Canada. She received her art teachers training in London, England and her MEd in the USA. She taught...

Painter and sculpture Artist Natalie Krainin creates artworks using the innovative method of Fabric Texture Art. This technique, which resonates deeply with her professional roots, a...

Folded Flat Linen 01 2016 Dimensions: H: 36 cm / W: 35 cm / D: 9 cm Materials: architectural wire mesh, raw linen Born in 1962 in Boulogne-Billancourt, France, Sebastien De Ganay studied political science and film at Columbia University in New York 1986-1990 ( (Bachelor of Political Science, Master of Fine Arts in Cinema) and is co-founder and editor of the art book publishing house onestar press. In addition to numerous exhibition participations, including the Centre Pompidou in Paris and the Landesmuseum Österreich in St. Pölten, Austria, the Institut Français in Vienna showed a comprehensive solo exhibition of the artist in 2014. In 2017, de Ganay realized a highly acclaimed installation for the Kunsthalle Krems. de Ganay lives and works in Austria. de Ganay produces minimalist abstract art works, painting, relief and wall sculpture. Sculptures made of aluminum, linen fabric, plastic, oil painting, wood and other materials. de Ganay joins a tradition of experimental artists. In this sense, for example, the Achromes by the Italian Arte-Povera artist Piero Manzoni, created in the 1960s, point the way for de Ganay's examination of folded linen fabric. "The process of de Ganay's Painting is the process of thought itself; it is a process which turns not away from painting, but towards it. And rather than seeing painting as closure, he presents his work to us as a space of multiple openings, layers, shadows and reflections. Painting is, as much as an object or a process, a state of flux." (Adrian Searle, art critic for The Guardian, London (1994)) In the style of Readymades and Arte Povera, de Ganay starts out from a simple utility material and combines this with an examination of the surface in the tradition of Minimal Art. He designed a limited edition chair "PLEASE" a “4 Piece Chair” customized by John Baldessari, Lawrence Weiner and Rirkrit Tiravanija. SELECT SOLO EXHIBITIONS: 2019 CRISS CROSS - Sébastien de Ganay, Raffaella della Olga, Galerie Steinek, Wien, Österreich "Flip, Flop, Flux", Galerie Ruzicska, Salzburg, Austria 2018 "und, und, und", rauminhalt harald bichler, Vienna, Austria 2017 "Fold on Fold", Häusler Contemporary, Lustenau, Austria "Transposition an Reproduction", Kunsthalle Krems in der Dominikanerkirche, Krems, Austria 2016 "Space on the Move", Hausler Contemporary, Zurich, Switzerland 2015 "Fold", Häusler Contemporary, Munich, Germany "Folded Flat" Galerie Ruzicska, Salzburg, Austria 2014 "Turn the green light on", Institut Français in Palais Clam-Gallas, Vienna, Austria "over again forever" Galerie Steinek, Vienna, Austria 2013 Sébastien de Ganay, "Carton Sculptures", rauminhalt harald bichler, Vienna, Austria St. Moritz Art Masters, Schlosserei, St. Moritz, Switzerland "you are here", Galerie Günter Salzmann, Innsbruck, Austria 2010 Presentation of the "All in one"-project, Galerie Renos Xippas, Paris, France 2009 "Catalogue", Daniel Abate Galeria, Buenos Aires, Argentina 2005 "Máscaras, más cajas, más caras", Daniel Abate Galeria, Buenos Aires, Argentina 2004 "Artist Quarterly", Sotheby’s, Vienna, Austria 2002 Galerie Jacqueline Rabouan-Moussion, Paris, France 2001 "Blanchiment d’argent et haute couture", Galerie Jacqueline Rabouan-Moussion, Paris, France SELECT GROUP EXHIBITIONS: 2019 "THE OTHER IS ONESELF", FRANZ JOSEFS KAI 3, Vienna, Austria "Sculptura", Iris Andraschek, Babi Badalov, Khaled Barakeh, Bernhard Cella, Adriana Czerni, Ramesch Daha, Sébastien de Ganay, Raffaella della Olga, Julius Deutschbauer, Sylvia Eckermann, Anna Jermolaewa, Bouchra Khalili, Thomas Locher, Jonathan Monk, Klaus Mosettig, Rudolf Polansky, Hans Schabus, Slavs & Tatars Gerold Tagwerker, Florian Unterberger, Costa Vece, Martin Walde, Lawrence Weiner, Nil Yalter...

This is an artistic weaving depicting the old city of Jerusalem. Signed in Hebrew and dated verso. it is all Hand Woven. Esther Bensimon is a native of Argentina. She graduated from the Teacher’s College of Yeshiva University in New York City and immigrated to Israel in 1968. She is held in high regard as both an artist and a human being. Perpetually fascinated by the world of art, Esther Bensimon originally fulfilled her yearning to become a part of it by weaving magnificent wall hangings. She was accepted, early in her career, as a member of The House of Quality, the prestigious Jerusalem artist cooperative where she opened her first studio. It is a prestigious venue with sculpture by David Palombo and artists studios Zelig Segal, Ori Resheff, Avi Biran, Menachem Berman...

Magda Watts (Israeli, b.1928) Handmade Folk Art Sculpture Tourists. Hand signed to underside, Dimensions: 12"h x 14.5" l x 7.5"d. Magda Watts, Holocau...

Theo Meier (1908-1982) View of the Village of Iseh, painted from the house of Theo Signed and dated 48 Theo Meier lower left Oil on canvas, 68.5 x 50 cm In original frame carved by the artist. Note: Theo Meier arrived in Bali in 1936 with the intention of going on to Tahiti where he had been before. However Bali turned out to be the paradise he had been searching for in his dreams and he had no desire any more to move elsewhere. Bali at that time was still a very traditional place where society lived according to an acient religious system and in a luscious tropical setting the modern world was ignored. Here he met Walter Spies...

Marurn V The vases from are made of ceramic and glazed and fired in different ways. The black case is fired Rau and on the lid is printed batik stamp. Each lid has its own theme - t...

Abstract expressionist oil painting with assembled objects by Bay Area artist Michael Pauker (American, b. 1957). Against a yellow and black background, the artist has attached several objects, including plastic letters, cigar boxes, and glass slides. Unsigned, but was acquired with a collection of his work. Unframed. Image size: 20"H x 24"W Bay Area artist and art educator Michael Pauker was born in New York in 1957 and knew he wanted to be an artist from the age of 15. He earned a Bachelor’s in Fine Arts at SUNY Purchase in his native state of New York. In 1989 he went on to earn an M.F.A at Mills College in Oakland and was awarded the City of Oakland Artist Fellowship in Painting. He has been a Bay Area resident since 1988. His work has been exhibited widely across the U.S., as well as in Japan and Costa Rica, and is included in the collection of the Fine Arts Museums of San Francisco. Exhibitions include: 2007 Contemporary Art Museum, San Jose, Costa Rica 2007 “The Ebay Art Project,” Works/San Jose, San Jose, CA 2003 “Found Imagery: The Art of Collage,” Fresno Art Museum,Fresno, CA 2003 “Cut, Copy, Paste,” De Saisset Museum, Santa Clara, CA 2003 “20th Annual Exhibition,” Berkeley Art Center, Berkeley, CA 2002 “40 by 40...

printed fabric, thread, sequins and ink ARTIST STATEMENT: ICONS I work on an intimate scale, creating delicate, hand-stitched images of imposing, dazzling, iconic women. They are ...

medium: reclaimed button-down shirts on birch plywood panel Born in 1971 in Cincinnati, Ohio, CARLTON SCOTT STURGILL received his Masters of Arts (Fine Art) from London’s Chelsea Co...

In this sculptural piece, Linda King Ferguson has cut a piece of linen canvas into a half-diamond shape, with an ellipsis cut-out close to the scalloped right edge. A red cotton thread completes the second half of the diamond shape, then hangs from the bottom corner, evoking the image of a kite. King Ferguson's paintings are abstractions of the female body. She chooses to use linen...

Painter and sculpture Artist Natalie Krainin creates artworks using the innovative method of Fabric Texture Art. This technique, which resonates deeply with her professional roots, a...

Painter and sculpture Artist Natalie Krainin creates artworks using the innovative method of Fabric Texture Art. This technique, which resonates deeply with her professional roots, a...

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...

Patricia Miranda's work includes interdisciplinary installation, textile, paper and books. The textiles incorporated in these new pieces are vintage linens from her Italian and Irish grandmothers and sourced from friends and strangers around the country. Each donation is documented and integrated into the work. Textile as a form that wraps the body from cradle to grave. The role of lacemaking in the lives of women both economically and historically is packed with metaphorical potential. The relationship of craft and women’s work (re)appropriated by artists today to environmental and social issues is integral to the artist's research. Her work is process oriented; materials are submerged in natural dyes from oak gall wasp nests, cochineal insects, turmeric, indigo, and clay. She forages for raw materials, cook dyes, grind pigments, ecofeminist actions that consider environmental impacts of objects. The process is left visible as dyestuff is unfiltered in the vat and finished work. Sewn into larger works, Miranda incorporates hair, pearls, bone beads, Milagros, cast plaster. The distinct genetics and environmental and cultural history of each material asserts its voice as collaborator rather than medium. The lace inserts a visceral femininity into the pristine gallery, and exerts a ghostly trace of the history of domestic labor. The combination of earth and lace references human and environmental devastation and the conflation of nature and women’s bodies as justifications for exploitation. Mournful and solastalgic, they are lamentations to the violence against women and the earth. Patricia Miranda is an interdisciplinary artist, curator, educator, and founder of The Crit Lab, graduate-level critique seminars and Residency for artists, and MAPSpace project space. She has been Visiting Artist at Vermont Studio Center, the Heckscher Museum, and University of Utah; and been awarded residencies at I-Park, Weir Farm, Vermont Studio Center, and Julio Valdez Printmaking Studio. She received an Anonymous Was a Woman Covid19 Artist Relief Grant, an artist grant from ArtsWestchester/New York State Council on the Arts, and was part of a year-long NEA grant working with homeless youth. Miranda currently teaches graduate curatorial studies at Western Colorado University, and develops programs for K-12, museums, and institutions such as Franklin Furnace. Her work has been exhibited at ODETTA, NYC; ABC No Rio, NYC; Alexey von...

The text you see on Medusa XXI’s canvas was taken from real newsfeeds of BBC, CNN and other major media. The series is limited to a total of 21 artworks, and in every new copy of Med...

Fabric doll 7 x 3 x 2.5 inches This artwork is offered by ClampArt, located in New York City

State of Mind, Contemporary Woven Tapestry, Abstract Textile Wall Sculpture, Viscosed silk, cotton cloth, jersey dots, 102” x 95”, 2016 by textile artist, Ane Henriksen...

Linda Stein, Spoon to Shell 1003 - Mixed Media Shell Wood Contemporary Assemblage Sculpture Spoon to Shell 1003 is from Linda Stein's Holocaust Heroes: Fierce Females series, which ...

Linda Stein, Spoon to Shell 1023 - Mixed Media Shell Wood Contemporary Assemblage Sculpture Spoon to Shell 1023 is from Linda Stein's Holocaust Heroes: Fierce Females series, which ...

Antonio Puri's "Tantra" sculptural painting is one of 100 intimately-scaled minimalist round mandala circles built from tiny seed beads adhered to canvas in a range of red hues, crea...

Yvette Cohen’s oil paintings of geometric masses of color on shaped canvas become objects that fluctuate between two and three dimensions, bridging the divide between sculpture and ...

"Framed and Draped: Material Collection", acrylic on abaca, dyes on rayon; woven, 63" x 38", 1989. This contemporary abstract mixed media tapestry was done by California-based Ameri...

Patricia Miranda's work includes interdisciplinary installation, textile, paper and books. The textiles incorporated in these new pieces are vintage linens from her Italian and Irish grandmothers and sourced from friends and strangers around the country. Each donation is documented and integrated into the work. Textile as a form that wraps the body from cradle to grave. The role of lacemaking in the lives of women both economically and historically is packed with metaphorical potential. The relationship of craft and women’s work (re)appropriated by artists today to environmental and social issues is integral to the artist's research. Her work is process oriented; materials are submerged in natural dyes from oak gall wasp nests, cochineal insects, turmeric, indigo, and clay. She forages for raw materials, cook dyes, grind pigments, ecofeminist actions that consider environmental impacts of objects. The process is left visible as dyestuff is unfiltered in the vat and finished work. Sewn into larger works, Miranda incorporates hair, pearls, bone beads, Milagros, cast plaster. The distinct genetics and environmental and cultural history of each material asserts its voice as collaborator rather than medium. The lace inserts a visceral femininity into the pristine gallery, and exerts a ghostly trace of the history of domestic labor. The combination of earth and lace references human and environmental devastation and the conflation of nature and women’s bodies as justifications for exploitation. Mournful and solastalgic, they are lamentations to the violence against women and the earth. Patricia Miranda is an interdisciplinary artist, curator, educator, and founder of The Crit Lab, graduate-level critique seminars and Residency for artists, and MAPSpace project space. She has been Visiting Artist at Vermont Studio Center, the Heckscher Museum, and University of Utah; and been awarded residencies at I-Park, Weir Farm, Vermont Studio Center, and Julio Valdez Printmaking Studio. She received an Anonymous Was a Woman Covid19 Artist Relief Grant, an artist grant from ArtsWestchester/New York State Council on the Arts, and was part of a year-long NEA grant working with homeless youth. Miranda currently teaches graduate curatorial studies at Western Colorado University, and develops programs for K-12, museums, and institutions such as Franklin Furnace. Her work has been exhibited at ODETTA, NYC; ABC No Rio, NYC; Alexey von...

Patricia Miranda's work includes interdisciplinary installation, textile, paper and books. The textiles incorporated in these new pieces are vintage linens from her Italian and Irish grandmothers and sourced from friends and strangers around the country. Each donation is documented and integrated into the work. Textile as a form that wraps the body from cradle to grave. The role of lacemaking in the lives of women both economically and historically is packed with metaphorical potential. The relationship of craft and women’s work (re)appropriated by artists today to environmental and social issues is integral to the artist's research. Her work is process oriented; materials are submerged in natural dyes from oak gall wasp nests, cochineal insects, turmeric, indigo, and clay. She forages for raw materials, cook dyes, grind pigments, ecofeminist actions that consider environmental impacts of objects. The process is left visible as dyestuff is unfiltered in the vat and finished work. Sewn into larger works, Miranda incorporates hair, pearls, bone beads, Milagros, cast plaster. The distinct genetics and environmental and cultural history of each material asserts its voice as collaborator rather than medium. The lace inserts a visceral femininity into the pristine gallery, and exerts a ghostly trace of the history of domestic labor. The combination of earth and lace references human and environmental devastation and the conflation of nature and women’s bodies as justifications for exploitation. Mournful and solastalgic, they are lamentations to the violence against women and the earth. Patricia Miranda is an interdisciplinary artist, curator, educator, and founder of The Crit Lab, graduate-level critique seminars and Residency for artists, and MAPSpace project space. She has been Visiting Artist at Vermont Studio Center, the Heckscher Museum, and University of Utah; and been awarded residencies at I-Park, Weir Farm, Vermont Studio Center, and Julio Valdez Printmaking Studio. She received an Anonymous Was a Woman Covid19 Artist Relief Grant, an artist grant from ArtsWestchester/New York State Council on the Arts, and was part of a year-long NEA grant working with homeless youth. Miranda currently teaches graduate curatorial studies at Western Colorado University, and develops programs for K-12, museums, and institutions such as Franklin Furnace. Her work has been exhibited at ODETTA, NYC; ABC No Rio, NYC; Alexey von...

Patricia Miranda's work includes interdisciplinary installation, textile, paper and books. The textiles incorporated in these new pieces are vintage linens from her Italian and Irish grandmothers and sourced from friends and strangers around the country. Each donation is documented and integrated into the work. Textile as a form that wraps the body from cradle to grave. The role of lacemaking in the lives of women both economically and historically is packed with metaphorical potential. The relationship of craft and women’s work (re)appropriated by artists today to environmental and social issues is integral to the artist's research. Her work is process oriented; materials are submerged in natural dyes from oak gall wasp nests, cochineal insects, turmeric, indigo, and clay. She forages for raw materials, cook dyes, grind pigments, ecofeminist actions that consider environmental impacts of objects. The process is left visible as dyestuff is unfiltered in the vat and finished work. Sewn into larger works, Miranda incorporates hair, pearls, bone beads, Milagros, cast plaster. The distinct genetics and environmental and cultural history of each material asserts its voice as collaborator rather than medium. The lace inserts a visceral femininity into the pristine gallery, and exerts a ghostly trace of the history of domestic labor. The combination of earth and lace references human and environmental devastation and the conflation of nature and women’s bodies as justifications for exploitation. Mournful and solastalgic, they are lamentations to the violence against women and the earth. Patricia Miranda is an interdisciplinary artist, curator, educator, and founder of The Crit Lab, graduate-level critique seminars and Residency for artists, and MAPSpace project space. She has been Visiting Artist at Vermont Studio Center, the Heckscher Museum, and University of Utah; and been awarded residencies at I-Park, Weir Farm, Vermont Studio Center, and Julio Valdez Printmaking Studio. She received an Anonymous Was a Woman Covid19 Artist Relief Grant, an artist grant from ArtsWestchester/New York State Council on the Arts, and was part of a year-long NEA grant working with homeless youth. Miranda currently teaches graduate curatorial studies at Western Colorado University, and develops programs for K-12, museums, and institutions such as Franklin Furnace. Her work has been exhibited at ODETTA, NYC; ABC No Rio, NYC; Alexey von...

This monumental abstract fiber art sculpture was created in the mid-1960s by renowned Detroit artist, Jane Knight. She is best known for her elaborate large-scale wall textile installations...

Eric Rhein “Clarrisa” 1989 Accompanied by a certificate of authenticity Wire, suede, brocade fabric, and found objects 16.5 x 17.5 x 8.5 inches (41.9 x 44.5 x 21.6 cm) This work...

Andra Samelson’s work explores the relationship of microcosm and macrocosm, the celestial and terrestrial. Her imagery is often associated with molecular and galactic systems. Combin...

Linda Stein, Spoon to Shell 916 - Mixed Media Shell Wood Contemporary Assemblage Sculpture Spoon to Shell 916 is from Linda Stein's Holocaust Heroes: Fierce Females series, which hi...

Linda Stein, Spoon to Shell 915 - Mixed Media Shell Wood Contemporary Assemblage Sculpture Spoon to Shell 915 is from Linda Stein's Holocaust Heroes: Fierce Females series, which hi...