Found Objects Sculptures

Love America by Guy-Philippe Bruhammer, French (1967 – ) Date: 2025 Mini Rubber Ducks in Resin Size: 10 x 5 in. (25.4 x 12.7 cm) Frame Size: 13 x 9 inches

This piece gradually transitions in tone from white through grey into black, creating a delicate and intricate structure that houses small artifacts of memory. The found objects and ...

This sculpture titled "You Are Here: Pink" is an original artwork by Kelly Kozma made of thread scraps & acrylic on panel. Kozma's work is supported by her practice of collecting...

One of a kind mixed-media sculpture by Philip Kuznicki from the Spirit exhibition. Comes in its original frame. Born in Dunkirk NY, Kuznicki started his career working for artists su...

This fibers, drawing, and sculptural work titled "Soft Swirl" is an original artwork by Kelly Kozma made of hand-embroidery, colored pencil, and acrylic paint on paper. The artist us...

This piece titled "Diptych: Egg Bag & Insect Net" is an original artwork made from beeswax, quail eggs, mica, plastic, copper, linen, and silverpoint, moun...

This piece titled "Matrescence" is an original artwork by Crystal Stokowski and is made from upcycled mixed media. This piece measures 16” diameter. About Space 1026...

This sculpture titled "Have A Day" is an original artwork by Kelly Kozma as part of her newest exhibition, "Watch Me Backflip." This collection is made up of meticulously fabricated ...

This found object sculpture titled "Tape recorder" is an original artwork by Ulla-Stina Wikander made of needlepoint embroidery and vintage object. Her i...

This sculpture titled "Small Fruit Press" is an original artwork by Ulla-Stina Wikander made of needlepoint embroidery and vintage object. This piece measu...

Lil Wayne, 17.5 x 14 x 9 inch, Figurative Beaded Sculpture on Vintage Kewpie Jan Huling was born in Chicago and raised in St. Louis. After attending the Kansas City Art Institute sh...

This Lady Gaga marionette sculpture is made of found objects in Pablo Cano's signature style. Some of the elements include: plastic bowl, a metal candy dish, soda cans plastic credit cards, and a potato masher among other found objects. Born in Havana, Cuba in 1961, Pablo Cano was on the last flight out of the country before the Cuban Missile Crisis of 1962. He has since been a resident of Miami’s Little Havana, and is regarded by art patrons and critics alike as one of Florida’s premier contemporary fine artists. Since childhood, marionettes have fascinated Pablo. At the age of ten, he was mounting elaborate plays for his family featuring puppets constructed of household bric-a-brac. His primary work today continues to center around the marionettes that he fashions from found objects, and the performance pieces he composes to showcase these protagonists. Cano reveals, “I create a dream world where inanimate objects come to life – springing from my imagination in the Surrealist tradition. But my work is founded on Dada ideals. The Dadaists used chance, spontaneity, and childlike innocence in order to create their statement. Their intention, as is mine, was to break with tradition and painting technique and to return to the elemental basics of art; to start from scratch; to allow the process of imagination to unfold and begin anew each time I create.” Influences from the color palette of Russian Constructivist Alexandra Exter...

Samantha Combs says of her work... In my work, the shower serves as both a literal and metaphorical refuge—a private site where the emotional and cognitive remnants of daily life ar...

Jan Huling was born in Chicago and raised in St. Louis. After attending the Kansas City Art Institute she started her career in greeting card design at Hallmark. She now works in New...

Fab filly. All about feeling fabulous. We all need moments of feeling fabulous and this filly is an inspiration. Some time we need a little encouragement to live bold. This mare has...

PAUL VILLINSKI has created studio and large-scale artworks for more than three decades. Villinski was born in York, Maine, USA, in 1960, son of an Air Force navigator. He has lived and worked in New York City since 1982. A scenic route through the educational system included stops at Phillips Exeter Academy and the Massachusetts College of Art, and a BFA with honors from the Cooper Union for the Advancement of Science and Art in 1984. He lives with his partner, the painter Amy Park, and their son, Lark, in their studios in Long Island City, NY. His work has been included in numerous exhibitions nationally. A mid-career retrospective, “Farther,” is currently on view at The Taubman Museum of Art in Roanoke, VA, through July, 2018. Recent solo exhibitions include “Paul Villinski: Burst” at the McNay Art Museum in San Antonio, TX and “Passage: A Special Installation,” at the Blanton Museum, University of Texas, Austin. Recent group shows include “Material Transformations” at the Montgomery Museum of Art, Montgomery, AL; “Re: Collection,” at the Museum of Arts and Design, New York, NY; “Making Mends,” at the Bellevue Museum of Arts, Bellevue, WA; and “Prospect .1,” an international Biennial in New Orleans, LA. “Emergency Response Studio,” a FEMA trailer transformed into an off-the-grid mobile artist...

This piece titled "This piece titled "Day in the Life: Chimaera #12" is an original piece by Kate VanVliet and is made from eggshell, mica, and acrylic. This piece measures 4”h x 2.5...

Nir Adoni's metal vessels sculptures have become his signature art and are displayed in public buildings around the world. We are offering limited editions ...

A beautiful street art, abstract Mannequin Bust decorated by artist Angel Ortiz. Here we find this stylish bust figure with the artist signature tag...

This piece titled "BEACH CIGS" is an original painted sculpture by Jim Houser made of assembled objects. This piece measures approximately 7”h x 12”w x 3.5”d. It includes the pictured cigarette...

This white wall-hanging artwork titled "Close Enough" is an original artwork by Rosa Leff made of hand-cut paper towel. This piece measures 12"h x 12"w fra...

Cheeky references to pop culture and the societal context. Grounded in a postmodern vernacular, Alben’s paintings and sculptures are a pastiche of art historical moments including P...

Contemporary Mixed Media Tapestry, Wall Sculpture, Metals, Found Objects, Beads John Garrett was raised in southern New Mexico by parents who were both educators. They instilled in...

This piece titled "Donut (Chocolate)" is an original piece by Kate VanVliet and is made from eggshells, mica, and PVA. This piece measures 3.5”h x 3.5”w x 1.5”d and ships with the pi...

This piece titled "Donut (Mint)" is an original piece by Kate VanVliet and is made from eggshells, mica, and PVA. This piece measures 3.5”h x 3.5”w x 1.5”d and ships with the picture...

This piece titled "Chimaera: Green #13" is an original piece by Kate VanVliet and is made from eggshells, mica, and PVA. This piece measures 3.5”h x 2.5”w x 2.5”d and ships with the ...

This piece titled "Day in the Life: Double Yolk #1" is an original piece by Kate VanVliet and is made from eggshell, mica, and acrylic. This piece measures 4”h x 2.5”w x 2.5”d, and i...

This piece titled "Day in the Life: Chimaera #12" is an original piece by Kate VanVliet and is made from eggshell, mica, and acrylic. This piece measures 4”h x 2.5”w x 2.5”d, and is ...

This piece titled "Day in the Life: Green #41" is an original piece by Kate VanVliet and is made from eggshell, mica, and acrylic. This piece measures 4”h x 2.5”w x 2.5”d, and is shi...

This piece titled "Day in the Life: Green #82" is an original piece by Kate VanVliet and is made from eggshell, mica, and acrylic. This piece measures 4”h x 2.5”w x 2.5”d, and is shi...

This piece titled "Pelvic Pelt" is an original artwork by PJ Linden and is made from dimensional paint on found object. This piece measures 22”h x 25”w x 6”d. Born 1985 Bethlehem, Pennsylvania. PJ Linden is a New York City and Pennsylvania-based fine artist known for her abstract, three-dimensional work. She paints with machine-like precision, creating microscopic patterns on found objects, fashion, and technology. Linden got her start working with Patricia Field, creating custom, one-of-a-kind art and fashion under the name Wonderpuss Octopus. At Field's iconic, namesake boutique, Linden's work caught the eye of celebrity clients including Beyonce, Willow Smith, Kelly Osborne, and Solange Knowles...

In the mid 1990s Richard Klein started working with found glass objects, including bottles, drinking glasses, ashtrays, and eyeglasses. Initially, Klein rejected any object with commercial or advertising content, but in 2015 he became fascinated with the promotional content that was screen printed on ashtrays from the 1950s, 1960s and early 1970s. This period was before smoking was looked at as being primarily a negative habit, and iconic American businesses, including Howard Johnson’s, International House of Pancakes (iHop) and Holiday Inn, all produced promotional ashtrays printed with their graphic identity. By the time Klein became interested in these objects, the businesses had either ceased to exist, or had changed their logos, and many of their signature buildings, which where examples of classic, “Pop” roadside architecture, has been torn down or repurposed. The artist wanted to connect the glass objects with the business’s sites that were still recognizable and spoke of their history, so he began researching where original buildings still stood. Klein then embarked on a series of road trips to photograph these sites with the intention of combining the photographs with the promotional glass objects. This led him to as far south as Maryland and as far north as upstate New York from his home in Connecticut. In the case of Holiday Inn, it wasn’t their buildings, but their iconic illuminated sign that appeared on ashtrays, so he sought out a standing example of the sign he could photograph. As it turned out all had been removed years before from the hotels' properties and the only working example was indoors at the Henry Ford Museum in Dearborn, Michigan. He did, however, find out that there was one still standing, surprisingly, in Beruit, Lebanon. He found an image of it on the web and used it to make Holiday Inn (Beruit). In 1973 Holiday Inn changed their tagline from “The Nations Innkeeper” to “The World’s Innkeeper” as they expanded overseas, including the Mideast. For the hotel chain it was bad timing: the disastrous Lebanese civil war began in 1975. In the war, the different Lebanese militias involved in the conflict, including the Nasserites, Christian Phalangists, and the Lebanese National Movement engaged in what came to be called “The Battle of the Hotels” where they each occupied a major high-rise hotel in central Beruit. The Phalangists commanded the Holiday Inn, which they used to fire with both light arms and heavier weapons at the militias in neighboring hotels. Klein used the photo of the heavily damaged Holiday Inn sign as I thought it spoke in a curious, offhanded way about American cultural imperialism in juxtaposition with an ashtray that proclaimed Holiday Inn to be “The World’s Innkeeper.” In the work Holiday Inn (Nocturne) the artist utilized a found, 35mm slide of a Holiday Inn sign at night at an unknown location as the basis of the photograph in the work. Richard Klein is a Connecticut-based artist, independent curator and writer. As an artist, he has exhibited widely, including the Neuberger Museum of Art at SUNY Purchase; Caren Golden Fine Art, New York; the John Michael Kohler Arts Center, Sheboygan, WI; Hales Gallery, London; Gavlak Gallery, Palm Beach, FL; deCordova Sculpture Park and Museum, Lincoln, MA; James Barron Art, Kent, CT; The Portland Institute of Contemporary Art (PICA), Portland, OR; Schoolhouse Gallery, Provincetown, MA; Stephan Stoyanov Gallery, NY; Katonah Museum of Art, Katonah, NY; Brattleboro Museum and Art Center, Brattleboro, VT; Ortega y Gasset Projects, Brooklyn, NY; Exhibit by Alberson Tulsa, OK; Incident Report/Flow Chart Foundation, Hudson, NY; ICEHOUSE Project Space, Sharon, CT; Kenise Barnes Fine Art in Kent, CT and with ODETTA Gallery at the Equity Gallery in New York City.. Reviews of his work have appeared in Two Coats of Paint, Whitehot Magazine, The New York Times, Sculpture Magazine, Art in America, and The New Yorker. In the summer of 2024 he will be the first Artist-In-Residence at Peck Ledge Light...

Over the past few years, Jesse Hickman has been making minimal abstract paintings on wood with few constraints. He calls this series Notes, thinking of these pieces as drawn sketches...

Samantha Combs says of her work... In my work, the shower serves as both a literal and metaphorical refuge—a private site where the emotional and cognitive remnants of daily life ar...

"Internal Release" Abstract Relief Sculpture. Carved sculpture and painting by Mickey "Kano" Kane (American, 20th century). This large-scal...

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...

Artist

KAT FLYN is a self-taught assemblage artist working presently out of San Diego. She began her career as a costume designer in Southern California. Over the years she amassed a trove ...

"This narrative questions the storyline that the wolf was the threat; but rather the Huntsman was the predator." KAT FLYN is a self-taught assemblage artist working presently out of San Diego. She began her career as a costume designer in Southern California. Over the years she amassed a trove of artifacts and collectables which she began using to create assemblage art in the 1990’s. In 2000 she sold her business and moved to Cuyamaca, a remote community in the mountains outside of San Diego to devote herself exclusively to her artwork. In 2003 her work was interrupted when the Cedar Fire swept through San Diego county and destroyed the forest, her home & studio along with almost all of her collections and works of art. Following the fire she relocated to San Francisco, where she spent a decade concentrating on her art in her studio in SOMA and exhibiting at galleries in the Bay Area. In 2015 she returned to San Diego and now works out of her studio in La Jolla, exhibiting there and in Los Angeles. Kat Flyn refers to herself as an Assemblage Sculptor and her works as Political Art or Protest Art. She separates herself from other assemblage artists in that she only employs “saved” as opposed to “found” objects in her work; and her pieces always have a political or cultural narrative to them rather than being surreal or abstract. She also constructs or refashions many of the pieces which she uses in her art, for example she turns a soft drink box into a tenement building in Affordable Housing 2017, a jewelry box into a wheelchair in Last Lily Foot 2016, an old shoe shine box...

KAT FLYN is a self-taught assemblage artist working presently out of San Diego. She began her career as a costume designer in Southern California. Over the years she amassed a trove of artifacts and collectables which she began using to create assemblage art in the 1990’s. In 2000 she sold her business and moved to Cuyamaca, a remote community in the mountains outside of San Diego to devote herself exclusively to her artwork. In 2003 her work was interrupted when the Cedar Fire swept through San Diego county and destroyed the forest, her home & studio along with almost all of her collections and works of art. Following the fire she relocated to San Francisco, where she spent a decade concentrating on her art in her studio in SOMA and exhibiting at galleries in the Bay Area. In 2015 she returned to San Diego and now works out of her studio in La Jolla, exhibiting there and in Los Angeles. Kat Flyn refers to herself as an Assemblage Sculptor and her works as Political Art or Protest Art. She separates herself from other assemblage artists in that she only employs “saved” as opposed to “found” objects in her work; and her pieces always have a political or cultural narrative to them rather than being surreal or abstract. She also constructs or refashions many of the pieces which she uses in her art, for example she turns a soft drink box...

In the body of work for “Child’s Play” Roleke has created diminutive worlds in which toys tell the story of consumption, consumerism, war, and the misuse of power and religion. The m...

Milgrim’s sculpture practice is restless by nature, evolving every few years and incorporating new materials and concepts. She utilizes a diverse range of industrial, found, and dist...

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...

Jo Yarrington’s photographs, prints, works on paper, glass sculptures and architecturally-based installations have been shown in exhibitions at the Aldrich Contemporary Art Museum, Yale University, Cornell University, the Museum of Glass, the DeCordova Museum and Sculpture Park, Artists Space, St. John the Divine Cathedral, Grounds for Sculpture, the Museum of American Glass and ODETTA, among others. International exhibitions have included Guangzhou Academy of Fine Arts Museum, Glasgow School of Art, Glasgow Cathedral, Glasgow University, Galeria Sala Uno and Centro de las Artes de Guanajuato. She represented the United States at the Sharjah Biennial, United Arab Emirates and participated in the Berlin Biennial. in 2010 she received the Bronze Prize, the Museum of Contemporary Art, Skopje, Macedonia. Yarrington is a recipient of artist grants and Fellowships from the Pollock Krasner Foundation, the New York Foundation for the Arts, the Pennsylvania Council on the Arts and the Connecticut Commission on Culture and Tourism. She has received Residency Fellowships from the MacDowell Colony, the Museum of Glass, the Museum of American Glass, the Bridge Virtual Residency/ SciArt Center, the Lucile Walton Fellow/Mountain Lake Biological Station, the Virginia Center for Creative Arts, the Anderson Center and the Ucross Foundation, among others. International grants and fellowships have included the Banff Center for Arts and Creativity/Canada, SIMS Residency/ Iceland, Cill Rialaig Artists Residency/Ireland, the Burren College of Art Residency/Ireland and the American Scandinavian Foundation. She is a Professor of Visual and Performing Arts at Fairfield University and lives and works in New York City. STATEMENT In site-specific exhibitions, public art commissions, collaborative and individual projects Jo Yarrington has used varied combinations of glass, waxed surfaces, found artifacts and experimental analog photography to investigate the way we perceive – searching for, experimenting with and developing throughout a sensory-based vernacular. Her mostly translucent materials function as physical framework and symbolic membrane. Light, both natural and ambient, provides a kinetic or time-based element to her work. Scale and the integration of architecture are also pivotal components. In the 6-part installation for the two-person exhibition Illuminated, Yarrington continues her interest in the connections between vision, sound and language. In Mute-ability: Compositions 1 – 6, her title for this light-based comprehensive work, she combines the words mute and malleability. The work focuses on found piano rolls, a music storage medium, originally conceived as coded notations or ‘note control data’ for music produced in pneumatic player pianos...

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...

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 is a monumental sculpture which gives us a conversation about our relationship with the natural world. It is not only a straight up beautiful form of our majestic elk but it is ...

Jo Yarrington’s photographs, prints, works on paper, glass sculptures and architecturally-based installations have been shown in exhibitions at the Aldrich Contemporary Art Museum, Yale University, Cornell University, the Museum of Glass, the DeCordova Museum and Sculpture Park, Artists Space, St. John the Divine Cathedral, Grounds for Sculpture, the Museum of American Glass and ODETTA, among others. International exhibitions have included Guangzhou Academy of Fine Arts Museum, Glasgow School of Art, Glasgow Cathedral, Glasgow University, Galeria Sala Uno and Centro de las Artes de Guanajuato. She represented the United States at the Sharjah Biennial, United Arab Emirates and participated in the Berlin Biennial. in 2010 she received the Bronze Prize, the Museum of Contemporary Art, Skopje, Macedonia. Yarrington is a recipient of artist grants and Fellowships from the Pollock Krasner Foundation, the New York Foundation for the Arts, the Pennsylvania Council on the Arts and the Connecticut Commission on Culture and Tourism. She has received Residency Fellowships from the MacDowell Colony, the Museum of Glass, the Museum of American Glass, the Bridge Virtual Residency/ SciArt Center, the Lucile Walton Fellow/Mountain Lake Biological Station, the Virginia Center for Creative Arts, the Anderson Center and the Ucross Foundation, among others. International grants and fellowships have included the Banff Center for Arts and Creativity/Canada, SIMS Residency/ Iceland, Cill Rialaig Artists Residency/Ireland, the Burren College of Art Residency/Ireland and the American Scandinavian Foundation. She is a Professor of Visual and Performing Arts at Fairfield University and lives and works in New York City. STATEMENT In site-specific exhibitions, public art commissions, collaborative and individual projects Jo Yarrington has used varied combinations of glass, waxed surfaces, found artifacts and experimental analog photography to investigate the way we perceive – searching for, experimenting with and developing throughout a sensory-based vernacular. Her mostly translucent materials function as physical framework and symbolic membrane. Light, both natural and ambient, provides a kinetic or time-based element to her work. Scale and the integration of architecture are also pivotal components. In the 6-part installation for the two-person exhibition Illuminated, Yarrington continues her interest in the connections between vision, sound and language. In Mute-ability: Compositions 1 – 6, her title for this light-based comprehensive work, she combines the words mute and malleability. The work focuses on found piano rolls, a music storage medium, originally conceived as coded notations or ‘note control data’ for music produced in pneumatic player pianos...

This piece titled "SEgg Canoes: Duck #9-11" is an original piece by Kate VanVliet and is made from eggshell, mica, 3-D printed PETG, acrylic, pine. This piece measures 4”h x 10”w x 2...

This piece titled "Chimaera: Green #11" is an original piece by Kate VanVliet and is made from eggshells, mica, and PVA. This piece measures 2.5”h x 2”w x 2”d ands with the pictured ...

This piece titled "Day in the Life: Green #22" is an original piece by Kate VanVliet and is made from eggshell, mica, and acrylic. This piece measures 4”h x 2.5”w x 2.5”d, and is shi...

This piece titled "Day in the life: Green #25" is an original piece by Kate VanVliet and is made from eggshell, mica, and acrylic. This piece measures 4”h x 2.5”w x 2.5”d, and is shi...

This piece titled "Day in the Life: Green #33" is an original piece by Kate VanVliet and is made from eggshell, mica, and acrylic. This piece measures 4”h x 2.5”w x 2.5”d, and is shi...

This piece titled "Day in the Life: Green #90" is an original piece by Kate VanVliet and is made from eggshell, mica, and acrylic. This piece measures 4”h x 2.5”w x 2.5”d, and is shi...

KAT FLYN is a self-taught assemblage artist working presently out of San Diego. She began her career as a costume designer in Southern California. Over the years she amassed a trove of artifacts and collectables which she began using to create assemblage art in the 1990’s. In 2000 she sold her business and moved to Cuyamaca, a remote community in the mountains outside of San Diego to devote herself exclusively to her artwork. In 2003 her work was interrupted when the Cedar Fire swept through San Diego county and destroyed the forest, her home & studio along with almost all of her collections and works of art. Following the fire she relocated to San Francisco, where she spent a decade concentrating on her art in her studio in SOMA and exhibiting at galleries in the Bay Area. In 2015 she returned to San Diego and now works out of her studio in La Jolla, exhibiting there and in Los Angeles. Kat Flyn refers to herself as an Assemblage Sculptor and her works as Political Art or Protest Art. She separates herself from other assemblage artists in that she only employs “saved” as opposed to “found” objects in her work; and her pieces always have a political or cultural narrative to them rather than being surreal or abstract. She also constructs or refashions many of the pieces which she uses in her art, for example she turns a soft drink box...

Jo Yarrington’s photographs, prints, works on paper, glass sculptures and architecturally-based installations have been shown in exhibitions at the Aldrich Contemporary Art Museum, Y...

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...

Artist: Arman, French/American (1929 - 2005) Title: Paintbrushes I Year: 1991 Medium: Paintbrushes and Oil Paint in Epoxy Resin Sculpture, Signature and number inscribed Edition: 20,...

One of a kind mixed-media sculpture by Philip Kuznicki from the Spirit exhibition. Comes in its original frame. Born in Dunkirk NY, Kuznicki started his career working for artists su...

One of a kind mixed-media sculpture by Philip Kuznicki from the Spirit exhibition. Comes in its original frame. Born in Dunkirk NY, Kuznicki started his career working for artists su...