Found Objects Sculptures

Kathleen Vance explores environmental issues such as water conservation and protection through positive stewardship of the land. She looks to convey an appreciation of nature and tra...

"Pepe" is a striking metal sculpture of a wild pig, showcasing an exceptional combination of industrial aesthetics and natural form. Crafted from textured, rust-toned metal, the scul...

Eric Rhein “Cave Branch (self portrait)” 2010 Signed, verso Silver gelatin print, sterling silver, bronze, and found objects 25 x 24 x 4 inches (63.5 x 61 x 10.2 cm), framed Thi...

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...

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...

Lonnie Holley Untitled - Face , circa 1989 Mixed media sculpture, found and assembled objects 25 x 16 1/2 x 4 1/2 inches Since 1979, Holley has dedicated his life to the realm of improvisational creativity. His artistic expressions and musical works, emerging from adversity and challenges, but even more so from a relentless curiosity and innate need, have taken form in various mediums such as drawing, painting, sculpture, photography, performance, music, and filmmaking. Holley’s sculptures are crafted from found objects, reflecting the ancient traditions of African American sculpture...

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...

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...

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...

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...

Roleke creates politically aware work. Her wall reliefs are composed of multitudes of plastic toys, oddly sexualized Disney characters and Happy Meal trinkets. Through investigation ...

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...

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...

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...

Liz Sweibel primarily makes sculpture, installations, and drawings. She uses a spare, personal language of abstraction to explore liminal spaces and unseen forces: wind, history, va...

Radioluminescence is the phenomenon by which light is produced in a material by bombardment with ionizing radiation and can be used as a low-level light source for night illumination of instruments or signage or other applications where light must be produced for long periods without external energy sources. Radioluminescent paint used to be used for clock hands and instrument dials...

This flat file installation is a kind of Wunderkammer – a Cabinet of Wonder or Curiosity containing a small idiosyncratic collection of select wonders and oddities of the natural wor...

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...

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...

Radioluminescence is the phenomenon by which light is produced in a material by bombardment with ionizing radiation and can be used as a low-level light source for night illumination of instruments or signage or other applications where light must be produced for long periods without external energy sources. Radioluminescent paint used to be used for clock hands and instrument dials...

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...

Joseph Fucigna is a multi-media artist whose work is rooted in process, play and the innate qualities of the materials used. Through experimentation, play and innovation he creates sculptures, paintings and drawings that are known for their power to transform materials, inventiveness and odd but suggestive subject matter. The ultimate goal is to create an artwork that is a perfect balance between suggestive content, and the formal qualities of the material that allow both to be active participants. Joseph Fucigna received his Masters of Fine Arts degree from the School of Visual Arts in New York City. He also attended the Triangle Workshop in Pine Plains, NY and worked with the renowned sculptor Sir Anthony Caro and critic Clement Greenberg. Fucigna is a full-time Professor of Art at Norwalk Community College and is the Chair of the Studio Arts Program. Fucigna has also taught in the Art Department at the State University of New York, Stony Brook. Presently, he resides and works in Weston, CT. Fucigna has exhibited nationally including shows at the Fitchburg Art Museum in Massachusetts, Real Art Ways in Connecticut, the United Nations, Grounds for Sculpture in New Jersey, the Lyman Allyn Art Museum in Connecticut, the New York State Museum in Albany, NY and the Burchfield Art Center in Buffalo NY. He has had one-person exhibitions at the Fred Giampietro Gallery, Sculpture Barn, Norwalk Community College Art Gallery, Artist Space New Haven and the Bannister...

"Eastern Puma" is a wonderfully morbid sculpture created by the Canadian artist Yulia Shtern. This piece is part of her Mini Zoo Series depicting beautifully decaying remnants of species on our planet that are currently endangered. An unfortunate truth of our current society that is often forgotten. Shtern creates these beautiful pieces to draw the viewer in and force them to engage with reality head-on. Follow our gallery, or message us for more works by Yulia Shtern and special pricing. From the artist "My new series of sculptures Magical Zoo observes this calamity through the prism of the wonder and playfulness of the natural world, through the miracle and majesty that is found in each and every animal, big and small, aquatic and land. The medium of the series consists of post mass consumption up-cycled material: paper products, packaging, non-recyclable plastics, fabric leftovers, other items that would have otherwise gone to a landfill. All the color on the finished sculptures comes from swatches of the up-cycled material itself. The only other substance added to the work is the transparent varnish glue. The pieces in the series are produced in an environmentally sustainable manner. Magical Zoo creates its own reality through the dualism of a colorful, whimsical representation of an animal whose habitat has been destroyed by industrial expansion or deforestation. Or an animal that was a hair away from going extinct, or an animal that could be next unless we do something today to stop this tragedy. The element of magic makes it easier to cope with the fact that our planet is dying...

Artist: Kay Ritter Title: Florist Medium: Papier-mache with metal watering can, glasses, papier-mache flowers Year: 1995 Size: 57 x 24 x 14 in. (...

This wood statue, used as a fetish, was created by an unknown Bacongo artist in Zaire. The Kongo people (also Bakongo) are a Bantu ethnic group primarily defined as the speakers of K...

Headdresses; embroideries, felted and crocheted yarn, stones, linen, and old photography.

This piece titled "Expecting to Fly" is an original piece by Kate VanVliet and is made from 30 repaired chicken eggs, brass, rubber, steel, plastic, and mica. This piece measures app...

This piece titled "Yoni" is an original piece by Kate VanVliet and is made from eggshells, mica, PVA. This piece measures 14.5”h x 9.5”w x 2.5”d and comes with 3-D printed screw cove...

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 "The Kiss (Pretzel)" is an original piece by Kate VanVliet and is made from eggshells, mica, PVA. This piece measures 6”h x 11.5”w x 8”d. Kate VanVliet is a sculpt...

This piece titled "Walking Stick" is an original piece by Kate VanVliet and is made from eggshells, mica, PVA. This piece measures 4”h x 32”w x 3”d and comes with 3-D printed screw ...

This piece titled "Chimaera: Green #8" is an original piece by Kate VanVliet and is made from eggshells, mica, and PVA. This piece measures 2.75”h x 2”w x 2”d and ships with the pict...

This piece titled "Peck" is an original piece by Kate VanVliet and is made from eggshells (bantam), mica, and PVA. This piece measures 3”h x 9”w x 7”d. Kate VanVliet is a sculptor a...

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 "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 "The Tickler" is an original piece by Kate VanVliet and is made from eggshells, mica, and PVA. This piece measures 2.5” x 5”x 3.5”. Kate VanVliet is a sculptor and...

This piece titled "Roly-Poly" is an original piece by Kate VanVliet and is made from eggshells, mica, and PVA. This piece measures 4”h x 3.5”w x 2.5”d. Kate VanVliet is a sculptor a...

This piece titled "Chimaera: White #1" 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 p...

This piece titled "Chimaera: Green #12" 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 "Chimaera: Green #9" 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 and ships with the pictu...

This piece titled "Chimaera: Green #12" 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 "Chimaera: Green #14" is an original piece by Kate VanVliet and is made from eggshells, mica, and PVA. This piece measures 2.75”h x 2”w x 2”d and ships with the pic...

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 "Fault Lines: Bantam #B7" is an original piece by Kate VanVliet and is made from eggshells, mica, and PVA. This piece measures 2”h x 1.5”w x 1.5”d and ships with th...

This piece titled "Chimaera: Brown #2" is an original piece by Kate VanVliet and is made from eggshells, mica, and PVA. This piece measures 3.75”h x 2”w x 2”d and ships with the pict...

This piece titled "Chimaera: Brown #4" is an original piece by Kate VanVliet and is made from eggshells, mica, and PVA. This piece measures 3.75”h x 2”w x 2”d and ships with a displa...

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 #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...

Eric Rhein “Butterfly Girl” 1992-1995 Accompanied by a certificate of authenticity Steel, brass, and gold-filled wire, thread, glue, and found object...

This is an 3-part painting / construction (assemblage) created from acrylic paint, wood, glass, and found objects. It includes several historic photograph of figures as well as many scenes from Black African American cultural history. Each piece measures 23" x 7.75" x 2.5", and they can be hung close together or far apart, depending on the buyer's preference. All pieces are wired with the appropriate hanging hardware and are ready to install, no additional framing needed. PROVENANCE: Exhibited in "Portals + Revelations: Richard J. Watson," the African American Museum in Philadelphia, Oct 2021 - Mar 2022. "Most of my works are supported by memories of the past and suggested realities. Issues of social politics, ancestral references, and astral projections are presented with fragmented elements of 'real life' collaged and collapsed, as dreams are prone to do. If connections are made, all the better. I feel that life should remind us of our dreams." - Richard J. Watson Richard J. Watson is an icon in the Philadelphia art world. Much of his work relates to his experiences as a Black African American man. He is a graduate of Pennsylvania Academy of the Fine Arts (1968), has taught at his alma mater, and has served in the Exhibitions Department at the African American Museum in Philadelphia since the 1980s. He has been exhibiting his work for decades, and has an extensive bibliography. His work is held in the Petrucci Family Foundation Collection of African American Art; the Pennsylvania Academy of the Fine Arts; the Uniworld Corporation; Sony; the Federal Reserve Bank; the City of Philadelphia; Sprint; the Church of the Advocate; the poet Dr. Sonia Sanchez; and the Woodmere Museum...

This piece titled "DUMPING GROUNDS" is an original artwork by Jim Houser and is made from acrylic, latex, and oil paints, steel can. This piece measures app...

This piece titled "CELLAR MUSIC" is an original artwork by Jim Houser and is made of assembled objects. This piece measures approximately 9.5”h x 8”w x 5.5”...

"Shop" James Bassler, brown paper Trader Joe's shopping bags, cut and twisted, with yellow and red waxed linen thread, 16" x 11" x 5", 2009. "Shop", by ...

This piece titled "NNNAPES!" is an original artwork by Jim Houser and is made of assembled objects. This piece measures approximately 30.5”h x 30.5”w x 7”d and ships in the pictured ...

This piece titled "NOCTURNE" is an original artwork by Jim Houser and is made of acrylic paint and assembled foud objects. This piece measures approx. 12.5”h x 9.5”w x 7”d and is fre...

This piece titled "RECLAIMERS" is an original artwork by Jim Houser and is made of acrylic paint and assembled objects. This piece measures approximately 10”h x 10”w x 3.5”d and was ...