Tanis Saxby

Porcelain Sculpture: 'Caterpillar'

2022

By sculpting both material and space around it, I want my sculptures to appear to move, to assert themselves; to change and grow, to move within, affect and break free from the solid...

By sculpting both material and space around it, I want my sculptures to appear to move, to assert themselves; to change and grow, to move within, affect and break free from the solid...

"An oyster is a seemly simple creature although through its miraculous structure can create something as beautiful as a pearl. It’s outer shell seems impenetrable yet the inside is s...

An oyster is a seemly simple creature although through its miraculous structure can create something as beautiful as a pearl. Its outer shell seems impenetrable yet the inside is sof...

The artistic collaboration of Kelly Bugden + Van Wifvat has produced a thought-provoking body of sculptures, paintings, and constructions. Nature, childhood memories, and everyday archetypes take shape in unexpected combinations of materials. The works emerged as the tactile and visual senses channeled the ritualistic power and materiality of selected artifacts. The resulting objects exist in a space between what they were originally and what they could become. A wheel, for example, is distorted as if seen through a prism. Their collaboration grew out of years of shaping materials into one-of-a-kind objects. Intuitively, the process of creating with their hands took an inward turn. Prism is a travelogue through memories and dreams, yielding abstract forms that capture moments of transformation. Van Wifvat grew up with eight siblings and studied sculpture and environmental design in Minneapolis at MCAD. In 1979, he opened a storefront art gallery to promote the work of local artists. The space featured printed materials—art books, periodicals, fanzines, and postcard’s. Wifvat moved to New York in 1983 to study at the Fashion Institute of Technology and Parsons. In 1987, he co-founded Van Gregory & Norton design studio, specializing in convex mirrors and curtain hardware...

As an artist, I am a storyteller wielding visual art as my medium. My creative journey is fueled by a relentless thirst for knowledge acquired through both hands-on experience and ke...

Divyendu Anand - Roots Liquid Metal Coating over Composite of Stone Glass & Polyester Resin Black Granite H 32 x W 20 x D 18 inches, 2019 Growing up wi...

Divyendu Anand - Eternal Beauty Liquid Metal Coating over Composite of Stone Glass & polyester Resin Black Granite H 31 x W 18.5 x D 19 inches, 2020 Gr...

This piece was inspired by nature, it resembles the constant ocean movement and water formations represented in waves. The artists used sand, resin and pulverized minerals in order t...

Midnight Blue, a ceramic relief sculpture of high-fired porcelain pigmented with oxides, paint and epoxy, is a recent work by New York artist Harold Wortsman. This sculpture is ready to be mounted to the wall. Note the artist's hand in the mark-making – cuts and radiating lines, the suggestion of maps, geometry and counting systems – it is characteristic of Wortsman's practice. Warm, contemporary, uniquely crafted, yet speaks to ancient, tribal traditions of art-making that cross cultures and histories. Highly attuned to the art of Africa, the Middle East, India and Asia, his forms are organic abstracts with masculine and feminine attributes that resonate together as a pleasing enigma. They make sense immediately, yet never give up all their secrets. Midnight Blue was recently exhibited at Harold Wortsman: Time and Space, Orange Art Foundation, New York City, February 2022. From Harold Wortsman – "With sculpture, my material of choice is high-fired clay. Pieces are first low-fired in an electric kiln. I do not use glazes. Instead, I use oxides applied to the bisqued (low-fired) clay. As with a tattoo, oxides permit the surface underneath to breathe—like naked skin. The work is then high-fired in a gas kiln with double reduction to cone 10. The final temperature is 2,300 degrees F. At a certain point, oxygen intake is reduced to the kiln. Because the fire has reached a critical mass, it needs oxygen and chemically takes it from the clay and the oxides painted on. Like a jazz improvisation, each kiln load comes out slightly different." From Jonathan Goodman – "Wortsman has increasingly moved into his own – a place in which the relations between the abstractions of volume and the intimations of very old culture are merged in a way that is new." – Essay, "Harold Wortsman: Time and Space", Orange Art Foundation, February 2022, New York City. Harold Wortsman is a sculptor and printmaker based in Brooklyn, NY. He “creates forms that bring to mind archaic cult objects and exude a quiet concentrated strength.” (Argauer Zeitung, Switzerland). His work, an edgy mix of freedom and clarity, can be found in public and private collections in the US, including The Library of Congress, Yale University, The New York Public Library Print Collection, The New York Historical Society, Smith College, Indiana University’s Lilly Library, Brandeis University, The Newark Public Library Special Collections Division, and the Jane Voorhees Zimmerli Art Museum Print Archive. Also in private and public collections in Europe, including the Municipal Collection of the City of Brugg, Switzerland. Harold studied at the New York Studio School of Drawing, Painting and Sculpture, with sculptor George Spaventa...

While her work ranges in scale from dainty diminutive pedestal objects to large sprawling installations, there is a common thread that runs through these seemingly disparate bodies o...

A one of a kind 15" x 15" x 9" Surreal Abstract Mixed Media Resin Porcelain Ceramic Sculpture executed by artist Sasha Koozel Reibstein. A certificate of authenticity will be provide...