Helen Weber

1970s Large Wood, Copper Inlay Sculpture Wall Relief Tropical Flowers Motif

c.1970s

It has a variegated texture to it. It is signed and titled. Large format drawing or painting in pastel or crayon. pastoral landscape with boulders and rocks in pasture. Dennis Leon, was a San Francisco Bay Area sculptor and art instructor Mr. Leon was chairman of the sculpture department at the California College of Arts and Crafts in Oakland from 1972 to 1988. He remained a faculty member until his retirement as professor emeritus in 1993. A vibrant work in pastel with the energy and texture seen in the work of Wolf Kahn. He was born in London, England and emigrated in 1951 to the United States, where he studied at Temple University in Philadelphia. He graduated with art degrees, including a master's degree in fine art. He served in the U.S. Army and the Army Reserve from 1957 to 1963. In 1959, Mr. Leon joined the faculty of the Philadelphia Museum College of Art. He also worked as an art critic for the Philadelphia Inquirer until 1962. After coming to the Bay Area, he held his first local one-man show of sculpture in 1973, at the James Willis...

It has a variegated texture to it. It is signed and titled. Large format drawing or painting in pastel or crayon. pastoral landscape with boulders and rocks in pasture. Dennis Leon, was a San Francisco Bay Area sculptor and art instructor Mr. Leon was chairman of the sculpture department at the California College of Arts and Crafts in Oakland from 1972 to 1988. He remained a faculty member until his retirement as professor emeritus in 1993. A vibrant work in pastel with the energy and texture seen in the work of Wolf Kahn. He was born in London, England and emigrated in 1951 to the United States, where he studied at Temple University in Philadelphia. He graduated with art degrees, including a master's degree in fine art. He served in the U.S. Army and the Army Reserve from 1957 to 1963. In 1959, Mr. Leon joined the faculty of the Philadelphia Museum College of Art. He also worked as an art critic for the Philadelphia Inquirer until 1962. After coming to the Bay Area, he held his first local one-man show of sculpture in 1973, at the James Willis...

It has a variegated texture to it. It is signed and titled. Large format drawing or painting in pastel or crayon. Dennis Leon, was a San Francisco Bay Area sculptor and art instructor Mr. Leon was chairman of the sculpture department at the California College of Arts and Crafts in Oakland from 1972 to 1988. He remained a faculty member until his retirement as professor emeritus in 1993. A vibrant work in pastel with the energy and texture seen in the work of Wolf Kahn. He was born in London, England and emigrated in 1951 to the United States, where he studied at Temple University in Philadelphia. He graduated with art degrees, including a master's degree in fine art. He served in the U.S. Army and the Army Reserve from 1957 to 1963. In 1959, Mr. Leon joined the faculty of the Philadelphia Museum College of Art. He also worked as an art critic for the Philadelphia Inquirer until 1962. After coming to the Bay Area, he held his first local one-man show of sculpture in 1973, at the James Willis...

Pascal Kern (1952-2007) Icone (three panel triptych), 1987 Cibachrome print, inn copper handmade frame. (One is empty of photo on purpose.) Bearing artist label and inscriptions (frame verso) 48 x 48 inches. (each) Provenance: the Ginny L Williams...

This unique set of four artworks, part of Natasha Lelenco's "nombre no válido" series, explores the concept of biophilia by merging natural motifs with digital iconography. Crafted on reclaimed cork oak wood sourced from Galicia, each piece features a distinct emoticon—ranging from smiling to crying—formed through vibrant patterns of green leaves and delicate blue flowers. The artworks examine the relationship between human emotion, nature, and modern digital symbols, offering a cohesive narrative of interconnected themes. The irregularly shaped edges of each cork tondo are highlighted with contrasting yellow and blue paint, emphasizing their natural textures and sculptural presence. The use of bold colors and organic motifs creates a visual dialogue between the natural and artificial, with the emoticons serving as a universal language of emotion reinterpreted through the lens of nature. Together, the set presents a harmonious exploration of the evolving relationship between technology and the environment. Technical Details: Medium: Acrylic on reclaimed cork oak wood Dimensions: Each tondo measures [Include dimensions if available] Year: 2024 Style: Biophilic...

This sculptural artwork, part of Natasha Lelenco’s "nombre no válido" series, reflects on biophilia by blending natural textures with digital iconography. Created on a reclaimed piece of cork oak wood from tree cuttings in Galicia, the irregular shape of the tondo serves as a natural frame for a vibrant, anthropomorphic crying face emoticon. Painted with rich green and blue tones, the central design incorporates forms reminiscent of lily pads, subtly weaving organic motifs into a universally recognized digital symbol. The contrasting yellow and blue edges emphasize the natural irregularities of the cork, while the central face creates a thought-provoking juxtaposition between nature and the artificial. The textured grain of the cork wood combined with the bold colors and smooth painted surface adds a dimensional quality, making the piece both visually striking and tactile. Technical Details: Medium: Acrylic on reclaimed cork oak wood Dimensions: 35cm diameter aprox and 5cm thick Year: 2024 Style: Contemporary, biophilic, sculptural painting Conceptual Insight: This piece reimagines digital communication through the lens of biophilia, exploring humanity’s connection to nature while questioning how artificial symbols like emoticons influence emotional expression. By integrating natural elements into a digital motif, Lelenco highlights the tension between organic forms and contemporary visual language. About the Series: The "nombre no válido" series by Natasha Lelenco bridges nature and technology, using reclaimed cork wood as a medium to reinterpret digital symbols within natural, sculptural compositions. Each piece invites reflection on themes of communication, identity, and the evolving role of visual language in the digital age. Additional Information: Perfect for collectors seeking contemporary artworks that combine conceptual depth with natural materials, this piece is a versatile addition to any collection. Lelenco also accepts commissions, offering the opportunity to create custom works tailored to personal themes or spaces. Keywords: biophilic art, crying face emoticon, cork wood painting, nature-inspired sculpture, Natasha Lelenco, reclaimed cork oak, digital and natural motifs, contemporary tondo art, green and blue painting, emoticon-inspired art, sculptural contemporary painting, organic textures, abstract nature art.

his biophilic artwork, "nombre no válido 3", bridges the digital and natural worlds by presenting a sad face emoticon integrated into an organic composit...

This artwork, "nombre no válido 1", is part of Natasha Lelenco’s "nombre no válido" series, created on a tondo of reclaimed cork oak wood sourced from Galicia. The piece explores the concept of biophilia—the inherent human connection to nature—by reimagining a smiling emoticon using vibrant green leaf patterns and delicate blue flowers. The emoticon emerges subtly from the foliage, combining digital symbolism with organic design to reflect on the intersection of modern communication and the natural world. The irregularly shaped edges of the cork, painted with contrasting yellow and blue tones, highlight its sculptural quality and natural texture. This combination of organic materials and digital imagery invites a dialogue about how technological symbols, like emoticons, can be recontextualized in a biophilic framework. The smiling face represents a moment of understated contentment, integrated seamlessly into the natural motifs of leaves and flowers, emphasizing the coexistence of nature and human emotion in contemporary visual language. Technical Details: Medium: Acrylic on reclaimed cork oak wood Dimensions: [Include dimensions if available] Year: 2024 Style: Biophilic, contemporary, nature-inspired Conceptual Insight: Natasha Lelenco’s "nombre no válido" series examines the ways in which digital culture intersects with humanity’s biophilic tendencies. By merging emoticons with organic motifs, the series reflects on the adaptation of artificial symbols into a naturalistic aesthetic, underscoring the tension between digital abstraction and the timeless connection to the environment. About the Series: The "nombre no válido" series challenges conventional notions of communication and emotion by presenting digital symbols, like emoticons, through the lens of biophilia. Using reclaimed cork wood as a medium, each piece explores themes of identity, nature, and the blending of artificial and organic elements, offering a thought-provoking perspective on modern visual culture. Additional Information: This artwork is ideal for collectors interested in contemporary art that integrates natural materials with conceptual depth. Natasha Lelenco welcomes commissions for customized pieces that align with personal themes or spaces. Keywords: biophilia art, reclaimed cork painting, leaf-inspired emoticon, nature and digital symbols, contemporary sculptural painting, Natasha Lelenco art, cork oak tondo, green and blue abstract art, emoticon-inspired design, eco-conscious artwork, organic and digital blend, modern biophilic art...