John Henry Sculptures

Roger Phillips Kinetic Sculpture Painted iron and aluminum on walnut plinth base 44 1/2 inches high x 13 inches wide x 7 3/4 inches deep oger Phillips was born in New York City in ...

From the artifacts of Leonardo Da Vinci, to the mythical Icarus and the innumerable inventions of NASA, the human being does not stop manifesting one of its deepest desires: to fly. ...

From ancient times, the materiality of clay has presented itself as a metaphor for human self-transformation. In recent decades, visual artists have leveraged this metaphor to explor...

“Untitled” 2018-2019 Porcelain, Paper Clay Cone 6 Size: 54 in. x 54 in. COA provided Danielle Weigandt explores the construct of events in time and their role in our lives. Time can...

Anisa, made up of mosaic-like structures, demonstrates how the repetition of the same element can cause it to be perceived very differently, depending on the angle from which it is v...

From the artifacts of Leonardo Da Vinci, the mythical Icarus, and the innumerable inventions of NASA, the human being does not stop manifesting one of our deepest desires: to fly. Pe...

Maki's work is influenced by early Modernist Abstraction, while her combination of materials and technique make the pieces uniquely her own. This work, in subtle shades of white, gra...

The arrow has a great symbolic meaning, related to elements of different natures such as protection, love, hunt, and orientation. "Ero" refers to this as an evolution symbol and the ...

Forrest Myers Untitled geometric abstraction, 1976 Painted aluminum Signed in the metal with the artist's incised initials (FM) and stamp numbered 52/75; bears Treitel-Gratz foundry ...

This abstract geometric wall sculpture was done by fiber artist, Jin-Sook So (b. 1950, Korea). So’s work is informed by her time spent in Korea, Sweden and Japan. She uses transpar...

This red, geometric, contemporary, outdoor steel sculpture is by French-Canadian artist Phillipe Pallafray. Available on commission, please allow 4-6 weeks for completion. Four stain...

This painting by Linda King Ferguson is part of her equivalence series, which began as a feminist project; works that subvert the historically male gaze and a material language speaking of gendered concerns. While typically, King Ferguson paints both sides of the canvas and cuts a flap on the the frontside to reveal the color of the back of the canvas, she unexpectedly does the opposite here. The painting is hung from the "frontside" of the canvas, revealing to us the raw edges of her linen canvas, stapled to the stretchers. Two oblong shapes of pink and red dominate the center of the painting. A thin semioval cut has been made inside of both of these shapes. Her color choices first came from Helen Molesworth’s essay, Painting With Ambivalence, published in WACK! Art of the Feminist Revolution. The Essay includes a large reproduction of Mary Heilmann’s 1979 painting...