Past Present Future

Artist Statement (General) How to capture the past, present and future at the same time; this is at the center of my work as an artist and as a father, son, friend and lover.

Artist Statement (General) How to capture the past, present and future at the same time; this is at the center of my work as an artist and as a father, son, friend and lover.

Artist Statement (General) How to capture the past, present and future at the same time; this is at the center of my work as an artist and as a father, son, friend and lover.

Artist Statement (General) How to capture the past, present and future at the same time; this is at the center of my work as an artist and as a father, son, friend and lover.

Artist Statement (General) How to capture the past, present and future at the same time; this is at the center of my work as an artist and as a father, son, friend and lover.

Three-stone rings are traditionally worn to symbolise the past, present, and future of a relationship, making this an especially meaningful choice for an engagement, anniversary, or ...

For Burdeny, creating this aesthetics of ambivalence—one that neither glamorizes nor entirely humbles his subjects—is important to his intention to present each place as “hovering so...

Artist Statement (General) How to capture the past, present and future at the same time; this is at the center of my work as an artist and as a father, son, friend and lover.

For Burdeny, creating this aesthetics of ambivalence—one that neither glamorizes nor entirely humbles his subjects—is important to his intention to present each place as “hovering so...

For Burdeny, creating this aesthetics of ambivalence—one that neither glamorizes nor entirely humbles his subjects—is important to his intention to present each place as “hovering so...

For Burdeny, creating this aesthetics of ambivalence—one that neither glamorizes nor entirely humbles his subjects—is important to his intention to present each place as “hovering so...

For Burdeny, creating this aesthetics of ambivalence—one that neither glamorizes nor entirely humbles his subjects—is important to his intention to present each place as “hovering so...

For Burdeny, creating this aesthetics of ambivalence—one that neither glamorizes nor entirely humbles his subjects—is important to his intention to present each place as “hovering so...

For Burdeny, creating this aesthetics of ambivalence—one that neither glamorizes nor entirely humbles his subjects—is important to his intention to present each place as “hovering so...

For Burdeny, creating this aesthetics of ambivalence—one that neither glamorizes nor entirely humbles his subjects—is important to his intention to present each place as “hovering so...

For Burdeny, creating this aesthetics of ambivalence—one that neither glamorizes nor entirely humbles his subjects—is important to his intention to present each place as “hovering so...

For Burdeny, creating this aesthetics of ambivalence—one that neither glamorizes nor entirely humbles his subjects—is important to his intention to present each place as “hovering so...

For Burdeny, creating this aesthetics of ambivalence—one that neither glamorizes nor entirely humbles his subjects—is important to his intention to present each place as “hovering so...

SKU: A30317408, I30313746 Celebrate enduring love with this breathtaking 18k White Gold Five Stone Diamond Wedding Band, a timeless design that beautifully symbolizes past, present,...

The arched upper nimbus is carved in openwork and centered with three seated Buddhas arranged in a triangular configuration, an iconography associated with the Trikāya (Three Bodies ...

Product Description: Symbolic of the past, present and future, this three stone ring is a great way to celebrate your love story.

For Burdeny, creating this aesthetics of ambivalence—one that neither glamorizes nor entirely humbles his subjects—is important to his intention to present each place as “hovering so...

For Burdeny, creating this aesthetics of ambivalence—one that neither glamorizes nor entirely humbles his subjects—is important to his intention to present each place as “hovering so...

For Burdeny, creating this aesthetics of ambivalence—one that neither glamorizes nor entirely humbles his subjects—is important to his intention to present each place as “hovering so...

For Burdeny, creating this aesthetics of ambivalence—one that neither glamorizes nor entirely humbles his subjects—is important to his intention to present each place as “hovering so...

For Burdeny, creating this aesthetics of ambivalence—one that neither glamorizes nor entirely humbles his subjects—is important to his intention to present each place as “hovering so...

For Burdeny, creating this aesthetics of ambivalence—one that neither glamorizes nor entirely humbles his subjects—is important to his intention to present each place as “hovering so...

For Burdeny, creating this aesthetics of ambivalence—one that neither glamorizes nor entirely humbles his subjects—is important to his intention to present each place as “hovering so...

For Burdeny, creating this aesthetics of ambivalence—one that neither glamorizes nor entirely humbles his subjects—is important to his intention to present each place as “hovering so...

For Burdeny, creating this aesthetics of ambivalence—one that neither glamorizes nor entirely humbles his subjects—is important to his intention to present each place as “hovering so...

For Burdeny, creating this aesthetics of ambivalence—one that neither glamorizes nor entirely humbles his subjects—is important to his intention to present each place as “hovering so...

For Burdeny, creating this aesthetics of ambivalence—one that neither glamorizes nor entirely humbles his subjects—is important to his intention to present each place as “hovering so...

For Burdeny, creating this aesthetics of ambivalence—one that neither glamorizes nor entirely humbles his subjects—is important to his intention to present each place as “hovering so...

For Burdeny, creating this aesthetics of ambivalence—one that neither glamorizes nor entirely humbles his subjects—is important to his intention to present each place as “hovering so...

For Burdeny, creating this aesthetics of ambivalence—one that neither glamorizes nor entirely humbles his subjects—is important to his intention to present each place as “hovering so...

His work has appeared in significant museum exhibitions including Constant as the Sun at the Museum of Contemporary Art Cleveland; FRONT International-associated exhibitions at the C...

For Burdeny, creating this aesthetics of ambivalence—one that neither glamorizes nor entirely humbles his subjects—is important to his intention to present each place as “hovering so...

We Were Happy That Day captures a state familiar to everyone: a brief sense of inner wholeness, when past, present, and future align within a single day.

A prominent rare and very collectible evening piece by a designer who continues to amaze in the past, the present and the future. Size: 42/10 Bust: to 34"; waist: 34"; hips: o/a 40"...

The exhibition invites the audience to experience a unique sensory journey through the sinuous, sculptural forms of the pieces, telling a dialogue between the past, present, and futu...

Marble Sculpture / Side table in Marble / Marble Stool - Made in Italy Past, present and future come together in this sculptural piece by Spinzi.

About the manufacturer: In a continuing dialogue between past, present, and future, Cassina has created the I Maestri collection, revisiting furnishing designs by the twentieth centu...

The identical parallel lines that make up the painting personify the temporal dimensions (past, present, and future) as they were being created.

About the manufacturer: In a continuing dialogue between past, present, and future, Cassina has created the I Maestri collection, revisiting furnishing designs by the twentieth centu...

Classic and meaningful, this Trilogy Round Aquamarine 14K Rose Gold Ring symbolizes the past, present, and future with its trio of carefully selected gemstones.

About the manufacturer: In a continuing dialogue between past, present, and future, Cassina has created the I Maestri collection, revisiting furnishing designs by the twentieth centu...

For Burdeny, creating this aesthetics of ambivalence—one that neither glamorizes nor entirely humbles his subjects—is important to his intention to present each place as “hovering so...

For Burdeny, creating this aesthetics of ambivalence—one that neither glamorizes nor entirely humbles his subjects—is important to his intention to present each place as “hovering so...

For Burdeny, creating this aesthetics of ambivalence—one that neither glamorizes nor entirely humbles his subjects—is important to his intention to present each place as “hovering so...

For Burdeny, creating this aesthetics of ambivalence—one that neither glamorizes nor entirely humbles his subjects—is important to his intention to present each place as “hovering so...

For Burdeny, creating this aesthetics of ambivalence—one that neither glamorizes nor entirely humbles his subjects—is important to his intention to present each place as “hovering so...

For Burdeny, creating this aesthetics of ambivalence—one that neither glamorizes nor entirely humbles his subjects—is important to his intention to present each place as “hovering so...

For Burdeny, creating this aesthetics of ambivalence—one that neither glamorizes nor entirely humbles his subjects—is important to his intention to present each place as “hovering so...

For Burdeny, creating this aesthetics of ambivalence—one that neither glamorizes nor entirely humbles his subjects—is important to his intention to present each place as “hovering so...

For Burdeny, creating this aesthetics of ambivalence—one that neither glamorizes nor entirely humbles his subjects—is important to his intention to present each place as “hovering so...

The three stone arrangement is traditionally associated with the past, present and future, giving the ring added sentimental significance.

For Burdeny, creating this aesthetics of ambivalence—one that neither glamorizes nor entirely humbles his subjects—is important to his intention to present each place as “hovering so...

For Burdeny, creating this aesthetics of ambivalence—one that neither glamorizes nor entirely humbles his subjects—is important to his intention to present each place as “hovering so...

For Burdeny, creating this aesthetics of ambivalence—one that neither glamorizes nor entirely humbles his subjects—is important to his intention to present each place as “hovering so...

For Burdeny, creating this aesthetics of ambivalence—one that neither glamorizes nor entirely humbles his subjects—is important to his intention to present each place as “hovering so...