Carole A. Feuerman Mixed Media

Sculpture combining a Plexiglass box displaying a plastic/resin character enhanced with acrylic paint and real customized candies are scattered around the base of the sculpture. Ins...

Betsy Enzensberger sculpts works that create a visceral longing and remembrance of the most nostalgic delights from childhood. The artist uses the familiarity of those sweet treats t...

Artist: Jim Pallas (1941) Title: Flying Phallus and Winged Vulva Year: 2018 Medium: Pigmented epoxy on ceramic Size: 3.5 x 4 inches, each Condition: Exc...

Sculpture combining a Plexiglass box displaying a plastic/resin character enhanced with acrylic paint and real customized candies are scattered around the base of the sculpture. Ins...

Sculpture combining a glass box displaying a plastic/resin character enhanced with acrylic paint and real customized candies are scattered around the base of the sculpture. Instead ...

Artist: Jim Pallas (1941) Title: Pink flying Phallus with Black Wings Year: 2016 Medium: Epoxy on ceramic, brass Size: 3.5 x 4.5 x 2.5 inches Condition...

Cheeky references to pop culture and the societal context. Grounded in a postmodern vernacular, Alben’s paintings and sculptures are a pastiche of art historical moments including P...

There is a metaphorical interplay between the natural imagery international artist, Jennyfer Stratman, uses and its multiple meanings. While the human figure features strongly, it is...

Betsy Enzensberger sculpts works that create a visceral longing and remembrance of the most nostalgic delights from childhood. The artist uses the familiarity of those sweet...

First Bite,female figure holding apple,garden of eden,bronze sculpture Williams First Bite, female figure holding apple, garden of eden, bronze sculpture Expressing Situations and Beings in Human Form Sculptor Troy Williams unites the timeless and the contemporary in sculptures of rare beauty and meaning Beyond all the narrative potential of the three obvious physical dimensions of Troy Williams’ sculpture there are many other considerations that contribute greatly to the enjoyment, appreciation, and understanding of his entrancing 360-degree works of figurative art. Among these are the emotional responses and intellectual interpretations that first go into the artist’s creative process and then into every subsequent spectator’s viewings at least somewhat differently each time. Some artists insist on leaving these entirely up to each viewer, but Williams is glad to enrich the experience by inviting the viewer in for a little insight into the artist’s intention. Certain ambiguities and unintended provocations might otherwise arise, as Williams uses original combinations of materials or ideas in highly original ways. For the sophisticated clientele of Glenn Green Galleries Williams specializes in figurative and facial sculptures hewn from fallen woods he finds while running near his home in the mountains of north central New Mexico. Williams has in the past worked with exotic woods, but now avoids them in a desire to protect the people, plants, and animals that depend on a vibrant, healthy, and unexploited local ecosystems. Finding dead and downed wood also introduces an element of serendipitous chance into the sculptor’s process of selection and inspiration. Nature provides an exquisite mass of workable solids, surfaces, patterns, and curves in cottonwood and the many varieties of juniper this sculptor favors. Troy Williams simply rescues these from the elements and then elevates them to timeless treasures by relating them to themes that express our deepest nature. Awake to the most beautiful twists, turns, and striations already present in these found mediums, Williams is naturally and passionately drawn to every stage of freeing the underlying sculpture. Following the wood’s ingrained tendencies is always a creative guide for Williams. Growing up in an Indiana farming community, his dad a family practice doctor and his mother an artist, Troy has always felt an affinity for the earth and especially its mountains. He initially came west to study agriculture at Fort Lewis College in Durango, Colorado, attracted there by a setting where his athletic nature could find full expression. His interest in an agriculture career gave way to his love of the mountains. In order to continue living in them and enjoy the hiking, climbing, and running he also loved, Troy worked for several years in a solar business, progressing from manufacturing to installations to design. On a fortuitous errand for a cousin back home, Troy happened into silversmithing and began producing simple, hammered ear cuffs. At this point the artistic nature that he had earlier suppressed in favor of athletics began to emerge strongly, and he expanded into more complex designs as he learned and mastered goldsmithing and lapidary. Another quantum leap occurred when he made his first copper face for a pendant. He couldn’t wait to see the face on a larger scale and was eager for the challenge of learning another art. He began sculpting metal, then stone, then came upon wood as his medium of choice. Wood had immediate allure: scented, expanding, contracting, and seeming to breathe. Williams was seduced by its warmth, the play of light on the complexion of its grain, and the inherent life force so evident in wood. He also learned to coax creative advantage from some of wood’s pitfalls, like soft spots, tricky grains composed of woody xylem and softer phloem; and to avoid the conditions that make it splinter. A quality of segmentation or fragmentation characterizes Williams’s sculptures and provides great visual satisfaction along with intriguing thematic provocation. One is struck by the beautiful outlines that might never be apparent had Williams not removed segments or created interior voids expressly to reveal them. When sculpting a face, Williams focuses on aspects that are mask-like, floating, and alive with contours that might not be visible were the artist to sculpt the full head. The segmentation in his exquisitely refined female figurative works incorporates solids, hollows, and curvilinear elements for reasons that are at once artistic, philosophical, and experiential. Besides attending basic college art classes, to understand more fully the human figure, Troy spent a summer in Europe...

Eilene, bronze portrait, female by John Waddell, Arizona sculptor Waddell was born in Des Moines, Iowa in 1921 and moved to Evansville, Indiana at the age of ten. There he began to ...

There is a metaphorical interplay between the natural imagery international artist, Jennyfer Stratman, uses and its multiple meanings. While the human figure features strongly, it is...