David Tanych Art

"Sitting Girl on Panel" is a bronze sculpture of a nude sitting female on a rustic panel. Edition 30, signed, numbered and dated on the back. The rustic panel can be hung on a wall ...

Upon discovering a weathered steel drum that had been warped to resemble the sleeve of a garment, artist Gordon Chandler was inspired to embark on a series of kimono sculptures forme...

"Girl Sitting X" is a bronze sculpture of a nude sitting female on a wooden block. Edition 18, signed, numbered and dated on the bottom. The wooden block can be hung on a wall (come...

Totems is a set of sculptures by French contemporary artist Frédérique Domergue. The sculptures are made with oxidized zinc and bronze leaves on aluminum, patina fixed with oak slats...

Trail of Prayers by Denny Haskew Figurative Female Bust 66x16x20" Bronze/Walnut #20/20 ​sold out edition available on the secondary market, sold...

About the artist : Siri Hollander’s entire process started from an innate desire to work in large format but being self-taught she had to create her own system through trial and erro...

Vibration n°2 is a bronze sculpture by contemporary artist Martine Demal, dimensions including base (wood plinth, steel base) are 61 × 24 × 12 cm (24 × 9.4 × 4.7 in). The sculpture i...

Per Una Paret Llisa Here some fragments for one of his latest exhibition catalogue “I think that a work of art should puzzle viewers, make them reflect on the meaning of life” Antoni Tàpies Moisés Gil’s sculptures can be described as philosophical and conceptual, as they encourage individuals to reflect and act in a never-ending existential struggle, in the face of the multiple situations by which they are affected in contemporary societies. Art is always a form of communication: communication with and between the materials employed by the artist, giving rise to an aesthetic visual balance able to convey feelings, emotions and ideas, all of which are essential to a nonconformist commitment and worldview. Moisés Gil puts his representations of individuals in sculptural structures to better indicate the place of humans in the world, the place of contemporary individuals in their different environments, sometimes hostile; they are naked men...

Assegut a les Altes 3 Here some fragments for one of his latest exhibition catalogue “I think that a work of art should puzzle viewers, make them reflect on the meaning of life” An...

Upon discovering a weathered steel drum that had been warped to resemble the sleeve of a garment, artist Gordon Chandler was inspired to embark on a series of kimono sculptures forme...

Prose II is a bronze sculpture with green patina, it is connected to a steel base. The edition size is 25. This sculpture stands on shelf as well as be hung on wall. Joan captures th...

"Girl Sitting XIV" is a bronze sculpture of a nude sitting female on a wooden block. Edition 18, signed, numbered and dated on the bottom. The wooden block can be hung on a wall (comes with the hinges to hang up on the wall). The sculptress Susanne Kraisser is to be considered as part of the great modern figurative tradition. She was born in 1977 in Rosenheim, Southern Germany. She studied both at the Academy of Fine Arts Nuremberg and the University of Arts in Bremen. She graduated with distinction in 2007 in Nuremberg and received her Diploma with distinction in 2008 in Bremen. She has won numerous awards and exhibits nationally as well as internationally. Artist Statement: For me, sculpture is particularly shape and material, volume and size, space, movement and statics. I focus on the ‘female body’, presenting it either as an intimate miniature or on a monumental scale – each time as a solitary figure. In terms of content, my work focuses on identifying and combining polarities, such as instability and strength, fragility and solidity, activity and passivity, movement and statics, balance and volume, and dependence and autarchy. I work predominantly with the materials bronze, aluminium and wood. The small miniatures are made from wax and are then cast in bronze as part of what is known as the wax smelting process. Large-scale pieces are similarly cast in aluminium or created directly out of wood. The various work processes and tools determine the appearance of the surface; for wax, it’s my hands, and for wood, it’s my chainsaw. Each material is a new challenge for me. My previous wood-sculpting studies involved respecting the material’s limits to create craft of solid quality in keeping with the material. But this is where the intense discussion and its limit become clear. I fight with the material, and a lot of things go wrong. It becomes my opponent, whose limits I test out and reset if necessary. Cautious movements requiring a lot of physical tension are maintained without losing their inner dynamics. Amidst the often harmonious external form is a harsh dissonance evidenced by the rough, fragmented design...