Eric Pesso Abstract Sculptures

Metallic Enamel and Epoxy Resin on solid maple Scott Troxel draws on the aesthetics of bygone technology and the forward-looking designs of the Atomic Age and mid-century modernism ...

"The Bigger Picture" is an abstract artwork by Stan Olthuis composed of acrylic paint on pine wood and reclaimed picture frame. The Bigger Picture measures...

“Iris Crystals” is a rich blue colored wall sculpture made out of solid koa wood and then painted and sealed with a UV matte sealer. The geometric facets are hand carved and add intr...

acrylic on plywood With the series titled We Share the Same Sky and New Objects Same Sky, my choice of natural wood as a material is influenced by the rich heritage of my father and...

Acrylic and matte clear coat on solid maple Scott Troxel draws on the aesthetics of bygone technology and the forward-looking designs of the Atomic Age and mid-century modernism to ...

Artwork made by acrylic & texture on solid maple, with matte clear coat Scott Troxel draws on the aesthetics of bygone technology and the forward-looking designs of the Atomic Age a...

"Clue #4" is an abstract artwork by Stan Olthuis composed of acrylic paint on reclaimed bicycle inner tube, wrapped on torched and plain reclaimed canvas stretchers. Clue #4 measures...

Sculpture Close to Heart 2 Limited edition of 12 Mediums: old pine, steel, acrylic hand painted, oil CLOSE TO HEART - Collection Working on the series I used a “wood with history”...

Artwork made by acrylic on solid maple, mahogany and matte clear coat Scott Troxel draws on the aesthetics of bygone technology and the forward-looking designs of the Atomic Age and...

By Heiko Weiner This hand-carved wooden sculpture is made out of a solid piece of sugar maple foraged by the artist. It is named "Perseverance" because of the holes in the wood, bur...

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...

Artwork made by acrylic on solid maple, matte clear coat Scott Troxel draws on the aesthetics of bygone technology and the forward-looking designs of the Atomic Age and mid-century ...