Héctor Francesch Art

A joyful depiction of a towering celebration cake decorated in edible wild flowers. This painting has a great deal of texture, vibrancy and character. Kerry Louise Bennett, artist and painter, has original artworks available with Wychwood Art in our gallery and online. Working from her home studio in Sheffield, Kerry Louise Bennett (b.1972) makes colourful paintings loaded with texture and pattern. Her previous lives working in set design, upholstery and photography, and her passion for music and literature, all feed into the semi-abstract interior and still life compositions she paints. In one sense the objects painted and the relationships between them can be seen as arbitrary, necessary only to serve a sense of spatial orchestration, and the abstract sensibility of a process-led artist, however, an element of romance and storytelling always seems to emerge in her charming characterful paintings. Colour and composition, strong mark-making and the pure materiality of paint drive my creative practice, but of course everything I make reveals something of me - the introvert, the observer, the dreamer. I work over multiple layers before finding the story the painting wants to tell. In some ways I feel like the conductor of an unruly orchestra - there is a musicality to my work, and my visual vocabulary draws on the everyday to capture a kind of unconscious narrative that transforms chaos into calm, worry into joy, the mundane to the magical. Kerry says of herself: I am obsessed with colour first and foremost – it’s impact is so visceral, but mark making is also important – usually expressed through pattern and the shapes of things often scratched into the surface of the paint, with textures then built up over many layers. My visual vocabulary draws on the ordinary stuff of life - chairs, plants...

KAWS SEPARATED COMPANION: New & unopened in its original packaging: This highly collectible black KAWS SEPARATED figure is derived from the Brooklyn based artist’s larger scale s...

Yayoi Kusama Set of 3 Pumpkins: Yellow and Black, Red & White and Red & Black Naoshima: An iconic, vibrantly colored pop art set - these small Kusama pumpkin sculptures feat...

A whimsical yet very strong piece depicting the two figures from Gillie and Marc's iconic figures of the Dog/Bunny Human Hybrid, which has picked up much esteem across the globe. Her...

Mid 20th Century sgraffito work on plaster by Jean Pierre de Cayeux. The work is signed and dated on the skirt of the card player, bottom right, and on the stretcher of the chair, bo...

CHROMA — Beaded Snoop Dawg Figure (Huichol Technique) A sculptural reinterpretation of an iconic cultural figure through the CHROMA language—where contemporary form meets traditiona...

A whimsical yet very strong piece depicting the Dog Man from Gillie and Marc's iconic figures of the Dog/Bunny Human Hybrid, which has picked up much esteem across the globe. Here we...

Poly resin sculpture. Britto signature stamped on lower right. From the edition of 4000 (2nd edition). Comes in original box with certificate of authenticity. Artwork is in ex...

Poly resin sculpture. Britto signature stamped on lower right. From the edition of 4000 (2nd edition). Comes in original box with certificate of authenticity. Artwork is in ex...

Mid-Century Modern wrought iron sculpture a person with oversize top, shorts, and carrying a hat, signed, artist's monogram and cipher, further mounted on a plaster base. 28" H. This a unique piece. It is interesting in that it speaks of a transition, leading into the later aluminum public pieces that kind of defined his work in the 70's. According to his estate this is most probably cast bronze. It might possibly be wrought iron.. William Dickey King was born in 1925 in Jacksonville, Florida and grew up in the Coconut Grove neighborhood of Miami. As a boy, William King made model airplanes and helped his father and older brother build furniture and boats. “I was 19, 20, my mother gave me a hundred bucks, says, ʻGet out of this state and don’t come back until you’re 65; there is nothing here for you,’ ” Bill King recalled in a video interview for the Smithsonian museum. He came to New York, where he attended the Cooper Union and began selling his early sculptures even before he graduated. He later studied with the sculptor Milton Hebald and traveled to Italy on a Fulbright grant. He was a contemporary, at the Cooper Union, of Alex Katz and Lois Dodd, his first wife, and remained close in many ways to their common aesthetic grounding, shared also with younger sculptors such as Red Grooms and Marisol Escobar. The hallmark of King’s early work was radical experiment keeping company with social connection and hedonism. The mix of big, important, innovative ideas and immediate, sensory, in-the-moment experience was a kind of visual jazz. For this was not just the time of Franz Kline’s big open defiant brushstrokes and Jackson Pollock’s all-over mists of intricately drooling line, but of Charlie Parker and Dizzy Gillespie. If we look at the works that King made in the early 1950s when he got back from his Fulbright to Italy we see free, experimental, open forms that take their cue from jazz as much as art in their fusion of virtuosity and cool.American sculptor King is most noted for his long-limbed figurative public art sculptures depicting people engaged in everyday activities such as reading or conversing. He created his busts and figures in a variety of materials, including clay, wood, metal, and textiles. Mr. King worked in clay, wood, bronze, vinyl, burlap and aluminum. He worked both big and small, from busts and toylike figures to large public art pieces depicting familiar human poses — a seated, cross-legged man reading; a Western couple (he in a cowboy hat, she in a long dress) holding hands; a tall man reaching down to tug along a recalcitrant little boy; a crowd of robotic-looking men walking in lock step. Mr. King’s work often reflected the times, taking on fashions and occasional politics. In the 1960s and 1970s, his work featuring African-American figures (including the activist Angela Davis, with hands cuffed behind her back) evoked his interest in civil rights. But for all its variation, what unified his work was a wry observer’s arched eyebrow, the pointed humor and witty rue of a fatalist. His figurative sculptures, often with long, spidery legs and an outlandishly skewed ratio of torso to appendages, use gestures and posture to suggest attitude and illustrate his own amusement with the unwieldiness of human physical equipment. His subjects included tennis players and gymnasts, dancers and musicians, and he managed to show appreciation of their physical gifts and comic delight at their contortions and costumery. His suit-wearing businessmen often appeared haughty or pompous; his other men could seem timid or perplexed or awkward. Oddly, or perhaps tellingly, he tended to depict women more reverentially, though in his portrayals of couples the fragility and tender comedy inherent in couplehood settled equally on both partners. His first solo exhibit took place in 1954 at the Alan Gallery in New York City. William Dicky King was elected to the American Academy of Arts and Letters in 2003, and in 2007 the International Sculpture Center honored him with the Lifetime Achievement in Contemporary Sculpture Award. Mr. King’s work is in the collections of the Metropolitan Museum of Art, Guggenheim Museum, Whitney Museum and the Museum of Modern Art in New York and the Hirshhorn Museum at the Smithsonian American Art Museum in Washington, among other places, and he had dozens of solo gallery shows in New York and elsewhere. Reviews of his exhibitions frequently began with the caveat that even though the work was funny, it was also serious, displaying superior technical skills, imaginative vision and the bolstering weight of a range of influences, from the ancient Etruscans to American folk art to 20th-century artists including Giacometti, Calder and Elie Nadelman. The New York Times critic Holland Cotter once described Mr. King’s sculpture as “comical-tragical-maniacal,” and “like Giacometti conceived by John Cheever.” From an article by David Cohen "In a career that ran in tandem with the hegemony of formal abstraction in sculpture, Bill King inevitably struggled with the prejudice that sculpture full of humanity and humor can’t be quite as serious as sculpture devoid of them. But the tide has clearly turned in ways that ought to work in King’s favor, with an increasing number of sculptors, fêted internationally, who are producing work that looks remarkably close in spirit, if not quite as regal in sheer mastery of form, as his own. When art historians of the future connect the dots of modern sculpture then artists like Franz West, Stephan Balkenhol, Huma Bhabha...

KAWS Along The Way (Grey). New and unopened in its original box: This highly collectible KAWS Along The Way figure is a rendition of the artist's 2013 18 foot wood sculpture origina...

KAWS Small Lie (Brown), Limited Edition Companion, 2017 Vinyl and Paint. Stated limited edition, exact number unknown. Brand new in original packaging Among KAWS’s signature “Compani...