Peter Millett Art

keywords; #sinuous, focus on material, sculptural folds, Aldo Chaparro, use of common materials, creased crinkled and wrinkled, angular, abstract sculpture, angular, process-oriented...

Kristina Fjellman, a Minnesota-based visual artist and performer, seamlessly blends sculpture and performance art in her captivating work. She has garnered recognition with exhibitio...

Artist: Kuno Vollet Title: Silver Orbit Very large Contemporary stainless steel sculpture for inside or garden outdoor spaces. Beautiful spiral dancing its way towards the sky.

"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...

Christine Romanell’s bold geometric wall sculpture bursts with vibrant color and dynamic movement, showcasing her signature use of sacred geometry. This three-dimensional constructio...

Totem (medium) is a sculpture by French contemporary artist Frédérique Domergue. The sculpture is made with oak slat, polished gunmetal-finish steel and oxidized steel on the sculpte...

Artist: Kuno Vollet Title: Dance Contemporary rusted steel sculpture for inside or garden outdoor spaces. Beautiful spiral dancing its way to...

Christine Romanell's "Mars Sucks" (2025) is a sculptural wall piece measuring 14 x 18 x 3 inches, composed of acrylic and Flashe on seven layers of laser-cut birch plywood. Predomina...

Christine Romanell’s TriVortex is a mesmerizing acrylic-on-laser-cut-wood construction that fuses sacred geometry, optical illusion, and vibrant color theory into a dynamic three-dim...

Steel on the concrete base 1/1 Units

Steel on the concrete base 1/1 Units

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...