Steven Harvey Abstract Sculptures

Impasto-painted strokes of bright colors are the framework of artist Shiri Phillips’ abstract artworks. Her paintings are flooded with texture through the layering of acrylic paint i...

Mnemonic Rhythm (Bright, Multicolored Textile Inspired Abstract Wall Sculpture), made by Susan Stover in 2025 wood, oil paint, varnish, waxed linen thread 30 x 30 inches Lightweight,...

Abstract geometric three-dimensional wood wall sculpture in pale grey, light blue, light taupe, and beige, with accents of stormy blue "In, Out, Over, and About", hand-carved woode...

Lime Glow, Jo Barker, woven on cotton warp using wool, cotton, linen, silk, embroidery threads, 29" x 30.75" x 1.5", 2010 This colorful contemporary abstract textile is by British...

"Extra In, Field Flagship (Linea Pictura — Diptych)" is an original artwork by Hyland Mather made of acrylic, ink, string, pins on drop cloth, in tray frames. The diptych measures ap...

'Stretcher Series' by Toi Hoang, 1990. Large Conceptual Oil, SFMoMA, SECA Art Award, CMoCA, Saigon ----- Signed lower right, on stretcher bar, 'T H N' for Toi Hoang (Vietnamese-Amer...

Black nylon over panel keywords; use of common materials, assemblage, abstract sculpture, wall-sculpture, process-oriented, abstract art, line, form and color, black, monochrome scu...

The “Composition with Tools” series engages observers with quirky and playful truisms, gently leading them toward deeper reflections. Jose Ricardo Contreras...

Untitled, 2016, 10.25 x 16.25 x 1.25 inches (base), mixed media and metal, $900 James Charles’ minimal and monochromatic work has a boldness that intrig...

Bedfellows refers to partnerships and celebrates relationships. This piece is subtle and beautiful. The pale, purple paint accentuates the carved texture. The piece is framed in wh...

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...

This geometric wall sculpture features purple hues. Atlanta-based artist Mitchell Biggio’s “Fault” is a series of complex three-dimensional wall sculptures that navigate the expans...