2010s Abstract Sculptures

Contemporary “Achego” Decorative Felted Wool "Necklace" in natural colors by Inês Schertel, Brazil 2019 Ines Schertel's primary material is sheep's wool. As a practitioner of slow...

Limited edition ceramic sculpture part of the "Pop Will Eat Himself" designed by Massimo Giacon and produced by Superego Editions, Italy. Signed and numbered. Biograph Massimo Gi...

Inspired by midcentury modern design, the pierced vessel is wheel thrown and hand pierced stoneware with a Blush satin glaze that highlights the pierced pattern beautifully. It can s...

With this extraordinary piece, Cesare Arduini has imposed geometric coherence on the natural but chaotic beauty of onyx, in this case using brass, the very ...

'Takamaka La Digue', is a unique green and red glass sculpture by the Austrian artist Sandra A. Fuchs. Fuchs creates her own multicolored and compl...

This visceral and sculptural chair is designed and made by renown artist Zhipeng Tan. Size and color is customizable upon request, lead time is 45-60 days. We ship internationally. Since graduating with an industrial design degree from the China Academy of Art in Hangzhou, Zhipeng Tan has focused on the ancient technique of lost-wax casting. Through this foundry process, rich in heritage and tradition, Tan explores his interest in organic forms. Often inspired by his environmental surroundings, such as water and plants, he explores anthropomorphic themes, as well. Though trained as an industrial designer, he has become an accomplished self-taught sculptor, eagerly exploring the elastic and permeable boundaries between art and design and finding a harmonious fusion of sculpture and furniture, provocative objects of both beauty and utility. Though from his early work, one may sense the influence of Joan Miró, Henry Moore and Constantin Brancusi, and in his more recent pieces there is a nod to the Post-Pop sensibilities of Jeff Koons and Takashi Murakami, the work of Zhipeng Tan is thoroughly original, an expression of his exuberance and imagination. In all of his work, one may see an exploration of our fundamental humanity and a desire to discover worlds within worlds. From the 33 Step Chair...

Naggi was born in Milan and studied sculpture at the Academy of Fine Arts of Brera. Naggi states that "I do not consider these works only sculptures but also constructions". The work...

Huge Swedish modern art sculpture by the Swedish artist Gertrud Alfredsson, made of glazed earthenware. Ceramic art is making a great revival in the world of fine arts, and it's doin...

Hot Desk 1 is an eye-catching centre-piece sculptural unit that can be used as a reception desk. Hot Desk 1- Miami teeters on the edge of design, painting and architecture; selecting and employing elements freely and playfully to suggest function and familiarity. It is made to invigorate a space; to bring unexpected joy and dynamism to our lives, bringing a new and exciting twist to the space it occupies. Hot Desk 1 suggests function, and is functional, but its function is also to tease and beguile. The mischievous use of color and surface seduces the viewer into joyful excitement and further blur the boundaries of sculpture and design. Its dimensions are domestic but its forms create a frisson; a frisson that encourages the user to make a decision about their physical journey through a space (much as a kissing gate...

A collaboration between Studio Orfeo Quagliata and Tony Wurman of Wunderwurks design. An unprecedented marriage of Orfeo's spectacular glass work, an obsessive process created by boiling high quality recycled crystal with color to create vibrant wispy blocks, then handcut, ground and polished to create the final components. Together with Wurman's one of a kind polymer sculptures; resulting in art and alchemy. Wurman utilizes a blend of EVA hot-melt adhesive and though his proprietary techniques, transforms this common industrial material into a unique medium of extreme clarity, color and dynamic beauty, with the flexibility of rubber, look of glass and durability of plastic. Each stunning artwork is created by hand at the Wunderwurks Studio in NYC. EVA is Non-toxic. No waste is created during production - all unused material is 100% recycled. The pre made pieces are then shipped to Quagliata’s studio in Mexico City and bonded with the crystal parts...

A collaboration between Studio Orfeo Quagliata and Tony Wurman of Wunderwurks Design. An unprecedented marriage of Orfeo's spectacular glass work, an obsessive process created by...

Designed by Decarvalho Atelier, the "Oscar" vase is made of brass, but it can be made of Copper or Onyx too. The vase embraces the foliage with its structure.

Naggi was born in Milan and studied sculpture at the Academy of Fine Arts of Brera. Naggi states that "I do not consider these works only sculptures but also constructions". The work...

21st century sculptural large modern spiralling chandelier in brass Pendant lamp Handmade It created with lost wax technique reproducing w...

Masterfully handcrafted in Italy, Kazimir is not only a perfect divider for a minimalist or classic room, but also a symbolic bridge, linking design to art, functionality to decorati...

Objects of use is the result of two worlds meeting. Two professions intertwining. Two people crossing, clashing and correlating. Objects of use is the fusion of the mind of an archit...

Acanthus Veronese in Cherry Red, is a unique cherry red and clear glass sculptural jar by British glass artist James Lethbridge. Blown glass with the outer layer covered in flamework...

Coffee table in lacquered copper (limited edition), Zieta Dimensions: H 14.57 in. x diameter 47.25 in. H 37 cm x diameter 120 cm Material: Lacquered c...

An unique porcelain sculpture by Wayne Ficher. Perfect original conditions. Signed under the base, Wayne Fischer. 2017.  

Acanthus Veronese in Yellow, is a unique art glass jar by British glass artist James Lethbridge. Blown glass with the outer layer covered in flameworked decoration and adornment. Wit...

Objects of use is the result of two worlds meeting. Two professions intertwining. Two people crossing, clashing and correlating. Objects of use is the f...

"Kogetsudai (beige)", 2015 coiled nylon cord, sewing thread "Kogetsudai (beige)" is one of four works made in the approximate shape of the Kogetsudai gravel mound in the garden of Ginkaku-ji in Kyoto, Japan. Upon my first visit to this garden, I was fascinated with the Kogetsudai, and the more I learned about it the more my interest was piqued. The feature is one of two special gravel mounds there, which are made from fine grey gravel or sand and re-shaped nearly every day by the gardeners. The name translates to something like "moon-viewing platform" but the reason for the name, the shape, and its significance has been lost to history. Some speculate that the name derives from how the top of the cone appears as a silvery moon-like reflection against a sea of gravel at night when viewed from the upper floor of the adjacent Silver Pavilion - and that the shape may be a reference to Mount Fuji. The Kogetsudai at Ginkaku-ji is a "frustum" shape about 2 meters tall and records show it being in its current shape and approximate dimension since the late 1700's. The shape is very powerful but it is made only of moistened sand. I made this series as a way to study the shape and understand its geometry and presence. I wanted to be able to sit with that shape in a room. I made the shape as a vessel to reinforce the idea of the shape itself, rather than as a solid mass. Furthermore, the dedication to the continual rebuilding of the form and object over and over through time, without a need for any "function" other than beauty and cultural continuity, was similar to how I have come to think of the act of vessel-making by humans. We likely inherited vessel-making skills from our pre-sapiens human ancestors, and have continued this activity over hundreds of thousands of years, and in a proliferation of materials from fibers, wood, clay, metal, glass, plastic, and more. Especially since the beginning of the Holocene, a certain amount of vessel making has had no function or purpose other than for cultural continuity and the cultural, formal, craft, and visual aesthetics within the multitude of human cultures. In this series of works, the continuous length of rope coiled into a conical helix also serves as an expression of this continuity through time, perhaps working towards a yet-unknown endpoint or goal, while creating a space that is simultaneously empty and loaded. This work was first exhibited in 2015 at Patrick Parrish Gallery as part of my solo exhibition "what it is". It was later shown at the Haystack Mountain School of Craft in Deer Isle, Maine, as well as several other group exhibitions. It has also appeared in several design and art publications in print and online. Since 2010 Doug Johnston has produced a wide range of functional and sculptural objects using a process of coiling and stitching rope using industrial sewing...

The collection of Rotterdam based designer Selma Hamstra was launched during Milan Design Week 2021. 'Her Masters Voice' collection contains glass design...