Thaddeus Wolfe, "Untitled", 2022

Thaddeus Wolfe [American, b. 1979] Untitled, 2022 Glass 22.25 x 10 x 12.75 inches 56.5 x 25.4 x 32.4 cm Thaddeus Wolfe has developed a wholly original approach to sculpting glass. Combining techniques of glassblowing and casting, Wolfe achieves what would not otherwise be possible in the material--developing his signature vocabulary of angular, highly textured forms. His unique process begins by sculpting a form from broken and carved styrofoam pieces, using meticulous yet improvisitory methods. From this form, Wolfe generates a single-use plaster mold for casting the glass. Color and texture are achieved by layering different tints of glass onto a glass bubble, which is inflated into the cavity of the heated mold. After un-molding the piece, Wolfe carves and polishes certain surfaces to reveal the interior strata. The resulting works which he often refers to as Assemblages are part painterly, part geological. Wolfe has held residencies at Creative Glass Center of America Millville, NJ; Museum of Glass, Tacoma, WA; and Pilchuck Glass School, Stanwood, WA. His work is in the permanent collections of the Corning Museum of Glass, NY (where he was awarded the 2016 Rakow Commission); Indianapolis Museum of Art, IN; Musée de Arts...

Thaddeus Wolfe [American, b. 1979] Untitled, 2022 Glass 32.75 x 15.5 x 10 inches 83 x 39 x 25 cm Thaddeus Wolfe has developed a wholly original approach to sculpting glass. Combining techniques of glassblowing and casting, Wolfe achieves what would not otherwise be possible in the material--developing his signature vocabulary of angular, highly textured forms. His unique process begins by sculpting a form from broken and carved styrofoam pieces, using meticulous yet improvisitory methods. From this form, Wolfe generates a single-use plaster mold for casting the glass. Color and texture are achieved by layering different tints of glass onto a glass bubble, which is inflated into the cavity of the heated mold. After un-molding the piece, Wolfe carves and polishes certain surfaces to reveal the interior strata. The resulting works which he often refers to as Assemblages are part painterly, part geological. Wolfe has held residencies at Creative Glass Center of America Millville, NJ; Museum of Glass, Tacoma, WA; and Pilchuck Glass School, Stanwood, WA. His work is in the permanent collections of the Corning Museum of Glass, NY (where he was awarded the 2016 Rakow Commission); Indianapolis Museum of Art, IN; Musée de Arts...

Faye Toogood [British, b. 1977] Pile, 2022 Hand-carved oak Measures: 16.5 x 20 x 16.25 inches 42 x 51 x 41 cm Edition of 20 British designer Faye Toogood has emerged as one of the most prominent women in contemporary design today. “Whether you are a fashion designer, a furniture designer, or an interior designer, the materials you can get your hands on are essential,” she says. Toogood was born in the UK in 1977 and graduated with a BA in the History of Art in 1998 from Bristol University. Upon graduation, she worked as a prop stylist at The World of Interiors before establishing Studio Toogood in 2008. Working in a diverse range of disciplines from sculpture to furniture and fashion, Toogood often reinterprets and reinvents classical tropes and references from art history by introducing a new aesthetic. Since the conception of her immediately recognizable voluminous Roly-Poly chair (2014), she has been considered among the great form-givers of the 21st century. Her career is marked out by the discrete Assemblages, each of which conjures a compact world of interrelated ideas, forms, and materials. Assemblage 5...

Chris Schanck [American, b. 1975] Sorcerous, 2022 Cast aluminum, velvet Measures: 40.25 x 26 x 21 inches 102 x 66 x 53 cm Designer Chris Schanck’...

Misha Kahn [American, b. 1989] Radiant Affection, 2022 Rose quartz, bronze Measures: 28 x 65.75 x 18.25 inches 71 x 167 x 46 cm Unique Since 2017 Mi...

Darren Romanelli (b. 1976), who goes by the monikers of Dr. Romanelli or DRx, has over 20 years of experience in curation and creative direction. Inspired by his dedication to sustai...

Patrick Coard Paris expands on his unique and beautiful sculptural object collection. The Thaddeus is geometric and sleek with its delicate but def...

Patrick Coard Paris expands on his unique and beautiful sculptural object collection. The Thaddeus is geometric and sleek with its delicate but def...

Supreme x beever fall 2022 gumball machine, Fall/Winter 2022, white and red. Free-vend gumball machine with 8.5" shatter-resistant globe. Debossed logos on d...

A porcelain sculpture by Wayne Fischer. Perfect original conditions. Signed. Unique piece. 2022. How can an inert object produce deeply unsuspecting, indecipherable, uncontrollable emotions? Wayne Fischer is an artist who can create works that force one to ask such moving questions as this. If he doesn’t know why, if he can’t explain the deepest reasons of his artistic research, he definitely knows the workings and limitations of the artistic process he invented. He has never deviated from the course he set for himself since university; translate life. The works presented here show the evolution of his creations over the past thirty years. If Wayne Fischer has received several international prizes and quickly obtained the recognition of his peers in ceramics, nevertheless he retains a singular position at once unavoidable and disturbing. His sculptures are paradoxical, powerful and sensual, and cause a certain unease. They are beautiful, carnal, touchable, all the while being outside the standard idea of beauty. The ambiguity of attraction and rejection is at the heart of this evolution. The pieces from the 1980s and 90s are imposing by their size, stature and symmetry, which give them balance. They generate surprise, curiosity and play between contrasts that are both soft and aggressive. They reference the body, muscles, and torso, without presenting an exact reality. They are double-faced, seductive, and enigmatic. Wayne’s shapes are inspired by shells, bivalves, sometimes presented as though they are floating in space. But the reference of the marine world to the mysterious female body has only one interpretation and only history and emotion condition the reaction of the spectator: he accepts or refuses to see, to be seduced. He is touched or he flees. The more recent sculptures are appreciated in the fullness of their round volume and the search for a pure universal beauty. “Metamorphosis,” the work recently awarded by the Bettencourt Foundation, is from this series of pieces wheel- thrown and deformed which pushes the porcelain from the inside so the bulges evoke the movement of waves or the musculature of several bodies. The exactness, the clean breaks, the assurance of lines and valleys are testimony to the interior power that governs the creation. The life energy expressed is also felt by the artist as the origin of ceramics. All the pieces are curved and tense. They show no marking, no sign of the hand, no imprints, and yet give an impression of spontaneity, as if a dropped piece of clay found its form by chance. Depending on the angles, the content becomes “the origins of the world...

A porcelain sculpture by Wayne Fischer. Perfect original conditions. Signed. Unique piece. 2022. How can an inert object produce deeply unsuspecting, indecipherable, uncontrollable emotions? Wayne Fischer is an artist who can create works that force one to ask such moving questions as this. If he doesn’t know why, if he can’t explain the deepest reasons of his artistic research, he definitely knows the workings and limitations of the artistic process he invented. He has never deviated from the course he set for himself since university; translate life. The works presented here show the evolution of his creations over the past thirty years. If Wayne Fischer has received several international prizes and quickly obtained the recognition of his peers in ceramics, nevertheless he retains a singular position at once unavoidable and disturbing. His sculptures are paradoxical, powerful and sensual, and cause a certain unease. They are beautiful, carnal, touchable, all the while being outside the standard idea of beauty. The ambiguity of attraction and rejection is at the heart of this evolution. The pieces from the 1980s and 90s are imposing by their size, stature and symmetry, which give them balance. They generate surprise, curiosity and play between contrasts that are both soft and aggressive. They reference the body, muscles, and torso, without presenting an exact reality. They are double-faced, seductive, and enigmatic. Wayne’s shapes are inspired by shells, bivalves, sometimes presented as though they are floating in space. But the reference of the marine world to the mysterious female body has only one interpretation and only history and emotion condition the reaction of the spectator: he accepts or refuses to see, to be seduced. He is touched or he flees. The more recent sculptures are appreciated in the fullness of their round volume and the search for a pure universal beauty. “Metamorphosis,” the work recently awarded by the Bettencourt Foundation, is from this series of pieces wheel- thrown and deformed which pushes the porcelain from the inside so the bulges evoke the movement of waves or the musculature of several bodies. The exactness, the clean breaks, the assurance of lines and valleys are testimony to the interior power that governs the creation. The life energy expressed is also felt by the artist as the origin of ceramics. All the pieces are curved and tense. They show no marking, no sign of the hand, no imprints, and yet give an impression of spontaneity, as if a dropped piece of clay found its form by chance. Depending on the angles, the content becomes “the origins of the world”. Femininity and sensuality are exalted. Inspired by the body, before and after birth, or simply the sea, the parts of the sculpture conjugate around a mysterious interior cavity, secret and troubling. The interior wall doesn’t correspond to the exterior, and has its own volumes, deformities, and intimacy. The pieces present two kinds of interior: one open, and partially uncovered, the other totally hidden inside. The differences of their respective deformation reinforce the impression of life : the subjective representation of muscles and bones, of bulges pushed by an interior force, like a visceral movement of respiration. The surface of the ceramic is crackled but soft and fine, even reflecting light like the skin. The nuances of color reinforce the expression of sensuality. The alignment of technique and what it causes one to see and feel has rarely been so intimately successful. Wayne Fischer perfected his technique in the 1970s and has remained faithful to it. He adds fibers to porcelain clay that has been chosen for its whiteness to create and accentuate volume around empty space, by assembling slabs or thrown pieces. Then, he makes another piece that takes its place inside; both parts are formed with no hand...

A porcelain sculpture by Wayne Fischer. Perfect original conditions. Signed. Unique piece. 2022. How can an inert object produce deeply unsuspecting, indecipherable, uncontrol...