Contemporary Wall Sculpture by Cornelia Laufer 'Wall of Circles' 2018

The gilt-bronze statue of a nude youthful Dionysus standing on his right leg. In contrapposto position sculpted with a well-defined musculature. The head is bent down with a contempl...

Pair of French 18th Century Louis XVI Bronze Sculpture of Faun and Bacchante Rare pair of bronze sculptures depicting Bacchante and Faun after a design by Jean-Hugues Taraval in 177...

An abstract olivewood sculpture by an unknown artist, probably late 20th century or early 21st century. Following the grain of the wood the sculpture offers multiple views of the pol...

Late 19th century French large Louis XV sculpture of a Putto with Zephyr. A figure of a boy standing on a rectangular plinth, looking aside while holding a ball or stylised poppy ...

Late 19th century French large Louis XV Sculpture of a Putto Representing Summer A small girl standing in ancient Roman style sandals on a rectangular plinth against a rocaille moti...

A pair of Regency style Maison Bagues three branch wall sconce or wall lights, each with splays of flowerheads on top, its back plate issuing ...

Pattern, as a recurring and persistent characteristic of structure, becomes an essential part of algorithm driven sculptures. Drawing from nature, science and imagination, the form b...

Landscape sheet metal, wood, found objects 33 x 61in. Artist statement: I seldom use stock material, but prefer distressed and rusted steel that has been scarred, bent, and made im...

Artist: Armarinhos Teixeira Nebulares series (no title) Unique piece Brazil 2018 Materials: polyester, copper and leather The sculpture is hanging on by a leather cord Dimensions Variable Exhibited - São Paulo, Brazil, Legado Arte...

Silk Road sheet metal 24 x 69 in. Artist statement I seldom use stock material, but prefer distressed and rusted steel that has been scarred, bent, and made imperfect. In this state, the material becomes quite beautiful. There are figurative elements in my work, though I am more drawn to the non-figurative, to the raw and essential aspect of steel. The industrial purpose of steel must be considered, its use in construction, manufacturing, the military. Steel is forged with enormous energy and power. The process is violent, loud. Here, it is still and approachable. The compositions are constructed mainly from found parts. Their relationships manifest as I interact with the material. The pieces interlock, balance, and become fitted before I fasten or weld them together. The engineering is elemental. Altering the material is avoided. The number of parts kept to a minimum. Art is my spiritual exercise, my selflessness. It identifies me as a creator and satisfies my human longing for place and purpose. It needs not to be great, or preeminent, or commercial. Art speaks because it is primitive. It exists because it is sacred. Biography: Scott Gordon was born in Ridgewood, New Jersey in 1966. He attended the University of Denver where he studied business and the University of Washington where he pursued an MFA in creative writing. While he was in Seattle, he was introduced to steel as an employee of the David Gulassa Company, a fabrication shop which produced custom furniture and architectural fixtures. At Gulassa, after hours and on weekends, Scott worked on personal projects, applying the tools and techniques used in his daily work. Lacking resources to purchase stock materials, much of the steel he used came from the scrap bins at Gulassa. He also used steel found along the railways, shipyards, and industrial corridors of Seattle. The characteristics and limitations of the material helped him to define his aesthetic and his approach to sculpture. He currently lives and works in Vermont. Inspirations: David Smith, Anthony Caro, John Chamberlain, Julio Gonzalez, Richard Stankiewicz, Tony Smith...

Radiant Man (Crucifixion) wood, found objects 19.5 x 35 in. Artist statement I seldom use stock material, but prefer distressed and rusted steel that has been scarred, bent, and ma...

Red Center found sheet metal 33.5 x 36 in. Artist statement I seldom use stock material, but prefer distressed and rusted steel that has been scarred, bent, and made imperfect. In ...