Connecticut - Sculptures

Over the past few years, Jesse Hickman has been making minimal abstract paintings on wood with few constraints. He calls this series Notes, thinking of these pieces as drawn sketches...

Sculpture of a woman representing the element of earth.

Zoe Woods Reef II, 2016 Blown glass, wheel cut 6.06h x 6.06w x 6.06d in

A figure with his hand over his heart, looking upwards. Edition of 9

bamboo, urushi lacquer, Custom Tomobako box signed

Donald Martiny’s signature work is composed of dispersed pigment on aluminum. He creates immediately frozen brushstrokes that are made from his own movements. They are defined by the...

Edition of 31 American, b. 1961 Jane DeDecker’s energetic and dynamic bronze sculptures serve as a reflection of her own life experiences and those of her closely-knit family. Her t...

In recent years, Daniel G. Hill has been fixated on the work’s method of construction and its physical presence. During the winter of 2014, he began a new line of inquiry, translati...

Sculpture of a figure balancing on their hands with their legs bent in the air. Ed. 4/17

Yasuhisa Kohyama shapes his asymmetrical forms using piano wire, creating distinctive rough surfaces. The clay with its feldspar nuggets creates a tac...

Abstract sculpture of the ancient Roman goddess Juno. Artist's proof. The powerful legacy of Reuben Nakian has earned him a coveted place in the ...

In the mid 1990s Richard Klein started working with found glass objects, including bottles, drinking glasses, ashtrays, and eyeglasses. Initially, Klein rejected any object with commercial or advertising content, but in 2015 he became fascinated with the promotional content that was screen printed on ashtrays from the 1950s, 1960s and early 1970s. This period was before smoking was looked at as being primarily a negative habit, and iconic American businesses, including Howard Johnson’s, International House of Pancakes (iHop) and Holiday Inn, all produced promotional ashtrays printed with their graphic identity. By the time Klein became interested in these objects, the businesses had either ceased to exist, or had changed their logos, and many of their signature buildings, which where examples of classic, “Pop” roadside architecture, has been torn down or repurposed. The artist wanted to connect the glass objects with the business’s sites that were still recognizable and spoke of their history, so he began researching where original buildings still stood. Klein then embarked on a series of road trips to photograph these sites with the intention of combining the photographs with the promotional glass objects. This led him to as far south as Maryland and as far north as upstate New York from his home in Connecticut. In the case of Holiday Inn, it wasn’t their buildings, but their iconic illuminated sign that appeared on ashtrays, so he sought out a standing example of the sign he could photograph. As it turned out all had been removed years before from the hotels' properties and the only working example was indoors at the Henry Ford Museum in Dearborn, Michigan. He did, however, find out that there was one still standing, surprisingly, in Beruit, Lebanon. He found an image of it on the web and used it to make Holiday Inn (Beruit). In 1973 Holiday Inn changed their tagline from “The Nations Innkeeper” to “The World’s Innkeeper” as they expanded overseas, including the Mideast. For the hotel chain it was bad timing: the disastrous Lebanese civil war began in 1975. In the war, the different Lebanese militias involved in the conflict, including the Nasserites, Christian Phalangists, and the Lebanese National Movement engaged in what came to be called “The Battle of the Hotels” where they each occupied a major high-rise hotel in central Beruit. The Phalangists commanded the Holiday Inn, which they used to fire with both light arms and heavier weapons at the militias in neighboring hotels. Klein used the photo of the heavily damaged Holiday Inn sign as I thought it spoke in a curious, offhanded way about American cultural imperialism in juxtaposition with an ashtray that proclaimed Holiday Inn to be “The World’s Innkeeper.” In the work Holiday Inn (Nocturne) the artist utilized a found, 35mm slide of a Holiday Inn sign at night at an unknown location as the basis of the photograph in the work. Richard Klein is a Connecticut-based artist, independent curator and writer. As an artist, he has exhibited widely, including the Neuberger Museum of Art at SUNY Purchase; Caren Golden Fine Art, New York; the John Michael Kohler Arts Center, Sheboygan, WI; Hales Gallery, London; Gavlak Gallery, Palm Beach, FL; deCordova Sculpture Park and Museum, Lincoln, MA; James Barron Art, Kent, CT; The Portland Institute of Contemporary Art (PICA), Portland, OR; Schoolhouse Gallery, Provincetown, MA; Stephan Stoyanov Gallery, NY; Katonah Museum of Art, Katonah, NY; Brattleboro Museum and Art Center, Brattleboro, VT; Ortega y Gasset Projects, Brooklyn, NY; Exhibit by Alberson Tulsa, OK; Incident Report/Flow Chart Foundation, Hudson, NY; ICEHOUSE Project Space, Sharon, CT; Kenise Barnes Fine Art in Kent, CT and with ODETTA Gallery at the Equity Gallery in New York City.. Reviews of his work have appeared in Two Coats of Paint, Whitehot Magazine, The New York Times, Sculpture Magazine, Art in America, and The New Yorker. In the summer of 2024 he will be the first Artist-In-Residence at Peck Ledge Light...

This mid-sized abstract contemporary sculpture by Joe Sorge is made with steel, orange dye, and wax. The warm-toned piece features a strip of steel metal that twists and turns in a flowing, spiraling movement. It casts unique shadows on its surroundings, which change in altering light. Please note that the white pedestal base pictured in the image gallery is not included. Connecticut-based sculptor Joe Sorge studied at the School of Visual Art (SVA) in New York City. While Joe's body of work is most often made with stainless steel which he sometimes dyes to give the forms bold, solid colors, he also experiments with stone carving, genesa crystals, tiger eye alabaster and others. He works with a variety of colors, finishes, and textures, to create the final piece. Joe's sculptures express the fluidity and tension inherent in the material he uses. His work draws on a modernist vocabulary to create abstract, often whimsical objects...

A boy reading a book. Edition of 21

This free-standing sculpture of a vibrant red abstracted cardinal bird by Jeffie Brewer is made with powder coated steal. Two cut-out circular eyes are situated on the bird's face, w...

Drawing, glass, and light: these three ingredients are the basis of Katherine Jackson’s work. She begins with drawing, which sometimes becomes an end...

Over many decades Loren Eiferman has created and mastered a unique technique of working with wood—her primary material. First, she begins with a drawing of an idea. Then she takes a daily walk in the woods surrounding her studio and collects tree limbs and long sticks that have fallen to the ground. She never chops down a living tree or uses green wood. Eiferman allows the wood time to cure in the studio to make sure it won’t check or crack. Next, she debarks the branch and looks for shapes found within each piece of wood. Using a Japanese hand saw, she cuts and connect these small shapes together using dowels and wood glue. Then, all the open joints get filled with a home made putty, which is then sanded so she can see the newly formed shapes. This process is until the new sculpture appears like the original line drawing but in space. She wants the work to appear as if it grew in nature, when in fact each sculpture is composed of over 100 small pieces of wood that are seamlessly jointed together. Her work can be called the ultimate recycling: taking the detritus of nature and giving it a new life. We have all at one point or another picked up a stick from the ground—touched the wood, peeled the bark off with our fingernails. Her work taps into that same primal desire of touching nature and being close to it. Trees connect us back to nature, back to this Earth. Her work has a meditative quality to it—a quiet, calming energy. Her influences are many; from looking at nature and plant life on this Earth to researching the heavenly bodies in the images beamed back from the Hubble Telescope. From studying ancient Buddhist mandalas and designs to delving deeper into quantum physics. And from researching mysterious manuscripts to studying the patterns inside our brains. For Invocation, we are exhibiting her newest body of work, inspired by the illustrations found in the Voynich Manuscript. This 250-page book, is believed to have been written in the early 15th century, of a mysterious origin and purpose. Written in an unknown language and currently housed at Yale University’s Beinecke Rare Book Library, the manuscript has eluded all attempts in the intervening centuries to decode or decipher its purpose and meaning. This enigmatic book is divided into 6 different sections (herbal, astronomical, biological, cosmological, pharmaceutical and recipes). Having discovered the images contained in this codex over the Internet, Eiferman felt an immediate, profound and inexplicable connection to this manuscript and its creator. The artist is currently transposing the “herbal” section of manuscript into sculptures. This section has drawings in it of plants and flowers that do not really exist in nature—past or present. These aren’t just pretty images of flowers—they also contain the wacky root systems and seemingly out of proportion leaves, stamens and pistils. Loren Eiferman was born in Brooklyn, NY. She received her BFA from SUNY Purchase. Her work has been exhibited extensively throughout the Tri-State region including gallery and museum exhibitions in the Hudson Valley and Connecticut. Her work is included in numerous corporate and private art collections. In 2014 she was awarded a NYC MTA Arts & Design art commission to produce steel railings...

Sculpture of a boy riding a toy pony.

grandfather sitting with grandchildren

In the mid 1990s Richard Klein started working with found glass objects, including bottles, drinking glasses, ashtrays, and eyeglasses. Initially, Klein rejected any object with commercial or advertising content, but in 2015 he became fascinated with the promotional content that was screen printed on ashtrays from the 1950s, 1960s and early 1970s. This period was before smoking was looked at as being primarily a negative habit, and iconic American businesses, including Howard Johnson’s, International House of Pancakes (iHop) and Holiday Inn, all produced promotional ashtrays printed with their graphic identity. By the time Klein became interested in these objects, the businesses had either ceased to exist, or had changed their logos, and many of their signature buildings, which where examples of classic, “Pop” roadside architecture, has been torn down or repurposed. The artist wanted to connect the glass objects with the business’s sites that were still recognizable and spoke of their history, so he began researching where original buildings still stood. Klein then embarked on a series of road trips to photograph these sites with the intention of combining the photographs with the promotional glass objects. This led him to as far south as Maryland and as far north as upstate New York from his home in Connecticut. American Glassware (2010-present) which is presented in a small, wall-mounted vitrine. American Glassware is composed of three glass objects: a “souvenir” Walden Pond ashtray made by me as a multiple; a real souvenir ashtray from the 1964-65 New York World’s Fair; and an authentic “Happy Face” drinking glass from the same era. They are all nestled in crumpled, vintage newspaper from 1967, and are presented together in a dilapidated cardboard box, as if they have been found in someone’s attic or basement. Once again, in a similar manner to the Glass House Ashtray, versions of his Walden Pond ashtray (Walden Pond Souvenir) have been injected into the collectable stream of tag sales and flea markets, creating a souvenir that never existed. The ashtray is screenprinted with an image of Thoreau’s cabin on Walden Pond as pictured on the title page of his book Walden, or Life in the Woods (1854). (The original illustration was created by Thoreau’s sister, Sophia.) Walden Pond Souvenir was originally produced for the 2010 exhibition Renovating Walden at the Tufts University Art Gallery in Medford, MA. Richard Klein is a Connecticut-based artist, independent curator and writer. As an artist, he has exhibited widely, including the Neuberger Museum of Art at SUNY Purchase; Caren Golden Fine Art, New York; the John Michael Kohler Arts Center, Sheboygan, WI; Hales Gallery, London; Gavlak Gallery, Palm Beach, FL; deCordova Sculpture Park and Museum, Lincoln, MA; James Barron Art, Kent, CT; The Portland Institute of Contemporary Art (PICA), Portland, OR; Schoolhouse Gallery, Provincetown, MA; Stephan Stoyanov Gallery, NY; Katonah Museum of Art, Katonah, NY; Brattleboro Museum and Art Center, Brattleboro, VT; Ortega y Gasset Projects, Brooklyn, NY; Exhibit by Alberson Tulsa, OK; Incident Report/Flow Chart Foundation, Hudson, NY; ICEHOUSE Project Space, Sharon, CT; Kenise Barnes Fine Art in Kent, CT and with ODETTA Gallery at the Equity Gallery in New York City.. Reviews of his work have appeared in Two Coats of Paint, Whitehot Magazine, The New York Times, Sculpture Magazine, Art in America, and The New Yorker. In the summer of 2024 he will be the first Artist-In-Residence at Peck Ledge Light...

Levan Mindiashvili, in his second major exhibition, will debut works from a new project entitled “The Color Of The Sky” in which he examines the issues concerning identity politics f...

This small free-standing sculpture of an abstracted magenta pink flower by Jeffie Brewer is made with powder coated steal. The sculpture features a simplified floral form with two cu...

CHARLES CARY RUMSEY (American, 1879-1922) Colt Scratching Nose, 1917 Roman Bronze Works casting 8"H x 10 1/2"L x 4 3/8"D Weight: 9.12lbs Inscribed on the base: CC Rumsey LITER...

CHARLES CARY RUMSEY (American, 1879-1922) Colt Scratching Nose, 1916 Roman Bronze Works casting #15/ 40 6 1/4"H x 7 1/2"L x 2 1/2"D Weight: 5.8lbs Inscribed on the base: CC Rum...

bronze with silver nitrate patina Executed in 1992; this example is one of ten artist's proofs aside from the numbered edition of 25, published by Artists Space. Tom Otterness was born in Wichita, Kansas in 1952. He came to New York City in 1970 to study at the Arts Students League, and in 1973 took part in the Whitney Independent Study Program. In 1977 he became a member of Collaborative Projects, a pioneering community of independent artists, and took a leading role in organizing Colab’s 1980 Times Square Show, which was called “the first avant-garde art show of the ‘80s” by the Village Voice. Otterness is one of a handful of contemporary artists invited to design a balloon for the Macy’s Thanksgiving Day Parade, for which he devised a tumbling Humpty-Dumpty in 2005. Otterness lives and works in New York. Otterness may well be “the world’s best public sculptor,” as the art critic Ken Johnson opined in the New York Times in 2002. Public art is his focus, and Otterness has had major outdoor exhibitions of his sculptures on the Park Avenue Mall in New York (2003), in more than a dozen sites in downtown Indianapolis (2005), on the grounds of the Beverly Hills city hall (2005-06) and throughout Grand Rapids, Michigan (2006). His first solo exhibition, held at Brooke Alexander Gallery in New York in 1983, featured elements of The New World (1991), a white plaster frieze...

This large, abstract sculpture by Joe Sorge is made with steel and black dye. Two strips of steel curl upward from a round, circular base, twisting through and around one another. The sculpture casts unique and intricate shadows on its surrounding environment. The white pedestal pictured is not included. Connecticut-based sculptor Joe Sorge studied at the School of Visual Art (SVA) in New York City. While Joe's body of work is most often made with stainless steel which he sometimes dyes to give the forms bold, solid colors, he also experiments with stone carving, genesa crystals, tiger eye alabaster and others. He works with a variety of colors, finishes, and textures, to create the final piece. Joe's sculptures express the fluidity and tension inherent in the material he uses. His work draws on a modernist vocabulary to create abstract, often whimsical objects...

Jim Rennert Biography American, b. 1958 National Sculpture Society Fellow Jim Rennert was born in 1958, and grew up in Las Vegas, Nevada, and Salt Lake City, Utah. After ten trying...

This abstract painting by Teodora Guererra features a light, cool palette of blue and white with subtle orange accents at the top of the composition. The artist applies thick layers ...

This large crystalline glazed porcelain vase by Jon Puzzuoli features a deep blue palette at its base, which fades to a more vibrant blue tone and blends up to a wide, white neck and...

This glazed porcelain vase sculpture by Jon Puzzuoli features a burnt umber and white body and a wide neck finished with 18K gold luster. The artist's stamp is located at the base of...

This large abstract contemporary sculpture by Joe Sorge is made with carbon steel with and red dye. The abstract sculpture is composed of curved strips of steel, which curve around o...

Materials: printed florist paper, woven Winqvist applies the ideal of functionalism by simplifying the forms as much as possible, while avoiding unnecessary decoration. She has expl...

Title: Autumn Moon Year: 2022 Medium: Mixed media sculptural lamp Condition: Excellent Edition: 20, plus proofs Notes: AllRightsReserved, Hong Kong in collaboration with the artist. ...

Secretary Bird Life Size 43H x45L x 11D Marble Base 24x16 inches Bronze sculpture indoor or outdoor. Vintage Modern life size bronze sculpture...

Mary Schiliro’s work with acrylic paint on Mylar is process based, and expands the boundaries of painting by exploring alternative presentation methods. Using a dipping process wher...

This glazed porcelain vessel features a bright turquoise form which fades to a white crystalline drip, and cascades over a faded blue base. The wide neck and lip are charcoal grey. Jon Puzzuoli...

Nothing is more delightful than depictions of people from the turn of the century that convey a distinguished sort of elegance, composure and dignity. Gone today is the concept of "...

This small glazed porcelain sculptural vessel by Jon Puzzuoli features a light green palette with a sandy beige accent applied in a wave pattern over the surface of the piece. The fl...

Margaret Roleke has created the sculpture “Pop,pop” specifically for the Las Gravitas exhibition at ODETTA. The title refers both to the fun and colorful hues of the piece that pop ...

Norma Marquez Orozco explores concepts of impermanence, perception, form and balance through physical movement of the work itself in a lucid, game-like context, like puzzles. All the elements are made of paper, molded into three-dimensional forms. The repetitive geometric shapes are assembled inside boxes built out of translucent paper. The arrangement is random and unfixed to allow movement and unpredictable composition. The harmonies and tensions in the work arise from different exchanges between the colors, the patterns, and the geometric and organic shapes, as well as the sense that change is constantly occurring as the elements shift and move. When one looks at these compositions, you see them for the first time, every time, because what is creating and completing the artwork is always changing; such as light, weather and forms merge and interact. As a result of these dynamic relationships, the work extends beyond her personal hand, sustaining an appearance and composition entirely of its own. Norma Márquez Orozco was
 born
 in
 Chicago,
Illinois,
 and
 raised
 in
 Guadalajara,
 Jalisco,
 Mexico. Her work can be seen as an investigation into the way relationships emerge and evolve when elements like color, form, shape, lines, angle and pattern are blended, shifted and layered. She currently lives and works in New York City. Marquez Orozco
 has
 curated
 exhibitions throughout
 New
 York
 and
 has hosted
 lectures
 and
 artist
 talks
 for
 the
 public. In
 2001
 she founded
 Floor4Art, an
 alternative
 space
 in
 West
 Harlem
 that
 houses
 artist’s
 studios
 and
 exhibition
 space
 aimed
 at
 producing,
 promoting
 and
 connecting
 artists.
 Exhibition venues include: ODETTA, Brooklyn, NY, Longwood Art Gallery, Queens Museum, The (S)Files 007/ El Barrio...

Tim Prentice's "Banner" series of suspended kinetic sculptures are available in groupings or individually. These particular Banners were purchased by the State of Connecticut. Other Banners are available. Each "Banner" is made of Lexan (polycarbonate), aluminum, and stainless steel. Please note: The dimensions and price shown are for a single "Banner." Please contact the gallery to inquire about other available works in this series, or for more information about commissions for indoor and outdoor kinetic...

In recent years, Daniel G. Hill has been fixated on the work’s method of construction and its physical presence. During the winter of 2014, he began a new line of inquiry, translati...

Roleke creates politically aware work. Her wall reliefs are composed of multitudes of plastic toys, oddly sexualized Disney characters and Happy Meal trinkets. Through investigation ...

In the mid 1990s Richard Klein started working with found glass objects, including bottles, drinking glasses, ashtrays, and eyeglasses. Initially, Klein rejected any object with commercial or advertising content, but in 2015 he became fascinated with the promotional content that was screen printed on ashtrays from the 1950s, 1960s and early 1970s. This period was before smoking was looked at as being primarily a negative habit, and iconic American businesses, including Howard Johnson’s, International House of Pancakes (iHop) and Holiday Inn, all produced promotional ashtrays printed with their graphic identity. By the time Klein became interested in these objects, the businesses had either ceased to exist, or had changed their logos, and many of their signature buildings, which where examples of classic, “Pop” roadside architecture, has been torn down or repurposed. The artist wanted to connect the glass objects with the business’s sites that were still recognizable and spoke of their history, so he began researching where original buildings still stood. Klein then embarked on a series of road trips to photograph these sites with the intention of combining the photographs with the promotional glass objects. This led him to as far south as Maryland and as far north as upstate New York from his home in Connecticut. In the case of Holiday Inn, it wasn’t their buildings, but their iconic illuminated sign that appeared on ashtrays, so he sought out a standing example of the sign he could photograph. As it turned out all had been removed years before from the hotels' properties and the only working example was indoors at the Henry Ford Museum in Dearborn, Michigan. He did, however, find out that there was one still standing, surprisingly, in Beruit, Lebanon. He found an image of it on the web and used it to make Holiday Inn (Beruit). In 1973 Holiday Inn changed their tagline from “The Nations Innkeeper” to “The World’s Innkeeper” as they expanded overseas, including the Mideast. For the hotel chain it was bad timing: the disastrous Lebanese civil war began in 1975. In the war, the different Lebanese militias involved in the conflict, including the Nasserites, Christian Phalangists, and the Lebanese National Movement engaged in what came to be called “The Battle of the Hotels” where they each occupied a major high-rise hotel in central Beruit. The Phalangists commanded the Holiday Inn, which they used to fire with both light arms and heavier weapons at the militias in neighboring hotels. Klein used the photo of the heavily damaged Holiday Inn sign as I thought it spoke in a curious, offhanded way about American cultural imperialism in juxtaposition with an ashtray that proclaimed Holiday Inn to be “The World’s Innkeeper.” In the work Holiday Inn (Nocturne) the artist utilized a found, 35mm slide of a Holiday Inn sign at night at an unknown location as the basis of the photograph in the work. Richard Klein is a Connecticut-based artist, independent curator and writer. As an artist, he has exhibited widely, including the Neuberger Museum of Art at SUNY Purchase; Caren Golden Fine Art, New York; the John Michael Kohler Arts Center, Sheboygan, WI; Hales Gallery, London; Gavlak Gallery, Palm Beach, FL; deCordova Sculpture Park and Museum, Lincoln, MA; James Barron Art, Kent, CT; The Portland Institute of Contemporary Art (PICA), Portland, OR; Schoolhouse Gallery, Provincetown, MA; Stephan Stoyanov Gallery, NY; Katonah Museum of Art, Katonah, NY; Brattleboro Museum and Art Center, Brattleboro, VT; Ortega y Gasset Projects, Brooklyn, NY; Exhibit by Alberson Tulsa, OK; Incident Report/Flow Chart Foundation, Hudson, NY; ICEHOUSE Project Space, Sharon, CT; Kenise Barnes Fine Art in Kent, CT and with ODETTA Gallery at the Equity Gallery in New York City.. Reviews of his work have appeared in Two Coats of Paint, Whitehot Magazine, The New York Times, Sculpture Magazine, Art in America, and The New Yorker. In the summer of 2024 he will be the first Artist-In-Residence at Peck Ledge Light...

This ceramic vessel sculpture by Jon Puzzuoli is made with glazed porcelain. It has a round, deep grey and vibrant red body, a fluted neck finished in 18K gold luster, and a red lip....

In this wall-mounted sculpture, a copper and nickel-plated crow's wing extends out from a shaped piece of glass, a window from a 1990 Volkswagen Passat mirrored with white gold leaf....

digital print on aluminum, wood, 3D print, paint, stainless steel Edition of 8 From MB DAY JOB Your Ad here This sculpture will be shipped directly from the artist's studio.

metal, polymer, pigment, wood "Quote on label from Alexander Calder: ""My fan mail is enormous. Everyone is under six."" The numeric code on the crimped end of the tube spells CALD...

metal, polymer, pigment, wood Edition of 20 From NOTE Study of Paint Drips This sculpture will be shipped directly from the artist's studio.

metal, polymer, pigment, wood Edition of 20 From NOTE Prime Cuts This sculpture will be shipped directly from the artist's studio.

metal, polymer, pigment, wood Edition 20 "Donald Sultan copied Any Warhol's Flowers, which were no doubt copied from someone else. But Sultan's real claim to fame is the massive ove...

digital print on aluminum, wood, 3D print, paint, stainless steel Edition of 8 This sculpture will be shipped directly from the artist's studio.

metal, polymer, pigment, wood Edition 20 From ROLLER (small) Marilyn On A Roll This sculpture will be shipped directly from the artist's studio.

Edition 20 archival digital print mounted on aluminum with 3D printed push pin This sculpture will be shipped directly from the artist's studio.

digital print on aluminum, wood, 3D print, paint, stainless steel Edition of 8 This sculpture will be shipped directly from the artist's studio.

metal, polymer, pigment, wood Edition of 8 Label quote from Fred C. Dobbs, as played by Humphrey Bogart in The Treasure of Sierra Madre: "I think I'll go to sleep and dream about pi...

metal, polymer, pigment, wood "Label quote from M.C. Escher: ""Are you really sure that a floor can't also be a ceiling?"" Numeric code on crimped end of tube spells ESCHER."

metal, polymer, pigment, wood Edition of 8 "Label text: Becoming an artist is a polite way of saying you've chosen alcoholism as a career. From NOTE Emphasis This sculpture will b...