Fairfield County - Sculptures

Edition of 7 Sculptor Santiago Medina Italian stainless steel sculptures are at marquee public art venues worldwide such as Harvard, Stanford University, City of Miami-Pinecrest Circ...

Edition of 7 Sculptor Santiago Medina Italian stainless steel sculptures are at marquee public art venues worldwide such as Harvard, Stanford University, City of Miami-Pinecrest Circ...

woven willow, twigs, waxed string

Archer Fiberglass / Carbon Fibre impregnated with catalysed polyester resin Powder filled acrylic lacquer on filled polyester resin base 58" x 10" x 14" "I am an artist, a sculptor ...

white pine bark and vine

Saba's Garden, linen, sisal and wool, 84" x 92", 1978. This mid-century modern woven textile wall sculpture was done by fiber artist, Agnieszka Ruszczynska-Szafranska (b. 1929, Warsa...

Journey Trees III, linens and swing threads, 8" x 8" x 1", 2021. This figurative woven textile piece is by UK-based textile artist, Sara Brennan (b. 1963...

Antoine-Louis Barye was acclaimed as the finest sculptor of the French Animaliers School. As a 19th century sculptor he was an advocate for both naturalism and romanticism. This rear...

Series: Neon 15" x 60" x 6" - Edition of 9 Disarmingly blunt and intensely intimate, David Drebin's neon light installations illuminate hidden aspirations and secret thoughts of the...

Leslie's public projects respond to site, history and the body. Figures are female or hermaphroditic, of imaginary descent, often melded with animal, architecture and plant forms. I ...

Podroz (Journey) from the Kolodia series, linen, sisal, wool 60" x 56", 1986. This mid-century modern woven textile wall sculpture was done by fiber artist, Agnieszka Ruszczynska-Sza...

Abstract Form is a mid-century modern sculpture by Dutch artist Leo De Beer, exemplifying his commitment to uncovering form from within. Rendered in a styl...

Series: Neon 24" x 24" x 13.75" - Edition of 9 Disarmingly blunt and intensely intimate, David Drebin's neon light installations illuminate hidden aspirations and secret thoughts of...

Silver Waves, Adela Akers, linen, horsehair, paint & metal foil, 63” x 24”, 2014 “There is a mathematical discipline in the way the work is constructed,” ...

Red Porsche Guard on Fiberglass Edition of 6

"Material Pleasures: Artemisia", acrylic on linen, dyes on rayon; woven, 53" x 77", 1993. This contemporary abstract mixed media tapestry was done by California-based American fib...

Central to Phillips's artistic ethos is the pursuit of simplicity and purity, a quest manifest in his meticulous engineering and unwavering dedication to craftsmanship. His sculpture...

Series: Neon 15" x 60" x 6" - Edition of 9 Disarmingly blunt and intensely intimate, David Drebin's neon light installations illuminate hidden aspirations and secret thoughts of the...

Series: Neon 15" x 60" x 6" - Edition of 9 Disarmingly blunt and intensely intimate, David Drebin's neon light installations illuminate hidden aspirations and secret thoughts of the...

Series: Neon 40.5" x 53.5" x 6" - Edition of 9 Disarmingly blunt and intensely intimate, David Drebin's neon light installations illuminate hidden aspirations and secret thoughts of...

Series: Neon 30" x 40" x 6" - Edition of 9 Disarmingly blunt and intensely intimate, David Drebin's neon light installations illuminate hidden aspirations and secret thoughts of the...

Series: Neon 10" x 60" x 7.5" - Edition of 9 Disarmingly blunt and intensely intimate, David Drebin's neon light installations illuminate hidden aspirations and secret thoughts of t...

Orange Pleats is made of sisal fibers, dyed and formed in a technique unique to Mia Olsson. The sisal fibers used by the Swedish artist are shiny and reflect the light, even more whe...

"Folded Form I", steel mesh, painted, electroplaited, gold and silver leaf, 12 1/4" x 12 1/4" x 12 1/4", 2004. This abstract geometric wall sculpture was done by fiber artist, Jin-S...

This mixed media textile sculpture was done by American fiber artist, Norma Minkowitz (b. 1937). The interlacing technique that Minkowitz uses as seen ...

Wheel, Christie Joy, willow, beeswax, damar resin, 24.25” x 28” x 9”, 2013. This abstract woven willow sculpture was created by American fiber artist, Ch...

A superb smaller version of a large scale commission work that stands in Bordeaux at the Hotel Fruges! Lovely patina - a lighter but rich and warm brown tone that is rare to see in ...

Edition of 9. The figure is about 20 inches tall. Jim Rennert was born in 1958 and was raised in the Southwest United States. Rennert began exhibiting his work in 1993 and has since...

"Lyric Space" Korean silk fabric and handmade ramie threads, maple floater frame. This contemporary silk textile piece is by Korean fiber artist, Shin You...

A sensuous and fabulous piece to enjoy in the round as every vantage point is attractive or on a shelf or table. In the 19th century, the Italians and French were in a golden era f...

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...

This 5" hand-painted sculptural cube by Sofie Swann is made with acrylic paint and gesso on wood. It features a sandy beige and white palette with imperfect white circular forms arra...

This 5" hand-painted sculptural cube by Sofie Swann is made with acrylic paint and gesso on wood. It features light texture and a warm neutral plaette, with a grey background and a l...

This beautiful female figurative sculpture is by René Romero Schuler. This powerful female figure speaks to the complexities of the human condition and the spirit that connects all...

Excavation, mixed media, 25" round, 2009-11. This mixed media sculpture was done by American fiber artist, Norma Minkowitz (b. 1937). Minkowitz utili...

ODETTA is pleased to offer this important sculpture from the Estate of David Hayes. David Vincent Hayes (March 15, 1931 – April 9, 2013) was an American sculptor.. These Form Studi...

ODETTA is pleased to offer this important sculpture from the Estate of David Hayes. David Vincent Hayes (March 15, 1931 – April 9, 2013) was an American sculptor.. These Form Studi...

ODETTA is pleased to offer this important sculpture from the Estate of David Hayes. David Vincent Hayes (March 15, 1931 – April 9, 2013) was an American sculptor.. Hayes received a...

ODETTA is pleased to offer this important sculpture from the Estate of David Hayes. David Vincent Hayes (March 15, 1931 – April 9, 2013) was an American sculptor.. Hayes received a...

Pedro's sculpture's are whimsical and sophisticated. The sailboat series is affordable for the work involved in creating them. His use of mixed media gives the sculptures a unique ...

Joseph Goethe was one of America's finest early modernist carvers in wood. He experimented with exotic woods often collected in his native California and from other countries. This...

This pair of male and female brass masks are emblematic of Hagenauer’s highly stylized Art Deco design. The artist’s reductionist approach together with a nod to African tribal shiel...

Steve Bickley creates beautiful metal sculpture and wall reliefs, as well as color prints. In addition, he makes large outdoor sculpture in stainless steel and aluminum. He has bee...

Journey Trees IV, linens and swing threads, 7.5" x 8" x 1", 2021. This figurative woven textile piece is by UK-based textile artist, Sara Brennan (b. 196...

Pathways of Desire (2009) - block printed, manipulated, stitched, heat-set polyester, cotton thread. This contemporary abstract tapestry is by UK-based contemporary textile artist, Caroline Bartlett...

"Three Chairs" (Triptych) steel mesh, gold, silver and background rust steel board, 35" x 42 1/2" x 2", 2010. This three-piece mixed media textile work was done by artist, Jin-Sook ...

For Paul Furneaux, initially cut off from his studio in the past year, his garden became his obsession, as he undertook an extensive renovation. Returnin...

Blue/Purple Pleats is made of sisal fibers, dyed and formed in a technique unique to Mia Olsson. The sisal fibers used by the Swedish artist are shiny and reflect the light, even mor...

"Shop" James Bassler, brown paper Trader Joe's shopping bags, cut and twisted, with yellow and red waxed linen thread, 16" x 11" x 5", 2009. "Shop", by ...

Joseph Goethe was one of our finest American modernist carvers in wood. He loved to use exotic and or beautiful woods to inspire his compositions which ranged from figurative, to an...

"Chunjeein-1, 2 & 3", 33” x 7 1/8” x 6 3/4” (total installed dimensions), 2019 This three-piece work of abaca fiber, pure gold leaf and eco-soluble resin is by Chang Yeonsoon (b. 1950), a Korean...

This Zen like sculpture is formed from Linden wood also known as basswood, which was considered sacred in Slavic mythology. This minimalist sculpture was worked by hand for over 300 hours, The Lapis color is mineral paint...

A very unique bronze that touches upon the classic, female strength in form and the details beaux arts style in America. A work that really is for a collector and to be put in a spo...

Eva Vargo fuses paper and linen-thread materials into her weaving techniques. No. 55 (Book of Changes) was hand woven with linen, thread, paper strings and g...

"Cradle to Cradle" apple, commercial wood, screws, 16" x 30" x 30", 2007. This mixed media sculptural vessel was done by San Francisco-based artist, Gyöngy Laky...

Patricia Miranda's work includes interdisciplinary installation, textile, paper and books. The textiles incorporated in these new pieces are vintage linens from her Italian and Irish grandmothers and sourced from friends and strangers around the country. Each donation is documented and integrated into the work. Textile as a form that wraps the body from cradle to grave. The role of lacemaking in the lives of women both economically and historically is packed with metaphorical potential. The relationship of craft and women’s work (re)appropriated by artists today to environmental and social issues is integral to the artist's research. Her work is process oriented; materials are submerged in natural dyes from oak gall wasp nests, cochineal insects, turmeric, indigo, and clay. She forages for raw materials, cook dyes, grind pigments, ecofeminist actions that consider environmental impacts of objects. The process is left visible as dyestuff is unfiltered in the vat and finished work. Sewn into larger works, Miranda incorporates hair, pearls, bone beads, Milagros, cast plaster. The distinct genetics and environmental and cultural history of each material asserts its voice as collaborator rather than medium. The lace inserts a visceral femininity into the pristine gallery, and exerts a ghostly trace of the history of domestic labor. The combination of earth and lace references human and environmental devastation and the conflation of nature and women’s bodies as justifications for exploitation. Mournful and solastalgic, they are lamentations to the violence against women and the earth. Patricia Miranda is an interdisciplinary artist, curator, educator, and founder of The Crit Lab, graduate-level critique seminars and Residency for artists, and MAPSpace project space. She has been Visiting Artist at Vermont Studio Center, the Heckscher Museum, and University of Utah; and been awarded residencies at I-Park, Weir Farm, Vermont Studio Center, and Julio Valdez Printmaking Studio. She received an Anonymous Was a Woman Covid19 Artist Relief Grant, an artist grant from ArtsWestchester/New York State Council on the Arts, and was part of a year-long NEA grant working with homeless youth. Miranda currently teaches graduate curatorial studies at Western Colorado University, and develops programs for K-12, museums, and institutions such as Franklin Furnace. Her work has been exhibited at ODETTA, NYC; ABC No Rio, NYC; Alexey von...

Patricia Miranda's work includes interdisciplinary installation, textile, paper and books. The textiles incorporated in these new pieces are vintage linens from her Italian and Irish grandmothers and sourced from friends and strangers around the country. Each donation is documented and integrated into the work. Textile as a form that wraps the body from cradle to grave. The role of lacemaking in the lives of women both economically and historically is packed with metaphorical potential. The relationship of craft and women’s work (re)appropriated by artists today to environmental and social issues is integral to the artist's research. Her work is process oriented; materials are submerged in natural dyes from oak gall wasp nests, cochineal insects, turmeric, indigo, and clay. She forages for raw materials, cook dyes, grind pigments, ecofeminist actions that consider environmental impacts of objects. The process is left visible as dyestuff is unfiltered in the vat and finished work. Sewn into larger works, Miranda incorporates hair, pearls, bone beads, Milagros, cast plaster. The distinct genetics and environmental and cultural history of each material asserts its voice as collaborator rather than medium. The lace inserts a visceral femininity into the pristine gallery, and exerts a ghostly trace of the history of domestic labor. The combination of earth and lace references human and environmental devastation and the conflation of nature and women’s bodies as justifications for exploitation. Mournful and solastalgic, they are lamentations to the violence against women and the earth. Patricia Miranda is an interdisciplinary artist, curator, educator, and founder of The Crit Lab, graduate-level critique seminars and Residency for artists, and MAPSpace project space. She has been Visiting Artist at Vermont Studio Center, the Heckscher Museum, and University of Utah; and been awarded residencies at I-Park, Weir Farm, Vermont Studio Center, and Julio Valdez Printmaking Studio. She received an Anonymous Was a Woman Covid19 Artist Relief Grant, an artist grant from ArtsWestchester/New York State Council on the Arts, and was part of a year-long NEA grant working with homeless youth. Miranda currently teaches graduate curatorial studies at Western Colorado University, and develops programs for K-12, museums, and institutions such as Franklin Furnace. Her work has been exhibited at ODETTA, NYC; ABC No Rio, NYC; Alexey von...

"China Maze Doll", woven cotton & rayon, 72 x 51", 2008. California-based American fiber artist, Lia Cook's (b. 1942) work "A-Maze Doll", was awarded a Gold Medal at the 5th Interna...

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

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