Tri-State Area - Sculptures

Michele Brody, Nature in Absentia: Cattails Plucked Out, Handmade Cast Paper The essence of Michele Brody’s work thrives on the interaction with n...

Head of a Woman, ca. 1939. Stepan Dmitrievich Erzia, born Stepan Nefyodov on October 27, 1876, in Bayevo, Simbirsk Governorate, Russia, was a distinguished sculptor of Erzya Mordvin descent. He adopted "Erzia" as his artistic pseudonym to honor his ethnic heritage. Erzia's artistic journey began with apprenticeships in icon-painting studios in Alatyr and Kazan between 1892 and 1897. During this period, he decorated churches throughout the Volga region and attended the Kazan Art...

More than a creature, Birdman embodies transformation and duality. Is it a guardian, a trickster, or an internal self-reflection? Its bird-like head and humanoid stance invite viewer...

This figurative mixed media textile wall sculpture was done by American fiber artist, Norma Minkowitz (b. 1937). The interlacing technique that Minkowi...

Out of Focus 1-9, handwoven cotton, 87" x 85.5" x 1.5", 2007. This colorful wall piece, consisting of nine hand-woven abstract tapestries, was done by Danish fiber artist, Grethe Sørensen...

Karl Bitter Reclining Woman, 1897 Signed: Bitter 97 Stamped: GORHAM M F G CO. Bronze 10.25 x 10.25 x 4 inches Initially from Vienna, Karl Bitter first studied art at the city’s Kunstgewerbeschule and the Kunstakademie before being drafted into the Austrian army. He deserted his position in the military while on leave, and departed for New York City where he would discover considerable success. Early on, he won a competition for the Astor memorial bronze gates at Trinity Church, which awarded him enough capital to open his own studio. He went on to execute sculptures of Alexander Hamilton and Thomas Jefferson at the Cuyahoga Courthouse in Cleveland; he also created portraits of Jefferson for the state of Missouri and the University of Virginia. These commissions caught the attention of sculptor Richard Morris Hunt (who famously designed the façade of the Metropolitan Museum), earning Bitter the duty of producing the portrait medallions that now appear near the top of the museum’s grand face. Notably, he presented at Chicago’s 1893 World’s Columbian Exposition and directed the Pan-American Exposition in Buffalo in 1901. Over his career, his artwork became more flexible – his early academy training is easily identifiable within his work, but after moving to America, conventions of Modernism became more prevalent within his sculpture. In addition to many awards, Bitter presided over the National Sculpture Society in 1906-1907, and was a member of the National Institute of Arts and Sciences, the National Academy of Design, the American Academy of Arts and Letters, the Architectural League, and the Art Commission, New York. His public work can be found at the Biltmore Estate, Asheville, NC; Gettysburg National Military Park, Gettysburg, PA; Wisconsin State Capitol, Madison, WI; United States Naval Academy...

"T. Shorty" by Kevin Barrett Unique fabricated bronze sculpture Kevin Barrett is noted for creating unique, rhythmic, abstract indoor and outdoor sculpture and wall reliefs. Metal,...

Provenance: The artist; thence by descent to his granddaughter: Rhoda Knight Kalt; from whom acquired by: Private Collection, Pennsylvania, 1995–2025. Literature: Richard Milner, Ch...

Imperial Totem is a richly layered sculptural work, merging East and Southeast Asian references into a singular ceremonial vision. With influences ranging from Tibetan sleeve structu...

Minimalist yet complex sculpture in brass formed by two strips of cut brass, hand hammered and set on a wood base. Unique and signed

Katherine Jackson lives and works in Brooklyn. Necropolis is a print of a painting inspired by a map of the necropolis where the terra cotta soldiers...

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...

Guillaume Cornelis van Beverloo (Corneille) Tropical Parrot with Woman, circa 1970 Signed: Corneille Edition Number: 6 of 8 Constructed and Painted wood 39" high x 40 1/2" wide x 6" ...

Hebru Brantley GAIA (Hebru Brantley Lil Mama as Gaia) / Hebru Brantley FLYBOY: a set of 2 works: Vinyl figures: 2 individual works. c.2017 (flyboy) & 2021 (gaia). Gaia: 7.5 x 5.5 inches. Flyboy: 9 x 8 inches. Each new, never displayed; accompanied by original packaging. Published by Hebru Brantley from a limited series of unknown. Unsigned as issued. Hebru Brantley Gaia: Hebru Brantley’s ethereal art toy features his much iconic, Lil Mama character as Gaia, the fabled personification of Mother Earth. Wearing her traditional aviator goggles, Lil Mama glides on a cloud high above everyday life. Brantley has designed Gaia as an amulet that he says, will ‘…provide you and those you love with blessings and protection…’ Hebru Brantley Flyboy: Artist Statement: "Flyboy came out of characters of colour within popular culture. I hate saying “popular culture,” but it’s really popular culture. I mean you look at cartoons. You’ve got animated sponges and ducks and birds and whatever, and it’s very rare to see a popular character within any medium that is African-American, Latino, even Asian. What I wanted to do was create that, but in a space of high art and be able to have some historical context to that character. So I looked at the Tuskegee Airmen...

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...

The freestanding sculptures in this portfolio are made from the “sticks”: a pile of found wood that Sweibel has been pulling from to make new works since about 2002. The pile consisted of more than a dozen four- to seven-foot lengths of hardwood, each an uneven inch in depth and width. The sticks were warped, with worn yellow paint on one side and raw wood on the other three. Over the years she has painted the raw sides of the sticks, cut the wood into shorter lengths, and sliced paint off – and kept the residue from these actions. Sweibel has also made sculptures ranging from full-length sticks to tiny stick splinters. She built these sculptures using sliced-off paint. Timeworn materials and objects have an intelligence that the artist looks for and listens to. Shaping and reshaping material to find new form and elicit new insights in the material itself is the territory she is mining. The limitations of the process are its strengths. Her work is concerned with fragility, precariousness, adaptability, and strength. It is a visual response to powerful yet unseen forces - like wind and thoughts - that threaten, propel, ruin, and protect. Liz Sweibel is a multidisciplinary artist working in drawing, sculpture, installation, and digital photography and video. Her spare, personal language of abstraction transforms ordinary materials into statements about connectedness and responsibility: every action has an impact, the effects persist in space and over time, and we are accountable. By drawing attention to simple, ordinary “stuff of life” and referencing both shared and personal history, Sweibel’s work explores and reflects back fundamental experiences in response to our world and relationships. Her intention is to reinvigorate viewers’ awareness of the everyday – in its raw beauty and precariousness – in hopes that they might bring heightened senses of sight and care to their daily lives. Sweibel has participated in solo, two-person, and group exhibits in New York, Massachusetts, Maine, Connecticut, Michigan, and Tennessee since 1998. In 2016, Sweibel’s work was in the group shows Lightly Structured at Sculpture Space NYC, Precarious Constructs at the Venus Knitting Art...

"Sacandaga River Landscape IX" by John Van Alstine Stone, pigmented and sealed steel The sculpture of John Van Alstine beautifully, and powerfully, balances the union of stone and m...

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...

Jo Yarrington’s photographs, prints, works on paper, glass sculptures and architecturally-based installations have been shown in exhibitions at the Aldrich Contemporary Art Museum, Y...

Jo Yarrington’s photographs, prints, works on paper, glass sculptures and architecturally-based installations have been shown in exhibitions at the Aldrich Contemporary Art Museum, Yale University, Cornell University, the Museum of Glass, the DeCordova Museum and Sculpture Park, Artists Space, St. John the Divine Cathedral, Grounds for Sculpture, the Museum of American Glass and ODETTA, among others. International exhibitions have included Guangzhou Academy of Fine Arts Museum, Glasgow School of Art, Glasgow Cathedral, Glasgow University, Galeria Sala Uno and Centro de las Artes de Guanajuato. She represented the United States at the Sharjah Biennial, United Arab Emirates and participated in the Berlin Biennial. in 2010 she received the Bronze Prize, the Museum of Contemporary Art, Skopje, Macedonia. Yarrington is a recipient of artist grants and Fellowships from the Pollock Krasner Foundation, the New York Foundation for the Arts, the Pennsylvania Council on the Arts and the Connecticut Commission on Culture and Tourism. She has received Residency Fellowships from the MacDowell Colony, the Museum of Glass, the Museum of American Glass, the Bridge Virtual Residency/ SciArt Center, the Lucile Walton Fellow/Mountain Lake Biological Station, the Virginia Center for Creative Arts, the Anderson Center and the Ucross Foundation, among others. International grants and fellowships have included the Banff Center for Arts and Creativity/Canada, SIMS Residency/ Iceland, Cill Rialaig Artists Residency/Ireland, the Burren College of Art Residency/Ireland and the American Scandinavian Foundation. She is a Professor of Visual and Performing Arts at Fairfield University and lives and works in New York City. STATEMENT In site-specific exhibitions, public art commissions, collaborative and individual projects Jo Yarrington has used varied combinations of glass, waxed surfaces, found artifacts and experimental analog photography to investigate the way we perceive – searching for, experimenting with and developing throughout a sensory-based vernacular. Her mostly translucent materials function as physical framework and symbolic membrane. Light, both natural and ambient, provides a kinetic or time-based element to her work. Scale and the integration of architecture are also pivotal components. In the 6-part installation for the two-person exhibition Illuminated, Yarrington continues her interest in the connections between vision, sound and language. In Mute-ability: Compositions 1 – 6, her title for this light-based comprehensive work, she combines the words mute and malleability. The work focuses on found piano rolls, a music storage medium, originally conceived as coded notations or ‘note control data’ for music produced in pneumatic player pianos...

"The Year in Pictures" by Joan Giordano Mixed media, international archival newspapers, encaustic on wood panel Museum shown and collected artist Joan Giordano is known for her uniq...

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 take...

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...

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...

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...

Architecture and functional objects inform the vocabulary of Richard Bottwin’s sculpture. The plywood surfaces, laminated with wood veneers or painted with acrylic colors, are confi...

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...

Diane Englander uses formal means to create a place between discord and tranquility, a zone with a charged harmony that energizes as it also provides refuge. That often requires tha...

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

Johannes Nielsen (b.1979) was born in Falkenberg, Sweden. He is an artist who uses bronze sculpture to celebrate life and its beauty. He believes that sculptures of the human body ca...

"Sisyphean Circle Beijing Series XXXII" by John Van Alstine Slate, pigmented steel The sculpture of John Van Alstine beautifully, and powerfully, balances the union of stone and met...

David Borawski lives and works in Hartford, Connecticut, and received his BFA from the Hartford Art School of the University of Hartford. A multi-media installation artist, his work...

David Borawski lives and works in Hartford, Connecticut, and received his BFA from the Hartford Art School of the University of Hartford. A multi-media installation artist, his work...

Where do we come from? Where are we going? What the hell is going on here? 2017-2018 Hand cut paper in wood box Gil Scullion’s conceptual text-based work has been featured in exhibi...

Where do we come from? Where are we going? What the hell is going on here? 2017-2018 Hand cut paper in wood box Gil Scullion’s conceptual text-based work has been featured in exhibi...

Where do we come from? Where are we going? What the hell is going on here? 2017-2018 Hand cut paper in wood box Gil Scullion’s conceptual text-based work has been featured in exhibi...

Where do we come from? Where are we going? What the hell is going on here? 2017-2018 Hand cut paper in wood box Gil Scullion’s conceptual text-based work has been featured in exhibi...

Where do we come from? Where are we going? What the hell is going on here? 2017-2018 Hand cut paper in wood box Gil Scullion’s conceptual text-based work has been featured in exhibi...

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...

Edition of 8 Artist Statement: My figures speak to me of that peaceful place in myself - calm, open, aware. My art reflects the influence of my childhood in Japan and of the rigor...

"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 ...

Weaving is a form of drawing, of plotting and connecting lines. Fabricating a three-dimensional, transparent object using thin strips of paper with differing colors on either side re...

Weaving is a form of drawing, of plotting and connecting lines. Fabricating a three-dimensional, transparent object using thin strips of paper with differing colors on either side re...

"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...

Radioluminescence is the phenomenon by which light is produced in a material by bombardment with ionizing radiation and can be used as a low-level light source for night illumination of instruments or signage or other applications where light must be produced for long periods without external energy sources. Radioluminescent paint used to be used for clock hands and instrument dials...

Radioluminescence is the phenomenon by which light is produced in a material by bombardment with ionizing radiation and can be used as a low-level light source for night illumination of instruments or signage or other applications where light must be produced for long periods without external energy sources. Radioluminescent paint used to be used for clock hands and instrument dials...

Liz Sweibel primarily makes sculpture, installations, and drawings. She uses a spare, personal language of abstraction to explore liminal spaces and unseen forces: wind, history, va...

Emily Feinstein grew up with a father who was a cabinetmaker with a shop in the basement. She spent a lot of time making things and constructing with wood. Her ongoing interest in r...

Emily Feinstein grew up with a father who was a cabinetmaker with a shop in the basement. She spent a lot of time making things and constructing with wood. Her ongoing interest in r...

"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...

"Pages" by Richard Pitts Powder-coated aluminum Richard Pitts works in many media, from steel to wood to bronze to aluminum, not to mention his paintings. His often colorful, abstra...

Dorothy Mayhall's small sculptures are little monuments to be toyed with and handled. They should be picked up, fondled, and examined like a rock or shell you collect on the beach be...

Dorothy Mayhall's small sculptures are little monuments to be toyed with and handled. They should be picked up, fondled, and examined like a rock or shell you collect on the beach be...

Dorothy Mayhall's small sculptures are little monuments to be toyed with and handled. They should be picked up, fondled, and examined like a rock or shell you collect on the beach be...

This flat file installation is a kind of Wunderkammer – a Cabinet of Wonder or Curiosity containing a small idiosyncratic collection of select wonders and oddities of the natural wor...

Kathleen Vance explores environmental issues such as water conservation and protection through positive stewardship of the land. She looks to convey an appreciation of nature and tra...

While working on a large building project several years ago the artist, Fritz Horstman was struck by the poetry in the unfinished state of the construction site. He was drawn specifically to the space between the plywood walls that were raised as formworks for the pouring of cement. That space could only exist for a few hours before the cement truck...

While working on a large building project several years ago the artist, Fritz Horstman was struck by the poetry in the unfinished state of the construction site. He was drawn specifically to the space between the plywood walls that were raised as formworks for the pouring of cement. That space could only exist for a few hours before the cement truck...