Marina Gutierrez 2007 "En Aqua Memoriam 1"

A wonderful whimsical massive pottery terracotta sculpture from 1962, signed Selbmann Roma, Italy. The piece just conveys joy and happiness. Muted colors. The piece has an old repai...

Norman Laliberte sculpture dated 1988. Whimsical and fun by the noted Canadien/American artist. In good overall condition, although there are some mar...

A great wood Folk Art carving of an alligator or crocodile. It is not signed but appears to date to the 1960s based on the estate it came from.

A wonderful whimsical bronze of what looks like a hare signed Flanagan. We believe it may be by the noted Welsh artist Barry Flanagan. It was from a prominent NY State estate.

A lovely marble stone sculpture of intertwined salmon, likely an Inuit artist. It is mounted on a rod and black marble base so that it swivels. One corner of the bottom of the black ...

A great bronze-mounted on zebrawood by the noted Coloradan artist Craig Lehmann. He is known for his animal sculpture and his African based themes. This ...

Beautiful bronze may listed Mexican artist, Victor Gutierrez titled "Inquietud" and number 6 of an edition of 25. The piece is signed and dated 87. ...

Victor Gutierrez (Mexican, born 1950). A limited edition cold painted bronze statue. A figural work produced in a modern style depicting a seated fema...

Victor Gutierrez (Mexican, Born 1950). A limited edition cold painted bronze statue. A figural work produced in a modern style depicting a seated fema...

Modern sculpture in polished brown marble (a woman's torso?) on a transparent glass stand. 20th century period. This Valencian artist, Vicente Orti (1947-), is famous and known for...

A porcelain sculpture by Wayne Fischer. Perfect original conditions. Signed. Unique piece. 2007. 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...

"Aqua Lucis" is a captivating resin sculpture that gracefully explores the intricate nature of water, rendered with a transparent high gloss finish. This masterful artwork, reminisce...