Etxea - House

On a piece of driftwood rescued from river Ebro, the artist has continued the carving process already started by the atmospheric agents: sun, water, wind, ice,... as well as other living things: mainly xylophages. This work is thus executed by quite a group of modelling "artists".
Eduardo Domínguez Cabrerizo, Wood

I sculpted in marble the moment of metamorphosis, as described by the great poet Ovid, who lived the last years of his life in Romania at Tomis ((Constanta today), being forcibly exiled from Rome in the year 8 AD and was buried approx. 9 years later in the same locality. . . The moral of my sculpture: eternal beauty, found exclusively in art. I sculpted the moment of the metamorphosis, setting in motion Galatea’s silhouette, abandoning the eternal condition in favor of the perishable. Detachment of the statue to awakening to life leaving the body in the negative, revealing the sequence of movement from the right position of the statue to the downward position on the pedestal, both in front and behind the sculpture. I gave the free spaces meanings of stihii and centrifugal coverage, to suggest movement, with the appearance of a disorder assumed to contradict the static attitude of classicism, while the naked silhouette of Galatea benefits from retained details vaguely reminiscent of the classical manner. At the top of the sculpture, in front, I carved the negative mark of the hand of the goddess Aphrodite that gave life to the statue. The features of Galatea's face are vague, without details. I simply sculpted Pygmalion, without clothing details, I gave importance to the position of the body, after long hesitations between several variants and the facial expression is amazement and wonder for the miracle that took place. His face is slightly caricatured, expressive, specific to the contemporary style. Here, as in other sculptures, we followed the principle that while painting is a play of shadow and light, sculpture is a tandem between full and empty in which light plays. Video: https://youtu.be/0MlVDSyc2PI
Vasile Stefanoiu, Marble, Video

a monument for war victims, on a very small scale 'pile of legs, look like a pile of firewood'. The ends of the legs are polished to shine.
Fleur van den Berg, Glass

Mixed technique, Iron casting and wood
Alex López Vega, Wood, Stone

Wandrelief für den Vorraum einer Sport und Kulturhalle. Das Foto zeigt ein Vormodell aus Ton
Andreas Rimpel, Plaster, Stone

Elm, lilac and pine, internal light, wax.
Miłosz Płonka, Wood

Photography, casting, wood, mixed technique.
Alex López Vega, Metal, Paper

Blackwood Pathways - Sculpture in the Wild, Lincoln MT (USA) Site: public sculpture park, dry creek bed in a forest area Material: lodgepole pine, weathered barn boards, steel rope Length: 66 Feet (20 Metres) Height: 13 Feet (4 Metres)
Cornelia Konrads, Installation

Edition 2/8 Price with wooden base (10X10X10cm)
Patricia Dreyfus, Bronze

Weiblicher Torso aus Thüster Kalkstein, teilpoliert, Eisenhalter
Silvia Withöft-Foremny, Stone

I am literally part of the recycle system, when I die, my body will be burned or decompose and live on as little particles in other things. I have also given life, which makes me part of the reproductive system. With the work 'MADREAEON, ILIVEMYLIFETREECYCLE' I made a portrait of myself as part of the recycle system and as a transferee of life. The posture of the woman is open, without a gene, the legs graceful like a Venus, the arms like branches of a tree. It is also like a blood vessel system, full of life.
Fleur van den Berg, Glass, Glass

Simbole of the fraternity. Two people who engage Stone and harribola (in basque, round stone, from Gaztelugatxes' beach) ). Steel casting
Alex López Vega, Stone, Steel

Ceramic flower hammer
Michelle Gallagher, Ceramics, Ceramics

Edition 2/8 Price with wooden base (10X10X10cm)
Patricia Dreyfus, Bronze

This piece is autobiographical and is a sequel to Together 1. In the piece Together 2 I bring two embryonal forms together. Together they take on a new shape, together they are a new whole. Creating this piece was transformative for me. Loneliness was transformed into something new, something that is good and pure and lighter. To emphasize the purity, I made the piece out of pure porcelain clay, which turns a beautiful white when fired. Working with porcelain is an intensive and time-consuming process. Porcelain is self-willed work with and requires patience and love. This fits in perfectly with the embryonal theme, as does the beautiful white colour.
Antoinette Donkers-Dekker, Ceramics

at Sandnes Kunstforening Installation Acrylic and aluminium on wall
Susanne Kathlen Mader, Mixed Media, Metal

'faster, more efficiënt, no time to contemplate....'
Fleur van den Berg, Glass

Eine dreiteilige Plastik mit einem Thema aus der alten griechischen Mythologie, welches auch für die heutige Zeit sehr zutreffend ist. Nachdem Io, vom ehebrechenden Zeus verführt oder vergewaltigt wurde, verwndelt der Göttervater diese, aus Angs vor seiner Gemahlin,in eine Kuh. Die gekränkte, eifersüchtige Ehefrau will nun jene schöne, weiße Kuh zum geschenk. Zeus erfüllt ihr den Wunsch, aber Hera hat nichts anderes zu tun, als sie an einen geheimen Ort zu verbannen und von ihrem hundertäugigen Wächter, dem Ungeheuer Argos überwachen zu lassen. Zeus bekommt ein schlechtes Gewissen und will Io helfen. Er begibt sich zum Götterboten Hermes,n verzaubert sich selbst in einen Specht und weißt ihm den Weg zur Nymphe Io. Hermes soll auf seiner Flöte spielen und zwar solange bis der gefährliche Wächter eingeschlafen ist. Im Anschluß soll Hermes das Ungeheuer töten. Was dieser auch befolgt und erledigt.
Manuela Clarin, Mixed Media, Plaster

La Folie des Folies (1) . Domaine de la Garenne-Lemot / Le Voyage à Nantes, Gétigné (France) Site: Colonne de Madrid (existing sculpture / part of the original park design resin, div. paints and pigments, metal 6 coloumns, 3.7 x 0.4 x 0.4 m
Cornelia Konrads, Installation

Edition 2/8 Price with wooden base (10X10X10cm)
Patricia Dreyfus, Bronze

Belly and boat, arise and being on the way, salvaged and rooted.
Antoinette Donkers-Dekker, Ceramics, Ceramics

‘believe in me, love me, take me in so we will be connected. 'Everything is connected.’ A selfportet, refering to Christian traditions. The head and hands are cast in crystal glas. The inside is etched the rims polished. Inside there is red wine, diluted with water.
Fleur van den Berg, Glass, Mixed Media

Eine Mutter mit zwei Kindern wartet. Wartet auf Asyl. Wartet auf Hilfe. Wartet auf einen netten Menschen. Sie tröstet und beruhigt ihre Kinder.
Manuela Clarin, Marble

A sculpture of 4,5m high made with steel, painted and oxidized. Symbolizes a miner's house.
Alex López Vega, Steel

Forest, porcelain white pure trees, rooted in mother earth.
Antoinette Donkers-Dekker, Ceramics, Ceramics

Reduziert-figürliches Beton-Objekt.
Stanklopfer, Concrete

Greenham Business Park, the former Royal Air Force World War Two airbase, Berkshire This is Changes by the Icelandic sculptor Gudrun Nielsen, a monumental piece that has just been unveiled at Greenham Common where US bombers used to land – you get the references just by looking at it. Since the Greenham Common women saw off the last of the Right Stuff in 1988 the trees have returned along with the birds and the rest of the flora and fauna, and the military buildings have either been demolished or converted by the Greenham Common Trust which now owns it. Nielsen won a competition along with the late Michael Kenny, but that was 12 years ago and while Kenny’s large geometric form, Broken Symmetry, was unveiled almost immediately by Ringo Starr (a Kenny fan and local resident), Gudrun’s was a little tardy in taking off, as it were............... 17.11.2010 / Simon Tait's Diary http://www.artsindustry.co.uk/features/simon-taits-diary/45
Gudrun Nielsen, Steel, Concrete

La Folie des Folies (3) . Domaine de la Garenne-Lemot / Le Voyage à Nantes, Gétigné (France) Site: Grand Allée, Hippomedes and Atalanta (existing sculptures at the main entrance, part of the original park design) resin, div. paints and pigments, steel rope 2 vases, each 0.8 x ca. 0.5 x 0.5 m
Cornelia Konrads, Installation

Gegenständliche Sandsteinskulptur im botanischen Garten Jeskyně Blanických rytířů in Rudka. Mezinárodní Vytvarné Symposium Kunštát.
Stanklopfer, Stone

Made from solid cast bronze on a square granite plinth.
Sophie Marsham, Bronze, Metal

Iron and wood sculpture painted in red.
Alex López Vega, Metal

Reduziert-figürliche Marmorskulptur.
Stanklopfer, Marble

Remains is started as a small series of works, where found plastics were placed onto wooden boards. Those boards where used as antler boards and serve now as a way to showcase remains from modern worlds. In my work I tend to connect different themes and materials. I am intrigued by the diversity and interconnectedness of our world today. How whatever we do today, no matter how small or big, affects others on an immediate and global scale.
Katharina Forster, Wood, Plastics

iron rod and wood sculpture representing a barroque column.
Alex López Vega, Metal

46 carved wood figures , each 2.5 m tall. A travelling installation around Europe.
Robert Koenig, Wood, Mixed Media

Site: bank of the canal de Bourgogne / harbour of Migennes (France) wood, plastic containers, aluminiun
Cornelia Konrads, Installation

Photographed in the Highlands of Scotland, this sheep sculpture is life-sized and made from reclaimed objects.
Sophie Marsham, Mixed Media, Metal

Bienen und Kunst, muß das sein? Baumstamm und Bienen, waren schon immer eine Einheit. Kunst und Banane gehen seit Thomas Baumgärtel auch gemeinsame Wege. Damit auch im Öffentlichen der Raum für Kunst wegweisend wird, hier die Banane, dreidimensional. Und die Bienen. Sie bestäuben ganz nebenbei das Umfeld; eine Befruchtung, die wir uns auch von der Kunst wünschen.
Apisculptor , Wood

The Kinks 02, a functional steppingstone sculpture allowing any desired ground cover to grow up through the concrete pieces. The Kinks sculptural steppingstone allows the user to create any pattern they desire. The off form concrete material is made up of 70% repurposed waste material from local heavy industries.
Harley, Concrete, Concrete

Landesmuseum für Natur und Mensch Oldenburg 2006
Michael Lukas, Mixed Media, Installation

The Kinks 01, a functional steppingstone sculpture allowing any desired ground cover to grow up through the concrete pieces. The Kinks sculptural steppingstone allows the user to create any pattern they desire. The off form concrete material is made up of 70% repurposed waste material from local heavy industries.
Harley, Concrete, Concrete

Created for an event for the Adobe software company, made entirely from Bic biros.
Sophie Marsham, Mixed Media, Plastics

'In Wahrheit war ich ein Bienenstock, als die hochgelobte Biene, der Sohn Gottes in meinem Schoße Einkehr fand' Offenbarung der Hl.Maria an meine Namenspatronin Birgitta von Schweden. So war es ein Muß, die Heilige Maria, auch als Bienenstock zu erstellen.
Apisculptor , Wood, Others

'Stay True' from the series 'Nomadic Vases'
Nicolet Boots, Plaster

Klassisch, realistisch. Im Freizeitlook.
Marcel Börlin, Bronze

Wegmarken Ute Deutz/Rainer Düvell Installation zur BUGA 2015 bei Böhne
Ute Deutz, Metal

Made from antique pen nibs cast in acrylic resin, suitable for inside of outside. Hangs from trees with stainless steel cables.
Sophie Marsham, Metal, Synthetic resin

Project “Genesis. Dances with shadows” scrutinize feelings, mind, mental and physical, material. To Imagine. To Understand. To Feel. To See. My task is not only creation art images as a combination of different materials (included but not limited by glass, metal, wood and stone) but to understand what is the cornerstone of our consciousness, what is The Genesis? Thought. Imagination as basement, a freedom to think and to learn. The only first way to self cognition is Thought!
Grigorio Antipov, Plastics, Mixed Media

A head made with wood pieces from a 3000 year old piece of black bog oak wood. The top is gold leaf.
Robert Koenig, Wood

Jim Panse, in Wachs modelliert und in Bronze gegossen.
Jörg Engelhardt, Bronze, Metal