Saba Besier

"My sculptural works are inspired by delightful freaks of nature, bringing awareness to their plight, but also celebrating the bizarre beauty of the many species we are losing due to climate change. The luminosity of porcelain adds an element of hope to the despondency of my subject."

Recovery - Porcelain and quartz on wood and iron base 36 x 83 x 26 in.

“I am a Pakistani-born, American artist and hold an MFA from Pratt Institute in New York. I am currently based in Dallas, Texas and have been an exhibiting artist for 25 years; showing my work both nationally and internationally.

My sculptural formations are both a celebration of oceanic organisms as well as an acknowledgment of the ecological trauma that is disrupting ecosystems as they disappear. Because of climate change, the ocean as a system is at risk, struggling to keep pace with human-caused conditions. The sculptural forms intermingle what could exist through caustic mutation or evolve on other planets, colonized if we deplete our own resources. These science-fiction-like growths combine plant, mineral, metal and human representations depicting the existence of other-worldly creatures, beauty molting out of hardened places.

In a way, this fantastical fluid transformation out of rigid materials symbolizes my own story. I found porcelain to be my primary medium due to its luminous characteristic, adding an element of hope to the despondency of my subject. I subscribe to the Bauhaus sensibility of combining intense relationship with the process of craft and Fine Art. Each work draws on a hard-earned expertise in the techniques of slab building, throwing, hand sculpting, metallurgy and alchemy. Mystical tension culminates from the unlikely organic mix of media combined with a nonconventional merging of artistries and a sense of movement constantly envisioned from years of professional video development.

Methods used in other cultures and eras meld with the discipline of formal art training. All of which conspire to bring these aquatic sculptures to life. I have chosen to maintain the inherent ivory coloration of porcelain in the forms to echo the bleaching that is happening to many sea organisms, and at times accompanied by black to signify the disruption they face.”

Inversion - Porcelain 26 x 26 in.
Detrahamus - Porcelain, quartz, copper, brass, steel and glass on wood base 36 x 38 x 38 in.
Dark Denial - Porcelain, chain link, glass, brass 18 x 32 in.
Pan's Peculiarities - Porcelain, glass, copper, brass, steel 27 x 17 x 14 in.

This review was published by Circle Foundation for the Arts © CFA Press ∙ Images are courtesy of the artist


 

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Jürgen Krass

"The passion for metal was already evident during my training in a metalworking profession with subsequent studies. Since 2009, I have been working in my studio in "Haus Kunst 13" in Sainbach. I am particularly fascinated by simple geometric shapes such as rectangles and triangles."

“Die Leidenschaft für den Werkstoff Metall zeigte sich schon bei der Ausbildung in einem metallbearbeitenden Beruf mit anschließendem Studium. Seit 2009 arbeite ich in meinem Atelier im „Haus Kunst 13“ in Sainbach. Ganz besonders faszinieren mich einfache geometrische Formen wie Rechtecke, Dreieck.”

Open at the top - Red, welded and painted structural steel wire, approx. 27 x 23 x 8 cm

German Freelance artist and metal sculptor, Jürgen Krass was born in 1956 in Hamm, Westfalia and is a trained Metalsmith with a Diploma from FH Dortmund. Krass is a member of the BBK Schwaben-Nord Augsburg e.V.; Kunstverein Aichach e.V.; Kunstverein Bad Wörishofen e.V.; and Lechkiesel Art Circle.

 

Select Awards

Critics' Prize Biennale Geneva 2019

Art Promotion Prize (2nd place) Municipality of Kissing 2017

 

Select Juried Exhibitions

2018, 2020 Swabian Sculpture / Charterhouse Buxheim

2020 Art Summer Bad Wörishofen

2019 Art Prize Exhibition Aichach

2014, 2019 Great North Swabian Art Exhibition / Donauwörth

2017, 2019 Geneva Biennial

2018 Bergenale / Mountain

2010 - 2012, Great Swabian Art Exhibition / Augsburg

2011 - 2018 Art Prize Exhibition / Kissing

2011, 2015 annual exhibition / Bad Wörishofen

2014 kunstRadius 150, Wertingen; Weissenburg Art Prize Exhibition

2013, 2014, 2018 Friedberg Art Exhibition

Cube development II - Sheet steel welded and rusted, approx. 35 x 38 x 32 cm
Split - Sheet steel welded and rusted, approx. 47 x 12 x 23 cm
Open relationship - Sheet steel welded and rusted, approx. 50 x 50 x 50 cm
Untitled - Sheet steel welded and rusted, brushed stainless steel sheet, approx. 51 x 15 x 16 cm

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Tricia Skoglund

"I have always considered myself a multifaceted artist. I've been very fortunate and found great joy in exploring a multitude of different art forms and different mediums. I now work exclusively with torch cut steel. I like the way that painting on metals adds a creative and unique element to my art."

Whats Sup - Acrylics, Mixed Media on torch-cut steel 24 x 30 in.

While growing up in Southern California, Tricia's youthful talent as an artist was quickly recognized by her early art teachers and by several prominent artists in the area. This early recognition made it possible for her to spend many years studying under some of the most prominent artists in and around the famous art colony of Laguna Beach, CA.

After graduating from High School with an art scholarship, Tricia accepted a position as a manager, and contributing artist, at an art gallery in Del Mar, CA. It was during this time that she took the opportunity to explore many different art forms and art mediums all while continuing her education, managing the gallery, and showing and selling her own work.

The next step in her art career took her to Salem, Oregon where she started a family and at the same time went to college to study Graphic Design. In addition, she was able to use her gallery experience to open, own and operate her very successful Arts and Design Co., which specialized in painting and designing murals in both residential and commercial properties.

Now that her family has grown, Tricia Skoglund has once again evolved and grown in a new and creative way. She is currently having fun using acrylics, pastels, torch-cut steel and all kinds of recycled metals. She loves the contrasts and energy that old metal gives to her art and how it gives each of her creations a distinctive one-of-a-kind 3-dimensional, individual look.

Discovering unrefined and rustic details in nature gives her inspiration for her work. Objects left outside to rust and corrode captivate her imagination and compel her to give new life. as a highlighted part of her work. Tricia also finds inspiration from the sea. The movement from the water, how it reflects light, and its energy are always very important parts of her work. It's that combination that helps make each of Tricia Skoglund's creations be a very unique and smoothly interwoven piece of work.

Regardless Of Where You've Been - Triptych, Acrylics, Mixed Media, on torch-cut steel 8 x 48 x 3 in.
Windows Of Fall - Acrylics, Mixed Media, on Torch-cut steel 30 x 40 in.
Foggy Day At The Beach - Acrylics, Mixed Media, on torch-cut steel 24 x 48 in.
Found Objects Below - Acrylics, Mixed Media, on torch-cut steel 30 x 40 in.

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Weiting Wei

"Transitioning from girl to mother feels like the moment that we acquire our protective layers, our feathers, scales and armor. But our interior becomes softer, more sensitive with the love and bond we develop for our children. So in some ways, we are weaker should something pierce through our armor."

Seed - Polymer clay 5 x 12 x 5 in.

Born 1984 in China, and currently living in the USA, Weiting Wei received her MFA in visual art from Columbus College of Art & Design in 2018. She is a multimedia artist creating works out of paper, wax, clay, and soap.

In her work, Wei sculpts air-dry and resin clay to represent the struggles of a new mom; helpless but hopeful, sensitive but peaceful, exhausted but beautiful...

Other aspects of her work include the use of white porcelain to represent pregnancy, and the use of tinct rice paper to represent the muscle state around the cesarean incision. Her sculpture uses traditional elements to explore very personal, yet universal, experiences of motherhood.

Armor - Polymer clay 22 x 36 x 2 in.
My Armor - Polymer clay 24 x 6 x 1 in.
Armor - Polymer clay 12 x 12 x 3 in.
Light sleeper - Polymer clay 14 x 11 x 3.5 in.

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Elizabeth Frank

"Every summer or fall, I visit an aspen forest to collect wood for my carvings. Each visit is like a pilgrimage. Every time I return, I’m moved by the strength and the delicacy of the natural world. My love for the natural world and my concern for the environment often translate into works about the complex relationship between humans and nature in this modern age."

Together Flying Through the Sky (Migration Series) - Carved found aspen, bronze, acrylic paint, metal leaf, wax 16 x 20 x 18 in.

"What did the earth learn from the trees to be able to talk with the sky?"

- Pablo Neruda

Arizona-based artist, Elizabeth Frank feels a communion with trees. It began in her early years spent exploring the outdoors. From ages nine through eleven her family lived in Olympia, Washington. There the rainforests near her home became her sanctuary. Now she visits the forests of Northern Arizona or New Mexico to gather aspen for her carvings.

A native of the desert southwest, she grew up sixty miles from the US/Mexico border. Her father, a social worker, worked part-time in a border community. Her family often visited Mexico. As a young adult, she explored the country more thoroughly. One such trip led to studies in language and sculpture in San Miguel de Allende, Mexico. The art and culture of Mexico continue to inspire her.

After receiving a Bachelor of Fine Arts from Arizona State University, Frank worked for several years in the film industry. On her jobs buying for and decorating sets she enjoyed transforming spaces to create believable locations. The quest to find the perfect objects to help propel a narrative ignited her love of found things. She now incorporates this same quest into her creative process.

Elizabeth Frank's artwork can be seen in galleries and festivals throughout the United States. It’s been featured in television, film and books. She is honored to have her pieces included in collections around the country and abroad.

Raven Shaman (Anthropocene Series) - Carved found aspen, bronze, found objects, acrylic paint, wax 75 x 15 x 15 in.
Spirit Stag (Animal Spirits Series) - Carved found aspen, oak, acrylic paint, steel stand 27 x 32 x 12 in.
Midnight Spirit - Carved aspen, reclaimed wood, antique tintype photograph, acrylic paint, wax 33 x 8.5 8.5 in.
Bear Journey (Animal Spirits Series) - Carved found aspen, acrylic paint, metal leaf, steel stand 14.5 h x 16 w x 4 in.

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Eva Cocco

"Eva's sculptures are anthropomorphic and otherworldly at the same time. The beauty they radiate is soulful, thought-provoking, evoking a dreamlike experience..." - Sara Ille @iLLEARTS

B 002 Obey - Porcelain 10 x 8 in.

“I am a self-taught sculptor working with ceramics. I chose this material as my medium because I find it extremely fascinating for its very intrinsic quality: It is alive, delicate and it responds to the handmade work with its own memory. Ceramic needs to be understood and is not possible to have complete control over it; it doesn’t bend to the mere caprice of the artist, it directly responds to external climatic changes therefore the result will always be unpredictable.

This behavior so intimately connected with the natural elements, not allowing complete ownership of the material, allowed me to remain humble, meditative and connected with the energy of things that surround me.

My heritage is a main theme in my creative process: I use as reference the corals, the shells and sea-urchins of the Sardinian sea, the unique design of ancient jewelry that still nowadays decorates our traditional costumes. I get inspired by the distinctive shape of the typical sweets of my hometown, Nuoro.”

2019 Android's Dream - Porcelain 13 x 12 in.
027 Corals - Porcelain 10 x 13 in.
004 Lust - Porcelain 19 x 12 in.
000 A Spacetravel - Porcelain 10 x 5 in.

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William Catling

"Using the figure as a vessel for ideas and concepts, the work is about the continual discovery of the true human condition residing deep within the earth and the human form. The art is a blending of the visible and the invisible; Matter and spirit joining. The work of the artist, the alchemy of art."

Patient in the Tragic Gap of Every Moment (Bright Sadness), 2014-2015 - Stoneware with mason stains, steel, found objects and wire 74 x 32 x 48 in.

“Reaching into the freshly cut trench, I pulled out a handful of purple-gray clay and began making a place setting for the scheduled afternoon tea. The sun was warm against my skin on this lazy summer day with a gentle breeze to move the grass and keep us cool. Seated on the ground nearby, my companions were busy shaping their own bowls, cups and teapots. Amid this collaborative adventure rose an aroma that kept our parents away and for which we dubbed the clay "sewer mud." And thus began a tradition that lasted many a summer day.”

American sculptor, William Catling resides in Southern California where he serves as a Professor and Chair of the Department of Art at Azusa Pacific University. He is the Founder and Director of the non-profit arts organization, Unfolding Moments, where he works with arts, educational and faith communities integrating art through mentorships, lectures and hands-on interactions. With an art and educational career spanning over 30 years, his professional practices began in the San Francisco Bay Area until he relocated to Los Angeles in 1991. He is an active conference speaker and deeply involved in the integration of the arts into the larger community. A dynamic sculptor, Catling’s work has been exhibited in museums and galleries both nationally and internationally.

"My work has been impacted by very powerful figurative sculptors such as DeStaebler, Giacometti, Buck, Neri and Olivera. I share with them the tradition of creating art of the human condition through the figure as my life’s work.

In my work I attempt to address the loss of our natural sense of being human, that is our deeply intuitive sense of ourselves. We have become disconnected from the natural rhythms of life. The figures are rough, cracked, aged, reflecting both suffering and the internal capacity to connect to others outside oneself. Such suffering can evoke the viewer's empathy and self-transcendence."

 

Education

Masters of Fine Art from California State University, Fullerton in sculpture

Masters of Art from San Francisco State University in sculpture

Bachelors of Art from San Francisco State University in sculpture and painting

Defender of the Silence, 2017 - Stoneware 78 x 16.5 x 16.5 in.
Anticipation of Endless Tomorrows, 2018 - Bronze and stoneware 28 x 7 x 7 in.
Guardian of the Sacred, 2017 - Stoneware 82 x 16.5 x 16.5 in.
Moving Forward with Less and More (Counter Measures), 2018 - Bronze and stoneware 20.5 x 7 x 9 in.

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Joakim Sederholm

"My focus is on the human experience, on what it feels like to be human. The warmth and kindness within us inspire me. Like us humans, my sculptures have their shortcomings and defects. Patches and stitches hold parts together. By sharing things life becomes easier for everybody. Nobody is perfect…”

Three Little Men - Painted wood

“I was born in Grankulla, a small town in Finland with a Swedish-speaking majority. I live and work in Wessö, Borgå, in the archipelago. The sea and the islands have always been important to me, both as a source of energy and as inspiration. My dearest place in the world is a small island in Kotka.

I have always focused on the human experience, on what it means and feels like to be human, loneliness or togetherness, vulnerability, insufficiency, to be different, diversity and multitude, plurality. The warmth and kindness within us inspire me. My artworks are often built of pieces of wood, they are physical structures constructed to express feelings, experiences and memories through shapes, rhythms and proportions.

Color is also really important in my work. Coloring adds to the character and mood of the figure. My figures often have structures on the surface, like patches and stitches that sometimes hold parts together, like us humans, they have their shortcomings and defects. By showing and sharing, things become easier to bear for everybody. Nobody is perfect...or everybody.”

Yellow Socks - Painted wood 30 cm
Crown - Graphite on paper 42 cm
Little Man - Painted wood 34 cm
Black&White - Painted wood 78 cm

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Derek Morris

"I have always been stimulated by landscapes and certain kinds of architecture, particularly Romanesque and British Arts and Craft. But I am not a copyist and consider myself to be an Abstract/Concrete artist. Geometric form and the increasing use of colour as structure animate my reliefs."

Same Old Pink and Green, 2020 - Mixed media 46 x 38 x 12 cm

Derek Morris was born in 1940 in Birmingham, England, and grew up in an intensely creative family. His father was a craftsman/sculptor, his mother an embroiderer and his sister a silversmith turned jeweler. Derek studied Fine Art at Newcastle upon Tyne University where Victor Pasmore and Richard Hamilton taught the Basic Course which inspired a number of students to later become abstract artists. He graduated in 1963 with a First Class Honours Degree in Fine Art. Later, he became a member of staff there for two years and then moved to Norwich, England to take up a post at the Art School.

Derek Morris developed a Degree level Course at Norwich Art School and it became a first-choice college during the 70s and 80s. In the late 80s, he set up a ceramics facility for the sculpture school which inspired him to work in Ceramics for ten years.

"My sculptural language was developed strongly during these years, and I retired from teaching in 1990 in order to pursue my career as a sculptor."

In 1999, Morris became President of the Royal Society of Sculptors, a prestigious body founded in 1904 and based in Kensington, London. He was in post for five years and considerably modernized the Society, encouraging younger members to join. He remains a member and has been actively engaged until the present.

Morris has also been active in the art community in Norwich and is currently a Trustee of the Norfolk Contemporary Art Society which promotes new art and artists in the region. He has worked steadily through these years and exhibited in London and East Anglia.

"I remain deeply enthusiastic about both sculpture and painting and gain sustenance from both in these troubled times."

Landscape with River, 2020 - Mixed media 60 x 45 x 7 cm
Seven Colour Construction, 2020 - Mixed media 43 x 48 x 15 cm
Pink and Orange Gradations, 2019 - Mixed media 70 x 28 x 10 cm
Red and Blues, 2019 - Mixed media 86 x 37 x 9 cm

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Jan Sweeney

"I want my sculptures to catch the essence of the animals that I sculpt in the wild. The movement, the energy, the untamed strengthened power, always ready to explode into flight; this excites me."

“Dyslexia ruled my youth! After I was kicked out of school at 14, as being unteachable,  I rode horses and learned to repair antique English pottery and porcelain yet an allergy to solvents stopped that. So I went to Zimbabwe to teach myself to sculpt in 1989. Zim changed my life, I canoed down the Zambezi and slept on the river bank. I camped in the bush, lion huffed thru the night, elephant roamed, and cheetah ran! I was hooked, I wanted to sculpt all this energy. I started to use wax and made 3 cheetahs, I took them to a gallery in Joburg who said I should cast them in bronze so that was that.

I used two foundries in Joburg, staying there and working in the foundry on my work and others. I learned so much I set up my own foundry on a friend's farm, and with the help of one worker, Killion, we cast for more than ten years. Unfortunately, hyperinflation put a stop to that I cast in Wales or Birmingham now but still spend 4 months a year in my other home."


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