Eva Cocco

"I am a self-taught sculptor and by far my favorite narrative tool is porcelain. Besides other things, I am a sci-fi geek and through my pieces, I talk about meandering cities and tortuous architectures, about heritage and ancestral stories, entropy and chaos, life and death in this and other planets."

N.025 - Stoneware 16 x 14 in.

Ceramic artist, Eva Cocco was born on the beautiful island of Sardinia, Italy where she grew up surrounded by nature and wild things. She earned her Bachelor's Degree in Architecture Roma TRE University, a Master’s of Urban Design at Roma TRE University Italy (2007) and Master’s in Landscape Design at The City College of New York (2011). She lives and works in New York City.

“I strongly feel the nature of my island is in me and the sea I grew up with is always, sometimes even unconsciously, represented in my pieces. My passion for ceramic came early on, when I moved to Sag Harbor where I lived several years, I discovered this life-changing material and practice and it grew in me fast and exponentially. Now I am a self-taught sculptor and by far my favorite narrative tool is porcelain.”

N.027 - Aegean white porcelain 13 x 10 in.
 N.000_C - White porcelain 12 x 4 in.
N.004 - White porcelain 19 x 12 in.
N.015 - White porcelain 19 x 13 in.

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


 

Visit Eva Cocco's website

Inquire About this Artist

Discover More Member Artists

Become A Member Artist

IHARA

“My goal is to create a harmonious relationship between nature and artifact. By combining these two conflicting factors, we can remove nature (living organic matter) and non-natural boundaries.”

kigumi

Japanese sculptor, IHARA was born in 1943 and has been awarded at the Nika exhibit (Tokyo Metropolitan Art Museum) every year between 1967-74. In 1976 he became an Honorary Member of Japan Flower Arrangement Foundation. In 1986 he built a sculpture at Misawa Gate Riverside Park in Himeji City, Hyogo Prefecture and in 1989 3 of his sculptures were built on the main street of Kagawa Bridge station in Hyogo ken. Ihara’s has been commissioned numerous public sculptures in Japan as well as in the USA where he has exhibited many times and received awards.

engi
untitled

en


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


 

Visit IHARA's website

Inquire About this Artist

Discover More Member Artists

Become A Member Artist

Jean Jacques Porret

"Achieving a sense of “rightness,” even in the most uncertain circumstances, is the motivating concept behind my sculptures. The work is figurative but is not about the figure. I consider myself an expressionist as I am more interested in communicating an abstract feeling or idea rather than an actual image."

Impulse, Cast bronze Edition of 5, H 15 in.

"I'm a self-taught artist who believes the journey into art begins at birth. I was born to parents who were collectors, and living in an art-filled home sparked my creativity. I began creating wooden sculptures at the age of 6 and stopped when I was a teenager, to later pick it up at age 28. I haven't stopped since. In my early years, I was looking at some of the greatest sculptors of all time for ideas and techniques. However, I found myself becoming too influenced by them. I then concentrated on creating my own style and path. That was maybe crazy and for sure an expensive decision, but today I'm on my own, with my own style.

While practiced in stone carving and other sculpting methods, I prefer the sensual -if unpredictable- outcome of bronze cast in the lost wax technique, where each step is more demanding and riskier than any other sculpting mean. That’s not to say that I, an engineer by training, leave much to chance. It does help me to understand how things fit together, but that’s where the value of my formal training ends. For a while I was casting my own sculptures, today I prefer to let that to be done by others, concentrating on the creating of 3D pieces which are sensual and which I can live with."

Pimpeche - Cast bronze Edition of 3, H 14 ¼ in.
Lady of the Night - Cast bronze Edition of 3, H 21 in.
Notorious - Cast bronze Edition of 3, 7 x 7 x 12 in.
Desinvolte - Cast bronze Edition of 3, H 20 1/2 in.

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


 

Visit Jean Jacques Porret's website

Inquire About this Artist
Discover More Member Artists
Become A Member Artist

Ray Besserdin Paper Sculpture Artist

"As a child, I looked at a piece of paper and got excited at all the possible things I could create with it. Nothing has changed. I was born to artist parents and began my passion for paper in childhood. I innovated a style of art I term Impressionist Sculptured Paper, targeting emotions not realism."

The Path to Gondwana - Sculptured paper 91.5 x 91.5 x 8 cm

Born to artist parents, Ray began his passion for paper in childhood, about the time he also became fascinated with nature.  Graduating from LaTrobe University in 1982 and starting out as a graphic designer/illustrator, he soon began innovating sculpture techniques with paper.  Over 30 years, his work has ranged from miniature to gigantic and abstract to ultra-realistic, but his signature work is a style he terms “Impressionist Sculptured Paper,” associating it with the painting style of that name because it is only loosely representative, concerning more with stimulating emotive responses.

“I want the nature of the paper to show through as I speak to viewers’ hearts without the clutter of detail." 

Ray uses mostly hand and mould-made sheet formed cotton, mulberry and hemp papers from Europe and Asia. Nature and people are his favourite subject matter.

Ray has been recognized both in Australia and internationally with 24 awards to date, including two gold from New York, one for a Macquarie Bank corporate commission and First in the Nature Exhibition of LightSpaceTime Gallery, Florida 2018. He won the People’s Choice Award, National Works on Paper 2018, Mornington Peninsula Regional Gallery, Victoria and a highly coveted International Art Professionals “Gold Medal for Creativity” by the Mondial Art Academia, France.

Corporate clients include Macquarie Bank Australia, Amcor, Ford Motor Company and Northern Territory Government of Australia to name a few. Private commissions hang in London, Munich, Manhattan, New Zealand and throughout Australia.  

Recent interviews: ZoneOneArts  https://zoneonearts.com.au/ray-besserdin/  ACS Magazine Chicago, USA https://www.acs-mag.com/acsmagjanfeb2019 and Art & Museum Magazine, UK https://lnkd.in/gWbhQqx

   

Ray Besserdin is Australian Ambassador for Mondial Art Academia, France since 2018.

2019 Exhibitions: July in Melbourne, Australia presented by the Royal Botanical Gardens of Victoria; October in Paris, Carrousel du Louvre

Sven Libaek, Distinguished Composer - Sculptured paper 70 x 80 x 5 cm
The Red Sands Garden - Sculptured paper 91.5 x 91.5 x 8 cm
Don Burrows, Woodwind Jazz Legend - Sculptured paper 70 x 80 x 5 cm
Dionysian Green Man - Sculptured paper 120 x 120 x 10 cm

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


 

Visit Ray Besserdin's website

Inquire About this Artist
Discover More Member Artists
Become A Member Artist

Ken Macklin

"To me, making art is both personal and universal. I draw much of my inspiration from nature and the world around me. I look to the forests, fields, and land that surround my studio for inspiration. I remember what Henri Matisse said: 'Try to view the world through the eyes of a child'."

Studies For A Bell Tower, 2019 - Steel, brass, wood, steel wool 147 x 218 x 64 cm

Canadian artist, Ken Macklin is renowned for large-scale, non-representational sculpture. His work conveys a specific artistic sensibility that has been characterized by an interest in space, balance, gravity and the complex clustering of shapes. His use of mixed media and his use of color have charted new territory for his art. In Macklin's sculpture, materials are used as language; as writing; as a personal narrative.

Through The Field Wonderful, 2018 - Steel, steel wool 137 x 95 x 66 cm
Clown Around, 2011 - Painted steel 196 x 348 x 193 cm
In Just Spring, 2018 - Steel, steel wool, branches 130 x 86 x 74 cm
Throwing The Switch, 2012 - Painted steel 132 x 168 x 99 cm

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


 

Visit Ken Macklin's website

Inquire About this Artist
Discover More Member Artists
Become A Member Artist

Bea Last – Artist / Mentor

"My practice is process-led, exploring drawing in its broadest sense. Currently, I am exploring drawing in the landscape with recycled materials, recycled papers and digital media."

Doric I&II, 2016 - Emulsion, graphite on canvas 70 x 70 cm

"Born abroad, to foreign parents, living and working in various places, at present based in Scotland. Not one particular place feels like home so, therefore, refer to myself as a global citizen.

My practice is process-led, the creative process to me is very much a journey, reflected in life. The monochromatic aspect of my work was process-led. Colour had become redundant and a distraction. I wanted to focus on the marks I was making.

Working large-scale was process-led. The works I create tended very much to have a presence about them and called out for a larger scale. Mark-making is very much the foundation of much of my work. I use it as a language. The broader the palette of marks made the more I can express myself. The marks evolve and develop, vital in moving my practice forward.

The use of paper is at present important to me. Both fragile, strong and reusable. I love combining fragility with the monumental. The use of light can be very elemental changing this fragility into solidity. Both can be crushed. Recycled. A kind of alchemy.

Conversation, placement location and relationship remain a constant.

Part of my practice includes mentoring. At present, I am mentoring a recent graduate from Grays School of Art, Aberdeen for a nine-month period and have been asked again to facilitate a portfolio preparation course, on behalf of Glasgow School of Art, for young students who may be thinking of applying to art school. The focus being experimental drawing and creative process. Commissions for the corporate sector continue, with paintings included in both private and corporate collections. Dokkae Project, Jeddah, The Corinthia Hotel (British Art Project) London W1, Microsoft, Reuters. I am also, at present working on an exhibition in Vienna, 2019.”

Bea Last holds a BA in Illustration from the University of Westminster (1981-1984) and is currently based in Scotland.

Doric I&II, 2016 - Emulsion, graphite on canvas 70 x 70 cm
Descent of Man and The Black Scrolls, 2017 - Recycled newspaper from 2017, graphite & emulsion
Lost Voices - Niches Project, 2018 - Graphite, emulsion, recycled baby shoes, Size variable
Descent of Man, 2017 - Graphite, emulsion on recycled news papers from 2017 - 1,9 x 22 m Variable dimensions on location

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


 

Visit Bea Last's website

Inquire About this Artist

Discover More Member Artists

Become A Member Artist

Walter Gordinier

Pivot Plaza - Concrete, granite, laminated structural glass corten steel landscape design, stone, 385 ft. long + 300 ft. deep

American sculptor, Walter Gordinier was born in 1950 in El Paso, Texas and today lives in Portland. Gordinier is a Blue Chip American artist specializing in large-scale sculpture for private and public venues. He conceives, fabricates and installs proprietary, site-specific works of art for both interior and exterior placement. Walter has a highly motivated vision concerning the environment surrounding the sculpture. He designs urban plazas, healing gardens and develops the landscape theme. Walters sculptures will compliment and expand an authentic sense of presence, linking space and place to the community at large. Walters approach to pairing his sculpture with landscape architecture is expanding, inspiring and welcoming; extending a kind of open arms for viewers; to stay!

Since 1973 Walter has completed an impressive score of projects through out the United States and internationally, all from his studio in Portland Oregon. The diversity and experienced evidence of his built concepts are truly rewarding, leaving the viewers with a heart felt sense of satisfaction. His clientele are: Private Residences, Public Courtyards, Corporate Buildings, Universities, Liturgical, and Healthcare.

Collaborative thinking goes to the very root of a great concept build and resulting installation. For this Walter is quite comfortable working with his client, architects, engineers, contractors, interior designers, landscape architects, stakeholders, and community officials. Walter builds with stainless steel, corten-steel, granite, cast glass, stone, aluminum and laminated structurally dynamic glass.

Walter believes his site-specific sculptures should be contemporary, pure in form, distilled to their most essential gesture. Clean, modern well defined line, defining beautifully sited iconic sculpture.

Ceramic salt fumed boxes - various sizes
Border Crossing - Cast glass, steel, 9 ft. tall + 20 in. wide +2in.
Shift Response - Granite laminated structural glass, 25 ft. tall+4 ft. wide +10 in
Laminated structural glass, Texas - Limestone, landscape design, 35 ft. long + 12 ft. tall+ 10in.

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


 

Visit Walter Gordinier's website

Inquire About this Artist
Discover More Member Artists
Become A Member Artist

Katty Smith

"The subject matter fueling my creative process is always constant, the female figure; however, there is never a predetermined picture in my mind of the finished product. The partial to realistic female face is a defining trademark of most of my works and often sets the wheels in motion."

Surrogate Mother - Clay, 18 x 11 x 8 in.

Never in her first sixty-five years did Katty Smith ever dream of becoming an artist!  Growing up in the small community of Halifax, Virginia, there were no opportunities for exposure to art.  However, that strong desire to work with her hands translated into basket weaving, sewing and creative floral arranging.  An undergraduate degree in business followed by an MBA at age fifty-nine, a Master Gardening certificate and a Master Naturalist certificate formulated a love of learning throughout life.  At age sixty-five she enrolled in a college class for ceramic sculpture.  The bells and whistles were heard and she found her passion in life.  She studied sculpting in clay for five years before becoming a studio artist in New Smyrna Beach, Florida.

Botanical - Clay, 16 x 10 x 8 in.
Still I Rise - Clay, 16 x 9 x 9 in.
Rides With the Wind - Clay, 17 x 9 x 11 in.
Born to Dream - Clay, 18 x 7 x 7 in.

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


 

Contact Katty Smith

Inquire About this Artist
Discover More Member Artists
Become A Member Artist

Satomi Sugimoto

"I have always been attracted to forms and lines since I was a child. I see motifs of life reflected in my work including organic forms, elemental forces, body parts of humans, insects and animals. My art-making is a spiritual process; a search for the essence of objects."

My Name Is New Day, 2017 - Oil and glue on stone powder clay 14.5 x 16 x 13.5 in. / 36.5 x 41 x 34 cm

Satomi Sugimoto was born in Fukuoka, Japan, in 1982 and currently lives and works in Tokyo. She received her BFA from School of Visual Arts in New York. As a sculptor, she creates intimate-scale forms which are very raw, primitive, and organic with a very sensitive use of painting. She sees her art-making is a spiritual process; a search for the essence of objects and a process of purification where a single element is explored, honed and expressed.

Bird, 2018 - Oil, glue, and steel wire on stone powder clay 13.4 x 16.1 x 6.1 in. / 34 x 41 x 15.5 cm
Dancer, 2018 - Oil, glue, and steel wire on stone powder clay 19.3 x 23.6 x 8.6 in. / 49 x 60 x 22 cm
Ballerina, 2017 - Oil, glue, and steel wire on stone powder clay 14.5 x 20 x 10.5 in. / 37 x 51 x 26 cm
Moonlight , 2017 - Oil and glue on stone powder clay 18 x 6 x 10 in. / 46 x 15 x 25.5 cm

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


 

Visit Satomi Sugimoto's website

Inquire About this Artist
Discover More Member Artists
Become A Member Artist

Fay Wood

"I've been an artist for many years and creating sculpture using found materials is my favorite form of expression. I love a quote by Virginia Woolf: ‘Arrange whatever pieces come your way.’ I also have portfolios in painting, tapestry, collage, and drawing."

Aftertaste - Assemblage 16 x 39 x 16 in.

“Art using found objects has attracted me since 1965, when I was living in the San Francisco Bay Area, and saw large sculptures by local artists made from detritus on the Bay shore. They were fantastic, noisy, beautiful works with great humor and form - I never have forgotten them. As an art student at Massachusetts College of Art in Boston, Mass. I began studying painting, but later, when I was attending a life drawing group, a sculptor encouraged me to carve directly in wood. This began what has become a deep love for sculpture and, later found object assemblage.

In 1992, when I finally had a permanent studio in the Hudson Valley of New York State, I began combining found objects with the cherry wood carvings I had been doing and continue to do so; adding found rag paper, wire, and paint to the mix.

I have also continued to paint, draw, and create tapestries and, recently I have completed an 18 piece portfolio of collages. I have an extensive exhibition history, including The Proskauer prize from the National Sculpture Society, exhibitions at Brookgreen Gardens, S. Carolina, Biennale Dell Arte Contemporanea, Florence, Italy, where I have been invited again in 2019, as well as many solo, group and invitational exhibitions in the USA. I will also be a featured artist with Artrepreneur, a website assisting artists to further their careers, in a film on PBS worldwide in April 2019.”

Mantis - Assemblage 60 x 16 x 18 in.
I Thought I Stood - Collage 28 x 21.5 in.
Matriarch - Assemblage 21 x 17 x 17 in.
Three Dreams in the Desert - Collage 26 x 22 in.

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


 

Contact Fay Wood

Inquire About this Artist
Discover More Member Artists
Become A Member Artist