Terence James McGinity

"For the past 27 years I have been carving stone and wood as a means to play. I am drawn to reveal inner lives; often touching on fragility and vulnerability; Attachment and Separation."

"Every child is an artist. The problem is how to remain an artist once we grow up."
- Pablo Picasso.

The Date - Portuguese Limestone 46 cm

Terence McGinity is an English sculptor born and educated in Kent. He has lived and worked in London for the past forty years. 

"Much of my life was spent as an actor and in more recent years, played at Shakespeare's Globe and Broadway, New York. Naturally, these years have all influenced my work as a sculptor, likewise trying to feel my way into the life of my figures."

McGinity began sculpting in 1995 with life, clay courses in Camden under Tony Bell. He then discovered stone, in a course at Tout Quarry, Portland. 

“Over the years, I have strained to keep up with Life classes and essentially am self-taught. I have chosen to work with concrete, wood and stone. Each medium has required its own steep learning curve. There are many different types of wood and stone and each type needs a particular technique. You have to learn from the medium, whether it's alabaster or the hardest of limestones. Always learning!"

Terence McGinity has had group and solo exhibitions in London and many of his sculptures are in private collections in the UK.

In Hell Hopton - Wood stone 50 x 15 x 15 cm £1300
Embrace 1 - Blue Kilkenny Limestone 60 x 21 x 17 cm £3000
Violinist 1 - Ancaster stone 45 x 17 x 12 cm £1700
The Brothers - Polyphant stone 42 x 17 x 14 cm £1700

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


Visit the artist's website

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

Janis Ferguson

Rainbow Collection - 1

"I have had a great interest in art since I was very young. My education in fashion design has been instrumental in experimenting with various materials and techniques to guide me through a design idea. Sometime later, I ventured into wire sculpting and hand crafts using various types of wires, glass beads and silk leaves to add dimension to the design. I always believe as long as I have passion, I have a project."



Associates in Arts degree, Liberal Arts, Community College of Philadelphia, 2019

Diploma, writing for Children and Teenagers, Institute of Children's Literature, 2011

Diploma, Writing for Children, Institute of Children's Literature 2009

Specialized Associates degree, Tracey-Warner School of Design Technology, 1977-1979

Rainbow Collection - 2
Rainbow Collection - 5
Rainbow Collection - 3
Rainbow Collection - 4

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


Visit the artist's website

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

Cristian Diez-Sanchez

“Culture as a means to equate inequality
A sculpture in the street, a step in culture.

The Urban Sculpture Project seeks to bring sculpture to the street, bring people closer to art, humanize cities, and create opportunities for cultural discussion in wide, rather than elitist, circles.”

Pas de deux Nº12 - Laser-cut Corten, welded with natural rust 200x160x272 cm €14.000

Born in Santiago, Chile, Cristian Diez-Sanchez spent his childhood working with copper in his family's arts and crafts business. Following this invaluable introduction into the world of sculpting, Cristian studied Architecture for five years and then moved to Barcelona in 1976. He started working as a designer to make a living. And what should have been a brief stint turned into 30 years of working as an industrial designer, graphic designer, and image consultant for various companies; he also continued with housing renovations and was in charge of developing and managing a website for tourist apartments.

In 2014, Cristian Diez-Sanchez looked back on his arts and crafts work and his fledgling sculpture work and realized it was time to bridge the gap. Studies in drawing, metal engraving, and architecture, as well as experience as an industrial and graphic designer, allowed him to begin this new life as a self-taught apprentice working in sculpture using cardboard and recycled cardboard, very inexpensive materials that allowed him to work intensively on prototypes, as the goal has always been large-scale exterior sculptures.

For nine years, Cristian has worked on several different collections, all related to the human figure and in many ways related to his personal life as well. The works deal with what has happened and is happening in the world, the constant injustice of the powerful against the weak, and the lack of possibilities for the latter to have a decent education. The phrase "One sculpture in the street, one step in culture" defines the future of his work and his aim is to use his work as a cultural tool, outside the circle of galleries and fairs.

Pause 2_I - Laser-cut Corten, welded with natural rust 200x72x72 cm €12.000
Man II_I - Cast Bronze 61x12x13 cm €8.000
Confussion 8_I - Laser-cut Corten, welded with natural rust 50x13x13 cm €3.000
Man IV_I - Cast Bronze 64x11x13 cm €8.000

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

Visit the artist's website

Inquire About this Artist

Discover More Member Artists

Become A Member Artist

Todd Jones

Born in:1992, Tallahassee, Florida, USA
Lives in: Raleigh, North Carolina, USA
Education:Master of Fine Arts, Painting + Drawing, Ohio University, Athens, Ohio, 2022 Graduate Certificate, Visual Arts Management, Ohio University, Athens, Ohio, 2022 Bachelor of Fine Arts, Studio Art and Psychology, Minor: Art History, Florida State University, Tallahassee, Florida, 2016 Associate of Arts, Liberal Arts, Tallahassee Community College, Tallahassee, FL, 2013
Describe your art in 3 words:excavating, sedimentary, and mistint
See More Work:  https://www.taahd.com/

Orogeny - Discarded/mistint house paint, 18 x 26 inches, NFS

"My work explores residual cultural memory through the detritus of the ever-decreasing life cycle of our identity-driven attention economy. Through processes of archeological curation, accretion, and excavation, I create new objects that query the values of our current sociopolitical positions and examine implications for sustainability."

What themes does your current work involve?
Discarded and mistint house paints are manifestations of culture as they are forgotten in basements, garages, closets, and left behind by previous owners. Mistint house paints are orphaned in hardware stores by customers unsatisfied with their original color choices or when the store fails to create the desired hue or finish. Disconnected from the original owners and their intentions, mistint house paints are imbued with invisible individual memory and comprise a visible cultural history. Color carries a deep resonance, and choosing a paint color is rooted in psychological affects such as mood and behavior.
Describe your creative process.
​​Process plays a central role in my work as I recontextualize materials through my collection and intervention. Salvaging and molding layers of paint into newfound forms, these stratifications expose remnants and the foundation of their previous lives. I reformulate the discarded and mistint paints into a visual record of cultural history through material transformations by pouring numerous layers to create strata-like forms that mimic natural sedimentation. The new relationship of each color layer is exposed through excavation and creates a cultural snapshot that examines the development of our society through patterns of culture/identity shedding. These reconstructed objects focus on abandoned materials, critiquing the excessive waste of our contemporary consumerist ideology.
What influences your work? What inspires you? Why do you make art?
My work is influenced by and explores the thematic intersections of domestic space, geography, and geological process. The Material Art Movement that started in China during the 1980s inspires me. During this time, artists used unconventional materials to produce works in which material, rather than image or style, was paramount in developing the artist's social critique. I also make art to create my critique of society and discuss topics and issues today.
What are your goals and plans as an artist in 2023?
My goal as an artist in 2023 is to exhibit my work in more group and solo exhibitions, both national and international. I also want to engage in conversations about my research through artist presentations and continue to make an impact teaching in higher education. I would love to be a Visiting Artist at another college or university to engage in dialogue with students in other academic settings.
What is the role of the artist today?
An artist's role is to be true to themselves and to influence society for the better. Art plays an essential role in shaping the culture of a community. Art in contemporary culture is a dynamic blend of materials, methods, concepts, and subjects that challenge the traditional boundaries of art-making. Contemporary art reflects modern culture and provides resources for discussing current ideas and issues. The audience plays a crucial role in the artwork by contributing their experiences, opinions, and interpretations.
What is good art? What makes a piece of art great?
Good art can start a conversation and contribute to the dialog of society. I am drawn to material explorations and art that push the boundaries of one medium into another.
Mineral Collector: 7 - Discarded/mistint house paint, 17 x 14 inches, NFS
Metamorphic - Discarded/mistint house paint, 23 x 25.5 inches, NFS
Mantle - Discarded/mistint house paint, 11 x 14 inches, NFS
Blue China - Discarded/mistint house paint, 20 x 15 inches, NFS


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

Discover More Artists

John Ralston

Born in: 1987, USA
Lives in: Baltimore, MD, USA
Education: Masters of Fine Art - Maryland Institute College of Art
Bachelors of Fine Art - Old Dominion University
Describe your art in 3 words: Unknowable Alien Topography
See More Work: johnralstonv.net

Janoxeh - Paint, Gypsum Powder, Resin - 14"x18"x4" - $2300

"This work accelerates and embellishes natural forms of accumulation and erosion. While it could be said that they are emulating nature, specific methods and materials are used to disrupt the relationship between our earth-bound perception and evoke the true synthetic characteristics within each piece. Jarring color changes and manic tooling are employed to convey alien topography while the reflective surface disrupts the immediate association to scenery that we collectively understand."

What themes does your current work involve?
Observation of the universe from the perspective of those that have mastered it. Pursuing an inscrutable non-object. Omnipresence. Space and Time.
Describe your creative process.
The work I make is in a constant state of generation. I am continually beginning new work simultaneously with other pieces that have already undergone various stages of their development. There is an objective embedded within this, the constant experimentation allows for quick investigation to new ways to go about generating a specific aesthetic. The excess, leftover pieces and off-cuts are fed back into the new work. Colors are recycled into new blends to be a part of reimagined characteristics within the next group. Work that is in the middle of manipulation is reimplanted or stored for work in the future. I Introduce chemicals and forces that edit the drying process. The materials are substances are derived from what I interact with regularly in my work as a historic home renovation professional.
What influences your work? What inspires you? Why do you make art?
I almost exclusively read science fiction these days. I am stuck imagining a reality among the stars. I am hopeful for humanity’s future and reference the success of our species on this planet as evidence of our bright future off the earth. This generation is one of the last that will remain here in its entirety. Soon we will change our bodies to live within the vacuum of space and set off to experience a civilization without time and place, withheld by nothing. To spread our influence into the passage of infinity, and become one with eternity.
What are your goals and plans as an artist in 2023?
I am hoping to exhibit more of my newest pieces that I debuted in January of this year. I am also planning to develop a better process for documenting my work so that I have more control of the images I am using to present the most important attributes of each piece. Surface and sheen have so much influence in how these pieces are viewed, it is difficult to capture the true essence of the in person viewing experience. This year I am hoping to make the investment in the equipment and begin the training that will be necessary to further my ability to effectively document this work.
How do recent advancements in technology affect your art practice? How may recent developments in Artificial Intelligence (image generator software) affect the definition of fine art?
I have been aware of this question since well before AI. When I was in college the subject was how 3d printing was going to change the way art is made. I think anyone who attempts to interact with these technologies is quickly adapted to the cookie cutter things they create and the obvious boundaries at the edges of the tool’s capability. It’s a tool like any other. Some people will use it in very novel and interesting ways but it will quickly become over saturated with sameness and artists and viewers will move on to the next thing that interests them the most. I feel at this point in my career, I am looking for way to hone what I already know into deeper and higher quality work rather than incorporate the latest creative phenomenon.
What is the role of the artist today?
I feel that artists today have to embrace the pervasive technology that is constantly changing the environment where they can get exposure and opportunity. Adapting the content you make to the packaging it requires to be noticed has become as complicated as making the art itself. I myself, still have a lot of work to do in this regard and it would probably be the best place for me to start if I want to get better results.
What is good art? What makes a piece of art great?
There is something within abstraction when methods and materials align in a composition that scratches an itch we all have. Great art envelopes nuance that is immediately new and exciting. There are works in all genres and themes that seem to achieve this while others don’t. To me it’s something I know immediately when I see it. Collectively we have all sought to further add complexity to what art and installation are, still there are universal truths that remain despite this necessity to evolve. Even if something looks bad it needs to have a reason for being that way and it should be represented immediately upon experiencing the work. I tend to gravitate towards art that presents me with evidence of workmanship mastery and labor.
Vaeldous - Paint, Gypsum Powder, Resin - 12"x15"x4" - $1800
Xuzh - Paint, Gypsum Powder, Resin - 9"x9"x5" - $1100
Keinough - Paint, Gypsum Powder, Resin - 16"x20"x5" - $2300
D'Carron Voy - Paint, Gypsum Powder, Resin - 15"x23"x4" - $4000


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

Discover More Artists

Ken Macklin

"By combining and arranging materials, I build visually rich, often playful sculpture. I am inspired by nature; the trees, roots, fields, hills, forests, and land surrounding my studio in northwestern Canada. I continually strive to speak to the viewer on both an emotional and aesthetic level."

Morning Voice - Terracotta, magnesium dioxide, painted wood 18.75 x 11.5 x 9.5 in. with base

Ken Macklin is one of several constructivist sculptors who emerged in Edmonton, Alberta, Canada during the 1980s. His use of mixed media and his use of colour have charted new territory for his art. In Macklin's sculpture, materials are used as language, as writing, as personal narrative. Macklin has exhibited nationally and internationally and his sculptures can be found in public and private collections in Canada, United States, Europe and China.



Bachelor of Fine Arts with Distinction from the University of Alberta

Advanced Sculpture diploma from St. Martins School of Art, London, England

Perhaps in Paris - Terracotta, magnesium dioxide, painted wood 13 x 11.50 x 12 in. with base
Chiron - Terracotta, magnesium dioxide, painted wood 18.5 x 6.75 x 6.25 in. with base
Bird Song - Terracotta, magnesium dioxide, painted wood 13.25 x 7.75 x 6.50 in. with base
Half Site - Terracotta, magnesium dioxide, painted wood 9.75 x 6.5 x 7.75 in. with base

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

Andreas Futter

A notable component in the sculptures of Andreas Futter is the struggle with the forces of gravity and the endeavour for equilibrium. The artist plays with instability and stability, that elemental demand on each corporeal-sculptural formation, which no sculptor can escape from.

Foresight - Bronze H 320 cm

German sculptor Andreas Futter was born in 1969 in Hechingen. Between 1990-6, Andreas studied at the State Academy of Fine Arts in Stuttgart with Professors Peter Grau and Horst Bachmayer and took a specialized class in Painting and Graphic Art with Prof. Paul-Uwe Dreyer. He extended his study in Art and Interdisciplinary Design with Prof. Sotirios Michou (1996-8). Andreas Futter has been working as a freelance artist since 1998 with numerous exhibitions in Germany and abroad. His works are in various private and public collections.


Select Awards 

 2002-2005  Studio grant from the state of Baden-Württemberg

2006     1st prize sculpture park Sonnenwald / Germany

2015     Prize of the jury, Arte Binningen/ Switzerland

2018     Artstages Award, Freiburg-Tiengen

2019     Prize for sculpture, Messe Bad Bellingen

2021     Palm Art Award,  WikiArticon Prize

Jumper - Bronze H 38 cm
Stilt Walkers - Bronze H 550 cm and 650 cm
Rise - Bronze H 40 cm
King of the Rose - Bronze H 67 cm

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

Visit the artist's website

Inquire About this Artist

Discover More Member Artists

Become A Member Artist

Tom Ashbourne SSC SCA OSA

"Negative spaces. My sculptures encourage intimate conversations with each viewer the different aspects of each sculpture."

Tommy - Bronze 38 x 20,5 x 13 cm

Tom Ashbourne is the only artist currently an Elected Member in three of Canada’s most prestigious professional artists’ societies

Sculptors Society of Canada (SSC)

Society of Canadian Artists (SCA)

Ontario Society of Artists (OSA)


Select Recent Awards

2022 Top 60 Masters” | ATIM.com

2022 “30 Best Artists of 2020” | DESTIG.net

2021 “World’s Best Non-Representational Sculptor” |American Art Awards

2021 “Artists to Collect in 2021”|World Biz Magazine Luxury Collection Guide

2021 Florence  Biennale (Italy)

2021 London Biennale (UK) 

2021 “County Artist, County Art” 2021, Parrott Gallery, solo show

2021 “Certificate of Excellence” 2021 | Circle Quarterly magazine

2021 “Honourable Mention” 2021 Contemporary Art Curator magazine & Quinte Arts


Feature Articles

Watershed magazine | DESTIG magazine | Spotlight magazine | ATIM magazine | Enroute | Contemporary Art Curator


Tom Ashbourne Gallery
17009 Loyalist Parkway, Wellington, ON K0K 3L0

INSTAGRAM @Tom.Ashbourne
FACEBOOK@Tom Ashbourne, Sculptor
LINKED IN@Tom Ashbourne


Spring - Translucent alabaster, gilt, glass, granite 38 x 20,5 x 15 cm
Ulrich - Raspberry wonderstone, glass, granite 38 x 28 x 18 cm
Eis - Translucent alabaster, granite 33 x 20.5 x 18 cm
Energy & Light - Bronze 91.5 x 20.5 x 20.5 cm

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


Visit the artist's website

Inquire About this Artist

Discover More Member Artists

Become A Member Artist

Jan Williams

Born 1958, New Zealand

Lives in: Brisbane, Australia

The artist at work

"My art is like a drug, I create art because I need to create art. My favourite artists are works by Mailloil, Giacometti, Brancusi and...... Paleolithic art."

What themes does your work involve?
"Most of my art is figurative and since about 2010 has focused on large body forms. A fairly large proportion of the population where I live, is overweight, so in a politically incorrect way (not derogatively) I like to use their their formal qualities, creating personalities and using them in a language portraying a variety of ideas, explained in their titles..Their titles are important, like 'Night', 'Black weather', Life at the cafe' 'Symphonic etc..."
Describe your creative process.
My initial inspiration can come from looking and working from other artists ideas, or just observing life on public transport for example. The thought process is usually quite slow, turning over in my head for a long time. Once I've begun modelling in plastercine, the process is still slow, changing, sometimes restarting and fine tuning forever. Eventually I consider it complete, and mostly it will still be based on the origional idea. The plastercine piece will be plaster waste molded. A mix of polyester-fibreglass mixed with powdered iron is then painted into the mold. When finished, it will be soaked in salty water until a rust patina is established, then dried and sealed. Earlier work is made with just a simple pigmented polyester fibreglass mix.
What influences your work? What inspires you? Why do you make art?
I became an artist naturally, because most of my family are artists or otherwise connected to the visual arts. I'm inspired by the people who live around me. Actually, I'm inspired by all sorts of things from the natural and human world, anything that can be expressed using the human body format.
What is good art? What makes a piece of art great?
What is great art is indeed difficult to define. Great art can be intriguing, smart, inventive, dynamic or introverted...I don't know if I can define it, but I think I would recognize it without being told it is great art.
What is the role of the artist today?
I'm not really concerned with the role of the artist today, I create my art for myself only.
Women wearing an iron hat - Iron-polyester-fibreglass, wood 60 x 33 x 33cm
Iron lady 5 - Iron, polyester-fibreglass 38 x 20 x 20 cm
Iron lady 4 - Iron, polyester-fibreglass 40 x 20 x 20 cm
Iron lady 3 - Polyester-iron-fibreglass 40 x 15 x 15 cm
Coffee table sculpture 2 - Coffee, polyester-fibreglass 42 x 18 x 18 cm
Wide poet  - Iron, polyester-fibreglass 43 x 50 x 15 cm
Dark - Polyester-fibreglass 35 x 20 x 20 cm
Iron lady 2 - Polyester-iron-fibreglass 40 x 15 x 15 cm


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

Lannie Hart

"My work examines the perception of women in contemporary society as informed by their portrayal in history and myth. My figurative sculpture, installation and painting embrace ornate found object assemblage as I work to merge the past with the present."

ST. LUCIA - Brass, steel, polymer clay, glass eyes, pigment, patina and found objects. 38 x 18 x 27 in.

New York area artist Lannie Hart, is a sculptor, painter and installation artist with a BFA from Virginia Commonwealth University. Hart had her first solo show in 1982 at Julie Artisan Gallery, NYC. She was published in 'Art to Wear' and is in the permanent collection of Julie Schaffler Dale. Other solo shows were at SOHO 20 NYC, Azarian McCullough Sparkill, NY and Gallery Broadfoot & Broadfoot Booton, NJ. She has also shown at the Virginia Museum of Fine Art, Richmond VA, Katonah Museum, Katonah, NY, AIR Gallery Brooklyn, NY, Jim Kempner Gallery NYC, Westbeth Gallery NYC and many others.

In 2012 and 2018, Lannie Hart's sculptures won first prize and were acquired by Williamsburg Art and Historical Center in Brooklyn, NY for their permanent collection. Hart won a $10,000 grant in 2015 from Historic Hudson Valley for a sculpture in Van Courtlandt Manor, Croton-On-Hudson, NY. Hart was a member of SOHO20 for 7 years and is a current member of Sculptors Guild since 2012 where she was VP of Publications.

ADAM & EVE - Oil on canvas with collage, fabricated brass and aluminum frame with found objects 49 x 45 in.
BIRTH OF EVE - Water fountain and brass mobiles: powder coated steel, bronze, brass, water, pebbles, rock and found objects. Installation size varies Sculpture 63 x 29 x 49 in.
THE LOVERS - Two pedestal sculptures that fit together. Bronze, brass, polymer clay, wood, gold foil, black marker and found objects 71 x 25 x 9.5 in.
THE ANNUNCIATION - Oil on canvas, collaged brass leaf, fabricated brass frame and found objects

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


Visit Lannie Hart's website

Inquire About this Artist

Discover More Member Artists

Become A Member Artist