Cardboard Sculptures

Mnemonic Rhythm (Bright, Multicolored Textile Inspired Abstract Wall Sculpture), made by Susan Stover in 2025 wood, oil paint, varnish, waxed linen thread 30 x 30 inches Lightweight,...

SIGNED ON BACK. Lisa Pressman’s Shape of Memory series transforms cardboard, thread, smoke, and Letraset into evocative wall-mounted works that recall ancient relics or worn book covers. Each shaped panel floats about an inch off the wall, often casting glowing, colored shadows from painted backs that shift with the light. Stitched seams and weathered surfaces suggest scars, resilience, and the passage of time, resonating as personal artifacts of memory and healing. Known for her abstract paintings in oil, encaustic, and mixed media, Pressman’s oeuvre consistently explores impermanence and transformation. With their sculptural presence and luminous effects, these intimate objects blur painting...

This square wall sculpture presents a high-relief surface of densely packed, hand-modeled clay forms arranged in non-hierarchical clusters that evoke buds, seeds, and cellular struct...

This textured abstract diptych by Teodora Guererra features a light blue-green palette with warm yellow accents throughout. The artist layers thick strokes of paint using a palette k...

Daniel Fiorda in this new series of sculptures, continues in many ways the themes that have infused his previous work. For the last several years, Fiorda has dealt with technology, obsolescence, with the trail of discarded tech that humanity leaves behind and what it says about us. The new work takes this thematic one step further. These new wall pieces feature barely concealed found objects, almost fully engulfed by concrete, and yet still eerily discernible: industrial gears, computer keyboards, objects that evoke industrial post-digital eras. This piece is a set of 3 artworks...

This pair of textured abstract paintings by Teodora Guererra features a light, greyscale palette with subtle warm accents throughout the composition. The artist layers thick strokes ...

Pink Pleasure (Textile Inspired Abstract Wood Wall Sculpture in Pink and Yellow), made by Susan Stover in 2024 wood, oil paint, varnish, waxed linen thread 54 x 72 inches Lightweight...

This framed gestural work is by Donald Martiny. This signature piece is composed of enamel and polymer paint, cardboard, aluminum and wood on wood panel. He creates immediately froze...

This square wall-mounted sculpture features a dense surface of hand-molded clay spheres in assorted sizes and colors, arranged into compact floral-like clusters. Flower Bubbles (202...

Lisa Pressman’s Shape of Memory series transforms cardboard, thread, smoke, and Letraset into evocative wall-mounted works that recall ancient relics or worn book covers. Each shaped panel floats about an inch off the wall, often casting glowing, colored shadows from painted backs that shift with the light. Stitched seams and weathered surfaces suggest scars, resilience, and the passage of time, resonating as personal artifacts of memory and healing. Known for her abstract paintings in oil, encaustic, and mixed media, Pressman’s oeuvre consistently explores impermanence and transformation. With their sculptural presence and luminous effects, these intimate objects blur painting...

"I welcome the continual emergence of change, evolution, and the inevitable challenges that form a large part of a working artist’s life." With CHEF'S HAT, a recent and evolving work, I am moving into more dimensionality and space. My intention is to push patterned and embellished surfaces on paper from its naturally flat surface into a more structural and spatial plane. This involves making sculptural pieces from paper and experimenting with new construction methods using strips and lengths of paper over-lapped and fastened together, shaped into objects with physical presence. I feel I am migrating from the flat surface into the third dimension. I envision the paper constructions as a landscape to be wandered in and out of, through and around, a space that invites all and sundry to enter on their own terms. I hold firmly to the belief that my work exhibits a playfulness that belies a more serious assessment of our social world. I am interested in how something that is initially perceived as frivolous and celebratory can constitute a reaction against and resistance to the shadowy world of misfortune, hard luck, and weariness. Born in 1959, Lanie Gannon was predominantly inspired by the 1970s. Conceptualism is often perceived as a reaction to Minimalism, and the leading art movement of the 1970s, challenging the boundaries of art with its revolutionary features. The movements that succeeded were all representative of a strong desire to evolve and strengthen the art world, in response to the tensions of the previous 1960s. Process art branched...

Seymour Fogel Untitled Oil on illustration board construction 10 x 7 1/2 inches Provenance: Estate of the artist Charles and Faith McCracken Larry and Trish Heichel Private Collection Seymour Fogel was born in New York City on August 24, 1911. He studied at the Art Students League and at the National Academy of Design under George Bridgeman and Leon Kroll. When his formal studies were concluded in the early 1930s he served as an assistant to Diego Rivera who was then at work on his controversial Rockefeller Center mural. It was from Rivera that he learned the art of mural painting. Fogel was awarded several mural commissions during the 1930s by both the Works Progress Administration (WPA) and the Treasury Section of Fine Arts, among them his earliest murals at the Abraham Lincoln High School in Brooklyn, New York in 1936, a mural in the WPA Building at the 1939-1940 New York World's Fair, a highly controversial mural at the U.S. Post Office in Safford, Arizona (due to his focus on Apache culture) in 1941 and two murals in what was then the Social Security Building in Washington, D.C., also in 1941. Fogel's artistic circle at this time included Phillip Guston, Ben Shahn, Franz Kline, Rockwell Kent and Willem de Kooning. In 1946 Fogel accepted a teaching position at the University of Texas at Austin and became one of the founding artists of the Texas Modernist Movement. At this time he began to devote himself solely to abstract, non-representational art and executed what many consider to be the very first abstract mural in the State of Texas at the American National Bank in Austin in 1953. He pioneered the use of Ethyl Silicate as a mural medium. Other murals and public works of art done during this time (the late 1940s and 1950s) include the Baptist Student Center at the University of Texas (1949), the Petroleum Club in Houston (1951) and the First Christian Church, also in Houston (1956), whose innovative use of stained glass panels incorporated into the mural won Fogel a Silver Medal from the Architectural League of New York in 1958. Fogel relocated to the Connecticut-New York area in 1959. He continued the Abstract Expressionism he had begun exploring in Texas, and began experimenting with various texturing media for his paintings, the most enduring of which was sand. In 1966 he was awarded a mural at the U.S. Federal Building in Fort Worth, Texas. The work, entitled "The Challenge of Space", was a milestone in his artistic career and ushered in what has been termed the Transcendental/Atavistic period of his art, a style he pursued up to his death in 1984. Painted and raw wood sculpture...