Wood Sculptures

Sherry Owens Windows and Maidens #6, 2019 Bronze, patina, crepe myrtle, dye, milk paint, wax 11 x 14 3/4 x 11 3/4 inches For over 30 years, sculptor Sherry Owens has used the sinewy crepe myrtle tree to tell her story of the Texas landscape, death, renewal, beauty, and of today’s growing environmental concerns. Remnants of personal stories, visions and observations in nature are the driving forces in her work. She believes that what we see and do in our daily lives leaves a mark on our planet. It is the direct impact of human activities on the natural world, which is visualized in her artistic practice. She creates connections with nature using crepe myrtle trees found along the side of the road. Each stick is hand-carved and cut to fit, then laid in place and secured with a small myrtle peg. What takes precedence in the laborious process is the importance of detail and evidence of the artist’s hand and her interaction with the materials. Sherry Owens is a native Texan, currently living and working in Dallas, TX. She received a BFA from Southern Methodist University. Recent Texas solo exhibitions include The Grace Museum; Cris Worley Fine Arts; Martin Museum of Art; Art Museum of Southeast Texas; and a two-person site-specific installation at the Umlauf Sculpture Garden & Museum. She was also included in recent exhibitions at the Amon Carter Museum of American Art, TX and the Ogden Museum of Southern Art, LA. She has exhibited internationally in Austria, Denmark, Germany, Greece, India, Japan, Peru, and Turkey. Her work is currently on view in the Ground Zero 360 Remembrance Exhibition at the Museum of Biblical Art...

Sherry Owens Windows and Maidens #5, 2019 Bronze, patina, crepe myrtle, dye, milk paint, wax 9 1/4 x 14 1/4 x 9 inches For over 30 years, sculptor Sherry Owens has used the sinewy crepe myrtle tree to tell her story of the Texas landscape, death, renewal, beauty, and of today’s growing environmental concerns. Remnants of personal stories, visions and observations in nature are the driving forces in her work. She believes that what we see and do in our daily lives leaves a mark on our planet. It is the direct impact of human activities on the natural world, which is visualized in her artistic practice. She creates connections with nature using crepe myrtle trees found along the side of the road. Each stick is hand-carved and cut to fit, then laid in place and secured with a small myrtle peg. What takes precedence in the laborious process is the importance of detail and evidence of the artist’s hand and her interaction with the materials. Sherry Owens is a native Texan, currently living and working in Dallas, TX. She received a BFA from Southern Methodist University. Recent Texas solo exhibitions include The Grace Museum; Cris Worley Fine Arts; Martin Museum of Art; Art Museum of Southeast Texas; and a two-person site-specific installation at the Umlauf Sculpture Garden & Museum. She was also included in recent exhibitions at the Amon Carter Museum of American Art, TX and the Ogden Museum of Southern Art, LA. She has exhibited internationally in Austria, Denmark, Germany, Greece, India, Japan, Peru, and Turkey. Her work is currently on view in the Ground Zero 360 Remembrance Exhibition at the Museum of Biblical Art...

Sherry Owens Waterhole, 2017 Crepe myrtle, dye, paint, wax 24 x 36 x 36 inches For over 30 years, sculptor Sherry Owens has used the sinewy crepe myrtle tree to tell her story of the Texas landscape, death, renewal, beauty, and of today’s growing environmental concerns. Remnants of personal stories, visions and observations in nature are the driving forces in her work. She believes that what we see and do in our daily lives leaves a mark on our planet. It is the direct impact of human activities on the natural world, which is visualized in her artistic practice. She creates connections with nature using crepe myrtle trees found along the side of the road. Each stick is hand-carved and cut to fit, then laid in place and secured with a small myrtle peg. What takes precedence in the laborious process is the importance of detail and evidence of the artist’s hand and her interaction with the materials. Sherry Owens is a native Texan, currently living and working in Dallas, TX. She received a BFA from Southern Methodist University. Recent Texas solo exhibitions include The Grace Museum; Cris Worley Fine Arts; Martin Museum of Art; Art Museum of Southeast Texas; and a two-person site-specific installation at the Umlauf Sculpture Garden & Museum. She was also included in recent exhibitions at the Amon Carter Museum of American Art, TX and the Ogden Museum of Southern Art, LA. She has exhibited internationally in Austria, Denmark, Germany, Greece, India, Japan, Peru, and Turkey. Her work is currently on view in the Ground Zero 360 Remembrance Exhibition at the Museum of Biblical Art...

Sherry Owens Reawakening the Spirit, 2019 Crepe myrtle, steel, milk paint, dye, oil, wax 108 1/2 x 36 x 31 inches For over 30 years, sculptor Sherry Owens has used the sinewy crepe myrtle tree to tell her story of the Texas landscape, death, renewal, beauty, and of today’s growing environmental concerns. Remnants of personal stories, visions and observations in nature are the driving forces in her work. She believes that what we see and do in our daily lives leaves a mark on our planet. It is the direct impact of human activities on the natural world, which is visualized in her artistic practice. She creates connections with nature using crepe myrtle trees found along the side of the road. Each stick is hand-carved and cut to fit, then laid in place and secured with a small myrtle peg. What takes precedence in the laborious process is the importance of detail and evidence of the artist’s hand and her interaction with the materials. Sherry Owens is a native Texan, currently living and working in Dallas, TX. She received a BFA from Southern Methodist University. Recent Texas solo exhibitions include The Grace Museum; Cris Worley Fine Arts; Martin Museum of Art; Art Museum of Southeast Texas; and a two-person site-specific installation at the Umlauf Sculpture Garden & Museum. She was also included in recent exhibitions at the Amon Carter Museum of American Art, TX and the Ogden Museum of Southern Art, LA. She has exhibited internationally in Austria, Denmark, Germany, Greece, India, Japan, Peru, and Turkey. Her work is currently on view in the Ground Zero 360 Remembrance Exhibition at the Museum of Biblical Art...

Sherry Owens Grandfather's Land, 2021 Bronze, patina, crepe myrtle, paint, wax 30 x 46 x 18 inches For over 30 years, sculptor Sherry Owens has used the sinewy crepe myrtle tree to tell her story of the Texas landscape, death, renewal, beauty, and of today’s growing environmental concerns. Remnants of personal stories, visions and observations in nature are the driving forces in her work. She believes that what we see and do in our daily lives leaves a mark on our planet. It is the direct impact of human activities on the natural world, which is visualized in her artistic practice. She creates connections with nature using crepe myrtle trees found along the side of the road. Each stick is hand-carved and cut to fit, then laid in place and secured with a small myrtle peg. What takes precedence in the laborious process is the importance of detail and evidence of the artist’s hand and her interaction with the materials. Sherry Owens is a native Texan, currently living and working in Dallas, TX. She received a BFA from Southern Methodist University. Recent Texas solo exhibitions include The Grace Museum; Cris Worley Fine Arts; Martin Museum of Art; Art Museum of Southeast Texas; and a two-person site-specific installation at the Umlauf Sculpture Garden & Museum. She was also included in recent exhibitions at the Amon Carter Museum of American Art, TX and the Ogden Museum of Southern Art, LA. She has exhibited internationally in Austria, Denmark, Germany, Greece, India, Japan, Peru, and Turkey. Her work is currently on view in the Ground Zero 360 Remembrance Exhibition at the Museum of Biblical Art...

Hunt Slonem Summer Green with White Frame, 2020 Handblown Glass, Velvet, Ornate Wood Frame 27 x 17 x 9 in

Disconnect, wood sculpture by Troy Williams, telephone, cell phone tower, steel Hand-carved wood bust on a fabricated steel cell phone tower. The figure is talking into a cell phone...

A Beggar’s Prayer for Healing 1922 Signed “F,” l.r. Signed, verso Wood (with gold inlay) 23.5 x 8.5 x 1 inches (59.7 x 21.6 x 2.5 cm) Contact gallery for price. Provenance: E. A...

Artist: Garth Evans (British, b. 1934) Title: "The Duck (N.6., No. 3)" Year: 1982 Medium: Painted plywood wall-hanging sculpture Signed and titled Dimensions: 24" x 12" x 7" Conditio...

These works use the lost-wax kiln-casting glass technique. First, he makes the original form of the babies in wax and then pours in refractory plaster to...

black glass sculpture on a wood table depicting a scale and a gazing ball. Price includes travel and installation by the artist. work is currently in an ex...

Tommy Frank Hedge Hogs Materials: Ceramics, Glaze, Wood Date: 2010 Dimensions: 60 x 12 x 72 inches Signed COA Provided Tommy Frank was born and raised in...

Contemplating the Angel by Eduardo Oropeza, bronze sculpture, angel, church limited edition of 25 bronze and straw/twigs Sculptor, painter, printmaker, & photographer, Eduardo Oropeza remains a commanding presence in contemporary art. He applied a high level of devotion and integrity to his artwork. After the many years he had been working at his chosen profession, he saw being an artist as a tremendous gift, which honored and humbled him. A native of California's San Joaquin Valley and long time resident of East Los Angeles, Oropeza's academic training began with the study of Sociology. After taking an art course, he ultimately changed majors and received a Master of Fine Arts degree in sculpture from San Jose State. Post graduate work followed at San Jose, San Diego State at Long Beach and Palomar College. Oropeza’s contribution to public art in Los Angeles can be seen in a ceramic mosaic covering the 2 story Self Help...

Working with what he called “planks,” John McCracken created Minimalist sculptures that bridge the material world with the metaphysical. By leaning the planks against the wall, McCracken’s intention was to connect the spheres of two-dimensional painting and three-dimensional sculpture. His method involved a laborious process of painting, sanding, and polishing the polyester resin on each plywood board to achieve a flawless patina that looks machine-made, bringing to mind the 1960s West Coast “Finish Fetish Art...

Wire sculpture on wood sculpture.

Target shaped work made of wood and cement. Inspired by Jasper John's target paintings from the 1960's. Artist signed the back of the work. Artist Biography: Joe Mancuso lives and w...

Sugar pine with satin polyurethane finish, maple plywood, letterpress on pigmented embossed cotton paper (Edition of 15) This artwork is offered by ClampArt, located in New York City.

Voice-over stands for a voice that is not part of the narrative, a voice spoken by someone who appears elsewhere when an event happens. We know what we hear may not be a fact, what w...

Voice-over stands for a voice that is not part of the narrative, a voice spoken by someone who appears elsewhere when an event happens. We know what we hear may not be a fact, what w...

The concept of his recent work is form and grows from my curiosity about the relationship between one object to another. In his work he aims to explore the joyful, interesting, and m...

The concept of his recent work is form and grows from my curiosity about the relationship between one object to another. In his work he aims to explore the joyful, interesting, and m...

The concept of his recent work is form and grows from my curiosity about the relationship between one object to another. In his work he aims to explore the joyful, interesting, and m...

The concept of his recent work is form and grows from my curiosity about the relationship between one object to another. In his work he aims to explore the joyful, interesting, and m...