Oliver Ashworth-Martin

Traces VII by Oliver Ashworth-Martin - Concrete sculpture, abstract, nature

2018

Grey Amphora is a glass fiber and reinforced concrete sculpture by contemporary artist Pavlína Kvita, dimensions are 185 × 140 × 90 cm (72.8 × 55.1 × 35.4 in). The sculpture is signe...

Concrete sculpture coloured in the mass, 32 cm × 38 cm × 22 cm. Edition of 8 + 4 Artist's proofs. Deeply fascinated with the concept of construction, Delphine Brabant composes her ab...

Fragment is a concrete sculpture coloured in the mass by contemporary artist Delphine Brabant, dimensions are 32 × 32 × 22 cm (12.6 × 12.6 × 8.7 in). The sculpture is signed and num...

Heron II is a unique acrystal, concrete and nylon rope sculpture by contemporary artist Pavlína Kvita, dimensions are 70 × 33 × 16 cm (27.6 × 13 × 6.3 in). The sculpture is signed a...

Water Beast is a unique coloured and polished artificial stone and concrete sculpture by contemporary artist Pavlína Kvita, dimensions are 60 × 31 × 19 cm (23.6 × 12.2 × 7.5 in). Th...

Traces VI is a unique concrete sculpture by contemporary English sculptor Oliver Ashworth-Martin, dimensions are 32 × 13 × 13 cm (12.6 × 5.1 × 5.1 in). This artwork is signed by the...

A sculpture by Theaster Gates. "Stand-Ins for Period of Wreckage 25" is a contemporary sculpture, white concrete and porcelain by American, Blue Chip artist Theaster Gates. The artwork is unsigned. Theaster Gates' practice includes sculpture, installation, performance and urban interventions that aim to bridge the gap between art and life. Gates works as an artist, curator, urbanist and facilitator and his projects attempt to instigate the creation of cultural communities by acting as catalysts for social engagement that leads to political and spatial change. Gates has described his working method as “critique through collaboration” – often with architects, researchers and performers – to create works that stretch the idea of what we usually understand visual-based practices to be. For his exhibition at Milwaukee Art Museum exhibition in 2010, for example, Gates invited a 250 strong gospel choir into the galleries to sing songs adapted from the inscriptions on pots by the famous 19th century slave and potter 'Dave Drake'. For the 2010 Whitney Biennial, Gates transformed the Whitney’s Sculpture Court with a spare, architectural installation that functioned as a communal gathering space for performances, social engagement, and contemplation. For the duration of the exhibition Gates collaborated with various creative practitioners on a series of 'monastic residencies', holding live events such as the session by Gates' musical ensemble, the Black Monks of Mississippi. In another recent exhibition at Seattle Art Museum, Gates transformed the gallery into an audio archive entitled 'The Listening Room', incorporating a hand-built DJ...

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