La muerte tiene permiso Abstract Sculptures

'The Girl and the Giraffe' bronze sculptural table lamp, hand crafted, molded and cast in bronze in the lost wax process. A whimsical sculpture lamp of a young girl and a giraffe, e...

This Mexican red ceramic clay hand sculpture is a piece by artist Manuel Reyes. Made with clay from Oaxaca and Zacatecas, painted with oxides from the reg...

21 Century Contemporary Black Marble Rovinette Candleholder Handmade in Italy by Ilaria Bianchi. Hand-turned candleholder in black Marquina marb...

Tall large bottle shaped white and black stoneware clay and porcelain vessel with heavy volcanic textured glaze and lava stone. There is an option to add gold lustre or black feathe...

Enhance your table with these delicate porcelain flowers by French artist Samuel Mazy, in collaboration with Maison Nurita. This Lily of the Valley is handmade in biscuit porcelain, glazed in a custom pink for Maison Nurita, with patinated copper leaves and stems, and is placed in a rock crystal pot...

Black clay ceramic mezcal jug from Coyotepec, Oaxaca, circa 1950´s. Rare mezcal jug used for ceremonial or festive reunions. Decorative, leaf markings can be seen around the neck are...

Beautiful work from Roger and Jacotte Capron. What is remarkable in this couple is their symbiosis; Roger Capron designs and shapes the piece, Jacotte C...

Abstract polished bronze sculpture by Antonio Grediaga Kieff Estate / Collection: Property from the Estate of Erika Hecht Wadds

This Mexican ceramic hen is an egg basket/container, perfect to keep eggs fresh -- a utilitarian kitchen piece by artist Manuel Reyes. Made with clay from Oaxaca and Zacatecas, painted with oxides from the region. Done with the hand-modeled technique and cooked in traditional wood-fired oven. Reyes has been constantly innovating with his hen collection, making this one of his most iconic works. Ceramic artist, sculptor and painter, Manuel Reyes (Mexico City, 1972) atended the Escuela Nacional de Artes Plásticas in Xochimilco, México. He was later mentored by Royer Von Guten, Joy Laville...

Abstract floor sculpture in polished chrome, 1970s. Twisted, welded polished strips of chromed steel mounted onto a black glass base. Scuffs to base, American, 1970s. In the manner o...

Large Wooden Black Forest Bear Flower Stand, Handcarved in Brienz 1900s A antique statue of a standing bear flower stand. Made of lindenwood, finely handcarved with naturalistic det...

This one-of-a-kind, sculptural beeswax and clay triple candle holder is designed by the Tbilisi, Georgia-based designers Rooms Studio, who skillfully handcrafted this piece in collaboration with Shotiko Aptsiauri. The standing candelabra of sculpturally twisted organic beeswax and clay, entitled "Sacral Geometry Candle Holder", is part of a larger series of hand-formed beeswax works from the artists' collaboration. About the Designers: Works of Rooms Studio refers to the sculptural forms and abundant materials in juxtaposition with the feminine instincts. Born and raised in Tbilisi, Georgia, the duo behind the Rooms, Nata Janberidze and Keti Toloraia, lean towards preserving the inherited craftsmanship techniques unique to the region. Massive wood and stone objects are hand-crafted using traditional techniques to create raw and symbolic forms often rooted in the designers' childhood memories. Growing up in a culturally diverse environment, where the two worlds - Western and Eastern collide, remarkably influenced their design language. Over the years, Rooms has created eight independent collections and collaborations equally memorable and representative of the duo's perpetual mission to bring life to omitted elements of a former life. Through their series of works, Janberidze and Toloraia try to examine the boundaries between the public and private. Experiencing adolescent years in the 90s - a significant decade of cultural and societal shifts - their work is a narrative of personal experiences of womanhood. By contrasting the new feminine monumental shapes with architectural brutality, Rooms challenges the status quo and also bridges the conventional and contemporary design with a confluence of female energy. The studio’s largest U.S. exhibition to date, Distant Symphony, expands upon this impulse to focus inward. The title is again a chief concern—some of the objects included here were designed during the pandemic, under a regime of forced isolation that made the studio’s typically collective work process untenable. The pieces shown here are the results of Rooms’ search for a way forward. The first room, an antechamber of sorts, evokes the intimate quality of a private home. Shown here are trinkets and personal effects chosen by Janberidze and Toloraia for their emotive qualities; a low background noise emphasizes the climate of urban domesticity. The ensuing gallery space features highlights of Rooms’ recent design output. Here, the subtle scent of organic materials provides a sensory indication of the atelier’s interest in dichotomies: natural and man-made, personal and collective, local and cosmopolitan.   In light of the global circumstances at the time, Janberidze and Toloraia felt it was especially important to pursue collaborative work. Rooms invited three artists—Shotiko Aptsiauri, Salome Chigalashvili and Mariana Chkonia—to conduct a dialogue and shared design process. As such, this exhibition is a kind of polyphonic meditation on a need for solitude and desire for companionship. The practice of polyphonic singing, essential to Georgian folk culture, is reinterpreted here as a design endeavor. Chigilashvili, working with unprocessed yarn, interpreted folk motifs by adapting embroidery to the scale of furniture with expansive stitches applied to painted boards...