Inspired Sculpture

Sculpture Summer 2021

Dustin is a self taught modern metal artist. Now the founder and featured artist of Abstract Metal Design Gallery. Originally from Quincy Illinois in which he learned the basics of art, woodworking and metalworking with his father since he was 5 years old. Having experience in the automotive body and paint industry increased his interest with metal. Having always appreciated the latest and greatest that design and technology has had to offer, in which explains his consistent interest in modern design. With mainly keeping his focus in modern/contemporary sculptures that are fit for both indoor or outdoor environments.

Working with various types of metal, creating dynamic shapes that are always appealing from various angles. He’s always keeping pieces colorful or deep in texture, and being sure not to astray from using a style that makes a statement.

Today he currently displays work in various galleries, businesses and residences worldwide.

DUSTIN

Whirlwind

Wrath

Tempest

My works are a reflection of human feelings, in general, viewed from an angle of Zen philosophy, trying to express the maximum with a minimum of data. When I use the two elements is usually to create a fluid dialogue between them and try to translate the concept of sense of time, of human fragilty.

JOAN

Development

Dance for three

Pink concave eclipse

Simon designs and creates beautiful contemporary garden sculptures and garden art for gardens in the UK and around the world.

His passion for long flowing curves and the influences of the `less is more` approach can be seen throughout his work. Originally coming from the `Steel City` of Sheffield its natural that his work is created from steel and stainless steel.

Simon

The Tulip

Braganca

Khiva

A Flight of Avocets Sculpture

MARK P My work combines the depth of thought provoking abstract with that of the understandable form, making it instantly tangible yet with deeper, perceptible undertones. I can capture a moment in time and make the viewer think and feel that feeling, whether it is a moment of energy or of pause.

Currently I am working on reactionary processes with potential references to martial arts, dance and sport. Simple drawings have lead to complex sculptural forms, but without any reconciled plans but merely a feeling of reaction to my making and processes.

My experience and knowledge of materials allow me to do this in an unconventional way creating work that identifies tension and harmony, calm and movement for the viewer to discover it is forging structure from apparent chaos......

Sculpture 4.1

Restraining Creativity

Understanding Individualism with Unity - Unity for short!

The Feminine is always at the core of my work, whether depicted in a female form or through the sensuous curves and lines of an object or flowing form. I am always inspired to create beauty, serenity and a sense of calm. This has always been my own personal journey and, even though I may be able to achieve this through my sculptures, the state of ‘Nirvana’ is always a step ahead of me!

I have always searched for freedom and adventure, to experience life to the fullest. In my earlier years this led me to travel the globe and experience and number of amazing jobs including professional sports team trainer, art teacher and tutor, holistic therapist and yogalates instructor.

I always pushed myself to the limit both with regard to my work as well as my own physical training in multi-sports, but I later came to realise that my strength needed to come from an inner place as opposed to my external desires and so returning to my art was the start of a journey of discovery. I found there was a strong urge for the feminine to start expressing herself, even if it felt really uncomfortable at times.

JO

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Jo04

My favorite hobbies are dancing, taking walks and watching telly. And as you will probably have guessed I love getting caught up in the creative process one way or another, something I'm doing my best to turn into a career.

I didn't do much in the way of artistic training, but got interested in the possibilities of 3-d line drawing when I had a temporary job making frames for topiary, and things snowballed from there. I've been spending a lot of time on art since around 2008.

MARTIN

Improvisations I

Improvisations II

Improvisations III

Improvisations IV

Improvisations V

Improvisations VI

I took up sculpture in 1992 and it became so important to me that in 1994 I left my career in civil aviation engineering in order to concentrate on it full time.​ I create abstract sculptures in which I try to express the beauty that exists in simple shapes: flowing lines, subtly curved edges, negative spaces defined by surrounding forms. This is the opposite of conceptual art: there is no message, you do not have to 'understand' the piece. You either like what you see or you don't.

Sometimes my pieces suggest forms in the real world, perhaps human or animal. Often they are based on things I come across that appeal to me.

These are not necessarily conventionally beautiful things in themselves. They may, for example, be discarded items or pieces of machinery. It is a joy to create something worthwhile out of these apparently unpromising origins.

DONALD

Enlightenment

Vigilant

Renaissance

We Three

Evolution

Sculpting is giving voice to one’s soul, sculpting is staying in time, sculpting is revealing, sculpting is entering and leaving, sculpting is giving life to inertia, sculpting is splitting, sculpting is coming alone and leaving in pairs, sculpting is transforming, metamorphosing, sculpting is freeing, sculpting is a gesture that embraces a movement, sculpting is standing.

I only look for beauty, aesthetics and proportion for each of my sculptures. There is no chance, I don’t cut like "it comes", I see the image, I reproduce it in the stone trying to make sure that, because of my way of doing things better, it captures shadow and light. It can be organic, floral, evocative of a body or one of its curves... etc... But the important thing is the movement and emotion it provides for those who are watching.

When a sculpture is finished I no longer exist, the work done either, only the work must appear, nothing else. It is no longer a stone or a material. It’s a sculpture.

Pierre-Olivier

Sans titre I

Sans titre II

Sans titre III

Sans titre IV

I studied Fine Art at Bristol Polytechnic in 198487 specialising in Sculpture. In 1989 I spent eighteen months at Berllanderi Sculpture Workshop in Raglan, South Wales creating new work. 1991-92 I took an Interdisciplinary MA in Art and Architecture at KIAD in Canterbury. I travelled to Israel in 1998 to take part in a six month Residency which provided a basis of a 34 year retrospective. In 2005 I formed Steinworks Sculpture which allowed me to develop new work. 2018 saw a renewed change in direction returning to figurative work with a contemporary feel.

I have experimented with a range of styles and sculptural languages during my years as a sculptor. I found sanctuary in the realm of meditative environments where I was drawn to constructing both individual sculptures and sculptural spaces. My aim with this was to provoke a sense of calmness and serenity.

MATT

Trio

Origin

Sail

Tornado

Bansuri

Flint

My work is often experimental. By melting glass with a blowtorch at room temperature there is always the 'shatter risk'. Adding metal into the equation results in unique shapes and patterns within the glass. For the larger outdoor pieces, I hand cut the glass into rectangular shards and permanently fix them into steel frames

JANE

Tinx

Shattered Lens

Transient XII

I live a short walk to a very pebbly beach. My sculptures reflect the scenery found along the shoreline, inspired by the textures, patterns and plant life. This combined with the movement of the water and changes in the weather allow a rich resource for ideas. I like to work in clay as its wonderfully flexible and can combine simple smooth lines with an endless use of texture and pattern which I love. I have a fascination with creating curves and simple pleasing familiar shapes. I'm also obsessed with texture and pattern which I feel brings my sculptures to life.

Once the sculptures have been finished its over to the moulding and casting stage.

The process of cold cast metal sculpture is a skilled and labor intensive one. As with foundry bronze sculpture it begins with the artists sculpture. A mould is made and then cast. The outer layer is a metal powder such as bronze mixed with a small amount of resin. Depending on how large the sculpture is, the mould is then filled so that it is solid or has layers of fibre glass.

KARA

Ridge

Small Abstract III

Untitled

Fiji

Mark’s sculptures are a playful investigation into line, definition and geometry. Working with negative space, light and shadow, Mark gives each of his sculptures direction and flow. Lines direct the form, textures are contrasted and complemented, and shapes are contorted into new, enticing arrangements. Yet each design maintains a sense of Mark’s own, free hand carving, allowing his works to develop in an open and instinctive manner.

MARK

Side step

Swerve

Ascending

Elliptical play

Art reminds us what a wonderful and diverse world we live in. It opens the mind, nudges the imagination and lifts us from day-to-day thoughts and constraints. In his sculpture Tim seeks to evoke these responses. His work is to be touched, with the eyes and the fingers, but above all to be felt, at the root of our emotions.

There is no more powerful statement of the interpretive role of the artist than Barbara Hepworth’s: “I, the sculptor, am the landscape, the hollow, the thrust and the form.”

The ideas Tim expresses in his work have been developed through personal experience in different stages of his life. His skills were developed through study at London’s Art Academy, Central St Martins and elsewhere.

Working largely in bronze and wood, he has his studio close to London’s South Bank, and has also written about the many sculptures to be found along the South Bank’s river walk. Among other projects is an ambition to create a London Sculpture Park, a linear park stretching from Westminster Bridge to Tate Modern.

TIM

Conception III

What I do is me

Philippe endeavors to create the slender link and bond for a greater vision of the UNITY. The understanding of the Universe is the best way to subdue the philosophical question of our very existence. "The realization of my thoughts into practical concrete shapes creates the deeplyneeded vacuum in my mind to accommodate numerous other new ideas. With the ripples emanating from my shapes and forms, I hollow out the stone and at the same time I brush away all the burden on my immature mind to return to the basic truth, this main thread in direct liaison with its origins of the shape of the stone, this immense beauty which radiates the heart and mind and gives an added creative meaning to my art. With the help of my engraving chisels, I square off the shapeless contours of my own being, hoping to find the brilliance of the diamond that is encrusted in my heart, like plunging ones’ hand into the heart of the comet to obtain the knowledge of it’s historical meaning, bringing with it each day a new discovery".

PHILIPPE

Nautilus

Flamentango

Silent communication

When I left school I travelled around Europe then the US, Canada, New Zealand, and India. In Australia, I got a job at a steel works factory. The highly skilled, self-assured character of the men who worked there and the strong sense of camaraderie really appealed to me. I loved the heat and the clatter of the place. This was the first time I learnt how to form steel, I took this experience back to the UK and went to an art school that specialised in blacksmithing.

This was followed by an apprenticeship, and then I opened my own forge in London, which gave me the time to develop my art practice alongside the commissioned work I was producing for clients at the time. Travel remains an important source for my work, and if I can’t get away, there are so many great museums in London. A new series usually starts this way.

Recently, a visit to Iceland led to a series of sculptures inspired by the coastal communities and the fishing boats in the harbours around the country. The initial idea became an abstract memory. Sculpture has its own language, and I aim to tell a story like a poem or a song but without word. This is how I want to reach the viewer.

NICK M

Homeward Bound

Butterfly Swoosh

Mello

Gathering

Pink Butterflies

Summer Plume

My personal interest relates to the layers of life and experience that makes each of us who we are. We typically show the outside layer of our being which, although it may bear some of the physical signs of things we have experienced, will not reveal how we felt about the ways in which we have experienced ‘being’.

The same thing can be experienced by different people in different ways. So it is the suggestion of what happens inside that interests me.

I approach my work exploring the ways in which I can reflect these ideas. I have come to making most of my work in layers. I want my work to change as the angle of view changes, and as the context that they are placed in changes.

I hope that my work also reflects aspects of the world that we occupy, so I typically use utilitarian materials – often used in large scale production, and as such taken for granted. Many of us would not give a second thought to Acrylic, but it has qualities and resonances that reflect the areas that I explore in my work (its transparency and its opacity), and those qualities become integral to my work.

TOM H

Two Circles

Octave Circle II

Octave Flower

After attending the High School of Art she moved onto European Institute of Design and graduated in illustration.

She creates handmade home decor, decorative sculptures and wall art.

Many of her pieces are available for custom sizes and colors to give you a 100% one-of-a-kind piece of artwork.

Every sculpture in her collection is created from one hand-molded positive. A two-valve mold is then used to create the final positive which is made from a paste of resin and marble powder.

Due to the combination of marble powder, sanding, and finish, you'll receive an affordable piece that mimics carved stone beautifully.

Custom finishes are available for sculptures as well.

GIULIA

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Luminaire Arts Ltd 7 Denbigh Street SW1V 2HF London 0207 828 7979 www.luminairearts.co.uk