Since 2000, Wexler Gallery has built a reputation for curating and presenting exceptional work at the intersection of fine art, collectible design, and craft. With locations in New York City and a flagship 11,500-square-foot space in Philadelphia’s Fishtown neighborhood, the gallery represents a diverse roster of established and emerging artists whose practices span disciplines and challenge traditional boundaries.
Our program brings together important vintage design, contemporary fine art, and bespoke design objects, offering a unique resource for collectors, institutions, and design professionals alike. Many of our artists are featured in major museum and institutional collections, and we regularly facilitate private, public, and hospitality commissions on both national and international scales.
We are proud to partner with architects, interior designers, and art advisors to source exceptional work that resonates—whether for residential projects, hospitality spaces, or curated collections. From rare historical pieces to site-specific commissions, Wexler Gallery offers access to a dynamic and evolving canon of artists shaping the future of art and design.
/ NEW YORK
WEXLER GALLERY
(Left) Erin Sullivan
Lily Pad Stool, 2018
Bronze with Silver Nitrate Patina Finish, 14 x 15 x 15 inches
EZRA ARDOLINO
Keansburg, NJ
Ezra Ardolino, educated as an architect, is an artist and entrepreneur working at the intersection of art, architecture, and design through digital fabrication. In 2009 he founded Timbur, a New Jersey–based studio pushing the boundaries of CNC and robotic manufacturing in collaboration with leading artists, designers, and brands. His practice centers on Futurewood, an innovative use of plywood as a sculptural medium, shaped by years of technical experimentation and hands-on problemsolving. In 2023, he debuted N90N, a collectible design series exploring the moment when digital form transcends code, transforming polygon-based models into layered, hand-finished Futurewood objects that blur the line between virtual precision and material reality.
Ezra has also extended his practice into lighting design, applying the same synthesis of digital modeling and material exploration to illuminated works. His lighting pieces often integrate sculptural form with advanced fabrication techniques, resulting in objects that not only emit light but also embody the layered, dynamic qualities of his larger body of work.
Approx. 59 x 84 x 84
Limina, 2025
Baltic Birch Plywood, Resin, LEDs
inches
HENRY BAUMANN
Berlin, DE
Henry Baumann’s acclaimed Boo series epitomizes his artistry, featuring tables and seating crafted from meticulously stacked resin bubbles. These organic forms, influenced by chance yet guided by his thoughtful frameworks, glow with a gentle translucency that imparts a sense of fluidity and elegance. Resting atop polished brass feet, the pieces invite touch with their smooth, matte surfaces, striking a harmonious balance between structure and spontaneity.
Eschewing initial sketches, he works intuitively, embracing the unexpected. “When I’m experimenting with these materials, I often begin with an idea that fails—but through failure, something unexpected emerges. I’m fascinated by that process,” he shares.
His extensive exhibition history spans Vienna, Düsseldorf, Milan, Amsterdam, and beyond, with pieces featured in museum collections such as Kunstfestival Watou in Belgium and Kunstkraftwerk Leipzig.
Excessive Boo: Glacé, 2025
Resin, 19 x 32.5w x 11.75 inches
(clockwise from top)
Excessive Boo: Glacé, 2025
Resin, 19 x 32.5w x 11.75 inches
Excessive Boo, 2024
Resin, 19 x 32.5w x 11.75 inches
Trophy Glacé, 2025
Resin, 19 x 11.75 x 11.75 inches
Trophy (Mother of Pearl), 2023
Resin, 19 x 11.75 x 11.75 inches
CIMONE KIND BERMAN
Pennsylvania, USA
Cimone Kind Berman plays with light, reflection and transparency, creating works that are a fusion of time-honored craftsmanship and transformative alchemy. Each mirror tells a unique story, blending history, craft, and artistic vision, inviting observers to glimpse both their own reflection and the enchanting metamorphosis of existence itself.
By infusing the essence of alchemy into her work, Berman transmutes clear glass into ethereal portals. These mirrors become vessels where copper, silver, and gold meld together, embodying the intrinsic beauty of the elements.
Please inquire about custom creations in color, reflectivity and scale.
Between Here and There, 2025
Glass, tin, silver, epoxy, steel, 120 x 72 inches
tin, silver, epoxy, steel, 20 x 20 inches
Black Mirror, 2025
Glass,
MARCUS VINICIUS DE PAULA
New York, USA
Marcus Vinicius De Paula is a Brazilian-American sculptor based in New York whose practice explores identity, ancestry, and humanity’s place within the cosmos. The son of Brazilian immigrants—his father having risen from a small town in São Paulo to directing NASA Mars missions—De Paula reflects on legacy and fragility through stone and light. His sculptures, often titled after moons of Saturn, blend volcanic rock, granite, and alabaster—some over a billion years old—with neon and LED illumination, producing works that read as relics from another world. By handcrafting both stone forms and glass light elements, he creates monumental objects that fuse the ancient and futuristic, evoking both interstellar matter and human aspiration.
Informed by Brutalist and Modernist architecture in Brazil, as well as memories of traversing Rio de Janeiro’s visual landscape, De Paula considers his works as maquettes with unlimited potential scale. His multidisciplinary background in theater, film, and live performance— designing with light for over 15 years—further shapes his sculptural vision. He has led creative direction for installations at South by Southwest, on tour with Ra Ra Riot, and at the Edinburgh Fringe, and his sculptures have been exhibited at the Salon Art & Design Fair (2024), Burning Man (2022), Davidson Gallery (2022), Verso (2023), and Love House (2025).
Primordials, 2023
Italian alabaster, resin, LED, 55 x 9.5 x 9.5 inches / 50.5 x 9.5 x 9.5 inches
Erebus, 2024
Italian Alabaster, LED, Acrylic, 20 x 10 x 4 inches
HLX-1, 2022
Resin, 40 x 80 x 2 inches
Archaic Bench by Tom Palmer
RICHARD HAINING
New York, USA
Richard Haining is an artist and studio furniture maker whose practice bridges sustainable design and fine craft. Raised in Atlanta, GA, and educated at the Rhode Island School of Design, he has lived and worked in Brooklyn since 2008. Guided from an early age by the belief that if something could be made better, you should learn to make it yourself, Haining brings this ethos to his work, honoring both process and material integrity. Drawing inspiration from discarded wood across New York City—from shop offcuts to old-growth timbers salvaged from pre-war buildings—he meticulously hand-stacks thousands of wood segments to form his celebrated STACKED Collection. Similar to coiled ceramics or analog 3D printing, his process creates unique forms that are refined by hand to reveal surfaces rich with variation and history. His work, which embodies permanence in an age of disposability, has been exhibited worldwide, collected internationally, and recognized with awards such as the James Renwick Alliance Award of Excellence for Innovation in Craft and the RISD People’s Choice Award.
Stacked Floor Lamp No. 1, 2020
Salvaged walnut, 84.5 x 18 x 33 inches
(Right) STACKED Sphere-shaped Vessel, 2024
Salvaged oak, oxidized finish, 20 x 19.25 inches
(Left) STACKED Pronghorn Vessel, 2024
Yakisugi Alaskan cedar salvaged from decommissioned NYC Water Towers
33.625 x 9.75 x 15.5 inches
SOFIA KARAKATSANIS
Worcestershire, UK
Sofia Karakatsanis is fascinated by wood in all its forms; as a tree, a material, a fuel. As wood was once living it reacts to processes it is put through, moving and twisting. She responds to this in real time while constructing and carving, allowing a dialogue between maker and material. She grew up in the Black Country, a hub of industry in the UK. This lifelong exposure to craft fostered a strong fascination with making that has led to her own practice in wood, the material she feels most drawn to.
Sofia’s carving process is very organic, working with power carving tools such as angle grinders, down to finer hand tools, referencing sketches throughout. This allows her to create the forms intuitively, and react to the wood as it reacts to the processes and allow the grain to inform the shape. Sofia subjects her work to extreme conditions when finishing; chemical bleaching Sycamore to achieve a bone white color, and scorching Ash to create a blackened, highly textured finish. Working in this way allows the forms to be material led. As she carves, Sofia exposes and focuses on the natural grain in the wood, using this to inform and accentuate the shape. She wants to evoke the feeling that these pieces were once living, appearing to come from one piece by allowing the grain to inform the shape.
Resilience, 2023
Solid ash, scorched, stained and lacquered, 28.5 x 27.5 x 29 inches
FEYZA KEMAHLIOGLU
New York, USA
Dream in Calligraphy: Landscape Horizontal and Dream in Calligraphy: Landscape Vertical expand Feyza Kemahlioglu’s exploration of light, ornament, and cultural memory, uniting the lyrical elegance of her Dream in Calligraphy series with the material storytelling of her Treasures Untold Collection. Rooted in a deep reverence for Ottoman calligraphy and Istanbul’s enduring craft traditions, Landscape Horizontal becomes a suspended lightscape of handblown glass in tawny ambers, soft yellows, and warm oranges. A molded brass armature traces a fluid, calligraphic gesture, while the glowing palette evokes a horizon in motion—like an illuminated stroke lifted from the page and draped across space.
Landscape Vertical transforms the same calligraphic sensibility into a cascading column of handblown glass globes shifting from foamy sea green to deep maroon. Detailed with colored frit, crystals, and organic textures, each globe recalls the underwater discoveries central to Treasures Untold: seafoam, coral, barnacles, and the remnants of submerged relics. Together, these two works articulate Kemahlioglu’s distinctive vision—a practice where tradition meets imagination, where craftsmanship becomes narrative, and where light serves as the connective tissue between cultures, histories, and landscapes.
Dream in Calligraphy: Landscapes (Horizonal), 2025
Meerschaum, blown glass, bronze, LED, approx. 40 x 46 x 46 inches
Dream in Calligraphy: Landscapes (Vertical), 2025
Meerschaum, glass, bronze, LEDs, 110 x 33 x 33 inches
NICK MISSEL
Pennsylvania, USA
Nick Missel’s newest round mirror in the Alumation Series continues his transformation of salvaged car radiators into sculptural objects that merge industrial memory with atmospheric lightness. By dismantling bales of discarded aluminum radiators and reassembling their delicate fins and grids into a circular composition, Missel reveals the inherent beauty of materials shaped by labor and wear. Dense clusters of aluminum contrast with airier, smoke-like strands, while resin settles into the negative spaces, creating pockets of transparency that make the frame feel simultaneously weightless and architectural. The result is a reflective object encircled by a shifting terrain of texture, luminosity, and suspended motion.
Rooted in what he describes as a “cultural archaeology of the working class,” Missel’s practice gives new life to objects that sit on the periphery of attention yet bear the imprint of human impact and use. Born in St. Louis in 1989 and trained as a sculptor at KCAI, RISD, and Skowhegan, he approaches material as something in constant flux—melting, reforming, and shedding past identities. In this mirror, the transformed aluminum becomes both artifact and abstraction, grounding the piece in history while pushing it toward an otherworldly, speculative future.
Alumation Collection: Mirror, 2025
Aluminum radiators, resin, fiberglass, mirror 57 x 57 x 6 inches
TOM PALMER
Firle, United Kingdom
Tom Palmer is a multidisciplinary artist and designer known for his extraordinary range of work, from bespoke pieces for private collectors to large-scale architectural installations for internationally renowned interior designers and architects.
Palmer’s innovative approach blends centuries-old craftsmanship with cutting-edge contemporary techniques, resulting in deeply textural and captivating works. Drawing inspiration from Medieval and Renaissance Europe, as well as the refined aesthetic of Japanese makers, his creations evoke a profound connection between history, functionality, and fine art.
Recognized for his mastery of diverse materials—ranging from noble stone and bronze to modern industrial composites—Palmer’s work reflects a seamless fusion of tradition and modernity. His dedication to craftsmanship earned him inclusion in the prestigious Homo Faber Guide by the Michelangelo Foundation, and a QEST scholarship that further enriched his practice through study in Italy.
Black Jesmonite,17 x 50 x 14 inches
Archaic Bench, 2024
Moon Pool Screen, 2024
London plane wood, steel, 71 x 86 inches
Lith Side Tables, 2024
Acrylic, palladium, 19.75 x 11.75 x 11.75 inches
JONATHAN PRINCE
Massachusetts, USA
Jonathan Prince, a New York–born artist based in the Berkshires, creates sculptural works that bridge science, technology, and spirituality. Initially trained as a maxillofacial surgeon, Prince returned to his lifelong passion for sculpture in 2002, establishing a world-class fabrication facility to pursue his artistic vision.
His practice centers on the dialogue between precision and imperfection—monumental forms that reveal both strength and vulnerability. Each work reflects his fascination with material transformation and the balance between chaos and beauty.
Now represented in collections worldwide, Prince continues to explore how form and matter embody the deeper tensions of existence, crafting sculptures that invite reflection on the complexities of the human condition.
Tumble Series - Coffee Table, 2025
Steel, resin, 12 x 35 x 50 inches
ERIN SULLIVAN
Massachusetts, USA
Alligator Stool, 2025
Bronze, 18.5 x 15 x 15 inches
Erin Sullivan makes functional sculpture encoded with the spirit of nature. She aims to honor nature’s intelligence and beauty while exemplifying its primal elegance. Each object amplifies the essence of the plant, animal, or element that inspired it. Together, her pieces construct a symbolic language which reconnects us to the mystery of the natural world.
Sullivan’s archetypal repertoire occupies the space between art and design. Themes of life and death, matter and spirit, masculine and feminine weave a mythopoetic narrative. With the art of ceremony at the center of her work, tables become altars, stools are totems, and mirrors can be portals. At a recent residency, Portal de Luz in Uruguay, Erin constructed a site-specific installation, “The Unified Field,” a nature temple of ritual space with natural and cast ceremonial objects.
Her process includes mold making, wax sculpting, and lostwax casting. Since 2014, her work has been exhibited and collected worldwide.
(clockwise from top) Alligator Stool, 2025
Bronze with liver of sulphur patina, 18.5 x 15 x 15 inches
Lily Pad Stool, 2018
Bronze with silver nitrate patina, 14 x 15 x 15 inches
Feather Stool, 2015
Bronze with Silver Nitrate Patina Finish 18.5 x 13.75 x 13.75 inches
(left) Flora Series, Banana Leaf Sconce, 2019
Bronze, LEDs, 37.25 x 11 x 5 inches
Mixed media, 32 x 24 x 7 inches
Encroachment, 2013
JENNIFER TRASK
Kingston, NY
Jennifer Trask creates intricate sculptures using bone, metal, resin, and antique fragments, drawing inspiration from biology, archaeology, and art history. Her work explores the tension between life and death, nature and artifice, transforming materials like antlers, vertebrae, and teeth into delicate, organic compositions that evoke cycles of decay and renewal.
Trask allows her materials to guide her process, respecting their physical and symbolic histories while refining surfaces with a painterly touch. Her fascination with preservation and display began during her studies at the Massachusetts College of Art and Design, where she explored metalsmithing alongside anthropology and frequently visited museum collections.
Deeply influenced by vanitas paintings and their botanical illusions—where impossible floral arrangements symbolize beauty and mortality—Trask examines humanity’s impulse to curate nature. Her sculptures blur the boundaries between the natural and the artificial, challenging perceptions of permanence, transformation, and abundance.
Encroachment, 2013
Mixed media, 32 x 24 x 7 inches
WILÉN-JONG
Stockholm, SE
The Burnout Series by Johan Wilén-Jong gives material form to the emotional tension between drive and depletion. Semi-translucent recycled glass, fragile yet weighted, still yet luminous, is paired with a charred maple framework carved and burned by hand to evoke the instant before collapse. Each piece is handmade over three months, cast from crushed glass with carefully placed dark inclusions, then assembled through four precisely engineered joints that allow the glass to appear suspended in air. The series becomes a meditation on exhaustion, persistence, and the quiet resilience that emerges in the space between them.
In We Are Not the Custodians of Earth, Ashley Wilén-Jong examines humanity’s perceived dominance over the natural world. Inspired by Daniel Quinn’s Ishmael, the ceramic series challenges the illusion of human superiority and questions our willingness to coexist within a larger, self-sustaining ecological system. Through expressive sculptural forms, the work reflects on humility, interdependence, and the need to recognize ourselves as part of, rather than separate from, the environments we inhabit. Together, these bodies of work reflect the practice of Wilén-Jong, the artistic partnership of Johan and Ashley WilénJong, a Stockholm-based duo whose work combines Scandinavian refinement, material experimentation, and thoughtful narrative to create objects that are both conceptually grounded and meticulously crafted.
