German-based artist Janusz Grüenspek presents a striking series of wooden sculptures that resemble blueprints brought to life. These pieces capture the skeleton of everyday objects, from Apple laptops to security cameras, stripped down to simplified, almost fragile shapes. The works balance technical precision with a raw, bone-like vulnerability, giving familiar objects a new, contemplative presence.
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Myth As Object by Cameron Stalheim
“Stemming from my experience as a gay male from the Midwest and transitioning into the gay culture of the east coast, this sculpture, the first in a new series of work, questions the relationship between fantasy, reality and the objectification that happens in between.” A hauntingly beautiful mythical sculpture exploring sexuality, fantasy and life transitions. Made from Plastic, Foam, Steel, & Acrylic. Myth As Object by Cameron Stalheim
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Chrome Sculptures by Joel Morrison
The chrome surfaces are integral to the experience. Polished to a mirror-like finish, each sculpture reflects its surroundings in a constantly shifting way, making viewers a part of the artwork. Light bounces off the curves, angles, and edges, creating an ever-changing interplay of reflections. This reflective quality gives Morrison’s work a sense of movement, even though the pieces are static.
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Glass Sculptures by Shayna Leib
Shayna Leib creates glass sculptures that feel alive, organic, and slightly otherworldly. Her works resemble plants or organisms, reaching out toward the viewer with intricate, twisting forms that are mesmerizing and delicate.
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Destructive in Art by Valerie Hegarty
Valerie Hegarty has a talent for making art history deeply uncomfortable, and that is precisely the point. In her sculptural works, well known paintings and iconic imagery are not preserved or revered. They are attacked. Chewed up. Broken down by the imagined forces of nature, time, and entropy. This is destruction as transformation, not vandalism. And it is fascinating to look at.
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Psychic Creatures forged by Sarah Louise Davey
Sculptor Sarah Louise Davey creates unique details to familiar figures. See her interesting series below. “Through the vessel of the figure and materiality of clay, I create sculptural objects and installations to evoke intuitive, visceral responses informed by our subjective notions of physical image and societal norms. I question my own experiences of these through the various personalities that emerge with each hybrid portrait, as they are often an exaggerated mix of whimsical beauty and exaggerated macabre. Posture and pose illustrate the psychological scope of the feral female while their wide-eyed gazes portray an emotional duality that is constantly evolving within each beastly image. At the heart of these works…
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Alexis Persani Dresses Sculptures from Museums
Alexis Persani’s series takes classical stone sculptures and brings them sharply into the present. By dressing museum statues in modern-day clothing, Persani turns distant historical figures into something instantly familiar. The effect is surprising, witty, and quietly emotional.
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Sculptures by Edoardo Tresoldi
Edoardo Tresoldi does not make sculptures in the traditional sense. He builds absences. Using industrial wire mesh, the Rome based artist creates figures, buildings, and monumental installations that feel present and invisible at the same time. They hover between reality and memory, like a place you swear you have been before but cannot fully describe.
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WTF Baby Sculptures by Johnson Tsang
Johnson Tsang’s baby sculptures provoke an immediate, visceral reaction. Confusion. Discomfort. A nervous laugh. The figures are unmistakable. Milky white, porcelain-like babies with oversized heads, frozen mid-action as they wrestle, collide, and scramble over one another. The effect is absurd and unsettling all at once. If there were ever a case for a genre called “crazy milk babies,” this might be it.
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Feather Child by Lucy Gledinning
“feather child” Lucy Gledinning’s Feather Child occupies a delicate space where whimsy and unease quietly coexist. At first encounter, the sculptural figures feel almost gentle, their forms softened by texture and suggestion rather than hard definition. Look closer, and the work begins to reveal something more complex. These are not playful objects meant to charm at a glance. They carry an emotional weight that lingers, subtle but persistent. Feather Child by Lucy Gledinning Gledinning constructs her figures using distinctive, tactile media that resists easy categorization. Materials appear carefully chosen for their ability to evoke vulnerability. Feathers, surface treatments, and sculptural forms work together to create bodies that feel both protected and exposed.…
