Shelley Curtiss, untitled, 2006
This piece flows by how the lines and curves move around the figure, as well as the base which bends with the movement of the rabbit.
Austin Barton, “Crescendo,” 2006
The horses are interesting by how they each create a certain rhythm or movement in the herd, their heads moving in different directions gives a natural and realistic feel.
William Harris, “Quicksand,” 1983-90
The surface of the figure is rough and gives texture to the piece, which adds to its “quicksand” theme.
Mark Andrew, “Double Fish,” not dated
The way the waves curve and move under the fish gives the work a unique structure.
Jullien Design, “Cast Bronze Relief with Patina,” 2001
When first looking at this cast, the eyes of the figure stand out because of the depth of the structure, it picks up shadows and intensifies the face.
Musee Rodin, “Eve,” 1968
This work is beautiful in the way the arms wrap around the torso and creates an emotional presence.
Brian Rust, untitled, not dated
Its unique how the face is raw in its design and shows the cracks and bumps to indicate the process behind the work.
Brian Rust, “Casting III,” not dated
The expression is almost haunting as its weighed down around the mouth and eyes.
Ursi Eso, “Radha with Krishna Playing the Flute,” 2008
Having the snakes appear like a ray behind the two figures gives off a powerful feel and adds to the god-like forms.
Fine Architectural Metalsmiths, “Bronze Sharp Shinned Hawk,” 2008
From the gazing stare of the eyes to the detailed texture of the feathers, this piece keeps to its realistic qualities.
Casa Del Ocaso Designs, “Ring-14k-Agate,” 2009-2010
By this piece originally being jewelry, it already gives the structure a unique vibe because of the motion of the material and how it brings a melting feel to the swerves.
Olivier Duhamel, Untitled, 2010
The body moves elegantly from head to toe, from the way the arms spread out to the stance of the woman.
Rolf Harris, “Intuition,” 2010
I like how the hands move in a sort of awkward pattern, almost as if they are unsure of which direction to point to.
Stuart Fink, Untitled, not dated
In the way the curl is tightly handled it gives a condensed form that takes away from the little pieces throughout the structure.
Mark Rehkopf, Untitled, 2007
The realism in this piece is fascinating by how it captures every little detail of the skin and variations of the scales in size.
Keith Simerson,“Grizzly Bear,” December 2009
The bear does not really have any qualities that allows the viewer to look closely and study the piece, it is smooth and almost blob-like by how there are no real defining lines.
Aries Lee, “Convention,” 1989
The shape of the piece is awkward and does not seem to have any rhythm or unique textures to make the form interesting.
Helle Rask Crawford, Untitled, 2010
the size of the cast allows intimacy and a delicate feel that adds to the playfulness of the figures.
Seward Johnson, “Whispering Close,” 2010
I like how the figures are painted with life-like tones and the movement in the dress.
Bryan Beurskens, “Protection,” Not dated
The shape of the dagger seems lumpy and not strong enough for the topic of the work.
Bryan Beurskens, “001 Shell and Seed 02,” Not dated
The deep impressions in the curves give a sinking quality to the seed, as if it is slowly being engulfed by it's shell.
Marc Leviton, “Chicken Hawk War Memorial,” 2009
The use of material with the subject creates almost a grotesque feel because of how closely it symbolizes real skin, it really adds an interesting quality.
Keith Turman, “Horses,” Not dated
By each horse varying in size it moves the eye upwards and around the hair, hugging each part closely together.
Davis Gailitis, “Davis,” Not dated
The unique characteristics of the surface adds to the emotional expression in the face.
Steven Ainsworth, “Double Casting,” 2007
The way the shadow reflects the sculpture is tranquil and becomes a work in itself.
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