Sculpture & 3D Art To finish any prestigious project, select from an exquisite selection of ‘Statement Art’
TRADE BROCHURE
Luminaire Arts Ltd is a leading arts consultancy company and gallery space, found in the heart of Belgravia, London. ‘At Luminaire Arts we represent over 300 extraordinary artists from every breadth of the UK and beyond. We help and assist designers and art lovers find artworks that are perfect for their needs and desires. We are thrilled to be sharing with you our SCULPTURE & 3D ART BROCHURE, which features A highly curated selection of fabulous STATEMENT ART, across a full spectrum of prices, which can be commissioned in practically any size! The result is an unparalleled selection, that can be delivered anywhere in the world, normally within 3 - 6 weeks!’ Paresha Raj Burnett, Chief Curator & Director
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Price category’s (A) to (F+) are listed below. Each artist’s price category is shown in the bottom right hand corner of their pages. The sizes and prices shown below are to give an indication. Please ask for specific sizes to get a formal quotation. ALL PRICES SHOWN ARE RETAIL PRICES (EX VAT)
ALL PRICES SHOWN ARE RETAIL PRICES (EX VAT)
ALL PRICES SHOWN ARE RETAIL PRICES (EX VAT)
v
ivienne works with a combination of hand drawn design and CAD, often incorporating processes such as screen prints in her work.
“I have a BA (Hons) degree in ‘Contemporary Surface Design & Textiles’ and I am a freelance artist-designer based in Halifax, West Yorkshire, England. I like to hand draw my designs, but I am also expert in the use of computer assisted design (CAD) technology. My portfolio of work incorporates the use of screen printing, luxury surface patterns, digital printing, hand / machine embroidery, hand / machine knit, and three-dimensional constructed textiles. I specialise in bespoke art work and contemporary costume jewellery products. These include brooches, bracelets, necklaces, hand printed luxury silk scarves, framed artwork which can be made to order. I invite commercial and private commissions tailored to the clients specific requirements.”
VIVIENNE
A Pretty Delphinium
A Single Stem
Twenty Butterflies
No. 11
No. 8
Fly Away Blooming Flowers
A Papillion Dream
No. 9
No. 6
No. 14
No. 10
E
ELIZABETH P lizabeth is a British ceramicist based in Manchester. Her distinctive style emerged as she was studying fine art, where she specialised in wall sculpture and installation. Whilst developing her unique range of stoneware and porcelain pottery, she pursued a successful career as an interior designer, dealing with contemporary living spaces in some of the North West’s most prestigious residential addresses. Elizabeth has combined her love of retro, vintage and antique decoration with cutting edge modern design, to create a range that will stand the test of time. From small pottery bowls to larger scale porcelain artwork, her exclusive range is perfect for the style-conscious home.
Golden Graces Wall Flowers White with Gold Edge Golden Graces Wall Flowers in Gold
Golden Graces Wall Flowers White with Frayed Edge
Gold Swallows over Morocco
3 White Porcelain Flowers
Graphite Swallows
White Porcelain Flowers
One Gold Flower
Detail
Frayed Edge
White Swallows
Cut Edge
Three Swallows
Side View of Cut Edges
ISOBEL
I
sobel has a passion for porcelain; she creates contemporary art, lighting and interior decorations. Working with porcelain paper clay has allowed Isobel to explore the boundaries of design. Her unique pieces are inspired by the world around us. They appear simple but, on closer inspection, reveal a stunning use of form, texture and depth.
Ruffles Rimmed Pool of Tranquility
Please note that due to the intricacies and technical nature of Isobel’s work, all larger sizes (over 80x80cm), will need to be priced separately and are usually priced outside the price matrix at the front of the brochure
In a Spin
Ruffles Twin
Seascape
Loose porcelain shapes Yin and Yang Please note that due to the intricacies and technical nature of Isobel’s work, all larger sizes (over 80x80cm), will need to be priced separately and are usually priced outside the price matrix at the front of the brochure
Seascape close up
Ruffles rectangular
Murmerations Make a Wish
Pods
Loose porcelain leaves Finishes Please note that due to the intricacies and technical nature of Isobel’s work, all larger sizes (over 80x80cm), will need to be priced separately and are usually priced outside the price matrix at the front of the brochure
W
orking in bronze, copper, steel and stainless steel - Philip designs and creates unique and bespoke sculpture, furniture and artworks for home, garden and public or business environments. He designs, fabricates and installs public art pieces and runs workshops in schools and with community groups. Philip creates an eclectic range of sculpture and contemporary furniture. Highly aesthetic in nature, you will find much of his work curvaceous and tactile, but with a coarseness that is lent from working with bare steel or stainless steel. His style ranges from figurative to abstract and is always in context with its environment.
PHILIP M
Wave V Patinated
Windvessels
Wave V Copper
City of Angels 2a
Windblown I
Loop
Pyre
Garden Sculpture 2
Djinn V
Basilisk XII Bronze
Djinn III Sphere
J
odie is a Metalwork artist based in Leicestershire. She graduated from De Montfort University in 2011 with a First class Ba (Hons) in Design Crafts. She was selected to participant on the Starter studio programme at Yorkshire Artspace, where she won the Sheffield Assay office Precious Little gems commission 2015. In September 2015 she was selected to be the International artist for the Craft ACT Artist in Residence program in Canberra, where she is currently exhibiting her new collection. Jodie creates woven sculptural objects inspired by Australian fauna, since her first visit to the country in 2012. The abundance of beautiful forms, colours and patterns found in the Australian bushland has motivated her designs. Along with her long time interest in textiles and how these techniques can be used within a metal working tradition. The weaving process in particular is central to her work and it is what drives her development. Jodie plans her vessels quite logically and mathematically, she weaves the sheet into pattern pieces which will create her desired forms. The woven sheet is then repeatedly hammered and annealed to create the organic colour palette. Her inspiration is to create an aesthetic contrast between the organic colours and form and geometric pattern in the weave. Jodie's intension for all her pieces is to intrigue the viewer and hope they become captivated by these objects and see something new from every angle.
JODIE H
Shanahans
Woven Vessel 1
Woven Vessel 2
Woven Vessel 3
Woven Vessel 4
Yerrabi
J
oseph studied at Liverpool Art School and followed this with postgraduate study at St Martin’s School of Art. He has over twelve years experience as a freelance illustrator for a wide variety of clients in advertising, publishing and design. “Inspiration for my recent work comes primarily from Nature and in particular butterflies, moths and the folklore and mythology surrounding these specific insects, to produce work with a narrative quality. I tend to work in series and draw inspiration from classical and popular music, fashion and graphic signs and symbols. I am also inspired by the Victorian obsession of collecting, preserving and presenting insects in boxes. My butterflies are created from collaged paper and each butterfly is individually hand cut. As well as their obvious natural beauty, I agree with the Eastern belief of butterflies as bringers of joy and being the essence of happiness.” “I like the school of thought that butterflies represent the soul.” - Joseph
JOSEPH S
Corona
Little Black Dress
25
Periphery
Map of the Heart
Gloriole
26
Hard Target
Butterfly Ball
Gloriole
M
MICHELLE M
ichelle’s art is work of elegant simplicity which, in itself, is the first of many seductions into an engagement with a complex network of tensions. The work is bedded in the clear space between opposites; the movement captured in stillness; the fragility and ephemerality of nature captured in the strength and permanence of industrial, man made materials; inexorable freedom within the clinically defined limitations of space. Whilst utilising symbols found in nature that have a timeless constancy, the methods and media used are innovative applications of contemporary industrial materials subtly handled, so that even the closest scrutiny give almost no intimation of their origins. This play between the timeless and the immediate is at the heart of Michelle's work. However tranquil the order of the instant may seem it cannot segregate itself from the underlying chaos of nature and it is into this engagement with chaos that we are lured, so unassumingly, by the captivating simplicity of order.
Ginkgo Circle Seed 1
Seed 2
Seed 1
Seed 3
Seed 4
Migration
The Consent Maple
30
Love, Loss and Separation
Held – Still Life 2
Hortensia
31
H
aving specialized in carving in both wood and stone at Wimbledon Art College, Nicola now works mainly in stone and bronze. Her preference is for medium to larger scale works made in plaster to be cast in bronze although she also makes smaller pieces in stone and bronze for indoors and outside. The originals she usually makes in plaster or occasionally clay depending on the required finish of the cast bronze. In the Creation sculptures: Pod, Bud, Fig Gourd, Wavy Clam, Sea Cone, Fig Shell and Ammonite, the focus is on simplified abstraction taking the forms back to their basic essence in nature. All of these pieces are about being contained but with a hidden presence inside the forms; shells and fossils depicting a quiet past life, pods and buds describing a quiet present life invisible from the outside yet on the inside depicting growth and a future life waiting to emerge. The Stone Figurative carvings focus on the same idea of a quiet life within, contemplative and peaceful.
Throughout the past twenty-five years she has been exhibiting both abroad and throughout the UK, regularly in London including at the Mall Galleries, The Royal Academy Summer Exhibition and Cork Street. Her work is also held in both public and private collections in Singapore, Germany, Poland, Hungary and throughout the UK.
NICOLA B
Bud 1
Fig Gourd 1
Fig Shell
Gather Me to You
Wavy Clam
Pod
Blessing
Shadow Clone
Testimony
Protection
Gaze & Wonder 3
J
ennifer is a mixed media artist whose is influenced by the mapping of the journeys and layering of memories, she has made both living and working in many countries abroad. She philosophically explains: ‘My work is based on the journey of life, its layers and strata. Through time and pressure beauty is created, we mine the soul to find the precious things. Life refines and polishes our history and the choices we have made. Our layers and compartments are filled with experiences and memories.’ The study of clay has influenced my art in the use of minerals, textures and formations. The resin creates the contrast between the dynamism of the elements of earth and water. The essential life forces!” Jennifer’s paintings can only be truly appreciated when seen in person. In print, it is impossible to capture the spectacular and unique 3-dimensional effect of Jennifer’s paintings integrated with earth pigments, oils, resin and gold leaf.
JENNIFER
Earth From The Air I Storm II
Earth From The Air II
Breathe 3
No. 3
No. 5
No. 6
No. 4
De Terre II
De Terre III
38
De Terre IV
De Terre V
De Terre VI
De Terre VII
De Terre I
39
No. 6
No. 7
No. 8
Storm I
No. 9
No. 10
North Sea II Quarry III
North Sea III
Quarry IV North Sea IV
41
K
ate explores the limits of geometric and optical abstraction through the use of colour, repetition, sequence and distortion. Surfaces are created which fold inward and lie on various angles, occupying and enlivening physical space.
As the viewer moves around the work, the form, shapes and shadows alter, creating a sense of distortion and surprise. The three-dimensional nature of her paintings aid in obscuring the rules of fixed, consecutive arrangements, generating a sense of unease by creating broken and fragmented shapes whilst in a uniform composition. An endless battle between systems and disorder, structure and chaos echo throughout her practice. Focussing on an aesthetic and optical effect, her work transcends the obsession with 'meaning' in contemporary art. Emphasising the materiality or the 'thingness' of three dimensional structures, she is not only drawing on and combining different disciplines but she is advocating a renewed appreciation of the experience of 'substance' in the experience of art. The whimsical titles such as, 'I Can't Afford The Luxury of Personal Boundaries', and 'My Apology is From The Heart', contrast the striking precision and sensory impact of the work, and play upon the contemporary viewer’s instinct to search for meanings or significances attached to profound objects.
KATE M
I Told You I’d Shoot But You Wouldn’t Believe Me.
This is My Song Rachel, Not Our Song. What Happens if Nothing Happens
Society Doesn’t Need to Know Who I Am
You Knew What This Way
There Are No Blank Spaces on Maps Anymore
I Cant’ Afford the Luxury of Personal Boundaries
This is the First Time I Saw Your Face
F
rom Goldsmith of 16 years to designer of precision laser-cut wall panels; Sarah has transferred and developed her metalworking skills from miniature to large-scale.
A Jewellery & Silversmithing graduate of The Cass, she has based her collections on the themes of repetition, geometry and how the tiniest, most insignificant parts can create complex and strong, balanced forms. Plant cells, microbiology and geometry all play a part in the development and design of her work, and her pieces are executed with precision, skill and attention to detail. Her jewellery collections have been exhibited in galleries in the US, Japan and across Europe. She now creates unique, bespoke fine jewellery and is expert in redesigning and remodelling unworn heirlooms. A commission in 2014 from renowned corporate art curator, Tom TempestRadford, saw Sarah's work transformed to an altogether new level, and brought her work into the realm of large-scale decorative architectural metalwork and installations. She utilises the skills of local engineering companies in combination with her own metalworking experiences and craftsmanship to create her new, vibrant collections of decorative panels, room partitions and lighting installations. Sarah has a long history of working closely with clients to create bespoke, considered and perfectly executed works.
SARAH
Circulus LL Circulus I
Circulus II (close up)
Quadrant I
Circulus VI
48
Quadrant I (detail)
Bronze Panel with Black Detail
Circulus I
49
V
aughn creates his three dimensional art with materials such as plywood and acrylic.
“Patterns interest me: they are the background, the fabric and the landscape in which we live. Patterns are made by the weave of thread in cloth, the repeated laying of bricks in a wall, the individual decisions of a billion consumers or the single pixel of a digital screen. They record a process of thinking and making inside every product created by men.
Patterns are blueprints, used to move data across space and time. Complex patterns inside nature remember a million years of Darwinian history. Patterns of human settlement, grids of streets and pavements remember the interests and politics of people now long gone. The pattern of a fingerprint records identity, controls our access to space and allows movement across national boundaries. Form, identity and icon are spectacles which can be constructed. In a world of spectacle, pattern is silent and barely noticeable. It is often invisible, often unintentional. It is manifested in elegance, logic, beauty, brutality, music, weather, language, planning, coincidence and accident. Patterns are dynamic, stable and restrictive in every measure. I work with patterns because they construct and constrain reality, for better and for worse. Although they are quiet (because they are quiet) they are very powerful. Made visible by art, they can be exposed, interrogated and challenged.�
VAUGHN
City of Parts Contours
Contrails
Junction 14
We Couldn’t All Be Wrong
Pattern of Red, Yellow, Blue
Master Plan
Master Plan 31
Firewall
Invisible City
52
Code Garden #1
Marble Arch
Code Garden #2
Patchwork
White Eliptal
53
A
n award winning Welsh born artist. His work is focused on contemporary glass design and explores the relationship between light and glass. His art works are juxtapositions and aim to create beauty and complexity out of simplicity. He loves the dual nature of glass, its strength and fragility, working simultaneously with light, colour and structure.
Art has been a consistent focus in Chris’s life. Early on he studied art and design at college before becoming a photographer. These pursuits allowed him to develop an understanding of form and light. It wasn’t until 2012 that he found his true calling; studying Architectural Glass at University.
CHRIS W
Reflect
Fragment
Refraction
Refraction II
Incasement
No. 26
Light & Structure
Refraction – close up
R
ogan is an Anglo-Irish artist who currently resides in the south of France. His work explores the boundaries between observational study and artistic interpretation, existing somewhere between scientific accuracy and pure, unbridled imagination.
Using both a scalpel and a laser he creates intricate, fragile relief sculpture out of layers of cut paper making multiple visual references: marine algae, cell structures, microbes, pathogens, neurons, coral, fossils, fungi. Each work starts as a detailed drawing and then grows organically layer after layer, playing with the dynamic of repetition and variation until a kind of critical mass is achieved and the work asserts its own uniqueness and autonomy. The process of production is slow and painstaking with some pieces taking up to five months to complete. The ultimate aim is to create works that invite quiet contemplation of the vastness, complexity and beauty of the natural world that surrounds us.
ROGAN
Small Kernel
59
Magic Circle
Portal
60
Vortex
Cell Cloud
61
Cut Stem
P
etr is an artist specialising in remarkable contemporary art pieces created in ceramic, concrete and metals. Son of a Czech ÊmigrÊ born in England, Petr trained as a graphic designer before following his muse and dedicating himself to ceramics at Central Saint Martin’s in 2001.
Petr finds inspiration from his past, present and how he perceives himself in the world. This predominantly breaks down into a fascination in people, psychology and our inherent interactions. Also and equally weighted the allure of 'mother nature', boasting her plethora of mathematical patterns; in imperfect perfection. Each art piece transforms, magnifies and captures a complex blend of philosophy, emotion and self-reference. The works are striking and deceptively simple upon first glance, growing in complexity over refection revealing narratives within. Petr Weigl's works can be found the world over. Exhibiting on the international art fair circuit, his works are commissioned and purchased by private collectors, commercial institutions, and art enthusiasts.
PETR
Erosion
Contour Continental Plateau Cold Cast Bronze
Contour Continental
Contour Ravine
Erosion
Erosion in Grey Contour Continental
Contour Continental
Flutter
Flossom Flow
Flossom detail
Flutter detail
Flutter commission
G
erman artist John's conceptual work is an attempt to discern governing principles of the universe - art as a way of enquiring about the world.
Artistic investigation, as a way of inquiring about the world, keeps asking the same perennial questions about origin of matter as science and religion. It bridges scientific and spiritual dimensions by conveying a message which is both: universal and deeply personal. His art transcends the dualism of objective and subjective, matter and spirit. It goes beyond the established framework of human knowledge and beliefs towards the state of ubiquitous oneness. He believes that every form of existence, from a thought, a feeling, matter to space and time is one and the same energy governed by the same principle and being a part of the Singular Universe. Dualism exists only as our perception and it is through their singularity that we can access the truth.
JOHN F
Destruction no6
Destruction no20
Destruction No14
Creation is Destruction Gold Axe No. 1
Creation is Destruction Gold Axe No. 3
68
Creation is Destruction New Gold 1
Creation is Destruction New Gold 2
Destruction no5
Creation is Destruction
Creation is Destruction – Titanium Steel
Destruction Black No.23
Destruction Black No.28
Destruction Black
Copper No 15
Copper No 11
Copper No 16
Please request Pricing
71
Copper No 3
Copper No 10
Copper No 13
72
Copper No 5
Copper No 6
73
W
ith a background in architecture, interior and furniture design Philip is a self-taught sculptor and specialises in sandcasting to make pieces which engage the quality of bronze as a noble material in its own right. Sculptures are intimate in scale and intended for the interiors of home, office or hotel. Casting in sand moulds is a simple and ancient method far removed from the sophisticated lost wax operation used by most art foundries. The sand-casting process is relentless and unforgiving – the foundry is no place for a delicate original. It denies a complexity of form that imposes a disciplinary and enriching simplicity. He cuts, carves, grinds or welds the cast bronze to create unique forms before invariably exposing the natural bronze or oxidising to produce the unique surface finishes that have always been an essential dimension of his work.
PHILIP H
Acanto
Forties 6 of 9
Viking
This Way
Cycles V
Cycles VI
Cycles XII
Fastnet II
Feast & Famine 1 of 7
Fitzroy 6 of 9
Fastnet
“
SANDRA S
All creativity is based on destruction, the metamorphosis of one thing into another, the end of one entity or state, out of which emerges another’ - Pablo Picasso Sandra’s new body of work, comprises of arrangements of smashed fragments of vintage bone china teaware, Russian Lomonosov porcelain figurines, Spanish Lladro and Nao porcelain ballerinas or German bisque Kaiser nude figurines, dating back to the 1940s, 50s and 60s. In Sandra’s creative recklessness, there is a comprehensive logic to her deliberate madness. Broken references bravery and courage, rebuilding, after devastation. Like rebuilding yourself after a broken love. ‘I see great beauty in vulnerability and fragility, in truth that is how we reveal ourselves and really connect’ Sandra states, in a society seeking an image of perfection, Broken has no flimsy facades. Smashing crockery is, after all, a time-honoured feature of the lovers’ row. ‘Breakage and fractures are part of the chance and fate of human life, part of our personal history.’ When Sandra has looked back on love that has disintegrated, and reflected on the times when she has felt ‘shattered’, she has realised that the splintered fragments of herself have come back together to create something more fantastical, better than before. Sandra has found inspiration in the Japanese art of Kintsugi, in which broken bowls were repaired with beautiful golden joins, so fashionable in the 17th century, that people were accused of deliberately smashing valuable pottery so it could be remade in this manner. Collecting is an integral part of Sandra’s practice with a continuous search for her handpicked treasures, destined to be broken. Her calculated disintegration and simultaneous resuscitation of these inanimate objects is bewilderingly beautiful. Mesmerising almost, as your eye is drawn to the dynamics of so many shards of protruding porcelain resting on one another, committed to rebuilding with the broken shards one by one in a series of dramatic and positively innovative works. The final configuration becomes a powerful, extraordinary, luxurious and profoundly complex form, with an intricate, attractive spill of decadent colours and splintered shapes.
Broken Series in situ
Morning Moorland
Harlequin
A Lighter Shade of Smashed Pale Pink
Bold as Love
Distorted Perception
Broken but still In Love
Careless, Careful, Caring
Precariously in Love
I Love You, You’re Perfect
Support and Challenge
Reassembled Incompletely but Meticulously
B
orn and raised in India, Lata currently lives and works in the UK. Lata is a visual artist that specializes in contemporary sculpture and has completed masters in fine art in both India and the Slade School of Art, London. Her work is held in private collections throughout Europe, India, Middle East and the far East.
Lata's work reflects upon her own life, the experience of migrating from the East to the West. The journey of migration is depicted in the shape of the circular form, symbolic of the cycle of time. The Circular motif represents how things were, how they changed and how they have returned to natural states of what they were, before Lata's transitional journeys to the west. The geometric form of the rectangle and square represents the present, Lata’s life in the west, through the balance, integrity, structure and security that are offered. These basic geometric shapes are either utilised individually or contained within another form. Further exploration is made through the use of materials, texture, colour and pattern. The work offers the sense of refamiliarisation with Lata’s origins in India.
LATA
Polo
Beauty Moon
Pearl
Reflecting Beauty 7
Reflecting Beauty 1
Reflecting Beauty 6
Reflecting Beauty 2
Reflecting Beauty 3
I
n all my work I am interested in following a very simple system which is devised prior to execution and cannot be deviated from during the course of production. There is an abandonment of colour, of gesture, of the expressive, and instead I instate an almost mechanistic methodology that minimises the decision making process and emphasises a systemic approach. In this respect the work can be seen more as a result, bounded by a set of rules as opposed to something derived from an intuitive, responsive operation. There is a meditative aspect to the work, the repetition of a singular form or action synonymous with some mantra, yet this repetition equally feeds into a minimalist convention, where industrial conformity and a stark mathematical edge underpin each piece. Although aesthetically, the work appears almost machined, they are very much hand made objects, obsessively laboured and crafted. I am attempting with each piece to follow through the process as accurately as possible, however, there are invariably "mistakes" present. This presence of the human acts to undercut the implicit abandonment of any expressive or gestural mark making. One is thrown into relief by the other. The work occupies a space between this pure, reductive detachment of authorship, and an acknowledgement of the hand made.
BEN G
Axis No. I
Axis No. II
Axis No. III
1338
1017
945
947
1029
Pulse
Tangent No. 1
Tangent No. 2
S
tarting in the industry at the age of 15, James showed a natural talent for the craft and has been working as a glass artist ever since. Specialising in working with hot glass, he is adapt at working with solid forms as well as blown pieces. Working with an extensive knowledge of glass techniques James will happily undertake new challenges. In September 2008 James opened his first Studio set in the inspiring Wiltshire countryside. In 2009 he started as the glass technician at the Royal Collage of Art in London. This roll opened up vast new contacts and opportunities that are still a core of his career to date. After leaving in London in 2013 James and his partner set up a new studio together. To this day the studio has gone from strength to strength and attracts some of the finest glass artist in the country. A high skill level, technique and a good eye help make James one of the up and coming glass craftsmen in the glass world today.
JAMES D
Detail 1
Clovie in Blue, Steel & Plum
Detail 2
Detail 1
Clovis in Blue & Tobacco
Clovis in Yellow
Detail 1
Clovis in Tobacco Detail 2
C
REGINA eramic Art Regina is a London based ceramic art practice specialising in 3D architectural ceramics.
Inspired by water and poised between art and design, the undulating sculptural tiles create unique feature-walls and statement pieces for public and domestic settings alike, introducing an elegant and sophisticated element into architectural spaces. Regina is known internationally for her tactile ceramic sculptures with highly distinctive abstract designs. Her work is held in public and private collections around the world, including the Fitzwilliam Museum in Cambridge and the Museum of Contemporary Ceramics in Gifu, Japan. Regina has worked with leading interior architects and art consultants to create site-specific installations that complement their setting while retaining their own artistic identity. Her portfolio includes an exclusive 3D tile line, designed in 2011, for the American company Ann Sacks, and the cabin art work design for P&O’s newest cruise ship Britannia. Regina studied Fine Art and Ceramics in Vienna, Geneva and London and has worked from her ceramics studio in South London since 1998. Regina received funding from the Crafts Council to set up her workshop. She is a Crafts Council Selected Member, an elected Fellow of the Craft Potters Association of Great Britain, and a member of the International Academy of Ceramics.
Flow
Reflection 7
No.3
Klimit
Gallery 4
Reflection 7
Gallery 9
Gallery 6
Gallery Pixel 3
Gold Enamel
Hand painted Feature Wall
White Gloss Gold Enamel 3
Gallery 1
Gold Enamel
Gallery 3
Platinum
I
n his artistic research he seeks to tell his own story, his experiences, personal responses and feelings, as well as those of people and situations he encounters in his daily life. He likes to use traditional hand tools, such as the chisel on stone that leaves a unique trail, a personal mark which transmits a human strength to the sculpture and infinitely reflects the sculptor's thoughts in the stone. He loves working with white marble - Lasa, Carrara, or Sivec, not polishing them to perfection, sanding them , but leaving the surfaces soft, flowing or wavy, so that they all attract and encourage the desire to touch and caress the shape of the sculpture. As well as stone and marble he works in the classic materials of bronze, wood and ceramics. Currently he is a member of the artistic association Prologo from Gorizia, Italy. He lives and works nearby in Nova Gorica, Slovenia.
DAMJAN
Boomerang 1 Cup No. 1
Cup No. 2
Cup No. 3 Boomerang 2
No. 11
Warrior
Bitel 1
Rose
Warrior b
No. 1
No. 6
No. 2
No. 3
No. 4
1450
1451
1458
1467
No. 7
No. 10
No. 13
No. 13
1387
1300
1447
1469
Seed 4
Seed 9
No. 17 Seed 10
1470
Ownership of Artist relationship You agree that the business relationship between the Artist and Us is entirely owned by Us. You will not approach the Artist directly or correspond with the Artist in any way, except with express written authorisation from Us regarding their Artworks.
Copyright All works are subject to availability. Copyright to all material and/or works of art comprising or contained within this brochure is held by Luminaire Arts and/or other copyright holders. It is prohibited to reproduce, modify, adjust or otherwise use any of the images or information in any manner or form without the express written permission of the copyright holder. For further information or details of any of the works listed please contact us.
Luminaire Arts 19 Grosvenor Place Belgravia, London SW1X 7HT enquiries@luminairearts.co.uk 0207 101 5070 www.luminairearts.co.uk
Sculpture & 3D Art To finish any prestigious project, select from an exquisite selection of ‘Statement Art’
TRADE BROCHURE