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@gonzaphotography.bsky.socialSep 9, 2026, 10:45 PM

Sept 9th: Sculpture

HORNSE! #365photochallenge #photography #sculptures #bostonma #backbay #horse

@75centralphotography.comSep 9, 2026, 4:31 PM

Shooting Up

Sculptor Allie Victoria Tennant’s Tejas Warrior guards the entrance to the Hall of State at Fair Park, Dallas.

#photography #photo #tejaswarrior #allievictoriatennant #art #color #dallas #dallasfortworth #fairpark #hallofstate #northtexas #publicart #sculptures #texas #unitedstates

Sculptor Allie Victoria Tennant’s Tejas Warrior guards the entrance to the Hall of State at Fair Park, Dallas.
@stephentravels.bsky.socialSep 9, 2026, 1:17 PM

You'll come across wonderful #sculptures in #GreenWood Cemetery in #Brooklyn, #NewYork, one of the world's best #cemeteries. Find out more at stephentravels.com/the-great-ou... 🪦

Green-Wood Cemetery, Brooklyn, New York.
@sunsetcelebration.bsky.socialSep 7, 2026, 10:28 PM

Paola Effio's Art
keywestartcenter.com
This artist has spent many years residing in Key West and the Florida Keys. Their whimsical ceramic raku sculptures vividly reflect this experience.
#Art #KeyWest #Sculptures #Ceramic #FloridaKeys

A compact, tower-like ceramic sculpture stands on a simple round white base, its stacked forms recalling a tiny totem or a folk-art reliquary. The piece is built in three main levels: a squat pair of animal figures at the bottom that look like stylized rodents or lizards, a middle cylindrical column interrupted by a flattened red platform and a spouted vessel-like protrusion, and a top platform crowned by a larger, upright creature with oversized ears. Dozens of much smaller mouse-like figures are modeled all over the structure, clinging to the sides, perching on shoulders and tails, and swarming up the column as if caught mid-climb. The palette is muted but lively: a creamy, slightly yellowed glaze covers most of the animals, giving them an aged, ivory appearance; bright cobalt blue wraps the central shaft; and narrow bands of red and green punctuate the platforms. The glaze has a hand-applied quality—subtle pooling and darker accenting in crevices bring out claws, facial features and the sculpted wrinkles of the bodies, while some surfaces look matte where the glaze is thinner. Fine detailing in the tiny faces, whisker marks and delicately curled tails speaks to careful, patient work with the clay. Visually the composition is both playful and a little uncanny. The swarm of miniature rodents creates intense motion and narrative—there’s a sense of industry or mischief as they climb and cling—while the larger figures anchoring each level have a calm, almost sentinel-like presence. The protruding spout on the middle tier and the stacked disks give the object an ambiguous function: it reads like an ornamental vessel, a ceremonial object, and a sculptural tableau all at once.A small, surreal ceramic sculpture sits against a velvety black backdrop, lit so that every crack and contour is emphasized. The piece combines two animals: a squat pig-like body forms the base, and perched atop it is a long-eared rabbit whose forelegs drape over the pig’s rounded head. Both figures share the same pale, off-white glaze that is shot through with a fine network of crazing — a web of thin, dark hairline cracks that gives the surface an antique, weathered look. The pig’s form is compact and softened, with tiny stubby legs and a slightly puckered snout. Its mouth appears slightly open, showing a small pink tongue, while the insides of its ears and its hooves are glazed a glossy, bright red that jolts against the otherwise muted tones. The rabbit is elongated and almost elegant in contrast: a narrow face, pronounced ears that curve and flop back, and a poised neck that tilts as if listening. The rabbit’s posture — one paw resting on the pig’s forehead, the other on its flank — creates a sense of interaction, intimacy, or even gentle dominance. Lighting sculpts the piece dramatically: highlights pick out the glossy reds and the raised ridges of the glaze, while shadows pool under the pig and around the rabbit’s underside, lending the composition a theatrical, slightly mysterious atmosphere. The dark background isolates the figures, focusing attention on texture and form and allowing the crazed glaze to read almost like a topographical map across their bodies.A small, glossy octopus sits on a matte black surface like a jewel washed up from a calm sea. Its body is a soft sea-glass turquoise, with tiny white speckles and subtle variations in tone that catch the light. The head is rounded and smooth, peppered with little raised bumps; one dark, glassy eye gives it a quietly attentive expression. Each of the eight arms curls and loops with a natural, organic flow, the undersides lined with neat rows of rounded suction cups that are slightly paler than the rest of the form. The glaze is highly reflective—bright highlights run along the curves and rims—while the deep black background makes the aquamarine color read even more luminous. Overall it reads as a handcrafted decorative piece: whimsical, well-finished, and evocative of the sea, with a pleasing balance between realistic texture and stylized simplicity. A small, hand-modeled ceramic sculpture stands like a whimsical totem of sea creatures and myth. Three figures are stacked one atop another on a round white base: at the top sits a pale, humanlike mermaid with rust-red hair swept back, head tilted up as if singing to the sky. Her face is calm and slightly uplifted, and her sea-green tail curls beneath her; the glaze has a soft, mottled texture that gives the tail an aged, sea-worn look. Beneath her, in the middle, is an unexpected hybrid — the body of a fish with the face of a sleepy cat. Its expression is gentle and bemused, eyes half-closed, and its pale fur-tone contrasts with the teal of its tail. A narrow red band around the midsection separates the top and middle pieces, like a belt or a cushion that helps them balance. The lowest tier is another mermaid-like form whose tail cradles the stack above. Near this base figure sits a small, bright red object — a tiny, sculpted companion with gold-painted details that adds a splash of bold color and a touch of playfulness. Vertical blue and orange columns between the figures suggest a structural column, painted in uneven strokes that underline the handmade quality. Overall the piece reads as folk-art — textured, imperfect, and full of character. The paint is slightly crackled in places and brushstrokes are visible, emphasizing a crafted, artisanal feel. The composition is fanciful and offbeat: a dreamlike meeting of human, feline and marine imagery, balanced with a wry sense of humor and a gentle, peaceful mood.
@misshistoryg2.bsky.socialSep 7, 2026, 12:44 PM

Giant Chair Illusion
Hello folks! Here's a photograph of a giant chair in a #sculpture trail somewhere in Symonds Yat from 2015. It's not a solid frame!
Have a great day! 🌳🌿💚
#AlphabetChallenge #WeekJforJocular #nature #sculptures #SymondsYat

A colour photograph roughly portrait format. It shows a large construction made of thick logs that looks, from this angle, like a solid chair. However, there is a gap between the legs, the "chair" spans the path. See photo in first comment.
@sunsetcelebration.bsky.socialSep 7, 2026, 3:40 AM

Old Road Gallery Art
www.oldroadgallery.com
Artists Dwayne and Cindy King, spent the previous 20 years creating, showcasing and selling custom bronze Sculptures , copper and clay Pottery in Key West and the Florida Keys.
#Sculptures #KeyWest #Art #Pottery #FloridaKeys

A cluster of sculpted fish fans out from a twisted piece of driftwood mounted against a warm brick wall. The root is gnarled and weathered, its contorted limbs forming a natural radial frame; from its branches hang six stylized fish, each with exaggerated fins and pointed snouts. The fish have a hand-crafted, hammered look — mottled gold, copper and amber tones catch the light so that their curved bodies gleam with a patina-like finish. Their fins and spines are thin and spiky, lending an almost kinetic energy as if they’re frozen mid-surge away from the central root. The backdrop of exposed bricks, in soft terra-cotta and sandy beige, reinforces a rustic, earthy mood and provides a textured contrast to the smoother, metallic sheen of the fish. Below the arrangement a simple shelf holds three vases: on the left a polished wooden sphere with rich grain, in the center a small, glossy vase shot through with deep blues and reds, and on the right two taller vessels — one a matte brown pot and the other a greenish vase holding long, delicate dried stems or eucalyptus. These objects anchor the composition and add color punctuation that complements the warm metals above.Centered in the photo is a sculptural fountain or stand built around three sleek dolphins, their bodies arcing upward in a graceful triad to support a large, shallow basin shaped like a scallop shell. The dolphins are rendered with smooth, flowing lines and a slightly dark metallic sheen—bronze or a similar alloy—catching and reflecting the daylight in soft highlights along their flanks and snouts. Their tails meet at the base, forming an organic pedestal that sits on a carved, textured platform which then rests on an octagonal wooden plinth. The shell basin above them has a ribbed surface and a weathered patina that complements the dolphins’ finish; it looks substantial, the kind of piece meant for use as a fountain, birdbath or planter. The whole sculpture is placed on a small wheeled dolly, suggesting it’s being staged or moved rather than permanently installed. Around the sculpture, the setting reads like a covered porch or shop display: painted wooden floorboards, stacks of cardboard boxes to one side, potted plants and greenery spilling in from the background, and a few ordinary items—a red and green plastic container, a folded rug—giving the scene a casual, everyday atmosphere. Light filters in from the left and behind, illuminating the dolphins’ forms and casting soft shadows that emphasize the curves and the craftsmanship. The overall impression is of a decorative, slightly nautical centerpiece temporarily resting amid the lively clutter of a retail or storage space.Two rotund, ceramic turtles lounge in a shallow, brown, boat-shaped dish, arranged like a tiny, irreverent diorama of a seaside happy hour. The turtles are painted in mottled greens with pale, bluish bellies; their glossy glazes catch the overhead light and give them a slightly tacky, kitschy shine. The one on the left is posed in a classic recline, propped on its elbow, wearing a bright red bikini top and matching bottoms. It holds a little glass with an orange cocktail umbrella and straw, and its half-shut eyes and raised leg suggest lazy, over-the-top relaxation. The turtle on the right sits more upright, mouth open in a toothy, amused expression, wearing blue swim trunks. Between them, the bottom of the boat is scattered with miniature props: three small silver cans, a taller yellowish bottle, and another pale bottle — all modeled in glaze and grouped as if they've been consumed during a long break. A small plaque attached to the dish’s rim reads “BRAKE TIME,” lending a punny, cheeky caption to the scene. The boat itself has a warm, caramel-brown glaze with molded ribs along its sides, framing the turtles and their mess of drinks. The background is plain — a white surface and a sliver of cardboard or packaging behind the scene — which keeps the focus squarely on the figures. Overall the piece feels playful and a bit tongue-in-cheek, a decorative object that leans into silliness with exaggerated poses, bright accents, and an unmistakable retro, novelty-aesthetic.A small still-life of handcrafted pottery sits on a weathered wooden tabletop, caught in soft, dappled daylight. Two larger pieces — a rounded vase on the left and a tall, handled pitcher on the right — share a similar palette of oceanic blues and pale cream, their glazes pooling and running in organic, painterly streaks. Between them, resting on its curved belly, is a shallow, fish-shaped dish glazed to match, its ridged fins and scaly contours picked out with darker strokes. The vase has a squat, almost bulbous body with a narrower neck and flared lip. Its glaze moves from a deep, almost cobalt blue at the top into lighter turquoise and lavender tones as it reaches the midpoint, with vertical drips of warmer reddish-orange and violet that add contrast and a sense of motion. Tiny speckles and subtle surface variations give the impression of a salt-fired or wood-fired finish — tactile, slightly volcanic in appearance beneath the glossy skin. The pitcher is taller and more cylindrical, with a sturdy looped handle and a gently flaring rim. Its glaze is similarly layered: blues and greens mingling with pale, sandy cream near the base where the clay peeks through. The surface catches the light differently on the pitcher, showing softer horizontal striations and a faint iridescence where the glaze thins. The fish dish is a whimsical counterpoint to the two larger forms. Its body is flattened and ribbed, with a raised ridge to suggest scales; the mouth and tail are subtly defined. The same blue-green glaze pools in its central cavity, while the outer edges reveal the raw, pale clay — a reminder of the handmade quality. Small, intentional imperfections and the visible texture of brushwork make the objects feel intimate and lived-in.
@honeymilkcoffee75.bsky.socialSep 5, 2026, 4:33 PM

Honey milk coffee joyful products hello first post here more soon #sculptures #animals #Forest #arts

@grandstrandtv.netSep 5, 2026, 2:30 PM

It's a great day to get out and see the beauty our area has to offer at Brookgreen Gardens!

#myrtlebeach #brookgreengardens #thingstodoinmyrtlebeach #myrtlebeachattractions #myrtlebeacharts #sculptures #art #gardens #summerfun

@lachicaconsuerte.bsky.socialSep 5, 2026, 1:05 PM

´Bull Sculptures on market day in Santanyi, Mallorca´- Fine Art Prints with Passepartout frame.
Available in my Etsy Shop:
www.etsy.com/uk/listing/4...
#bulls #sculptures #photography #wallart #mallorca #spain #fineartprints #red #blue