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Alternative lighting
Alternative lighting


Suspended Sculpture

Peter Cunis

United States

Sculpture, Clay on Ceramic

Size: 8 W x 8 H x 1 D in

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About The Artwork

Hand carved glazed ceramic tile, welded metal frame with metal nails welded to the outside. Metal hanger welded to the back of the frame. The primary photo captures the color, the extra photos with different lighting are showing the relief, sculptural and textural details (the color may not be exact in these extra photos). My work typically references figures, animals and situations - visualizations in an illusory context, unconventional mostly but not always. I find skeletal forms beautiful. Man and animal is a reoccurring theme in my work, here cooperation within a limited underground space is necessary each taking turns breathing through a bladder-like object to filter contaminated air. I wanted to make my painting subject matter into a dimensional relief format that would also be solid. The tile was completed earlier and it took some time to determine the proper framing structure. I wanted a perimeter of nails that was permanent. Welding everything was the solution. Shipped with foam blocks covering the nails, wrapped in bubble wrap and securely boxed.

Details & Dimensions

Sculpture:Clay on Ceramic

Original:One-of-a-kind Artwork

Size:8 W x 8 H x 1 D in

Shipping & Returns

Delivery Time:Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.

Currently living in Colorado. Medium/techniques: Drawing, painting (oil, alkyd and acrylic), wood burning (pyrography), ceramics, sculpture (assemblage, found object), collage. Artist Statement: “You have a unique personal vision”, was the reaction I got from a curator at an established Soho art gallery on West Broadway in New York City years back. He added, “Unfortunately, it’s not what our client base buys here”. It made sense. The day I was there, for their walk-in artwork/portfolio reviews, on the walls there were hanging very large photo-realistic oil paintings of horses. I thanked him for his suggestions and recommendations to take my work to some places in Greenwich Village. I like it when people are viewing my work and someone says, “I’ve never seen anything like this”. It’s both bad and good. Bad in the way that it might not directly connect with a movement, genre or artist. It doesn’t look like anything else out there. It’s good in the way that it might be considered idiosyncratic, perhaps unconventional; something new that might be referencing historical aspects, or not. I’m going for permanence and durability. From ceramic and metal to pyrography (wood burning) to paintings with or without gold leaf to assemblages including, or not, found objects. Figures, animals (intact, partial or skeletal), places and situations - visualizations in an illusory context.

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