Untitled
Untitled
Details
Material
ceiling or mural light hand painted glass with metal base
Description
Human-crafted. AI-refined.

The artwork presents a minimalist and modernist aesthetic, with a clean, uncluttered space characterized by neutral tones and geometric forms. The composition features a symmetrical arrangement of recessed lighting fixtures on a plain gray floor and walls, creating a sense of order and balance. The simple, functional design and the absence of any obvious subject matter or symbolism suggest a focus on the inherent qualities of the materials and the architectural elements themselves. This artwork likely reflects the artist's intention to explore the interplay of light, space, and form, adhering to the principles of 20th-century modernist design. ...

Similar Artworks
No Title [Collage, stencil prepared for 'Window with Continuum']
Maria Pinińska-Bereś
No Title [Collage, stencil prepared for 'Window with Continuum'], 1991
32.5 x 22.7cm
Focusing on the floor from the rain
Michael Dean
Focusing on the floor from the rain, 2019
Untitled ("Anna, Anna")
Maria Pinińska-Bereś
Untitled ("Anna, Anna"), 1956
41.5 x 29.5cm
Unfucking Titled (fuck)
Michael Dean
Unfucking Titled (fuck), 2021
175 x 67 x 55cm
Gorge (double bend)
Nairy Baghramian
Gorge (double bend), 2017
128.3 x 116.8 x 38.1cm
No. 1141 Zigzag
Rana Begum
No. 1141 Zigzag, 2022
248.5 x 82.5 x 35cm
[ SS Yosemite ]
Koo Jeong A
[ SS Yosemite ], 2021
51 x 40.5cm
Paint Cans_Titan Buff / Cobalt Blue 顏料罐 Titan Buff / Cobalt Blue
Lai Chih-Sheng 賴志盛
Paint Cans_Titan Buff / Cobalt Blue 顏料罐 Titan Buff / Cobalt Blue, 2023
8 x 8 x 8cm
Joints
Re-Position (red II)
Kilian Rüthemann
Re-Position (red II), 2021
85cm ⌀53.5cm
Untitled (after "Still Life" by George Braque)
Wilhelm Sasnal
Untitled (after "Still Life" by George Braque), 2023
140 x 200cm
Dream
Laughing for crying
Michael Dean
Laughing for crying, 2019
Monika Sosnowska
Artist
Monika Sosnowska
B.1972, Polish

Monika Sosnowska is a polish sculptor who experiments with the visual language of architecture, rendering recognisable objects obsolete through processes of transformation. Chairs might be elongated and tangled together; a handrail could be stretched to its limit, reformed like a loop-de-loop rollercoaster— or blocks of concrete might encase fragments of built structures, such as handles, bolts, pipes, or latticed steel. Although formally striking, the artist’s sculptures don’t rely on absurdist juxtapositions in the style of Dadaism or Surrealism, the process is instead guided by the socio-political resonance of the chosen materials. In particular, Sosnowska's use of substances such as rebar, steel and concrete pays homage to the artisans that helped to rebuild Poland’s cities during the post-soviet era with these materials. The maiming of these sculptures speaks to the late-capitalist tendency to tear down these historic buildings. Meditating on the immense power of architecture in both a social and political sense, Sosnowska’s contorted structures have a quiet power to them, functioning dually as odes to Constructivism and warning signs for architecture’s brutal capacity. ...

Monika Sosnowska: Artworks
Untitled
Untitled
Unlock Price & Inquiry Access