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About Us
Located i
Visit us at www.fineartspot.com or call toll free 1 800 781-2787
About Us
Located in Soquel Village , Fine Art Enterprises is Santa Cruz 's premiere art gallery.
We represent over 100 internationally renowned artists, spanning a variety of genres. Our collection encompasses everything from pop art to impressionism and we offer originals, limited editions, and sculptures.
Founded in 1984, Fine Art Enterprises is a closely-held private company in which the founders are actively involved in the daily operation of the business. Originally established in Maui, the company now has offices in both its Hawaii and California locations. In addition to our gallery showrooms, Fine Art Enterprises also provides art to collectors around the world via our prominent online presence.
Fine Art Enterprises' wide client-base includes private and corporate collectors, art consultants, architects and interior designers, as well as diplomatic and social VIP's. We love sharing our passion for fine art with both collectors and the community. At Fine Art Enterprises, it is our mission to fill the homes, offices, and lives of our clients with beauty - one piece of fine art at a time.
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Disclaimer: The following images comprise
an artist-rendered vision of M.L. Snowden's sculptures throughout the world.
M.L. Snowden's sculpture collection, THE GEOLOGICAL COREIUM, stands as a unique statement in American and International art. It is a tour de force of sculptural construction and conception that shapes a new plateau for the metallurgical science of lost wax bronze. In Snowden's world, the message of sculpture is fused to its medium. Projecting an expansive and cohesive meditation on the melding of science and art.
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Added: 10 months ago
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M.L. Snowden's sculptural diptych, Halo and Nimbus, dramatically advances the sculptor's contemplation of optical light phenomena. Here, masculine and feminine sculptural formations are inspired by the delicacy of crystal prisms that reflect and refract light into scarves and webs of radiance. In the sculptor's visual language, where Lumino and Lumina describe liquid water drops of the rainbow, Halo and Nimbus call forth atmospheric ice crystals that bloom skyward around sources of light. In fanning compositions that interact as reflections of one another, both Halo and Nimbus rise as crowns of refracted light that are born of the radiant energies communicated by bronze casting processes and M.L. Snowden's unique sculptural touch.
Halo, in particular, is that rare sculpture in The Geological Coreium that exists without counterpart in its particular scale and slender visioning of three feminine forms. Halo is lithe and serene, pure delight and harmony fuse these three elegant and cosmic evocations into a strong alliance. In this work, Snowden balances joyful figuration into a prism of grace. Through the sheer elan of Snowden's artistry, Halo carries us into a special realm of appreciation for optical light; light that not only illuminates sculpture, but that celebrates the phenomena of the halo as it sweeps luminescence overhead through a veil. Snowden sculpts these three figures with a smooth translucence, infusing them with a misted technique that sublimates their musculature into lines of form and harmony, much like a crystalline net that gently floats on air.
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M.L. Snowden's sculptural diptych, Halo and Nimbus, dramatically advances the sculptor's contemplation of optical light phenomena. Here, masculine and feminine sculptural formations are inspired by the delicacy of crystal prisms that reflect and refract light into scarves and webs of radiance. In the sculptor's visual language, where Lumino and Lumina describe liquid water drops of the rainbow, Halo and Nimbus call forth atmospheric ice crystals that bloom skyward around sources of light. In fanning compositions that interact as reflections of one another, both Halo and Nimbus rise as crowns of refracted light that are born of the radiant energies communicated by bronze casting processes and M.L. Snowden's unique sculptural touch.
Nimbus presents a more active approach to visioning atmospheric ice crystals. Here is sculpture whose surfaces dynamically interact with visible light in streaming reflection and refraction. Particularly in Nimbus, Snowden's sculptural hand is deftly felt in every nuance and harmonious detail that contributes to the wonderful sense of connection existing between the three figural elements of the design. A smooth pond of cloud-light appears to silver and hover over the features of Nimbus as well as Halo, inviting us to contemplate the idea that the very prismatic structures that support the atmospheric phenomena of the halo and nimbus are embodied in these triangulated sculptural compositions. As we contemplate the crystal structure of Snowden's silicon bronze and Fournier patina, we can perhaps gain a measure of insight into our own perception of how these sculptures seem to be wonderfully candescent with special properties that reflect and refract light. On a profound level, from the Halo to the Nimbus; from the bronzes to the atmospheric phenomena they speak of; disparate elements of atmospheric science and sculpture take on new meaning, becoming unified and enlarged in the life-affirming silver aura these sculptures project.
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Added: 5 months ago
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Terrestrial Forum
"Tectonics"
Remarqued Fournier Bronze Edition of 75 ABOUT THE WORK.......
Tectonics was conceived and cast in 1983 as a single personal work and has been built more than two decades later as a bronze edition limited to just fifty creations foundered by the artist. It remains at the millennium, a seminal and pivotal sculpture for the art and intellectual focus of M.L. Snowden. Within the planes of this quarter scale work, the central meditation for the Geological Coreium has become crystallized. Here in this study-sized but weighty bronze, the sculptor's direct approach to the natural earthly sculptural mediums of clay and bronze connect to octaves of larger expressions of titanic geological phenomena. Humanitarian elements rising from abstractions within the work seem to effortlessly take shape from the warping of compressed sculptural sequences taking wing under the sculptor's hands.
In this jewel-like sculpture, it is possible to divine keys to Snowden's signature sculptural style; a style marked with a sense of flowing elan and a remarkable structural ease that has come to be written through the sculptor's unexcelled compressive handwork upon mined earth materials as well as Snowden's integrated understanding of light that completes and interacts with form. Tectonics is seen to be that landmark work that has allowed Snowden to jettison beyond her direct inheritance of a great figurative tradition as it becomes clear that her sculpture takes shape along the lines of a natural imperative housed within materials that assert their own direction and primacy. Exuding a sense of mystery that only seems to increase with repeated contact with Tectonics, this early sculpture of nearly two decades ago houses Snowden's sculptural message that has become fused to its medium.
International art critic Remo Nevi wrote in 1993 that "M.L. Snowden could have concentrated all her energy on the moment of transformation. She could have visualized the legions of men behind the races of the world and how these individual faces could stand as single expressions for millions. Certainly, she understood how each one of these four figures not only heralded the multitude as it stands today, but how each goes back into the formative foundations of past lives expressed as the rock out of which men arise. Here in Tectonics, we can surely meet the land on the bottom plane of the work; the rising plate tectonics of landmass continents that support the nations of the world in the upper portion of the work and, in the flames of the top register, it is possible to divine that the swirling oceans of the world are revealed along a spiral storm-eye. However, within Tectonics, it is clear that the sculptor has attained something more. Here in this work, Snowden has created a path into the very nature of her materials that puts flesh to the living quality of rock itself and the secret of a cosmos that breathes cycles of becoming. At its heart, the work radiates a deep peace as well as vestiges of a singing muted harmony that combine to create a window onto the soul of bronze."
Tectonics as a sculptural meditation, was the first sculpture to express M.L. Snowden's central idea that the very substance of humankind, stars, planetary masses and bronze are created of the same interrelated yet differently arranged elements. Within the sculpture, famous antecedent compositions alluding to the four corners of the earth are expanded beyond their traditional limitations. For here in Tectonics, Carpeaux's Paris Opera's Continents, as well as Daniel Chester French's Four Continents are left behind as millennial substance is gathered in Tectonics in the wake of science and a far deeper vision plumbing the nature of physical materiality extending from the sculptor's art. Here, in Tectonics is the stepping stone to fractal formations; to numeric harmonies, to the condensing of a wider artistic logos that reaches out into the world. And, here as well, the assertion of figuration graduates from an intellectual theme, a choice as a formally built agenda, to become in Tectonics, a part of natural geological phenomenon rising from the manual hand-compression of the sculptor further extrapolated in the heated crucibles of the foundry. In this seminal work, Snowden is not seen as a maker but rather as an "engager," enabling a series of catalytic actions and reactions to take place from which energy summaries in the form of figuration inevitably rise.
Snowden's formation of Tectonics generated her well known quote: "The geological program is a stepping stone. The heroic possibilities of man; the risks and courage of striving; the fire and passion of creative enterprises; the spiritual force of men as they struggle for the actuation of their plans and work; these horizons are bundled into the sinew of the clay."
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"Amethyst Geode I Stabilized"
dimensions: 27" x 20"
edition size: 100
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Added: 9 months ago
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"Lunas"
dimensions: 44 x
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"Lunas"
dimensions: 44 x 27 x 15
edition size: 25
media: bronze
THE CELESTIAL ARRAY - M . L . S n o w d e n S c u l p t u r e
Stellar Sphere Group -- Lunas - Remarque Fournier Bronze Edition of 25
ABOUT THE WORK.......
Lunas highlights M.L. Snowden's Stellar Sphere Group of the Celestial Array, and joins Polaris, Solaris, Heliocore, Meteorite and Star Tracer as important milestones for the art of lost wax bronze casting. Through the dramatic sculptures of the Stellar Sphere, the artist invites us to explore a series of deeply personal meditations upon the celestial nature of candescent bodies that directly impact planet earth and human perception. Touring the Stellar Sphere Group in brief, we are able to come to the realization that Polaris is an exquisite energy map of the heart of the visible North Star; Solaris is a portrait of our Sun's radiant nucleus; Heliocore is a one-of-a kind evocation of a single light ray of the Sun; Meteorite explores a fiery celestial meteor entering Earth's atmosphere; Star Tracer evokes the elliptical light path of near-Earth orbiting comets; and Lunas is a portrait of moonlight. The sculptures of Stellar Sphere form geological meditations upon sources of light visible within our immediate universe.
Lunas, as a sculptural meditation, expresses M.L. Snowden's central idea that the very substance of humankind, stars, planetary masses and bronze are created of the same interrelated yet differently arranged elements. Yet, Lunas goes farther in exploring the concept of the Moon as a reflector of a portion of the Sun's energy. While expressing the accretion of mass attendant on planetary Moon formation - an accretion related to the art of sculpture itself - and, removed from the intense gestural dynamic of Solaris, Lunas floats in a silvered arc of reflection that deeply considers states of mood, energy and luminous radiance across the creative cosmic panoply.
Using no models or references to express form, Snowden sculpts Lunas in a profound mood of mystery and inspiration evoking a vibrant lassitude that communicates something inexpressible within its contemplation.
Lunas has been sculpted by Snowden into new levels of metallurgical virtuosity. With exquisite artistic care, Lunas's levitated weight burgeons from the churning of a cratered anatomy that has resolved into an awakened sense of peace. A feeling of aspiration seems to light this enigmatic mirror of the Stellar Sphere. Lunas is that particular sculpture that optically guides the viewer's eye over lines of textural form that constantly regroups and invites reappraisal. It is a sculpture the eye revisits again and again as changing light sources upon Lunas divulge sequences of revelation. M.L. Snowden invented the protocols and specific foundry wax that makes the casting of Lunas possible.
From important roots in the Paris studios of Rodin and Antonin Mercié, Snowden brings to Lunas the glowing luminous platinum Fournier Patina and the touch of the historic Rodin tools that were used to shape the dynamic, immortal planes of Lunas.
ABOUT THE ARTIST...
M.L. Snowden is a third generation protégé of the great French sculptor, Auguste Rodin and the inheritor of Rodin's sculptural techniques and original sculpting tools, which she uses in her own work. Her sculpture has been shown in museums around the world and is in the permanent collection of The White House. Snowden has received numerous awards including being named the world winner of the 1992 International Rodin Competition in Tokyo, Japan. In 1989, at the age of 36, Snowden was awarded the National Sculpture Society's inaugural Alex Ettl Grant for "Lifetime Achievement in American Sculpture." Snowden's commissions include the Main Altar of the $200 million Los Angeles Cathedral.
© M.L.Snowden
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"Amethyst Geode II Impact Fragment"
dimensions: 20h x 18 diameter
edition size: 100
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