For information about purchasing any of the work below, please contact our Gallery Director Abbey Gates at psggallery@gmail.com

for exhibition opportunities please visit https://philadelphiasculpturegym.submittable.com/submit

Christina P. Day

Christina P. Day. DEAD RINGERS.

Black + White

process: METAL IV


In January 2016, the Philadelphia Sculpture Gym Gallery hosted our first Multiples exhibition! Four artists were selected for their provocative approaches to creating sculpture with dedication to iterations. These ladies use repetition within their work to multiply impact both visually and contextually.

Emily Schnellbacher
Julia Six
Charity Thackston
Emily White


This exhibition hosts artwork no bigger than one cubic foot.

process: WOOD IV

Opening November 6th, 6-9pm

Jim Dessicino

Sweat & Blood
a collaborative exhibition featuring Brian Wagner and Steven Earl Weber
Wagner and Weber’s work is steeped in the blue-collar worker and the individual histories they embody. Both have labored and continue to in solidarity with the “Forgotten Man and Forgotten Woman.” Those men and women of our past and present influence and impact Brian and Steven on a deeply personal level. They understand that the world they live in today would not exist without the blood, sweat and disremembered tears of the unsung laborer.

In celebration of Labor Day PSG gallery director & curator, Abbey Gates, invited Weber and Wagner to collaborate for this exhibit because of their common interest in addressing the value that laborers have to society within their artwork. These artists have made works using worn articles of clothing from actual workers from a variety of different professions, each imbued with the patina of use, and thoughtfully arranged to reflect the importance of manual labor.

The calloused hand knows its origin. It holds within, a promissory security resurrected from a momentary pain. It is a belief of worth and an artifice of effort. It is faith that the sweat from this day holds within it a promise for the next. It’s the ritual life demands. For a calloused hand knows…

Carrot or Stick
a solo exhibition featuring work by Mary Klopfer

This body of work was created during my sabbatical in the spring of 2014. During that time I worked at Philadelphia Sculpture Gym to produce the work. For these skeletal sculptures I chose to work with a commonly used figure of speech to communicate my content due to its ability to communicate to a wider audience. The sculptures are literal portrayals of the figure of speech “Carrot or the stick”. The phrase refers to motivating certain behaviors out of a stubborn animal with the promise of reward or the threat of punishment. It is an offer of choice between two outcomes; one can work to obtain the promised carrot once a behavior or performance is complete or, one can receive the punishment of being beaten by the stick for falling short. Either figure of speech is about behavior modification via reward or punishment.
Further figures of speech in the sculptures include the use of the dunce cap, which is a reference to foolishness for pursuing the carrot on/or stick as a mindset. The carrot representing a reward for a pursuits/goal obtained. These pursuits are at times either given to us or impressed upon us as proper avenues for our lives. As time passes the reward or expectation needs to come into question. Is it worth it? Is it what one really wants? Is there a sense of accomplishment or obtainment? I feel as time passes a pause for self-reflection on motivation becomes important to self-awareness and decision-making.
The use of skeletal refers to the shedding of surface facades and figuratively conducting a sort of archeological dig into one’s own psyche. To find out why we pursue, prize, & value a certain perceived reward/outcome. The heads being flesh is symbolic of the ability to think. The remnants of body parts are a shedding away of old mental habit patterns and being raw and vulnerable while in the process.

Mary Klopfer’s work can be found on the University of Saint Francis Website http://www.sf.edu/sf/art/about/faculty/mary-klopfer as well as the ACPL area artists site at; http://artists.acpl.info/ .

a solo exhibition featuring work by Zoë Williams
Zoë Williams creates needle felt sculptures based on dreams and visions. Otherworldly creatures serve as oracles, presiding over past, present, and future. They hint at the possibility of non-linear time, complementing a life that is experienced in both inner and outer worlds.

Born in 1983 in New Orleans, LA, Zoë Williams holds a BA in Fine Art from the University of New Orleans and a Certificate in Fiber Art from the University of Washington. Her work in needle felted wool has been exhibited in galleries around the world. She currently lives and works in New York City.

process: CASTING III
a group exhibition featuring cast work.


For the month of April, 2015, Philadelphia Sculpture Gym Gallery exhibited local shop techs from the area’s art colleges. This show, entitled Te(a)ch, exhibits work from those who educate students and aid them in learning about shop equipment and the processes involved with being an artist. With this exhibition PSG hopes to show Philadelphia the artwork of educators and makers who are essential to the schools in this city. We also hope to show the students and graduates from these art schools their artistic options after graduating.
These instructors do much more than just shop upkeep. They spend time working with students and commit themselves to educating the young artists in our community, putting other’s time and artwork ahead of their own. Te(a)ch presents the artwork of these educators in a group exhibition, demonstrating that these techs are more than the title they hold. They are extraordinarily talented artists themselves.

Kristin Lee Deady
Loo Bain
Tim Rusterholz
John Williams

Tyler Kline
Wes Valdez

John Greig Jr.
Ann Klicka
Morgan Dummitt

Philadelphia Community College
Roberta Massuch

John Pompetti

Connie Ambridge

1, 2 and 3
John Grieg Jr.

Process: METAL III

Impossible Instructions PSG and Gigantic Sequins paired writers & sculptors again, this time for a January 2015 gallery show called IMPOSSIBLE INSTRUCTIONS. For this show, writers wrote a piece (poetry, fiction, non-fiction, hybrid) that served as instructions for the artist to follow. Following these, the artist created a work of sculpture. The final pieces were collected into a very limited edition chapbook.

To read the written work, click Impossible Instructions

Process: WOOD III

Micah Adams, Before We Are Big “Before We Are Big is an ode to author A.A. Milne. It refers to our understanding of the world around us that is greatly self-derived, or imagined. A world created in the quiet isolation of childhood. These sculptures are developed from naïve stories of a fictional childhood version of myself. Replicating homemade aesthetics I tried to evoke a spirit of objects crafted without great means but with adept care.”

Joshua Parker Coombs, From Within “From within we do many things. We grow. We achieve goals. We exude our emotions. We connect with and reach out to others. We also close ourselves off. The erratic linear steel components in these works represent the Interior desire or circumstance of the solid forms they emanate from. The materials I use have always influenced my work. I find using materials and processes in a way that is different from how they are typically used an exciting tactile and visual experience. Creating natural forms with materials traditionally used for industrial applications places them in a different context. I manipulate industrial materials to create sculptures that reference plants, systems of the body and gestural figurative aspects. The flowing curves and the life-like qualities of the sculptures make the industrial qualities fade away. The materials take on a more natural aesthetic. I see each sculpture as a metaphor for some aspect of the human condition. A certain material or form can be viewed as the human element one can identify with. Another can represent its circumstance. My work represents situations I have experienced, long for, or fear.”

Ryan Wilson Kelly, Confabulation “My work comes into being through a great deal of non-linear or associative research, tangential explorations and an abiding love of the object, the well made, properly made, appropriate object. (In that, I leave room for the appropriateness of the immediate, the unrefined and the crude). The form my work takes, and the subject matter I work with are in a looping dialogue. They find commonality in the theme of the solitary figure, a figure from history or myth, engaged in labor. These semi-universal characters out of history, popular culture and collective understanding, serve both as an entry point for viewers, and as a jumping off point for myself into allegories for my own internal struggles and observations. As I immerse myself in these histories and narratives, I fill my studio with the props, costumes and essential elements of the stories. And so I find myself inhabiting environments of my own creation. I believe the work has become the act of creating and inhabiting these installations. It has become tableau vivant or prop-based performance. This show is going up just before I leave Philadelphia for a job in Ohio. What is being shown here are remnants from performances, videos and installations I’ve done recently. While not quite a retrospective, it is at least a “best of” and a fond farewell to Philadelphia.”

John Shoemaker, Short Notice

Carrie Mae Smith, Robinsonaden Carrie Mae Smith completed a residency at RAIR (Recycled Artist in Residence) in North East Philadelphia. She constructed a rowboat from recyclable materials and sailed it down the Delaware River to Penn Treaty Park, where it was then transported to the PSG for exhibition. To view the maiden voyage of the Want Knot, visit https://vimeo.com/97369141

Daisy Quesada, Un Silencio

Darla Jackson, Brace for Impact

Steven Earl Weber and Shane Jezowski, Preventing the Resolution

Process: METAL II

Process: WOOD II

Airy, Lairy, & Scary Airy, Lairy, & Scary was the second half of an exchange of exhibits between curators, Steven Earl Weber & Paul Robertson of PSG Gallery and Summerhall Edinburghhttp://www.summerhall.co.uk/, facilitated through EIXchange http://www.eixchange.com/ whose mission it is to provide international opportunities to emerging artists & curators. Weber curated an exhibit of 6 Philadelphia artists titled, 1759 to exhibit at Summerhall and Robertson curated this exhibit of 6 artists from the Glasgow & Edinburgh area.

Jedediah Morfit, Flat As Hell