WALL SCULPTURE | MIXED MEDIA


These pieces showcased here are one-of-a-kind labors of love. While communicating their own visual cadence and dimensional rhythm, each piece represents a different process and aesthetic. The individual materials are typically hand-manipulated from natural objects, then resurfaced, arranged, and applied in such a way as to become a new abstracted whole. The inspiration behind each springs from all things organic, geometric, textured, patterned, curiously meticulous, and peculiarly beautiful. If you happen to be an art collector or just an art lover with an unloved wall, please feel free to contact me for more information or with any questions : )


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erika@gleaux-art-design.com • 



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STRATUM SLAB 01

This piece is a composition of plaster and resin on birch board. The plaster was mixed and poured to create rivulet-like channels onto which the resin could anchor. The white chalky stone-like bands of plaster with their sinewy and porous texture contrast with the glassy water-like streams, creating a bold and dynamic kind of topography or stratified landscape. I designed the color palette so that every grouping of 4-5 layers would work together as it's own distinct family. The integration of the gold ribbons further elevate the textured and reflective nature of the piece.

7 2 x 2 9 ”

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PLACUNA PLATA 03

This piece is one panel of a 3-piece set which is currently under construction. It is composed of placuna placenta oyster shells which have been used for thousands of years in the Philippines as a glass substitute because of their durability and translucency. I cut the under layer of shells into 4 sections then burned the edges to reveal a delicate warm silver patina before layering them with uncut unburned shells. This piece was assembled in a grid pattern and siliconed to a 1/2” thick acrylic panel housed in a 2” deep birch box frame. Each shell’s surface texture, organic color markings, burn lines, and metallic sheen are highlighted as they appear to float above their birch base. These panels LOVE being next to nature window light or hung under a delicate spotlight!

1 6 x 2 0 ”



INK STONES 01

This piece was created in hydrocal plaster. Each shape was sanded, coated in resin, and soaked in McCafferty’s calligraphy ink, then adhered to painted birch board. Fine gold leaf dots were painted in the details.

2 4 x 3 6 “



PLACUNA PLATA 02

This piece is one panel of a 3-piece set which is currently under construction. It is composed of placuna placenta oyster shells which have been used for thousands of years in the Philippines as a glass substitute because of their durability and translucency. I cut them into squares and burned the edges to reveal a delicate warm silver patina. This piece was assembled in a grid pattern in which each square is propped up on alternating edges and siliconed to a 1/2” thick acrylic panel housed in a 2” deep birch box frame. Each square's surface texture, organic color markings, burn lines, and metallic sheen are highlighted as they appear to float above their birch base. These panels LOVE being next to nature window light or hung under a delicate spotlight!

1 6 x 2 0 ”

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GILDED STICKSCAPE 01

This piece is composed of painted sticks pierced thru thick Khadi paper which floats 1” above it’s box frame base. When light cuts across this topographic stickscape the gilded tips seem to levitate in air. This piece was created as an exercise… to observe rhythm, illusion, and non-uniform pattern… how the impressions of the graphic black holes, soft tube tower clusters, and white spaces shift as the light source, perspective, and focus changes.

2 5 x 3 3 “ 



COLOR RUPTURE 01

( currently on exhibit at the La Jolla Gallery )

This wall sculpture is composed of fragments of hydrocal plaster, sanded, painted in acrylic and liquid gold leaf, and adhered to painted birch. I’ve been noticing how light and shadow seem to bounce off an object and adopt it’s color until it criss crosses with another object’s colored light and shadow. These performances seem to play out at all hours of the day upon partially lit patios, across verandas, down long hallways, up into ceilings, down stairwells, etc. There is so much colored light and shadow bouncing around everywhere you look, you just have to stop and notice! 

3 0 x 4 0 ”



PROJECTIONS IN COLOR 01

This piece is composed of clay shapes, painted in acrylic, and adhered to painted birch. This piece is an abstract representation inspired by a neutral colored building wall I saw in which the windows protruded out from the walls at different angles creating different shadow patterns. Colored light from several adjacent buildings bounced off this wall from different directions, catching in every shadow and crevice, washing it with brand new overlapping colors and shapes.

3 1 x 3 1 “



PLACUNA PLATA 01

( currently on exhibit at the La Jolla Gallery )

This 4 panel piece is composed of placuna placenta oyster shells from a region in the Phillippines called Capiz. These shells have been used for thousands of years as a glass substitute because of their durability and translucency. I decided to crack them in half and light the edges on fire. When burned, they reveal an unexpected delicate silver patina. This piece was assembled in a pattern inspired by the golden ratios and Fibonacci spirals found everywhere in nature, from sunflowers, succulents, and pinecones, to lilies, ferns, and nautilus, to hurricanes, cauliflower, and snowflakes.

3 0 x 3 0 “



JACARANDA de ORO 01

( currently on exhibit at the La Jolla Gallery )

This piece is made up of the dried oblong fruit pods that fall from the fragrant Jacaranda tree. Once collected, these pods were soaked, scrubbed, sealed, and painted in white gloss acrylic and liquid gold leaf. The curving luminous patterns, undulating rhythms, and anatomic details of each pod reveal themselves anew as the viewer shifts positions around the piece.

3 6 x 3 6 “



SEA STONES 01 ( s o l d )

This piece was created with clay, acrylic, glue, leveling gel medium, talcum powder, gold dust, liquid gold leaf, sand, and crushed metallic fragments. Several layers of paint, water, gel, and glue were poured daily into each clay tub and left to repeatedly dry in the sun, leaving a textured well of semi-translucent rings and cracks. Sand and metallic grit were layered in along with painted veins of liquid gold to create whimsical pieces inspired by the ocean, sea glass, spume, stones, gems, bubbles, and abalone .

4 8 x 6 0 “



GILDED SPILL 01

These panel pieces were first coated in beeswax and acrylic paint, then arranged on the ground pushed flush together to create a seamless surface. Then hand-rolled clay balls were spilled onto the panels from above. The balls were then glued into place exactly in their spilled formation and dotted with liquid gold leaf.

2 0 x 2 0 “



GILDED WING GRID 01

( currently on exhibit at the La Jolla Gallery )

This piece was created with rounds of decorative Thai beehive paper, painted & dipped in liquid gold, draped over birch wood sticks, and assembled into a geometric grid pattern over glossed canvas. This piece was inspired by the shape, delicacy, and paper-like quality of butterfly wings. Each fragile round of semi-sheer paper is as unique, organic, and irregular as a butterfly wing, and integrating each into a rigid geometric display grid gives the piece an entomologic feel.

4 8 x 4 8 “



POINTED WOOD WALL 01

This 5 panel piece is made of wood and acrylic to create a vibrant and bold 3 dimensional pattern that pops off the wall.

1 5 x 9 0 “



WAIT 01 | SWING 01 | STROLL 01 ( s o l d )

These pieces were inspired by the stark and graphic work of photographer Paul Jung and his elongated abstract human forms interpreted thru the folds and lines of fabric. They were also inspired by depictions of tribal women out and about in their brilliant native colors and patterns illuminated by the harsh sun. In constructing this piece, I first sketched and painted on canvas, then trimmed and glued the birch wood sticks and paper in place on top of the paint to create a tactile kind of line art quality.

2 0 X 3 6 “



DESERT CANDY PODS 01

This piece is composed of seed pods collected on a hike in Palm Desert that were later rinsed, brushed, sanded, painted in acrylic and glued to painted birch board. This piece is a playful experiment in abstracting a common part of nature into something else, candy-like almost, and repeating it randomly until it reads more like a jar of bright shiny gumballs than a dry pile of barren desert seed pods

3 2 x 4 7 ”



GLASS CITY GRID 01 ( so l d )

This piece was assembled with tiny sticks into a wooden grid, painted in acrylic, then stained with diluted black McCaffery's ink, laced with silver metallic dust, and layered with glossy clear leveling gel to create an abstract and reflective texturized urban map.

3 0 x 4 0 “



FRACTURED PRISM MAP 01

This piece was assembled by glueing small wooden sticks into a geometric pattern painted over with white acrylic paint. Each triangular depression was painted, dotted, and/or filled with a glossy clear leveling gel or “wooden” paper. This artwork is inspired by topographic maps, broken glass, and a prism’s fractured light.

8 x 8 “



POLYHEDRON 01

This piece is painted in a bright acrylic palette on delicate coffee stained handmade Japanese Kitakata paper, and plays with color and both the dimensionality and flatness of a polyhedron.

1 6 x 2 0 “



TOPOGRAPHY 01

This piece is painted in a bright acrylic palette on delicate coffee stained handmade Japanese Kitakata paper, and explores undulating planes and morphing surfaces in pattern. This piece was inspired by old, soft, well-worn tribal garments that maintain their bright, bold colors and patterns over time.

1 6 X 2 0 “



LONGHORN HOOK POD STRUCTURE 01

This piece is composed of pod-like structures found growing along a vine in San Diego’s Rancho Penasquitos Reserve. In decorating each pod, I was inspired by the bright celebration of color & festive macrame yarn-work I saw in the alleyways on a recent trip to Sayulita, Mexico. In this piece some viewers see longhorn cattle skulls, or sea creatures, others see entomology or horticulture. These pods were dipped in acrylic and the “horns” were wrapped partially with colored string.

2 4 x 4 8 “