The Art of Figurative Ceramics: A Live Online Journey into Sculpture with Cristina Córdova & Masters in the Field

What is the 4-week Live Online Course?
At the heart of the Center’s offerings is a one-month virtual curriculum designed to deepen your understanding of ceramics from multiple perspectives. Led by internationally renowned experts, our program provides a structured yet dynamic approach to learning, covering building techniques, surface design, and insights into the art business.

Rather than a single viewpoint, our courses offer a multifaceted exploration of the creative process, allowing you to engage with different approaches, methods, and philosophies. Through live, interactive sessions, you'll develop your creative routines while exchanging ideas with teachers and peers from around the world. Our curated classes and diverse community create a rich, immersive learning experience, one that encourages collaboration, innovation, and growth in your artistic practice.

WINTER 2027: 4-WEEK LIVE ONLINE INTENSIVE
Surfaces and Glazes for Figurative Ceramics and Sculpture

Classes from February 2 to February 27, 2027.
Enrollment open 24 November - Early Bird Rate (15% OFF) registering before Jan. 5

Discover how surface can transform your sculpture.

This 4-week immersive program is designed to ignite your creativity and connect you with a diverse, international community of ceramic artists. Open to all levels, it combines the flexibility of live online learning with the energy, accountability, and camaraderie of collaborative studio time.

This is our second edition focused on SURFACE, a deep exploration of glazing and other surface treatments that bring form to life. Through live demonstrations and interactive discussions, you’ll test ideas, ask questions in real time, and learn directly from eight esteemed leaders in the ceramic field, each sharing their own methods and creative insights.

The 1-month intensive includes two live virtual classes every week, Tuesdays and Saturdays. All lectures are recorded and will be available on the course platform under the relevant topic in our classroom, so you can watch them at your convenience. You will have lifetime access to all recordings and resources so you can revisit lessons anytime.

You’ll also have the option to earn a Certification in Ceramic Surfaces through the Center for the Study of Figurative Ceramics, the second cycle in this new track of focused learning. You can learn more about this here.  (Participation in the certification process is entirely optional).

Classes run from February 2–27, 2027, you can choose to complete all assignments for certification, or simply attend the live sessions or watch the recordings at your own pace. Students pursuing certification will have March to complete assignments, with continued one-on-one coaching with Cristina Córdova and community gatherings throughout the month.

You’ll be guided by an exceptional group of artists: Cristina Córdova, Beth Cavener, Maria Loram, Cody Hoyt, Jessica Stoller, Lindsay Montgomery, John Britt and Shikha Joshi . Each artist brings a distinct perspective to explore how to do a generative surface lab, cold finishes, lava glazes, experimental approach, maiolica surfaces, mid-range crystalline glazes and china paint.

By the end of the course, you’ll leave with new techniques, renewed inspiration, and a deeper understanding of how surface can serve as a language, one where material becomes meaning.

Open to all skill levels – limited spaces available. 

Standard Tuition: $2,200

Early Bird Rate (15% OFF): $1,870 (Save $330 registering before Jan. 5)

General Registration Deadline: February 1, 2027

*Price excludes tax. Taxes apply based on your location and local laws.

FLEXIBLE PAYMENT OPTIONS:

  • One-Time Purchase: Complete your registration in one step and enjoy immediate peace of mind.

  • Two-Times Payment: Split your total into two convenient monthly installments while maintaining full access to the program.

  • Payment Plans: Choose the Buy Now, Pay Later option to split your payment into easy, manageable installments by selecting to pay with Klarna, Afterpay or Affirm at checkout.

  • Other Payment Options: Prefer to pay by check or need additional assistance? Contact us at figurativeceramics@gmail.com for more details.

Enrollment open 24 November

FREQUENTLY ASKED QUESTIONS

Winter 2027 Instructors:

Past Instructors and Collaborators

SCHEDULE & CURRICULUM

WEEK 1

TUESDAY, Feb. 2
Cristina Córdova | 4:00PM –7:00PM ET
Surface Intelligence:
Testing as Creative Practice

+ In this class, Cristina will share strategies for establishing an efficient and generative surface lab, from designing test tiles that yield useful information to developing systems for labeling, photographing, cataloging, and retrieving results.

+ Students will learn how to track materials and firing variables and organize both successful and unexpected outcomes into a working material library.

SATURDAY, Feb. 6
Jessica Stoller | 11:00AM –1:00PM ET
Overglaze:
China Painting and the Feminine

+ In this class Jessica Stoller traces the evolution of her sculptural practice, showing how ceramics becomes a vehicle for investigating femininity, power, and beauty. She’ll discuss how ornament, excess, and the seductive qualities of porcelain can unsettle cultural expectations around femininity.

+ For the surface demonstration, she’ll focus on china paint, showing her overglaze process and how subtle layering and intricate detail can shift the emotional register of a piece, building surfaces that are both precise and charged.

WEEK 2

TUESDAY, Feb. 9
 Shikha Joshi | 5:00PM –7:00PM ET
The Living Surface:
Material, Mark & Transformation

+ In this surface laboratory, Shikha will share her methods for building depth and variation through slips, glazes, colorants, inclusions, and found materials such as wild soils and crushed rock to evoke the effects of weather, erosion, ash, and fire, using the controlled environment of a cone 6 electric kiln.

+ Students will explore layering, application, and experimentation as tools for creating surfaces that feel weathered, atmospheric, and alive.

SATURDAY, Feb. 13
Beth Cavener | 11:00AM –1:00PM ET
Beyond the Fire:
Painting the Ceramic Surface

+ Beth Cavener will explore the use of cold finishes to build color, depth, and psychological presence.

+ Working from her approach to figurative sculpture, Beth will demonstrate strategies for layering and manipulating post-fired materials while addressing opacity, translucency, tonal shifts, highlights, shadows, and the relationship between surface and form.

+ The class expands the ceramic artist’s palette beyond glaze and asks us to think of the fired object as the beginning of another kind of painting.

WEEK 3

TUESDAY, Feb. 16
Maria Loram | 5:00PM –7:00PM ET
Volcanic Skin:
A Lava Glaze Laboratory

+ Maria Loram will explore the chemistry and application of lava glazes, examining how formulation, thickness, firing, and material choices influence their dramatic textures.

+ Students will learn how to develop and test lava glaze recipes while considering the relationship between glaze and sculptural form. 

SATURDAY, Feb. 20
John Britt | 11:00AM –1:00PM ET
Growing Crystals:
Mid-Range Crystalline Glazes for sculptural objects

+ In this class, John Britt demystifies the process of developing crystalline surfaces at mid-range temperatures, examining how glaze chemistry, firing cycles, cooling, and material choices encourage crystals to nucleate and grow.

+ Students will gain a practical framework for understanding and testing crystalline glaze recipes while learning how to diagnose results and systematically adjust variables and tools to develop crystalline surfaces of their own.

WEEK 4

TUESDAY, Feb. 23
Cody Hoyt | 5:00PM –7:00PM ET
Pattern in the Round:
Surface with Nerikomi

+ Cody Hoyt brings his distinctive approach to colored clay into an exploration of nerikomi as a surface language for sculpture.

+ Students will learn how colored clays can be layered, cut, recombined, and manipulated to create intricate patterned surfaces, then explore ways of applying and adapting them to sculpture.

SATURDAY, Feb. 27
Lindsay Montgomery | 11:00AM –1:00PM ET
Story onto Form:
Maiolica for the Sculptural Surface

+ Lindsay Montgomery brings the adaptation of the traditions of slipware and maiolica to create richly layered, fresco-like grounds for painting on sculptural form.

+ In this class, Lindsay will share her distinctive process of building a luminous white surface over low-fire red earthenware through layers of slip and maiolica glaze.

+ Students will follow the development of the surface from leather-hard clay through bisque and glaze firing, learning how she prepares the ground and builds color through successive layers of underglaze and maiolica pigments, working from light to dark.

*All times listed are in Eastern Time (ET), North Carolina Time. You can find your time zone equivalent here: https://savvytime.com/

HOW WILL THIS WORK?

Throughout this journey, you will engage in live sessions twice a week throughout the month of June, hosted by founder and instructor Cristina Córdova, in collaboration with our ceramic masters. You will immerse yourself in demonstrations, lectures, one-on-one coaching and constructive group gatherings.

In addition to the month of live sessions with the artists, each class includes an optional assignment. These assignments have deadlines for students who wish to pursue certification. All deadlines fall in March, extending the duration of the course to two months for those who choose to complete the assignments and obtain the certificate.
You can choose to complete all assignments by the deadlines, or simply attend the live sessions or watch the recordings at your own pace. The program is designed to be flexible and support different learning goals and levels of engagement.

You will also receive support through one on one online meetings with Cristina Córdova, community gatherings with fellow students, and ongoing assistance by email, where Cristina will answer your questions and guide you throughout your process.

The only technological requirements are an internet connection, a computer, phone, or tablet, and Zoom. Once enrolled you will receive instructions for a full tech check to ensure everything is set up for an optimal experience.

Together, we will culminate our shared experience with a virtual group show and tell on April 3, where you will have the opportunity to showcase your work and celebrate our collective artistic evolution.

All sessions will be recorded and will be available in your course platform (Teachable), lifetime access, for as long as the Center for the Study of Figurative Ceramics exists, ensuring that you can revisit the content at your convenience and keep it as a lasting resource for continued inspiration and growth.

You can learn more about this course here.

Materials & Kiln Access

For the Special Ceramic Finishes Edition, material requirements will vary depending on your goals and how you choose to engage with the course.

If you wish to complete all assignments and earn a Certificate of Completion, you’ll need regular access to a kiln, 5 out of 8 assignments require one. The remaining 3 can be completed without firing.

However, certification is completely optional. You’re welcome to simply attend the live sessions or watch the recordings, apply the knowledge to your own practice, and enjoy the learning experience without completing the assignments, or just engaging with those that interest you.

WHAT WILL YOU LEARN?

This course brings together eight world-class artists to expand how you think about surfaces in sculpture. We work hard to ensure each session is both practical and inspiring, designed to give you recipes, techniques, and strategies you can immediately apply in your own studio while also deepening your creative vision.

  • Cristina Córdova will share her strategies for building an efficient, generative surface lab, from designing useful test tiles to cataloging results into a working material library.

  • Beth Cavener will explore what's possible once firing is complete, using cold finishes to build color, atmosphere, depth, and psychological presence on the ceramic surface.

  • Maria Loram will guide you through the chemistry and application of lava glazes, testing how formulation, thickness, and firing transform the ceramic surface into cratered, blistered, geological textures.

  • Shikha Joshi will share her experimental approach to layering slips, glazes, colorants, and found materials like wild soils and crushed rock, creating surfaces that feel weathered, atmospheric, and alive, all within a controlled electric kiln.

  • Cody Hoyt will trace the evolution of her sculptural practice and she’ll focus on china paint, showing her overglaze process and how subtle layering and intricate detail can shift the emotional register of a piece.

  • Lindsay Montgomery will share her process of building luminous maiolica surfaces over red earthenware, layering slip and pigment to bring drawing, color, and narrative into direct conversation with sculptural form.

  • John Britt will demystify mid-range crystalline glazes, showing how chemistry, firing cycles, and cooling encourage crystals to nucleate and grow, and giving you a practical framework for developing your own.

You’ll be right there with each artist, watching their process up close, learning from their demonstrations, and asking questions in real time.This is more than a series of demos, it’s an invitation to see surface as a field of exploration where material and meaning intersect.

By the end of the course, you’ll leave with practical tools, fresh inspiration, and a deeper sense of how surface can shape not only your sculpture, but your artistic voice.

What People Are Saying

  • “I learned more in this course than I did in my glaze chemistry classes in undergrad. Surfaces had been a weaker area for me, and this course pushed me outside my comfort zone and helped me grow my practice. The level of depth and breadth is invaluable. Every time I take one of these courses, it leads to a real leap forward in my work.”

    — Shauna Twardzik-Heine, Winter 2026

  • “This course completely changed my practice. The variety of techniques and flexibility to experiment opened up new possibilities for me. The investment is already paying off with better work, better processes, and better tools in my studio.”

    — Ellen Blomgren, Winter 2026

  • “This course went beyond my expectations. Bringing together artists from across the world to share both technique and philosophy was extraordinary. Having access to that level of knowledge, all in one place and from my own studio, was incredibly valuable.”

    — Lisa Hilton, Winter 2026

  • “I loved every part of this course. I’m revisiting my previous work with a completely new understanding. I finally feel like I have the knowledge to make my pieces the way I truly intend them.”

    — Denise Senules, Winter 2026

  • “The access to recordings, PDFs, and additional materials is priceless. The structure of the course, the live sessions, and the community support made it a very complete and valuable experience.”

    — Sacarello, Winter 2026

  • “The level of knowledge shared by the artists is incredible. I would have spent much more traveling to get this kind of access. The course offers a rare opportunity to learn directly from leading artists in a very accessible way.”

    — Leanne Kamben, Winter 2026

  • “Cristina Cordova's month long intensive produced by The Centre for the Study of Figurative Ceramics is an absolute game-changer. It is truly like doing a university degree, with only the information you need to guide you as a figurative ceramist. The wealth of information from artists - all internationally recognized and at the top of their fields - cannot be replicated. The benefit of being able to ask questions, do virtual studio tours, and have back up resources and learning through hands-on projects makes this the best course I've done. Hands down. Cristina is a gifted educator, adept with technology and resources, and she creates a safe space in which to learn.”

    — Fiona R. Student Spring 2024

  • “This wonderful and intense program provided an incentive to create a daily studio practice working with developing ideas, creating solid forms and applying color to all stages of clay from leather-hard through to the glaze stage. The in-person zoom format allowed access to my studio while learning from creative thinkers and makers. Having time between classes allowed time for percolation of the presented information as to how it might integrate into my work. Individual meetings with professionals helped guide me to and through my goal of creating meaningful work. The personalities of the instructors made learning the information so much more fun. Thank you for everything.”

    - Betsy B. Student Spring 2024

  • “I'm so happy I signed up for this program. While I wasn't able to make many of the live zoom presentations, I still watched the recorded videos and got so much out of them. I'm filled with ideas and new ways of doing my work, and am so excited about all of the surface design techniques I was exposed to and can't wait to implement. This program helped get me out of my comfort zone and has encouraged me to keep going, keep playing and experimenting and keep my mind open to all the possibilities. Thank you!”

    - Keri H. Student Spring 2024

  • “This course has been fantastic! All the information and techniques that has been offered, through the studio solid sculpture workshop, and all the visits and videos has been amazing, and I feel going forward, for my own studio practice, it will change the way I work and plan out the pieces, as well as meaning, and surfaces.”

    - Mary P. Student Spring 2024

  • “Oh my goodness, it has accelerated my practice beyond words, not just on a sculpting level but also a personal level, the growth has been phenomenal, beyond words, hopefully you will see it in my work going forward. Thank you “

    -Penny Y. Student Spring 2024

  • “Seeing so many ways to approach figurative work from such a great variety of top artists provided me with a vast amount of possibilities moving forward with my own figurative work. I really enjoyed the ideation process and look forward to implementing aspects of that for tuning into my voice.“

    -Dawna M. Student Spring 2024

  • “This program has been an incredible gift of knowledge and inspiration shared by a group of very talented teachers and artists. It is a privilege to be part of this program, this group…”

    -Leslie K. Student Spring 2024

  • “The program has been a game changer for me, opening a door of what a studio practice can be, what my studio practice can be… The curriculum hit every aspect in the making, from ideation, and different ways of approaching and constructing the figure, finishing, firing and repairing sculptures. and even access to coaching and the unique view from a successful gallerist on creating a body of work and what it takes to make it marketable. In addition, having a glimpse into each artist's creative world and their process of making during the studio visits was vey inspirational and expansive; I loved the class setting and instead of being alone in my studio, being inspired by the work of my peers. “

    -Sandra B. Student Spring 2024

  • “I learned so many new techniques from surface techniques, to different armatures and how to build off of the wall. It has definitely opened up my world into building in different ways. I have also gotten more practice and tips for building figures which has been tremendously useful. In addition, meeting with the art coach and with Leslie Ferrin was super informative on how to push my practice further.”

    -Heather H. Student Spring 2024

  • “I find the lectures very informative. It has been great to learn from successful sculptors and see how they have developed their unique methods and styles. This course has broadened my understanding of the making of ceramic sculptures. I can't wait to put what I've learned into practice.”

    -Roulan M. Student Spring 2024

  • “This program provided the answer to so many questions I have had for years. It really was a dream course. Technical questions I have had as well as possibilities and inspiration were provided in more ways than I could have ever hoped. I am beyond grateful for the generosity that Cristina and her guest instructors provided. Wow. I feel so lucky and blessed. Seriously.”

    -Karen M.

  • “ The range of shared information was phenomenal and, as someone who did not come from a formal education in art, it worked very well for me to have an opportunity to hear from other sculptors about their work, many of whom I have followed previously. Hearing from these folks impacted my practice in infinite ways as I now have a range of artists, methods and thoughts to draw from…“

    -Pamela R. Student Spring 2024

  • “This phenomenal program has energized my mind, hands, and heart. I am in the midst of a creative explosion, so many ideas for what I want my work to say and so many new techniques to experiment with.”

    - Annie G. Student Spring 2024

  • “There was SO MUCH content it is absolutely jam-packed and such a value for the price paid...especially with the ability to download and access information indefinitely. The inclusion of other artists added so much depth to every aspect from construction and surfacing techniques to professional practices. The entire package is an absolute gem that will take additional time to digest, but will undoubtedly inform the practice of every participant here”

    — Student Winter 2025

  • “Really excellent and varied. I am starting out as a maker but have a knowledge of ceramics from a design point of view. The high standard really helped me consider the work I am hoping to do from both a conceptual and technical point of view.”

    — Student Winter 2025

  • “The inclusion of so many high profile successful artists was phenomenal. The way they were able to host the meeting for the lectures and demonstrations was smooth and really transported me to their studios. I also really was pleased there were follow-through assignments WITH DEADLINES to push me to dive into the techniques instead of ruminating on them and "planning" to revisit later.”

    — Student Winter 2025

  • “Watching Cristina and the other demonstrators in real time and the length of the presentations . This is really important as it emphasises the slowness, care and attention needed. Its something impossible to get from books or some lower level short video classes. It was almost as good as being in the room with them. Really important.”

    — Student Winter 2025

  • “The content and knowledge is at a wonderfully high level. Ive found it’s hard to get advanced level of skills and information outside of academia. I am very excited that I have found your courses as a way for me to grow as an artist and have it be at an advanced level that I feel quite challenged and is a big reach. It’s such an honor to be taught by artists whom I followed and studied for years welcomed into their studio as they teach their methods. And having the guest lectures Rachel and Kathryn make it this wholistic experience that not only are we learning techniques and skills, but we’re learning about how to submit our work to galleries and the creative coaching to guide us and prepare us for that endeavor.”

    — Student Winter 2025

  • “Although relatively new to working in 3D I understand the basics. I definitely wanted to learn from people who are at the top of their game which is such a privilege and the opportunity has been wonderful. As I am stuck in the middle of nowhere in the UK it could only be bettered by attending classes in person which is not an option.”

    — Student Winter 2025

  • “I WAS BLOWN AWAY. I have an entire notebook filled with aha! moments from the sessions. Your curation of experts, their thoughtful storytellilng and process demonstrations, and the opportunity to extend the learning through our projects was really valuable.“

    — Student Winter 2025

  • “I am inspired to continue to deepen and focus my practice. This course highlighted so many areas and opportunities for me to learn and grow, and gave me a new community of artist friends, who I hope to continue to grow alongside.”

    — Student Winter 2025

  • “Ps just want to say how much I’ve enjoyed this, and all the other courses. I will definitely be taking more in the future. As many as I can. lol. Thank you so much for how thoughtful and organized the courses are and for sharing your knowledge and experience with us all.”

    — Anonymous Student Summer 2025

  • “Exploring a range of artist’s approaches and techniques was really valuable. This is so important as newer artists. Finding one specific material, one specific method of working, one specific concept can open up a whole world that solidifies what works for us. Having exposure to so many different artists and their techniques while the works are all intertwined via clay and the figure, fed my own ideas and methods immensely. I’ve come away from this course with a solid direction and ideas of where to take my next series.”

    — Student Summer 2025

PREVIOUS STUDENTS WORK:

This gallery highlights projects created by participants in our previous 4-week live online courses focus on figurative construction strategies. Our students come from a wide range of skill levels, and each one successfully adapts the assignments to their own experience and goals. This flexible approach ensures that everyone can learn and grow while exploring the diverse techniques and styles taught by our different guest artists.

A sculpture of a human figure with red skin, sitting cross-legged on the ground and surrounded by numerous white and marbled balls. The sculpture's head features a large, abstract headpiece, and the figure is adorned with multiple necklaces made of s
Ancient classical sculpture of a standing female figure with short hair, looking down, made of weathered stone, mounted on a wooden base, set against a plain white background.
White bust sculpture of a man wearing a bowler hat and a bowtie, positioned on a wooden surface.
A sculpture of a person with a serious facial expression, wearing a white textured hat with cat ears and a white textured neck piece, dressed in a brown textured sweater, with a neutral background.
An artistic sculpture of a woman with a marble-like texture, having an elaborate headpiece, displayed on a wooden surface.
Alexandra Messimer
White sculpture of a woman with an expression of serenity, arms raised and one foot on a base, against a textured wall.
A partially restored sculpture of a female figure with a youthful face and a hairline painted blue, standing on a marble base. The sculpture is in an artist's studio, surrounded by art supplies and construction materials.
A sculpture of a woman with a tall headdress, standing with one arm raised and the other crossed over her chest, made with a weathered, mixed-color finish.
A realistic sculpture of a woman sitting, resting her chin on her hand, with detailed skin textures, wearing a blue top and striped shorts.
A sculpted bust of a woman with closed eyes and relaxed facial expression, featuring a long neck and textured hair, with decorative elements resembling flowers or clouds around the shoulders.
Alexandra Messimer
Blue sculpture of a woman standing on a black metal stand, with arms raised behind her head, against a plain beige background.
Yellow sculpture of two human faces, one above the other, with stylized hairstyles and serene expressions, set against a plain white background.
A sculpture of a woman's head with a bowl on top, tilted, balancing as if it is floating or about to fall, placed on a wooden base.
A clay sculpture of a woman with a detailed face, holding a large unidentified object or structure, in an artist's workspace with art reference images and supplies in the background.
Alexandra Messimer
A sculpture of two girls with braided hair, wearing blue dresses with detailed lace collars and cuffs, standing close together on a round wooden platform.
Clay sculpture of a woman's head and neck, positioned on a wooden surface against a background of trees.
Unfinished white sculpture of a woman standing with her hands behind her back on a pedestal.
White ceramic sculpture of a reclining woman with detailed floral patterns and textured surface on a gray background.
Clay sculpture of a young woman with a thoughtful expression, short styled hair, and a jacket collar, outdoors with green trees and grass in the background.
Mixed-media sculpture of a human figure with a human face and woman’s body, standing on a textured base with branches, set against a black background.
Two white bust sculptures of women with detailed faces and dark earrings, placed on a dark table in front of a textured brick wall illuminated with red and blue lights, with a curved brick ceiling overhead.
A white plaster sculpture of a human head with a black string wrapped around it and a small black object at the top of the head.
White sculpture of a reclining skeleton with a human face and an animal head with horns, set against a plain white background.
Sculpture of a woman with a crown, sitting with her knees up and arms wrapped around her legs, on a red base.
An artist's workspace showing a tall sculpture of a woman, unfinished with visible clay texture, surrounded by pottery tools, brushes, and other ceramic pieces in progress.
A statue of a young girl with a serious expression, dressed in a dark top with a detailed collar and shorts, standing on a wooden base.
A sculpture of a seated person with their hands clasped on their lap, flanked by a donkey on the left and a tall, wooden spear behind the person. The sculpture has a textured surface and is made of clay or similar material, set against a white backgr
A ceramic or clay sculpture of a woman's head and shoulders, with stylized facial features and a headscarf or head wrap painted with green, beige, and blue lines. The sculpture is on a round, speckled black base, surrounded by dust and shavings, in a
An abstract sculpture of a woman with exaggerated hair and layered clothing made from torn fabrics and paper in various colors.
A sculpture of a nude woman with an abstract hairstyle, standing on a base with three herons intertwined in a tree-like structure at her feet, inside a room near a window.
Clay sculpture of a seated animal resembling a deer or goat, with decorative elements on its neck and back, on a wooden surface.
A white sculpture of three swans standing on a textured surface against a gray background.
A sculpture of a young boy with curly hair, standing on a circular wooden base. The boy holds a yellow object resembling a mask or piece of fabric near his chest, with a serious expression. The sculpture is highly detailed, with realistic textures on
A detailed sculpture of a woman with raised arms, standing on a circular base covered with a plastic sheet, in an art studio surrounded by books, artwork, and art supplies.
A sculpture of an elderly human head with expressive eyes, mounted on a wooden box with metallic latches, and three paper lanterns with painted blue faces and expressions floating above.
A sculpture of a female figure with a halo made of four metal rods, standing nude on a decorated base, accompanied by a small animal sculpture at her feet, against a plain background.
A sculpture of a nude woman with a head sculpted like a mountain or a large rock formation on her head, standing on a wooden base in a gallery or museum.
A sculpture of a nude woman with a short hairstyle, leaning on a tall wooden stand with a cushion on top, set on a rectangular wooden base.
A gray sculpture of a woman with short hair, appearing to be partially unfinished, against a dark background.
A gold-colored sculpture of a nude woman standing on a black base with a black background. The woman is in a relaxed pose, with her right hand near her pelvic area and her left hand raised with three fingers extended. The sculpture features detailed
Round clay relief sculpture featuring a woman with long hair, surrounded by a detailed border of tree branches, leaves, and dragon-like creatures.
Ancient sculpture of two standing human figures, one with hands on hips and the other with arms at sides, displayed on a black base.
Ancient sculpture bust of a man with prominent facial features, bald head, and detailed eyebrows, mounted on a wooden stand.

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