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These artworks from the South à£à£Ö±²¥Ðã Art Museum Permanent Collection reflect elemental natural wave forms in their patterns and designs. More than just a design motif, many of these works speak to the spiritual qualities and connective potency of these forms and patterns.

Roy Ahlgren, "National Crevice," serigraph, No. 44/150; 1980, Christo and Jeanne-Claude, "Running Fence," "Sonoma and Marin Counties, California" 1972-76, color photograph, 1976; James Eisentrager, "Poly-Conic #3," acrylic on canvas, 1982; Richard Florsheim, "Spray," lithograph, 1977; Dale Lamphere, "Meteor," river rock, stainless steel, c. 2004; Wu Chien Lem, "Empty What’s Full," ink on paper, 1978; Wu Chien Lem, "Filling What’s Empty," ink on paper, 1978; Cathryn Mallory, "Ascend," Hand-felted wool, nickel-plated copper wire, wood block pulley, chain, weight; Nicholas Monro, "The Flood," screenprint, 1971; Lowell Nesbitt, "Flamingo," silkscreen, 1981; Gabor Peterdi, "Blue Surf," etching, #193/200, 1969; Paul Peterson, "Advocate Valence-Levitating Above a Stock Pond," oil on canvas, 2013; Nemadji Pottery, "untitled (bowl)," painted ceramic, n.d.; Mark Shekore, "Platter," Glazed porcelain, 1981; Signe Stuart, "Heat," acrylic on canvas, heptaptych, 1976; Signe Stuart, "Lac qui Parle," acrylic, white conté crayon on mulberry paper, 1985; Mida Tafoya, "untitled (jar)," black pottery, n.d.; Mida Tafoya, "untitled (jar)," black ceramic, n.d.; Martin Wanserski, "The Triumph of Intuition and Order Over Reason and Chaos," charcoal on paper, 1977; Tapio Wirkkala for Iitalla, "Tree Stump," Glass, 1958; William Wold, "Raku and Chrome Duet," ceramic sculpture, 1972