Glass artist Wesley Rasko approaches his medium with an architect’s discipline. He keeps a ruler and rafter angle square within reach, tools essential to his precise coldworking practice. In his studio, geometry leads the way: Circular outcroppings merge to reveal hollow orbs in blocks of layered glass, rectangles tilt and accumulate, planes shift until forms seem to move. “Those are the basics that everything else can be built on,” he says.
His work represents a form of Geometric Abstraction, a genre that explores simple shapes as the building blocks of all natural and built environments. The genre spans a century of movements—from Suprematism, De Stijl and Constructivism to Op Art and Minimalism—unified by one idea: By stripping away details and reducing things to their simplest mathematical shapes, artists can communicate on a more intrinsic level. Rather than offering answers, Geometric Abstraction uses familiar forms to explore balance, tension or discovery.
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Wesley Rasko’s Eternal Flame (2025)
Wesley Rasko’s Eternal Flame (2025) HOME 2026
From towering helixes to orbs that appear suspended, geometric shapes form the base of glass sculptor Wesley Rasko’s practice. Eternal Flame illustrates how mathematical principles, when harnessed, bend light and elicit a sense of movement.
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Wesley Rasko's About Us (2025)
About Us (2025) HOME 2026
When Rasko draws inspiration from the Brutalist architecture of Central Europe, he doesn’t try to recreate a building. He interprets what struck him in the first place—the angular impressions, the way windows catch light, the way it unflinchingly holds its space.
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Michael Krakow's Steam Punk Tower (2025)
Steam Punk Tower (2025) HOME 2026
Geometric Abstraction and architectural inspiration go hand-in-hand. Naples sculptor Michael Krakow relies on balanced angles to create his Towers series. He references Frank Lloyd Wright’s iconic maxim: “Form follows function.”
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Photography by Christina Bankson
crafstman working HOME 2026
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Michael Krakow’s Castle Tower (2024)
Michael Krakow’s Castle Tower (2024) HOME 2026
In his 2023 piece Luminous, yellow and teal glass triangles spiral upward, each plane angled slightly from the last to form a helix, where color shifts with light. The artist, who splits time between Naples and the Czech Republic, begins with drawings, mapping shapes and angles before cutting the first sheet of glass. He paints and bonds each layer, then grinds and polishes the stack until light refracts cleanly through the edges. “We only have so many simple shapes—the square, the circle, the triangle—but what can you do with those? That’s where the magic comes into play,” he says. “You can mix them, twist them, lean them; and all of a sudden, it’s not just a simple triangle anymore.”
The resurgence and continued evolution of Geometric Abstraction mirrors a broader desire for order in a noisy world. With its structured, balanced approach, the style fits elegantly into Southwest Florida’s design landscape, where homeowners are gravitating toward calm, restrained interiors.
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Photography by Anastasia Walborn; Tammra Sigler’s A Very Serious Garden – Invaded (2016/2017)
Tammra Sigler’s A Very Serious Garden Invaded 2016 2017 HOME 2026
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Photography by Anastasia Walborn
Tammra Sigler sitting in chair HOME 2026
Links to architecture are natural. Artists rely on the same clarity of line and disciplined structure that define strong design. Rasko likens Luminous to the Leaning Tower of Pisa. Both draw power from a subtle tilt, an imbalance that makes a familiar form feel unexpected. “When I see a gleaming skyscraper in Calgary or an Art Deco building in Miami, I think, ‘How can I incorporate the simplicity of those clean lines, or the geometry of those shapes into my work?’” he says.
Naples sculptor Michael Krakow, too, finds inspiration in the built environment, but from a distinctly utilitarian viewpoint. “When I see buildings that I like, I want to go inside them, to see how they work, to understand them better,” the sculptor says, recalling Frank Lloyd Wright’s iconic maxim: “Form follows function.” The impulse rings out in his Towers, a series of structures composed from copper pipes welded together at sharp angles. The works reflect the sculptor’s desire to tear the facade away and analyze the inner workings. His Titan series—mapped out using 3D modeling technology—cast concrete into blocky shapes that can be seen as humanoid or architectural due to their restrained, geometric form. He builds on the tenets of Constructivism, an architectural offshoot of Geometric Abstraction known for industrial materials and utilitarian ideas, that later influenced the Bauhaus School.
Hugo Diaz, a Miami-based artist represented by Fifth Avenue South’s Aldo Castillo Gallery, aced the entry exam for the School of Architecture at Central University of Venezuela before turning to computer science to harness technology’s mathematical precision in his work. After mapping out his kinetic designs in software, he laser-cuts colored plexiglass into precise shapes, then layers them against a transparent sheet—columns of stacked lines taper as they reach toward one another, creating a sense of curvature. These repeating slats make his dimensional wall pieces appear to vibrate, while circles and angled blocks seem to float off the surface or ebb beneath when taken from different angles. Color shifts deepen the illusion of depth and motion—until you step to the side and realize the panel is flat.
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Photography by Anastasia Walborn
Abstract painting HOME 2026
Teryl Hubschman Brzeski offers an intuitive take on Geometric Abstraction. In her Art Lab studio gallery, the artist rotates a canvas—90 degrees, then 180. The composition holds. “You should be able to hang them any way, and it still looks balanced,” she says.
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Photography by Anastasia Walborn
Teryl Hubschman HOME 2026
Fellow Venezuelan Orlando Acosta narrows the aperture, focusing solely on the cube from his Naples home studio. The mixed-media artist likes giving himself visual puzzles to solve: “The more limits I place on the work, the more interest it sparks in me.” For more than a decade, he has been breaking the cube open, shifting its faces and collapsing it into flat planes. “It can be constructed or deconstructed and maintain its presence,” he says. Whether he rebuilds the angular form as layered planes or twists its faces into a rotated, jewel-like shape, the cube remains. It’s a reminder that boundaries are often self-imposed; there’s endless room for iteration and reinvention, even in confined circumstances. His pieces—cut from acrylic or aluminum—explore how far a form can be pushed before it stops being itself.
In the Naples Art District (NAD), painter and printmaker Teryl Hubschman Brzeski approaches geometry from a different angle. Where the other artists begin with systems and structure, her compositions unfold intuitively, their geometric leanings incidental in her mind. “I’m almost never trying to draw an object or say anything specific,” she says.
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Hugo Diaz’s Harmony (2022)
Hugo Diaz’s Harmony (2022) HOME 2026
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Hugo Diaz's Violet Cubes Flying in the Universe, Kinetic VII (2025)
Violet Cubes Flying in the Universe, Kinetic VII (2025) HOME 2026
Working in pastel, pencil and oil, she builds dense grids out of repeating squares and angled lines. In some pieces, the forms stay tight and orderly, like abstracted floor plans; in others, the grid relaxes, and blocks of color overlap or shift in tone. The push and pull between system and instinct animates her work. Her daughter, artist Nora Beyrent, suggests that the work may reflect a subconscious link between her mother’s interest in design and desire to plot order in chaos.
Intuitive takes on Geometric Abstraction echo through the work of fellow NAD artist Tammra Sigler, who is drawn time and again to grid-like motifs. Her canvases are colorful, filled with smudged lines and scribbles, yet a sense of order exists beneath. The dynamic is most evident in her Blocks series, which uses repeating square shapes to signify the human impulse to create, destroy and recreate through the lens of a child’s block set. Meanwhile, Fort Myers-native artist Anna Forrest Fischler applies the dimensional approach to landscape art. She slices her plein-air paintings into geometric shapes, then reassembles them as a way to explore concepts of destruction and ego in her work.
Despite their differing approaches and materials, each of these artists channels geometry as a universal language that bridges art, architecture and design. Their works bring clarity to a world that often feels anything but, with simple lines and forms conveying a sense of order that you can feel and quantify.
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Anna Forrest Fischler’s Croton (2023)
Anna Forrest Fischler’s Croton (2023) HOME 2026
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Photography by Christina Bankson
Anna Forrest HOME 2026