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An oversized trophy topped with a globe and wrapped in string lights carries a plaque that reads “1st Place Ego Award.” The work uses the language of prizes to poke at pride and self-regard. Humor and craft carry equal weight here.
A plush teddy bear is wrapped in caution tape on a bright pink panel, with two “Beware of Dog” warning signs above it. The scene plays with mischief, rules and warnings, and leaves the viewer to decide who the bad doggie is. At approximately 4′ × 2′ × 1′ 6″, it makes a bold statement in a home gallery or office.
This work takes the Beatles’ Abbey Road album cover as its subject and presents it on a black-topped pedestal with a yellow column. It joins music history with Tom Pergola’s sculptural approach to pop culture. At approximately 3′ 5″ × 18″ × 18″, it stands at table height.
A chef in white stands at a working kitchen cart, apron and gloves marked in red, with pans and produce close at hand. The scene takes the phrase “cooking the books” literally and applies pop art humor to a political subject. At approximately 6′ 7″ × 2′ 3″ × 2′, the figure stands at human scale. It is political satire in Assemblage Plastique, offered as a one-of-one work.
Candy Man is a figure at near human scale, covered head to toe in candy and standing on a base of candy-covered turf. A red cap, sunglasses and a slung bag give the figure a playful, slightly surreal swagger. Tom Pergola assembles the surface from everyday objects in his Assemblage Plastique technique, so the sweetness of the material meets the weight of a monumental sculpture. At approximately 6′ × 2′ 10″ × 2′, it anchors a room.
Distracted Shoppers freezes two figures in mid-dive over a shopping cart heaped with goods. The scene reads as a comment on consumer habit, with humor and motion in equal measure. At approximately 9′ 10″ × 4′ 7″ × 2′, it needs a large room to be seen in full.
A lamp shade crowns a leaning frame of poles and a chair frame, all set on a textured, paint-marked base. The composition looks balanced and about to tip at once. At approximately 4′ 10″ × 4′ 6″ × 2′ 3″, it is a wide, energetic piece that suits a room with open floor space.
Crossed golf clubs rise from a patch of artificial turf with golf balls at their base. At the top, a sculpted character in a cap and sunglasses looks out, lit with small lights. The work holds a golfer’s daydream in a single assembled figure.
An iron and contrasting shoes sit on a tiered cart bright with flowers. The work sets the domestic act of ironing against the different paths people walk, and points toward unity and reconciliation. At approximately 3′ × 1′ 6″ × 1′ 6″, it works as a centerpiece for a private collection or a lobby.
Life’s A Party is a jagged, star-like form covered in party items and small objects in saturated color. At only 6″ deep and approximately 5′ 9″ at its widest, it reads as a burst of celebration made from everyday things.
Money Laundering by Los Angeles artist Tom Pergola turns a familiar phrase into a clever visual statement through a playful ironing board scene. Created in his signature Assemblage Plastique style, this original mixed-media pop art sculpture blends humor, satire, and everyday objects into a bold conversation piece for collectors, galleries, offices, or contemporary spaces.
A plush dog sleeps on a small mound while a cloud floats above it on a frame of sticks and wire. The work turns a pet’s dream into a physical scene. At approximately 5′ 6″ × 2′ 8″ × 2′, it stands as a tall, freestanding sculpture with a tender, humorous tone.
A wheelbarrow overflows with retro household objects and a garage sale sign. The title frames the pile as a rainstorm of nostalgia. At approximately 2′ 8″ × 4′ × 2′ 9″, it is a low, wide piece with a great deal to look at up close.
A single black cane stands upright on a dark square base in a spare, minimal composition. The work uses the cane as a symbol of support and resilience. Its restraint sets it apart from the more crowded assemblages in the collection.
The Cold War takes a refrigerator as its subject. Food, bottles and produce burst out around the appliance, while magnets and a dish towel stay on its door. The title turns a household object into a reference to a tense period of history. At approximately 6′ × 6′ × 3′ 6″, it is a monumental work built from ordinary kitchen life.
A ladder covered in currency climbs toward a gold-toned object at its top. The work treats success as something you climb toward and count in money. At approximately 4′ 9″ × 1′ 7″ × 2′ 5″, the tall, narrow form reads clearly from across a room.
A tennis racket crosses a cane inside a pale lavender frame. The pairing of a sports object and a walking aid sets up a contrast that the title leaves the viewer to resolve. It is a compact, graphic work from the Assemblage Plastique series.
A red heart with a visible break sits on a yellow canvas above a green EXIT sign, all held on an ornate carved wooden easel. The work sets a broken heart beside the language of escape. At approximately 6′ 9″ × 2′ 3 1/2″ × 2′ 1″, the tall easel gives it a strong vertical presence.
A pink umbrella opens above a rolling stand loaded with groceries, snacks and household packaging. The one-word title leaves the meaning open, so each viewer supplies the question. Everyday consumer objects carry the commentary in this Assemblage Plastique work.
A slow cooker overflows with colorful candy and rising mist, set on a yellow stool beside a colander of more sweets. The work turns everyday kitchen objects into a metaphor for indulgence, consumer culture and modern appetite. At approximately 2′ 9″ × 1′ 8″ × 1′ 2″, it brings humor and social commentary to a compact footprint.