HOTTEST
Art#kintsugi
#porcelain
#sculptureOctober 26, 2021
Grace Ebert“Translated Vase” (2018), ceramic shards, epoxy, and 24K gold leaf, 102 × 77 × 77 centimeters. All images by Yang Ian, courtesy of Massimo De Carlo, shared with permission
Seoul-based artist Yeesookyung (previously) fuses Korean and Japanese craft traditions in her elegant, gilded sculptures. Blending ornately patterned vessels with deities and animals, the delicate assemblages meld shards of discarded ceramic into new forms with bulbous sides, halved figures, and drips of metallic epoxy. Utilizing fragments from previous works references the Korean tradition of discarding porcelain with small irregularities, while the visibly repaired crevices draw on Kintsugi techniques, the Japanese art of highlighting the beauty of broken vessels with thick, gold mendings.
Part of Yee’s ongoing Translated Vase series that has amassed hundreds of works since it began in 2002, the celadon pieces shown here are included in the artist’s solo exhibition titled I am not the only one but many, which is on view through November 21 at Massimo De Carlo in London. In a statement about her latest additions, she describes her fractured sculptures:
To me, a piece of broken ceramic finds another piece, and they come to rely on one another. The usage of gold in the cracks between them is related to the Korean language, for which the pronunciation of the word ‘gold’ and ‘crack’ sounds the same as ‘Geum.’ Indeed, the shapes of the vases present entirely organic forms which exist out of an innate and sensorial élan.
For more of Yee’s exquisite assemblages, visit her site and Instagram.“Translated vase” (2020), ceramic shards, epoxy, and 24K gold leaf, 70 × 54 × 55 centimeters
“Translated vase” (2020), ceramic shards, epoxy, and 24K gold leaf, 22 × 22 × 20 centimeters
“Translated Vase” (2018), ceramic shards, epoxy, and 24K gold leaf, 102 × 77 × 77 centimeters
“Translated Vase” (2020), ceramic shards, epoxy, and 24K gold leaf, 21 × 16.5 × 19 centimeters
Top left: “Translated Vase” (2020), ceramic shards, epoxy, and 24K gold leaf, 23 × 21 × 24 centimeters. Top right: “Translated Vase” (2020), ceramic shards, epoxy, and 24K gold leaf, 18 × 20 × 21 centimeters. Bottom left: “Translated Vase” (2020), ceramic shards, epoxy, and 24K gold leaf, 18 × 21 × 18 centimeters. Bottom right: “Translated Vase” (2020), ceramic shards, epoxy, and 24K gold leaf, 134 × 26 × 30 centimeters
“Translated vase” (2020), ceramic shards, epoxy, and 24K gold leaf, 41 × 27 × 30 centimeters#kintsugi
#porcelain
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Art
Design#graffiti
#murals
#Pref
#public art
#street art
#typographyOctober 31, 2022
Kate Mothes More
Art#animals
#digital
#environment
#paintingOctober 14, 2021
Grace EbertAll images courtesy of Grove Square Galleries, shared with permission
Photographic artist Jim Naughten casts a fantastical, candy-colored lens over luxuriant ecosystems and surreal animal portraits in Eremozoic, a solo exhibition on view at Grove Square Galleries through November 18. Comprised of digitally altered compositions, the series centers on rhinos, manatees, and myriad wild animals in strange, unearthly settings: a tall brown bear stands on its hind legs in a field of bright pink grass, a gorilla rests in similarly vibrant foliage, and orangutans swing through leafy branches in shades of blue.
While the animals usually are isolated in true color, the backdrops evoke infrared photography, and Naughten’s unnatural alterations tinge the otherwise realistic imagery with magical elements. The artist says the manipulations convey humanity’s ever-growing disconnect with the environment, which he explains in a statement:
I’m interested in how, in the evolutionary blink of an eye, humans have come to dominate and overwhelm the planet and how far our relationship with the natural world has fundamentally and dangerously shifted from that of our ancestors. I hope the work will create awareness and discourse about this disconnection, our fictionalized ideas about nature and possibilities for positive change.
Although the pieces venture into a strange realm of kaleidoscopic details, they have biological reality at their core, and the exhibition title, Eremozoic, refers to the current era of the earth’s evolution. Biologist and writer E. O. Wilson introduced the term to characterize this “period of mass extinction due to human activity. The Eremozoic Age is alternatively referred to as The Age of Loneliness, and this sense of dislocation and disorientation is captured in Naughten’s depiction of nature as an unfamiliar, unnatural realm.”
In addition to the collection shown here, Naughten shares a variety of otherworldly renderings on his site and Instagram. (via Creative Boom)#animals
#digital
#environment
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