Aurelia Butler

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    Plants and Knotted Branches Sprout from Camille Kachani’s Impractical Household Objects

    
    Art

    #books
    #furniture
    #plants
    #sculpture
    #tools
    #wood

    August 3, 2021
    Grace Ebert

    All images © Camille Kachani, shared with permission
    Human progress and the insurmountable force of nature converge in Camille Kachani’s overgrown sculptures. The Lebanese-Brazilian artist (previously) is known for his furniture, tools, and other practical objects that are overrun with new plant growths and gnarly roots, rendering the seemingly functional items like stools, hammers, and books humorously impractical.
    Whether a text bursting with vegetation or dresser drawers housing young sprigs, Kachani’s works highlight the futile attempts humans undertake to control the environment. This relationship has been central to his practice in recent years, and his goal is to showcase the conflicts that arise from their intersections especially in relation to life in Brazil—the South American country is more frequently experiencing the effects of the climate crisis like the worst drought its seen in decades and rampant deforestation that’s only intensifying the ongoing devastation—which he explains:
    When we speak human and nature, we mean culture and nature, an (un)stable and unpredictable relation. We depend on nature but also see it as a major obstacle to our complete mastery of the planet. But in fact, it is impossible to talk about nature and culture as two distinct subjects, as they are so intertwined and contaminated from each other that I come to believe that everything is nature and culture at the same time.
    Kachani is based in São Paulo and is preparing for a forthcoming book chronicling 20 years of his practice, which will be published in 2022. You can follow his work on Instagram.

    #books
    #furniture
    #plants
    #sculpture
    #tools
    #wood

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    Interview: The Sketchbook Project Needs Help After Its Brooklyn Collection Grows to 55,000 Globally Submitted Books

    
    Art
    Colossal

    #interview
    #sketchbook project

    July 30, 2021
    Christopher Jobson

    Fifteen years ago, Steven Peterman launched The Sketchbook Project, an ongoing initiative he discusses in a new interview with Colossal editor-in-chief Christopher Jobson. The project, which gathers sketchbooks filled with artwork and stories from people around the globe, has since grown into the Brooklyn Art Library, and today, that collection boasts approximately 55,000 submissions.
    The physical collection is an incredible creative resource. There is so much artwork from varying skill levels and artists of all ages, but there are also stories, secrets, hopes, and fears that create a magical exchange between the participant who created the book and the reader who is viewing it in person.
    In the conversation supported by Colossal Members, Peterman talks about the challenges of maintaining the collection and its robust community during the COVID-19 pandemic and what’s on the horizon for the project as it changes its funding model.

    #interview
    #sketchbook project

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    Thousands of Fresh and Artificial Flowers Overrun an Abandoned Convenience Store in a Small Michigan Town

    
    Art

    #consumerism
    #flowers
    #installation
    #site-specific
    #stores

    July 30, 2021
    Grace Ebert

    All images by Christian Gerard, courtesy of Lisa Waud, shared with permission
    Port Austin, Michigan, is a picturesque village on the Lake Huron shoreline lauded for its beaches, water sports, and vegetable-shaped rock formations. With a population in the hundreds, the small community relies heavily on tourism to fund its economy, a reality Detroit-based botanical artist Lisa Waud contended with in a recent pop-up installation in one of the town’s abandoned convenience stores.
    Titled “Party Store”—this colloquialism refers to a small shop selling snacks, alcohol, lottery tickets, and other cheap staples—the immersive project transforms a dilapidated space into a lush garden of fresh-cut flowers grown in Michigan and artificial replicas sourced from resale shops around the state. A water-damaged drop ceiling, stained carpeting, and wood paneling peek through the colorful botanicals, which envelop a commercial coffee machine, crawl across shelving, and bulge out of dimly lit coolers.

    Similar to her other site-specific works like her 2015 transformation of a condemned duplex in Detroit, Waud describes “Party Store” as a “cleansing reset,” one that uses the tension between life and decay as a prompt to consider cultural understandings of permanence and disposability. She references pieces like Robin Frohardt’s grocery store stocked with plastic food and Prada Marfa as influences, two large-scale projects that criticize consumerism through their satirical imitations of common and luxury goods. “In spending time in Port Austin, I recognized a similarity between its tourism culture and that of my hometown of Petoskey,” Waud writes in a statement. “The local economy relies on the tourists, but often the folks who come can have a ‘disposable’ quality to their visit, exemplified in the increase of consuming convenient items—often packaged in single-use plastic.”
    “Party Store” was dismantled after its July 16-18 run, when many of the materials were recycled or reused. “By installing flowers that will ultimately be composted into a space that historically sells items that cannot be biodegraded, I hoped to bridge a connection for responsible choice-making in its visitors’ future,” the artist says.
    To keep up with Waud’s floral transformations, head to her site and follow her on Instagram.

    #consumerism
    #flowers
    #installation
    #site-specific
    #stores

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    Monumental Cardboard Bridges Float in the Sky in Temporary Installations by Olivier Grossetête

    
    Art

    #architecture
    #bridges
    #cardboard
    #hot air balloons
    #installation

    July 29, 2021
    Grace Ebert

    Architecture en Fête, Villeneuve lez Avignon, France (2015). All images © Olivier Grossetête, shared with permission
    Temporarily seen hovering above small European towns or balancing on a river in floating canoes are elaborate bridges designed to be constructed and demolished in a matter of days. The ongoing work of Olivier Grossetête, the cardboard-and-tape pieces are entirely hand-built by the French artist and local residents. Each ephemeral installation, which Grossetête refers to as “utopian building(s), temporary and useless,” appears for only a day or two before it’s taken down and the public is asked to stomp on and destroy the cardboard. “This is an integral part of the project,” the artist says in a statement. “This symbolic moment is fun.” While they’re on display, the architectural works are often tethered between hot air balloons and existing buildings, which makes them appear dream-like as they float above the urban landscape.
    Grossetête has been utilizing the cheap, flexible material for more than ten years because it’s easy to manipulate, allowing the installations to spring up and be removed relatively quickly. “Despite its appearance, it has quite extraordinary capacities and is very light. It doesn’t scare anyone, and it allows me to open my practice to the greatest number of people,” he says, explaining that it’s also emblematic of cultural signifiers. “It is the symbol of the false and of the appearance! I like to make this parallel between architecture, an instrument of power, and the false, the appearance.”
    Currently living in Jausiers in the Alpes de Hautes Provences, Grossetête is headed to 23 Milhas in Ílhavo, Portugal for his next installation, which will be up from July 31 to August 1. You can explore more than a decade of his works on his site.

    “Monkey Bridge,” Japanese Garden of Tattonpark Biennale
    Mantuano/French Embassy in Rome
    Festival de l’Oh, Champigny, France (2015)
    Mantuano/French Embassy in Rome
    Pont Landerneau, France (2016)
    Amboise, France Cultural Season of Amboise

    #architecture
    #bridges
    #cardboard
    #hot air balloons
    #installation

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  • 138 Shares189 Views

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    Industrial Materials and Rugged Topographies Converge in Jacqueline Surdell’s Knotted Tapestries

    
    Art

    #chains
    #ribbon
    #rope
    #sculpture
    #tapestry
    #textiles

    July 29, 2021
    Grace Ebert

    “We Will Win: Our Banner in the Sky (after Frederic Edwin Church)” (2020), cotton cord, nylon, paracord, fabric, and ribbons, 84 x 108 x 12 inches, 120-inch bar. Photo by Ian Vecchiotti. Images courtesy of Jacqueline Surdell and Patricia Sweetow Gallery, shared with permission
    Chicago-based artist Jacqueline Surdell sutures lengths of rope, fabric, and silky ribbons into sprawling abstract tapestries that hang from walls and standalone armatures in textured, colorful masses. Swelling clusters of knots and ties, loose weaves, braided tunnels, and dangling strands compose her three-dimensional compositions that are disrupted by sporadically used items like steel chains, volleyballs, and polyester shower curtains. Because of the scale of the pieces and the hefty materials, the artist often uses her body as a shuttle to weave the brightly colored fibers together on massive hand-built looms.
    Surdell embeds parts of her Chicago upbringing in her wall sculptures, especially childhood memories of her grandmother’s landscape paintings and her grandfather’s job in South Side steel mills. These two experiences converge in her textured works by evoking vast terrains and the city’s industrial history through her use of commercial materials. Each piece offers further reflections on today’s world, with energetic and chaotic pieces like “We Will Win: Our Banner in the Sky” (shown above) responding to the fraught political landscape in the U.S. and destructive events like wildfires and loss of coral reefs sparked by the climate crisis.
    You can find more of Surdell’s large-scale tapestries on her site, and head to Instagram to see her latest work-in-progress.

    Detail of “We Will Win: Our Banner in the Sky (after Frederic Edwin Church)” (2020), cotton cord, nylon, paracord, fabric, and ribbons, 84 x 108 x 12 inches, 120-inch bar. Photo by Ian Vecchiotti
    “Sacrifice of Columbia: Destruction (after Thomas Cole)” (2020), cotton cord, nylon cord, fabric, printed polyester shower curtain, American flag jacket, steel battle rope anchor, steel chain, canvas tarp, acrylic paint drips, and wood armature, 84 x 96 x 12 inches. Image courtesy of Patricia Sweetow Gallery
    Left: “Neon Hymn” (2020), braided cotton cord, paracord, enamel, and oil stick, 80 x 26 x 12 inches. Right: “Scylla III: The Pastoral State (after Thomas Cole)” (2020), cotton cord, nylon cord, paracord, printed cotton towel, steel frame, and volleyball, 27 x 27 x 1.5 inches (frame), 33 x 85 x 9.5 inches (floor extension). Images courtesy of Patricia Sweetow Gallery
    “Straight-laced: The Consummation of Empire (after Thomas Cole)” (2020/21), cotton cord, nylon cord, paracord, printed polyester shower curtain, and steel, 96 x 64 x 14 inches. Photo by Ian Vecchiotti
    Left: “Purging: Desolation (after Thomas Cole)” (2021), cotton cord, nylon cord, fabric, printed polyester shower curtain, and steel, 86 x 71 x 12 inches. Image courtesy of Patricia Sweetow Gallery. Right: “Untitled II” (2015), braided cotton cord, steel rod, and steel armatures, 60 x 60 inches. Image courtesy of Jacqueline Surdell
    Detail of “Sacrifice of Columbia: Destruction (after Thomas Cole)” (2020), cotton cord, nylon cord, fabric, printed polyester shower curtain, American flag jacket, steel battle rope anchor, steel chain, canvas tarp, acrylic paint drips, and wood armature, 84 x 96 x 12 inches. Image courtesy of Patricia Sweetow Gallery
    “Untitled XII (reflections on the water)” (2020), braided cotton cord, and steel, 60 x 144 x 12 inches. Image courtesy of Jacqueline Surdell

    #chains
    #ribbon
    #rope
    #sculpture
    #tapestry
    #textiles

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    Posed Women Rendered in Vibrant Gradients by Hanna Lee Joshi Embody Loss and Acceptance

    
    Art

    #body
    #colored pencil
    #gouache
    #gradients
    #self-portrait

    July 28, 2021
    Grace Ebert

    “Alignment of Virtue.” All images © Hanna Lee Joshi, shared with permission
    Twisting into subtle backends or hunching into a cross-legged crouch, the faceless women that find themselves at the center of Hanna Lee Joshi’s practice all personify an aspect of the artist herself. Conveyed through vibrant gradients in gouache and colored pencil, the figures shown here are companions to those the Korean-Canadian artist created last year, although they plunge deeper into themes of loss, acceptance, and inclusivity. “The magic and mystery of life can seem very fleeting when you’re in the pits of depression. I wanted to reconnect with that spark of fire within,” she says, explaining:
    I’m working on pieces that explore finding my identity and the nature of the self. Reconnecting with my Korean heritage and accepting all the things that make up who I am. In the end, I am just a piece of this earth having an experience of the self, and I’m trying to make a visual representation of some of it.
    The introspective subjects have signature features like elongated torsos and limbs, dark, glossy locks, and large hands gesturing yogic mudras that further visualize emotion and feeling. The women are subversive in color and form, deviating from the skin tones and body shapes typically associated with nude figures.
    Joshi, who’s based in Vancouver, is preparing for upcoming exhibitions at Spoke Art SF on August 7, at Thinkspace Projects in October, and later in fall at Hashimoto Contemporary. Prints are available in her shop, and you can see a few works-in-progress on Instagram.

    “Wheel of Desire”
    “Liberation”
    “Pursuit of Prosperity”
    “I’m a Little Shy But That’s Okay”
    “Sun, Moon, and Fire”

    #body
    #colored pencil
    #gouache
    #gradients
    #self-portrait

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    Interlocking Cable Ties Form Undulating Water and Biomorphic Sculptures by Sui Park

    
    Art

    #installation
    #sculpture
    #site-specific
    #waves

    July 28, 2021
    Grace Ebert

    “Undulating Beauty” (2018), black cable ties, 21 x 7.5 x 2.5 fee. All images © Sui Park, shared with permission
    Artist Sui Park (previously) zips together simple nylon cable ties to create sprawling biomorphic sculptures and site-specific installations that resemble heaving nighttime seas, prickly moss, and vibrant amorphous creatures. Park, who was born in Seoul and currently lives in New York, started hand-dying the uniform fasteners a few years ago to deepen the contrast between the mass-produced material and her spiky organic masses. “Each has a subtle difference in shape and angle, and when grouped and connected together to develop into a larger form, the subtlety creates a dynamic and a characteristic of my work,” she says.
    Whether suspended in a gallery or staked into a patch of grass, Park’s abstract pieces are porous, each revealing the surrounding environment through its body. This focus on permeability “opens the inner space of my work and makes the inside visible. At the same time, I think it opens and creates a moment to pause, reflect, and ponder personal imageries surrounding nature. Different shapes and angles of modules provide various perspectives of the inner space,” she shares.
    Park has multiple upcoming exhibitions, including shows running August 11 to November 27 at Cahoon Museum of American Art, September 7 to December 11 at Suwon Museum of Art, September 2021 to August 2023 at the Site-Responsive Art Biennale at I-Park Foundation, and another at Poikilo Museot starting in September. Until then, explore more of her sprawling installations and standalone pieces on Behance and Instagram.

    “Summer Vibe” (2021), hand-dyed cable ties and tent stakes, 
78th Street at Riverside Park, New York
    “Summer Vibe” (2021), hand-dyed cable ties and tent stakes, 
78th Street at Riverside Park, New York
    Detail of “Undulating Beauty” (2018), black cable ties, 21 x 7.5 x 2.5 feet
    “Experiment (Untitled)” (2021), monofilament
    “Experiment (Untitled)” (2021), monofilament
    Detail of “Where the Wind Stays” (2021), cable ties and monofilament
, I-Park Foundation, East Haddam, Connecticut
    “Where the Wind Stays” (2021), cable ties and monofilament
, I-Park Foundation, East Haddam, Connecticut
    Detail of “Moss” (2018), hand-dyed cable ties and tent stakes
    “Moss” (2018), hand-dyed cable ties and tent stakes
    “Where the Wind Stays” (2021), cable ties and monofilament
, I-Park Foundation, East Haddam, Connecticut

    #installation
    #sculpture
    #site-specific
    #waves

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  • 188 Shares109 Views

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    Takeout Containers and Worn Sketchbooks by Artist Yoonmi Nam Explore the Permanence of Everyday Disposables

    
    Art
    Food

    #ceramics
    #lithographs
    #notebooks
    #sculpture
    #vases

    July 27, 2021
    Grace Ebert

    “Sketchbook (small #10)” (2019), porcelain, cobalt slip inlay, and glaze, .75 x 8.5 x 6.25 inches. All images courtesy of Paradigm Gallery, shared with permission
    A kitchen table, countertop, or cluttered desk are all likely spots to encounter a piece by South Korean artist Yoonmi Nam. Encompassing ceramic sculptures and sparse lithographs, Nam’s body of work evokes “an ever-present, yet always changing still life,” one that displays the ubiquitous objects of her everyday in more permanent forms. A deep well to hold a bouquet carves out a stack of porcelain take-out containers, minimal prints depict a leafy branch resting in a fast-food cup, and splayed sketchbooks are covered with graph paper-style inlays that appear punctured, leaving frayed ends and stray lines.
    Nam’s subject matter, whether a disposable container or notebook with a cracked cover, always has a limited lifespan, a recurring theme that tethers each of the works to questions about ephemerality and value. The artist elaborates in a statement:
    I am drawn to man-made spaces and objects that we surround ourselves with, especially when they subtly suggest a contradicting sense of time that seems both temporary and lasting. In the arranged flower imagery, the flowers, once cut from their roots, have only a short remaining time to live. They will quickly wither and die, but before they do, they are elegantly and elaborately arranged, as if time will stand still for them. The containers that hold them are disposable objects, such as a yogurt cup, a Styrofoam take-out box, and an instant noodle bowl. These throwaway objects and cut flowers engage in a dialogue that speaks about impermanence and persistence.
    Nam has a few ceramic pieces and lithographs available from Paradigm Gallery in Philadelphia, and some of her new delivery box-inspired sculptures are on view as part of 2021 Kansas City Flatfile + Digitalfile, which runs through October 14 at the Kansas City Art Institute. You also can explore a larger selection of her works on Instagram.

    “Cairn Vase (large #2) ” (2019), porcelain and white glaze, 10.5 x 4.5 x 4.75 inches
    Left: “Cairn Vase (small #1)” (2019), porcelain and clear glaze, 6.75 x 4.5 x 4.75 inches. Right: “Cairn Vase (large #2) ” (2019), porcelain and white glaze, 10.5 x 4.5 x 4.75 inches
    “Cairn Vase (small #1)” (2019), porcelain and clear glaze, 6.75 x 4.5 x 4.75 inches
    Detail of “Sketchbook (small #9)” (2019), porcelain, cobalt slip inlay, and glaze, .75 x 8.5 x 6.25 inches
    “Sketchbook (small #4)” (2019), porcelain, underglaze inlay, and glaze, .75 x 8.5 x 6.25
    Left: “Winstead’s” (2018), lithograph, 33 x 18 inches. Right: “M” (2018), lithograph, 33 x 18 inches
    Detail of “Sketchbook (small #3)” (2019), porcelain, underglaze inlay, and glaze, .75 x 8.5 x 6.25 inches
    “Sketchbook (small #3)” (2019), porcelain, underglaze inlay, and glaze, .75 x 8.5 x 6.25 inches

    #ceramics
    #lithographs
    #notebooks
    #sculpture
    #vases

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