Aurelia Butler

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    New Perspective-Bending Collages by Lola Dupré Distort and Reconfigure Pets and Portraits

    
    Art
    Photography

    #animals
    #architecture
    #collage
    #humor
    #surreal

    March 19, 2021
    Grace Ebert

    “Cleo” (2020), 8.2 x 11.6 inches. All images © Lola Dupré, shared with permission
    Glasgow-based artist Lola Dupré (previously) continues her practice of slicing and rearranging photographs and art historical works into cleverly surreal collages. Her newest manipulations include a blockheaded Léon Bonnat, an entire row of irresistible puppy eyes, and a twisted rendition of George Stubbs’s “The Kongouro from New Holland.” Dupré’s cat, Charlie, still finds himself as fodder for the unusual works—see two pieces centered on him below—and the artist is currently in the process of creating her 33rd portrait of the orange-and-white feline. Find more of the Dupré’s compositions in the latest issue of Standart Magazine, shop originals and prints on her site, and see the distorted works in person at Portland’s Brassworks Gallery later this year. You also can follow along with the contorted creations on Instagram and Behance.

    “Kayack” (2020), 11.6 x 8.2 inches
    “Roo after Stubbs” (2021), 8.2 x 11.6 inches
    Left: “After Leon Bonnat” (2021), 8.2 x 11.6 inches. Right: “The Community” (2020), 8.2 x 11.6 inches
    “Charlie 32” (2021), 8.2 x 11.6 inches
    “Hardy” (2020), 16.5 x 11.5 inches
    Left: “Cat after Nathaniel Currier” (2021), 8.2 x 11.6 inches. Right: “Rand” (2021), 11.5 x 16.5 inches
    “Charlie 31” (2021), 11.6 x 8.2 inches

    #animals
    #architecture
    #collage
    #humor
    #surreal

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    Sublime Renderings of Women and Girls Explore Notions of Beauty in Portraits by Rosso Emerald Crimson

    
    Art

    #oil painting
    #painting
    #portraits

    March 19, 2021
    Grace Ebert

    “You Better Be Good” (2021), oil on panel, 36 x 36 centimeters. All images © Rosso Emerald Crimson, shared with permission
    In her exquisite portraiture, London-based artist Rosso Emerald Crimson renders female subjects who emerge through a haze of pastels and muted tones. She infuses the dreamy oil paintings with responses to current affairs and questions about the future, which often serve as a catalyst for her projects. “I don’t ‘think’ specifically about political or ethical issues when I paint although my creative flow is undoubtedly fuelled by the impressions and emotions many global events leave subconsciously,” she tells Colossal. Issues of racial justice and the unrealistic portrayal of beauty have both played a role in her recent works, including the compelling portrait of a young Black girl titled “What Are We Waiting For.”
    Generally, the subjects are people Rosso has a relationship with or someone who’s caught her eye, although she’s expanded her purview to models she’s never met as a way to adapt to pandemic restrictions. The artist often depicts the women and girls staring forward with unsmiling expressions. “I am enchanted by the diversity of human beings which is what truly makes us beautiful,” she says.
    If you’re in London, you can see Rosso’s paintings that are part of an exhibition celebrating Women’s History Month at Zebra One Gallery until March 31. She’ll also have pieces on view at Southbank Centre this summer and a solo show at Chrom Art Gallery in November. Prints and originals are available in her shop, and you can see works-in-progress on Instagram.

    “Enchantress” (2020), oil on canvas, 25 x 18 centimeters
    “Oyin” (2020), oil on aluminum, 24 x 18 centimeters
    “Tenderly Layla” (2020), oil on aluminum, 20 x 15 centimeters
    Left: “Flora” (2020), oil on aluminum, 65 x 50 centimeters. Right: “Girl with ginger hair” (2021), oil on canvas panel, 26 x 20 centimeters
    “What Are We Waiting For” (2020), oil on panel, 30 x 27 centimeters
    “Girl in polka dress” (2020), oil and silver leaf on panel, 122 x 85 centimeters

    #oil painting
    #painting
    #portraits

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    Subversively Embroidered Money and Penny Sculptures Question Historical Narratives

    
    Art

    #coins
    #embroidery
    #metal
    #money
    #politics
    #sculpture
    #social commentary

    March 18, 2021
    Grace Ebert

    From Insurrection Bills. All images © Stacey Lee Webber, shared with permission
    Throughout 2020, Stacey Lee Webber developed Insurrection Bills, a revisionary collection of United States currency overlaid with subversive stitches: flames envelop monuments, a wall is left unfinished, and an eclectic array of face masks disguise Abraham Lincoln’s portrait. Contrasting the muted tones of the paper, the vibrant embroideries stand in stark contrast and as amended narratives to those depicted on the various denominations. “The series references feelings of anger, turmoil, and frustration during the tense political climate while recontextualizing and questioning the beloved iconography we see on our money,” she tells Colossal.
    Currently working from her studio and home in Philadelphia’s Globe Dye Works, Webber is formally trained in metalsmithing—she has an MFA from the University of Wisconsin, where she initially began using currency as the basis of her projects—and sees the two mediums as an ongoing conversation. Embroidery “allows me to work in a quieter setting outside of my metal shop acting as a sort of ying to the yang, soft and hard, masculine and feminine,” she says.
    Many of Webber’s sculptures involve soldering coins, including the copper penny works that make up The Craftsmen Series and question the value of blue-collar labor in the U.S. Comprised of hollow, life-sized tools, the collection visualizes “putting endless amounts of work into a single cent,” the artist says.
    Webber has multiple exhibitions this year, including at TW Fine Art Palm Beach Outpost in April, Philadelphia’s Bertrand Productions in October, and Art on Paper Fair in New York City this November. If you can’t see the currency-based projects in person, head to Instagram, where the artist shares a larger collection of her works and glimpses into her studio.

    “Masked Abes,” from Insurrection Bills
    From Insurrection Bills
    Detail of “Masked Abes,” from Insurrection Bills
    A ladder from The Craftsmen Series, soldered pennies
    From Insurrection Bills
    Jewelry made from coins

    #coins
    #embroidery
    #metal
    #money
    #politics
    #sculpture
    #social commentary

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    Busts of Unabashed Women by Gerard Mas Are Sculpted with a Contemporary and Cheeky Twist

    
    Art

    #busts
    #humor
    #sculpture

    March 18, 2021
    Grace Ebert

    “Lady of the chewing gum,” polychrome resin. All images © Gerard Mas, shared with permission
    Despite their modest clothing and perfectly plaited hair, the women that artist Gerard Mas sculpts are spirited, brazen, and undeniably shameless. Whether blowing a wad of bubblegum, sporting visible tan lines, or unabashedly digging in their noses, the corset-clad figures are steeped in humor and wit and cast a contemporary light on the long-held conventions of the medium.
    Mas began the ongoing series a few years ago as he ventured into figurative sculpture and struggled with portraying perfection and beauty. He shares:
    This was an impossible job. There was always something that broke that beauty. And a sculpture attempting to speak of beauty with some disproportion or flagrant compositional flaw is pretentious if not ridiculous… I decided to anticipate that failure and deliberately introduce discordant elements that broke that pretended beauty by making our sense of good taste squeak. Let’s say it’s an ode to the impossibility of beauty.
    Based near Barcelona, Mas originally trained as a restorer with a focus on reconstructing floral ornaments in architecture. “In my obsession with contemplating the art of other times, I also realized that our current cultural codes prevent us from contemplating the art of the past without reinventing its meaning. We are subjected to an avalanche of daily images that shapes the way we look,” he says. This experience continues to inform his practice that seamlessly melds traditional techniques—his use of standard materials like marble, alabaster, carved wood, gilding, and polychrome, for example—and contemporary subject matter.
    If you’re in Madrid, you can see Mas’s sculptures at Estampa from April 8 to 11. Otherwise, peruse a larger collection of his figurative works on his site and Instagram. (via The Jealous Curator)

    “Call center lady,” polychrome resin
    “Lady of lloret,” polychrome resin
    “Lady of the chewing gum”
    “Lady of the necklace” (2018), polychrome resin
    “Lady of the cactus” (2019), polychrome alabaster
    “Lady of the collar”
    “Picking nose lady”
    “Lady sticking out tongue” (2007), polychrome alabaster

    #busts
    #humor
    #sculpture

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    Colorful Tufts of Tulle Float Down the California Coastline in New Photographs by Thomas Jackson

    
    Art
    Photography

    #installation
    #textiles

    March 16, 2021
    Grace Ebert

    All images © Thomas Jackson, shared with permission
    2020 was a year of many realizations, but for Thomas Jackson (previously), the most profound was “proof of the adage that creativity thrives under constraints.” Known for suspending swarms of everyday objects on the rocky shores of the Isle of Man or desert locales across the southwest U.S., the photographer shifted his practice as lockdowns spread and limited his ability to travel beyond nearby landscapes.
    The resulting series reflects these restrictions and focuses on a single location and adaptable material: swaths of colorful nylon float above the beaches and down the California coastline, creating compositions that juxtapose the natural environment with the bright, manufactured materials. “I chose tulle for its mutability—depending on how it’s arranged and how the wind catches it, it can morph from a solid to a liquid, to fire to billowing smoke,” Jackson says.
    Shot on 4×5 film with little to no editing, the photographs convey a pared-down approach. Rather than hire people to help him install the sculptural objects in exact positions, Jackson utilized driftwood to prop up the lightweight textiles and the wind to infuse the fabric with movement. He explains:
    On every shoot, Northern California’s offshore breezes were my collaborator, the force that transformed my installations from lifeless fabric to living things. As collaborations go it was a tumultuous one—of the twenty or so pieces I built and photographed last year, thirteen were failures—but along the way, I learned a thing or two about the importance of staying on nature’s good side. When I built pieces that obstructed or defied the wind in any way, I’d go home unhappy, but when my constructions respected and responded to the wind, interesting things would occur!
    Jackson shares a wide array of his work that mimics the amorphous, self-organizing patterns of birds, insects, and other animals, along with behind-the-scenes shots and footage of his process, on Instagram.

    #installation
    #textiles

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    Two Imposing Cubes Covered in Yellow Plastic by Artist Serge Attukwei Clottey Respond to Global Water Insecurity

    
    Art

    #climate change
    #colonialism
    #installation
    #plastic
    #water

    March 16, 2021
    Grace Ebert

    “The Wishing Well” (2021) in Coachella Valley. All images © Serge Attukwei Clottey, courtesy of Desert X, by Lance Gerber, shared with permission
    A mottled patchwork of plastic cloaks two cubes that tower over the desert landscape of Coachella Valley. Titled “The Wishing Well,” the bright pair are the work of Ghanaian artist Serge Attukwei Clottey, who created the nine-foot pieces from scraps of Kufuor gallons, or jerrycans, in response to shared struggles with water insecurity that ripple across the world. Resembling a yellow brick road, a paved walkway connects the two woven structures that stand in contrast to the surrounding environment, which faces continual struggles with access to the natural resource.
    Clottey’s use of the material is tied to a larger critique of colonialism’s enduring legacy and the ways it continues to affect populations around the world, particularly in relation to the climate crisis. Originally,  European colonialists brought Kufuor gallons to Ghana to transport cooking oil. Today, the plastic vessels are ubiquitous and used to haul potable water. “As repurposed relics of the colonial project, they serve as a constant reminder of the legacies of empire and of global movements for environmental justice,” says a statement about the work that’s part of Desert X, a biennial bringing site-specific installations to Southern California.
    “The Wishing Well” is one facet of Clottey’s larger Afrogallonism project, which he describes as “an artistic concept to explore the relationship between the prevalence of the yellow oil gallons in regards to consumption and necessity in the life of the modern African.” The Accra-based artist works in a variety of mediums spanning installation, sculpture, and performance that deal with the broader influence of colonialism in Africa. You can see a larger collection of his pieces on Artsy and Instagram.

    #climate change
    #colonialism
    #installation
    #plastic
    #water

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    Evoking Fire and Air, Intricate Paper Masks by Artist Patrick Cabral Honor Filipino Culture

    
    Art

    #festivals
    #masks
    #paper
    #Philippines
    #sculpture

    March 15, 2021
    Grace Ebert

    Detail of “Lupa.” All images © Patrick Cabral, shared with permission
    Encircled by oversized crowns of paper, two new masks by Patrick Cabral celebrate Filipino culture through elaborately fashioned works defined by their colors. Titled Mananayaw ng Langit at Lupa, or Dancers of Heaven and Earth, the ongoing series was commissioned by the Iloilo Museum of Contemporary Art for the Dinagyang Festival. The cultural celebration is held annually the last week in January with the Ati Tribe competition, which involves warrior dancers performing to loud chants and drum beats, as the main event.
    Preserving the tradition in paper, Cabral’s masks both mimic the performers’ costumes and draw on the detail and intricacy of his earlier animal figures. “Lupa” is brilliantly colored and embodies the passionate spirits of a dragon or crocodile, representing Earth, fire, and light. “Langit,” on the other hand, is more subdued with bird-like features, peacock feathers, and a quiet expression. It symbolizes air, flight, horizons, and dreams. “Both animals are important because birds are used in ancient sea navigation, which our ancestors are known for, and the crocodile is the biggest animal native to the Philippines…I want one to look calm and the other chaotic. One is a feather. One is fire,” the Manila-based artist says.
    Cabral currently is working on an exhibit for the Philippine Pavillion at the World Expo that shares the “courage of our ancestors, the people who brave the angry ocean from Taiwan to the Batanes Islands.” Follow that project and explore a larger collection of the artist’s painstakingly constructed works on Behance and Instagram.

    “Langit”

    “Lupa”
    Detail of “Langit”
    Detail of “Lupa”
    Cabral with “Langit”

    #festivals
    #masks
    #paper
    #Philippines
    #sculpture

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    10,000 Letters Dangle from the Ceiling in an Immersive Installation by Artist Chiharu Shiota

    
    Art

    #boats
    #installation
    #letters
    #thread

    March 12, 2021
    Grace Ebert

    “I hope…” (2021), rope, paper, steel, installation view at König Galerie, Berlin. All images by Sunhi Mang, VG Bild-Kunst, Bonn, courtesy of the artist, shared with permission
    A towering expanse of red thread, a new installation by Chiharu Shiota (previously) suspends 10,000 letters within the nave of Berlin’s König Galerie, a Brutalist-style space located in the former St. Agnes church. The immersive construction runs floor to ceiling and is awash with notes from people around the world who share their dreams following a particularly devastating year. Aptly named “I hope…,” the large-scale project hangs two wire boats that appear to float upward at its center, evoking travel into an unknown future.
    For this collaborative installation, the Japanese artist, who’s lived in Berlin for the last two decades, draws on a similar piece from 2015 titled “The Key in the Hand.” That earlier work similarly utilizes gathered objects and bright red thread, although it trapped 50,000 keys in a web that swelled from a wooden boat. In this iteration, however, Shiota lets the strands fall loosely and connects them to paper notes, leaving the individual elements open to movement and change.
    “I hope…” is on view through March 21, and there’s a video tour of the staggering project if you can’t see it in-person. Follow Shiota on Instagram to keep up with her sweeping installations that weave common objects into vast networks of fiber. (via designboom)

    #boats
    #installation
    #letters
    #thread

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