Aurelia Butler

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    Faces and Fingers Glazed in Celadon Emerge from Surreal Vessels by Canopic Studio

    
    Art

    #anatomy
    #body
    #ceramics
    #clay
    #identity
    #surreal

    March 22, 2021
    Grace Ebert

    All images © Canopic Studio, shared with permission
    Disembodied faces and fingers encircle the surreal vessels created by Canopic Studio, a Los Angeles-based practice helmed by Claire and Curran Wedner. Known for their ceramics that display human anatomy in a repetitious pattern, the husband and wife recently diverged from the black-and-white works previously mentioned on Colossal to create a series entirely in celadon, a jade color with a rich history.
    The translucent glaze originated in China and was prominent throughout the country for centuries before being replaced by blue-and-white porcelain. It’s traditionally made with a bit of iron oxide—too little creates a blue color, while too much produces a darker olive or black—and then fired in a reducing kiln at a high temperature.
    Curran says he first experimented with the glaze in 2004 as part of a ceramics class and returned to it now after researching cone 10 gas firing and reduction, or the process of decreasing oxygen in the kiln. The resulting pieces shift in color with the light, a trait that dovetails with the studio’s interest in mutable identities and idiosyncrasies that shows up in the shape of their works.
    Pieces are created using the same mold to produce similar, but not identical, body parts. When attached in rows on the mug or bowl, the single face or finger becomes one of many, each defined by its slight difference. “I’m interested in identity and how it shifts when we go from being alone to being a part of a crowd,” Curran says. He explains:
    I like prodding that space in between, where identity feels almost pliable or molten, then hardens, then shifts again, and so on. When the face I’m using is pulled from a single mold, it has a surreal quality—so identical it’s almost eerie, and all the tiny flaws and differences come forward when they otherwise wouldn’t.
    Right now, Canopic Studio is in the process of creating a line of face medallions finished with 22 karat gold. The duo list new pieces bi-monthly on Etsy, and you can keep an eye out for shop updates and see works-in-progress on Instagram.

    #anatomy
    #body
    #ceramics
    #clay
    #identity
    #surreal

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    A Monumental Bas-Relief Sculpture by Nick Cave Connects Senegalese and U.S. Cultures in a Web of Beadwork

    
    Art

    #bas-relief
    #beads
    #installation
    #sculpture
    #sequins
    #site-specific
    #video

    March 22, 2021
    Grace Ebert

    All images © Nick Cave, by Michael JN Bowles, shared with permission
    Innumerable pony beads, pipe cleaners, sequins, and objects gathered from two continents overlay a web of rainbow mesh that’s suspended in the U.S. Embassy atrium in Dakar. Installed in 2012, the expansive work by Chicago-based artist Nick Cave (previously) is composed of amorphous swells and circular patches of multicolor netting that stretch 20 x 25 feet. Physically connecting pieces of both U.S. and Senegalese culture, the webbed, bas-relief sculpture symbolically stands as “a unifier that brings people together,” Cave says in an interview.
    Virginia Shore and Robert Soppelsa curated the project for Art in Embassies, a program led by the U.S. Department of State that fosters cross-cultural exchange through visual arts and spans more than 200 venues in 189 countries. “When you think about Art in Embassies and cultural diplomacy, what is interesting for me, as an artist, is, how can I facilitate that within the work that is developed? Yes, I will create the piece for the embassy, but I was also interested in ways to integrate the artists that live and work here,” he says.
    Cave developed the structural portion of the work in his Chicago studio, and after meeting Sengalese artists, scholars, and students, he utilized pieces from three locals—Seni M’Baye, Loman Pawlitschek, and Daouda N’Diaye—once on site. The resulting installation, which weighs nearly 500 pounds, took Cave and ten assistants more than three months to complete.
    Watch the interview below for more on the process behind the monumental project, and follow Cave’s work on Instagram.

    [embedded content]

    #bas-relief
    #beads
    #installation
    #sculpture
    #sequins
    #site-specific
    #video

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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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  • 113 Shares159 Views

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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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