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      Subversive and Grandiose, Kajahl’s Vivid Portraits Supplant Historical Narratives

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      Art

      #oil painting
      #painting
      #portraits

      November 20, 2020
      Grace Ebert

      “Silent Incantation II” (2020), oil on canvas over panel, 38 x 33 inches. All images © Kajahl, shared with permission
      Through his meticulously rendered portraits, Santa Cruz-born artist Kajahl subverts the tradition of Blackamoor—a highly stylized European aesthetic that visualized people of color, particularly African men, in exoticized forms and subservient roles—by instead depicting Black subjects in valorized positions. Part of a series titled Royal Specter, the vivid paintings center alchemists, scholars, astronomers, and various intellectual figures within grandiose and luxurious settings.
      While the artist’s works evoke the racist sculpture and decorative pieces of Blackamoor, they remove the historical context and alter the original narrative through anachronistic details. Each oil painting is layered with imagined elements, from the inaccuracies of the source material to Kajahl’s portrayals of fictional characters. “My fantasy is gazing back at their fantasy. I am their fantasy and they are mine… I am the specter of their imagination,” he says.
      Kajahl’s work currently is on view at Chicago’s Monique Meloche Gallery through December 19. You can keep up with his historically subversive projects on Instagram.

      “Alchemist” (2020), oil on canvas over panel, 36 x 48 inches
      Left: “Huntress Eclipse” (2020), oil on canvas over panel, 60 x 48 inches. Right: “Tigress Guardian In Palmtree Oasis” (2020), oil on canvas over panel, 60 x 48 inches
      “Star Gazer In Solitude” (2020), oil on canvas over panel, 72 x 54 inches
      “Huntress In Oasis (Astride A Crocodile)” (2020), oil on canvas, 66 x 84 inches
      Left: “Moment of Contemplation (Scholar)” ( 2020), oil on canvas over panel, 48 x 36 inches. Right: “Oracle (Holding Mirror)” (2020), oil on canvas over panel, 48 x 36 inches
      “Silent Incantation I” (2020), oil on canvas over panel, 38 x 33 inches
      “Oracle Snake In Globe” (2020), oil on linen over panel, 48 x 36 inches

      #oil painting
      #painting
      #portraits

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      Celebrating the Late Tamara Djurovic, AKA Hyuro, and Her Sincere, Monumental Murals

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      Art

      #murals
      #public art
      #street art

      November 20, 2020
      Grace Ebert

      Argentinian artist Tamara Djurovic, who worked under the name Hyuro, died Thursday at her home in Valencia. Known for imbuing her works with sincerity, the artist utilized her large-scale pieces to capture the complexity of human emotion. Her style was distinct and subdued, and her process was informed by her concerns and questions about the world, a process she spoke of at length previously on Colossal.
      During her life, Djurovic made significant strides in the international mural community that is largely male-dominated. She completed projects across Europe, Argentina, Brazil, Mexico, the United States, Morocco, and Tunisia, many of which you can see on her site and Instagram.

      #murals
      #public art
      #street art

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      Graffiti-Laden Shelters Arise From an Uncanny Post-Apocalyptic Universe Crafted in Miniature

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      Art

      #apocalypse
      #graffiti
      #miniature
      #sculpture

      November 19, 2020
      Grace Ebert

      “La Tourelle, IDF2068” (2020), 41 x 14 x 14. All images © Simon Laveuve, shared with permission
      Enveloped by trailing vines and mosses, the dilapidated shelters that Paris-based artist Simon Laveuve crafts appear to emerge from a post-apocalyptic universe as eerie safe-havens. Often elevated aboveground, the miniature buildings feature vertical constructions with various platforms and stairs leading upward. “My pieces, for the most part, have this aspect of shelter… I like to work on the height and the inaccessible. Protection and surrender. Fallen icons and their symbolism. Resistance and insubordination,” the artist says.
      Marked with signage and advertisements plastered on the walls, the decaying dioramas showcase an alternate world now abandoned. Graffiti marks the siding, and thick vegetation cradles the remaining environments. Each sculpture displays the destructive qualities of humanity, while ultimately showing the natural world’s ability to survive.
      Laveuve’s shelters are featured in Small Scale, Big World: The Culture of Mini Crafts, which is available from Bookshop. Explore more of the uncanny works on the artist’s site and Instagram, where he also shares glimpses into his process.

      Detail of “La Tourelle, IDF2068” (2020), 41 x 14 x 14
      “Vestige IV” (2020), 26 x 10 x 8
      “Station 9/4, IDF2068” (2019), 20 x 20 x 45
      Detail of “Station 9/4, IDF2068” (2019), 20 x 20 x 45
      “Le Navigator, IDF2068” (2020), 25 x 15 x 39

      #apocalypse
      #graffiti
      #miniature
      #sculpture

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      Gemstones, Delicate Filigree, and Mechanical Gears Encase Steeven Salvat’s Insect Specimens

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      Art
      Illustration

      #beetles
      #butterflies
      #drawing
      #gears
      #insects
      #watercolor

      November 18, 2020
      Grace Ebert

      All images © Steeven Salvat, shared with permission
      Steeven Salvat (previously) evokes the glass-covered entomological studies of rare butterflies, beetles, and moths with an additional layer of protection. The French artist armors the singular insects with precious gemstones, silver and gold filigree, and rotational gears. Even elements of luxury watches, like Breguet’s Reine de Naple and an intricate dial from Vacheron Constantin, cloak the critters’ outer shells.
      In a note to Colossal, Salvat writes that the growing collection of drawings is an “allegory for the preciosity of biological systems. A way to drive attention to our smallest neighbors on this planet—we need to preserve them because they are worth much more than all the gold and jewels I dressed them with.” Each intricate drawing is rendered with China black ink and watercolor and takes at least 50 hours to complete.
      Pick up a limited-edition giclée print of an encrusted creature in Salvat’s shop, and follow his latest projects merging nature, history, and science on Behance and Instagram.

      #beetles
      #butterflies
      #drawing
      #gears
      #insects
      #watercolor

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      Arresting Sculptural Reliefs by Artist Anne Samat Layer Everyday Objects with Meticulously Woven Threads

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      Art

      #beads
      #family
      #fiber art
      #identity
      #sculpture
      #thread

      November 18, 2020
      Grace Ebert

      “Follow Your Heart Wholeheartedly” (2020), rattan sticks, yarn, rakes, washers, plastic swords, toy soldiers, beads, metal and plastic ornaments, 131.5 x 141.75 x 11.75 inches. Installation view of Asia Society Triennial: “We Do Not Dream Alone” at Asia Society Museum, New York. Photograph by Bruce M. White. All images courtesy of Asia Society, shared with permission
      In her fiber-based reliefs, Malaysian artist Anne Samat disrupts classic woven patterns with unusual objects: toy soldiers, rakes, and plastic swords are intertwined in the multi-color threads that fan outward and billow down onto the floor. Comprised of a trio of wall hangings and a free-standing sculpture, “Follow Your Heart Wholeheartedly” meticulously juxtaposes beadwork and traditional South Asian weaving techniques with common items, a project that questions the boundaries of craft and art.
      Each section is incredibly complex and infused with references to Samat’s family, identity, and experiences with loss. The largest work, for example, features five sections, with the innermost piece paying homage to her late brother who recently died after a long illness. Flanking the central portion are two stately pillars with pink and blue details that represent her mother and father. The outermost layers that sprawl from floor to ceiling evoke the artist herself and her sister, who are the only two living members of her family. Even the title is derived from advice Samat received from her father before he died.
      “Follow Your Heart Wholeheartedly” is on view through February 7, 2021, as part of the Asia Society Triennial.

      “Follow Your Heart Wholeheartedly” (2020), rattan sticks, yarn, rakes, washers, plastic swords, toy soldiers, beads, metal and plastic ornaments, 98 x 48 x 7 inches
      “Follow Your Heart Wholeheartedly” (2020), rattan sticks, yarn, rakes, washers, plastic swords, toy soldiers, beads, metal and plastic ornaments, 131.5 x 141.75 x 11.75 inches.
      “Follow Your Heart Wholeheartedly” (2020), rattan sticks, yarn, rakes, washers, plastic swords, toy soldiers, beads, metal and plastic ornaments, 98 x 48 x 7 inches
      “Follow Your Heart Wholeheartedly” (2020), rattan sticks, yarn, rakes, washers, plastic swords, toy soldiers, beads, metal and plastic ornaments, 98 x 48 x 7 inches (left) and 131.5 x 141.75 x 11.75 inches (center)
      “Follow Your Heart Wholeheartedly” (2020), rattan sticks, yarn, rakes, washers, plastic swords, toy soldiers, beads, metal and plastic ornaments, 131.5 x 141.75 x 11.75 inches
      “Follow Your Heart Wholeheartedly” (2020), rattan sticks, yarn, rakes, washers, plastic swords, toy soldiers, beads, metal and plastic ornaments, 131.5 x 141.75 x 11.75 inches (center) and 105 x 48 x 7 inches (right)

      #beads
      #family
      #fiber art
      #identity
      #sculpture
      #thread

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      Illuminated Figures Consider the Relationship Between the Body and Soul

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      Art

      #anatomy
      #light
      #metal
      #sculpture

      November 17, 2020
      Grace Ebert

      “Vessel of the Universe (Sisidlan ng Kalawakan)” (2020), soldered metal, glass, LED strips, and electrical fittings, 64.5 x 47 x 12 inches. All images © Joshua Limon Palisoc, shared with permission
      Joshua Limon Palisoc draws on the tenets of Filipino Psychology to inform his life-sized figures that radiate from the inside. Using mesh-like forms of soldered metal, the artist conveys the idea that the physical body is simply a vessel for the soul. LED lights nestled within the anatomical sculptures emit a warm glow through the seams, blurring the boundary between inner and outer selves.
      The illuminated forms shown here are part of Ephemeral Vessels, Palisoc’s first solo show on view through November 29 at Pinto Art Museum in Antipolo, Philippines. Composed of upright and seated figures, the collection focuses on personality and conscience (loob), the body (labas), and reason (lalim), ideas that the artist gleans from the particular branch of psychology originally helmed by Virgilio Enriquez.
      Palisco, who shares insight into his techniques on Instagram, describes his process as ritualistic, noting that each artwork he solders together holds a part of himself that asks viewers to avoid “existing in this world passively.” Instead, he writes, “we should stir and affect others through our own genuine ways.”

      “Vessel of the Universe (Sisidlan ng Kalawakan)” (2020), soldered metal, glass, LED strips, and electrical fittings, 64.5 x 47 x 12 inches
      “Conversations with the Flame (Pakikipagtalastasan sa Ningas)” (2020), soldered metal, LED bulb, and electrical fittings, 64.5 x 60 x 14 inches
      “Conversations with the Flame (Pakikipagtalastasan sa Ningas)” (2020), soldered metal, LED bulb, and electrical fittings, 64.5 x 60 x 14 inches
      “Whisper from a Spark (Bulong ng Alipato)” (2020), soldered metal, LED bulb and electrical fitting, 64.5 x 33 x 10 inches
      “Accepting Transcendence (Pagtanggap sa Lagablab)” (2020), soldered metal, LED bulb, and electrical fittings, 60.5 x 46 x 19 inches
      “The Soul’s Journey (Paglalayag ng Kalooban)” (2020), soldered metal and glass, 71 x 64 x 72 inches

      #anatomy
      #light
      #metal
      #sculpture

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      Cloaked in Neon, Tate Britain Celebrates Diwali Through an Eclectic Technicolor Installation

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      Art

      #installation
      #light
      #London
      #neon
      #pop culture
      #public art
      #religion

      November 16, 2020
      Grace Ebert

      “Remembering a Brave New World.” All images © Chila Kumari Singh Burman, courtesy of Tate Britain
      A new installation by artist Chila Kumari Singh Burman masks the stately columns and ornate flourishes of Tate Britain’s facade, enveloping the London museum in a blanket of neon. In “Remembering a Brave New World,” technicolor symbols, pop culture references, and religious iconography transform the neoclassical structure into an illuminated space for celebration. The public artwork was revealed on December 14 to coincide with the start of Diwali, the five-day Indian festival of lights, and casts a kaleidoscopic glow on the surrounding area.
      The eclectic collection draws on Punjabi Liverpudlian artist’s own life and family history, which manifests in pieces like the multi-colored ice cream truck. After moving to England, her father purchased one of the vehicles, an experience that imprinted her childhood.

      Other elements focus on the United Kingdom’s history of imperialism: the Britannia figure at the building’s apex, for example, is camouflaged with Kali, the Hindu goddess of liberation and power, while the lower region features Rani of Jhansi, the warrior and leader of the Indian resistance against the British in 1857. “It’s important to critique buildings like this because they’re very Eurocentric,” Burman said in an interview with Dezeen. “So, I just thought: why not do something that captures what we’re all going through right now? I felt like it needed a blast of joy and light. And Diwali is about good over evil, about hope, unity and the light at the end of the tunnel.”
      Glowing Hindu deities sprawl across the windows and arches, as well, including Lakshmi, the goddess of wealth and purity, and Ganesh, the god of prosperity. The religious figures juxtapose the more playful elements, like a life-sized tiger, peacock, and pair of lips.
      “Remembering a Brave New World” is the fourth annual winter commission by Tate Britain. The public artwork will be on display through the end of January, even while the inner halls of the museum are closed to visitors due to the ongoing pandemic. Follow Burman’s projects that explore questions of power and identity on Instagram.

      #installation
      #light
      #London
      #neon
      #pop culture
      #public art
      #religion

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      Symmetrical Typewriter Sculptures by Artist Jeremy Mayer Merge the Organic and Manufactured

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      Art

      #metal
      #nature
      #sculpture
      #typewriters

      November 16, 2020
      Grace Ebert

      “Untitled II” (2020), typewriter parts and aluminum, 65 x 65 x 12 inches
      “There’s nothing unnatural about mechanical components,” Jeremy Mayer says. For decades, the artist has harbored a fascination with the repetitive, complex patterns of single-cell organisms and the delicately rendered illustrations of Ernst Haeckel, an attraction that manifests in his latest sculptures.
      Spanning up to 65 inches, Mayer’s metal artworks are comprised of old typewriter parts mounted around a laser-cut aluminum frame with only the original screws, nuts, pins, and springs holding the mirrorlike pieces together. Formed around a central, circular element, the multi-unit assemblages splay outward. Each of the six points—which evoke starfish, despite having one extra arm—often resemble trilobites, pincers, and other creatures and organic elements, merging the manufactured and natural.
      “The form and function are based upon our knowledge of the living world around us. I’m interested in making the machine look like a living thing, drawing inspiration from the relationships that the early designers of the typewriter had with nature,” he says.

      “Untitled I” (2020), typewriter parts and aluminum, 60 x 60 x10 inches
      Mayer purchases between 10 and 15 typewriters each year, which he sources from repair shops, thrift stores, and yard sales around the San Francisco Bay Area. “The more broken the better,” he writes. In the past, he’s gravitated toward the smaller components of the metal machines to assemble birds, skulls, and other figurative sculptures. After transporting the bulky leftovers from studio to studio for years, he gathered enough duplicate parts to construct the symmetrical sculptures.
      The ongoing series was born out of a residency at Mumbai-based manufacturer Godrej & Boyce, during which Mayer was asked to create works from leftover typewriters. During his six months, he built mandala-like sculptures and a 13-foot-tall kinetic lotus that explored the connections between industry and biological forms.
      Mayer finished the first sculpture of this most recent series at the beginning of the COVID-19 lockdowns and almost has completed five since. He has plans for ten in total, and you can follow their progress on Instagram.

      “Untitled III” (2020), typewriter parts and aluminum, 60 x 60 x 14 inches
      “Untitled III” (2020) (detail), typewriter parts and aluminum, 60 x 60 x 14 inches
      “Untitled I” (2020) (detail), typewriter parts and aluminum, 60 x 60 x10 inches
      “Untitled II” (detail) with Cleo Mayer
      Studio with “Untitled IV” in progress

      #metal
      #nature
      #sculpture
      #typewriters

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