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    Everyday Objects Are Sliced and Re-Assembled into Distorted Sculptures by Fabian Oefner

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    Art

    #cameras
    #electronics
    #sculpture
    #shoes

    April 16, 2021
    Grace Ebert

    “Heisenberg Object V – Cortez” (2021), leather, foam, and resin, 30 x 18 x 15 centimeters. All images © Fabian Oefner, shared with permission
    In Heisenberg Objects, Fabian Oefner (previously) translates quantum mechanic’s uncertainty principle into a sculptural series of segmented objects. The Connecticut-based artist uses resin to solidify the everyday items, which include sneakers, a Leica M6, a tape recorder, a Seiko clock, and flight recorder, before slicing them into countless individual pieces. He then aggregates those fragmented parts into dissected sculptures that resemble the original object through a distorted view of the inner and outer mechanisms.
    Drawing its name from German physicist Werner Heisenberg, the series is rooted in the basics of the uncertainty principle, which states that no two particles can be measured accurately at exactly the same time. “You can either determine one parameter and ignore the other or vice versa, but you can never know everything at once,” the artist writes about Heisenberg’s idea. The two opposing views—i.e. the inner and outer layers of the common items—converge in Oefner’s sculptures and visualize the principle through skewed perceptions. “As an observer, you are never able to observe the object as a whole and its inner workings simultaneously. The more accurately we see one view, the less clearly we see the other,” he says.
    Check out Oefner’s Instagram for more views of the re-interpreted objects, along with videos documenting the slicing process.

    “Heisenberg Object III – Leica M6” (2021), aluminum, glass, and resin, 20 x 15 x 5 centimeters
    “Heisenberg Object I – Seiko Clock” (2021), plastics, metal, and resin, 20 x 15 x 10 centimeters
    “Heisenberg Object II – Tape Recorder” (2021), plastics, metal, resin, 30 x 20 x 8 centimeters
    “Heisenberg Object VI – Cortez” (2021), leather, foam, and resin, 30 x 18 x 15 centimeters
    “Heisenberg Object VI – Cortez” (2021), leather, foam, and resin, 30 x 18 x 15 centimeters
    Detail of “Heisenberg Object IV – Flight Recorder” (2021), plastics, metal, resin, 50 x 50 x 40 centimeters
    “Heisenberg Object IV – Flight Recorder” (2021), plastics, metal, resin, 50 x 50 x 40 centimeters

    #cameras
    #electronics
    #sculpture
    #shoes

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      A Sprawling Installation Explores the Power of Protest as It Floats Above a MASS MoCA Gallery

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      Art

      #activism
      #boats
      #installation
      #protest
      #rocks

      April 15, 2021
      Grace Ebert

      “In the Light of a Shadow” (2021), installation view. Photo by Tony Luong. All images courtesy of MASS MoCA, shared with permission
      Rocky debris, vintage photographs, and a wooden ship colliding with its own hull are suspended above a 100-yard gallery at MASS MoCA for “In the Light of a Shadow.” The work of Los Angeles-born artist Glenn Kaino (previously), the monumental installation generates a sprawling environment filled with thousands of floating elements that speak to the vast impact of protest and collective movements.
      Lined with an aisle of light and constantly moving shadows, the hovering artworks fuse memories of past injustices and a brighter, hopeful path forward in an immersive experience. Specifically, Kaino uses “In the Light of a Shadow” as a response to the horrific events of Bloody Sunday in both Selma, Alabama, and Derry, Northern Ireland. He models the wrecked ship after the Shadow V, a modest boat Lord Mountbatten often used for fishing, that the Irish Republican Army bombed in 1979 to assassinate the member of the royal family.
      The towering display is also paired with a metal sculpture comprised of tuned bars that emit the melody from U2’s protest anthem “Sunday Bloody Sunday” when pinged in succession. A collaborative video with singer and activist Deon Jones, who police nearly blinded after shooting with a rubber bullet for protesting George Floyd’s murder, plays nearby, drawing together the historic tragedies with those happening today.
      “In the Light of a Shadow” is on view through September 5. Find more of Kaino’s works, which span installation and sculpture to film, on his site.

      “In the Light of a Shadow” (2021), installation view. Photo by Will McLaughlin
      “In the Light of a Shadow” (2021), installation view. Photo by Tony Luong
      “In the Light of a Shadow” (2021), installation view. Photo by Tony Luong
      “In the Light of a Shadow” (2021), installation view. Photo by Tony Luong
      “In the Light of a Shadow” (2021), installation view. Photo by Tony Luong
      “In the Light of a Shadow” (2021), installation view. Photo by Tony Luong
      “In the Light of a Shadow” (2021), installation view. Photo by Tony Luong

      #activism
      #boats
      #installation
      #protest
      #rocks

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      Innumerable Spines Cover Amorphous Sea Creatures Sculpted in Clay by Marguerita Hagan

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      Art

      #ceramics
      #clay
      #coral
      #sculpture
      #sea creatures

      April 15, 2021
      Grace Ebert

      “Blushing,” hand-built ceramic, 3.25 x 5 x 2.5 inches. All images © Marguerita Hagan, by Richard W. Gretzinger, shared with permission
      Prior to sculpting the prickly lifeforms that comprise her Marine Abstracts series, Marguerita Hagan plunged into the waters surrounding the Cayman Islands to get a glimpse of the coral and sponges inhabiting the region. “My research is important to my work, whether from seeing firsthand like diving, which manifested the sponge and coral-inspired Marine Abstracts, or visiting labs and working with my scientist friends,” the Philadelphia-based artist says. “I am passionate about learning, and I immerse myself into the life of each piece/species.”
      Mimicking the porous bodies of the aquatic creatures, the resulting works are amorphous in shape and hand-built in sweeping gestures from low-fire clay. Hagan subjects the ceramic forms to anywhere between three and eight rounds of firing in the kiln before they’re airbrushed with pastel glazes. Pocked with holes and covered in tiny bristles arranged with meticulous precision, each piece can take months to complete.

      “Swept,” hand-built ceramic, 6.5 x 8.25 x 6.5 inches
      When presented in a gallery space, Hagan contextualizes many of her works by pairing them with animated projections, creating holistic installations that situate individual sculptures within a larger ecosystem. It’s a way to generate conversation about interdependence and the need to protect these fragile forms, the artist says, explaining the concept further:
      Microscopic marine organisms form the basis of all life on our planet and connect in exquisite systems or colonies. These one-cell plankton gems, our primary producers provide over 50% of the oxygen for the planet with light from the sun. Rich diversity and reciprocal sharing power thriving communities and environments. This light-giving flow has enabled all life to thrive for eons…We are in a time of epic shifts and are responsible for the changes needed now. The work intends to uplift spirits, awareness, renewable action and timely sustainable investments for all life.
      You can see many of the abstracted pieces shown here, alongside dozens of Hagan’s sculptures, as part of Biospheres, which is on view both in-person and virtually at HOT•BED in Philadelphia through May 8. For a larger collection of the artist’s works, check out her site and Instagram.

      “Swept,” hand-built ceramic, 6.5 x 8.25 x 6.5 inches
      Detail of “Aquamarine Whisper,” hand-built ceramic, 6.75 x 4 x 5 inches
      “Aquamarine Whisper,” hand-built ceramic, 6.75 x 4 x 5 inches
      “Cayman Crush,” hand-built ceramic, 6.5 x 8.25 x 6.5 inches
      “Cayman Crush,” hand-built ceramic, 6.5 x 8.25 x 6.5 inches
      “Blushing,” hand-built ceramic, 3.25 x 5 x 2.5 inches

      #ceramics
      #clay
      #coral
      #sculpture
      #sea creatures

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      Flowers Mutate into Peculiar Blossoms in 18th-Century-Style Paintings by Laurent Grasso

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      Art

      #bronze
      #flowers
      #oil painting
      #painting
      #sculptures

      April 13, 2021
      Grace Ebert

      “Future Herbarium,” distemper on wood, 33.5 x 24 x 4.2 centimeters. Photo by Claire Dorn, courtesy of Perrotin. All images © Laurent Grasso, shared with permission
      In Laurent Grasso’s Future Herbarium, small bunches of flowers evolve into bizarre forms with doubled pistils and petals sprouting in thick layers and tufts. Painted in distemper or oil, the transformed blooms are depicted as typical studies of specimens common in the 18th century. The mutations bring together historical aesthetics and transformations from an imagined future, provoking “an impression of strangeness where beauty and anxiety are mixed,” the Paris-based artist says.
      Grasso works in multiple mediums, from painting to sculpture to film, and the themes of time and transformation permeate many of his projects. Future Herbarium stems from “ARTIFICIALIS,” a film slated for screening at the Musée d’Orsay, that considers the liminal spaces between nature and culture in relation to images. In its presentation at Hong Kong’s Perrotin (which is up through April 24) and the Jeonnam Museum of Art in Gwangyang (which is on view virtually and in-person through June 30), the series is paired with another project dealing with the impacts of solar wind on the earth. “The Future Herbarium’s flowers are thus subjected to an imaginary catastrophe, which would have produced mutations but also to these solar winds,” the artist says.
      In addition to the two exhibitions in Hong Kong and Gwangyang, Grasso’s work will be on view at Aranya Art Center in Qinhuangdao, China, through May 16, at Artspace in Sydney from April 28 to July 11, and at Musée de l’Armée in Paris from May 7, 2021, to January 30, 2022. Explore more of his multi-disciplinary practice on Instagram. (via This Isn’t Happiness)

      “Future Herbarium,” distemper on wood, 34 x 24 x 4.5 centimeters. Photo by Claire Dorn, courtesy of Perrotin
      “Future Herbarium,” oil on wood, 33.6 x 24 x 4.8 centimeters. Photo by Claire Dorn, courtesy of Perrotin
      “Future Herbarium,” distemper on wood, 34 x 24 x 4.5 centimeters. Photo by Claire Dorn, courtesy of Perrotin
      “Future Herbarium,” distemper on wood, 34 x 24 x 4.5 centimeters. Courtesy of Perrotin
      “Future Herbarium” (2020), white bronze, 135 x 20 x 20 centimeters. Photo by Ringo Cheung, courtesy of Perrotin
      “Future Herbarium” (2020), white bronze, 135 x 20 x 20 centimeters. Photo by Claire Dorn, courtesy of Courtesy Perrotin

      #bronze
      #flowers
      #oil painting
      #painting
      #sculptures

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      Figurative Wool Sculptures by Nastassja Swift Explore the Memories and Narratives of Blackness

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      Art

      #felt
      #fiber art
      #sculpture
      #self-portrait
      #wool

      April 13, 2021
      Grace Ebert

      Detail of “Passage, when momma lets my braids flow down my back,” wool, synthetic braiding hair, wood, plaster, resin, satin. Collaborators are Kiki Jewell, Nyja Amos, Grace Jewell. Photo by David Hunter-Hale. All images © Nastassja Swift, shared with permission
      In her salient text, In The Wake: On Blackness and Being, scholar Christina Sharpe delves into the multiple definitions of “wake,” which span from “the path behind a ship, keeping watch with the dead, (to) coming to consciousness.” “In the wake,” Sharpe writes, “the past that is not past reappears, always, to rupture the present.” Largely focused on conversations around anti-Blackness and continued violence, the book is rooted in the afterlife of slavery and what sentiments, practices, and memories linger into the current moment, questions that similarly ground the work of artist Nastassja Swift.
      Through fiber-based figures often arranged in larger gatherings, Swift explores various narratives tied to Blackness, particularly those that relate to water and ancestral presences. “I’m interested in taking those things as starting points and imaging a space or happening that involves my sculpture and allows me to think through a hypothetical rooted in that memory or history,” the Virginia-based artist says. She derives these stories from texts like Sharpe’s, discussions with friends, and in one instance, a conversation with an older Black woman at a Toni Morrison film screening.

      “Freedom Whispers in the Sky,” wool and wire
      While there are multiple narrative threads in each of her pieces, Swift doesn’t strive to disclose each one, preferring explicit gaps in the connections. “I love knowing that there’s more to what’s being made and imagining other characters or continued happenings around what’s being made,” she says. “That’s not something I’m attempting to convey, rather information that I’m okay not sharing.”
      Many of the faces evoke imagined subjects, not relatives Swift has met or seen in photographs, but rather somewhat of “an ancestral presence that allows my hands to make the face in any particular moment without my mind being aware of it.” She always begins with the supple shape of the face and then sculpts the facial details and hair from dyed wool and felt, a process that’s intimate and that’s evolved with two more recent works.

      “Your Banks are Red Honey Where the Moon Wanders-Self Portrait,” wool, cocoa butter soap, black sand, resin on wood. Photo by David Hunter-Hale
      “With ‘Passage, when momma lets my braids flow down my back’ (2021) and ‘Your Banks are Red Honey Where the Moon Wanders-Self Portrait’ (2020), everything changed,” Swift says, describing the shift in the process to that of a ritual. The first of these two works, “Passage,” is a bubblegum pink figure sporting a collar marked with smaller heads arranged in a gradient. Long braids descend down the torso and pool on the floor. Second is Swift’s self-portrait, which features a calm face shaped in deep red wool that’s silhouetted by braids and figurative tendrils. Both interpret specific subjects as West African masks and sculptural forms in order to question “what it means to worship someone, and how that word could be reshaped to allow us to honor those around us,” the artist says.
      Swift will have a satellite exhibition titled Canaan: when I read your letter, I feel your voice at the Contemporary Arts Network in Newport News from June 5 to July 3, 2021. Thanks to the Art as Activism Grant from the Black Box Press Foundation, the pieces will then travel for a stay at the Galveston Arts Center. The artist sells some felted dolls and other goods in her shop, and head to Instagram for glimpses into her studio and a larger collection of her sculptures.

      “A Party for Sojourner,” wool, natural dyes, and tulle. Photo by Marlon Turner
      Passage, when momma lets my braids flow down my back,” wool, synthetic braiding hair, wood, plaster, resin, satin. Collaborators are Kiki Jewell, Nyja Amos, Grace Jewell. Photo by David Hunter-Hale
      “Inner City,” indigo-dyed wool and felt fabric. Photo by David Hunter-Hale
      “Concealer,” wool and wire
      Swift working on “Passage, when momma lets my braids flow down my back.” Photo by Nalan Smart

      #felt
      #fiber art
      #sculpture
      #self-portrait
      #wool

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      Candid Moments Captured in Vintage Photos Are Magnified in Mohamed L’Ghacham’s Murals

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      Art
      Photography

      #found photographs
      #murals
      #public art
      #street art

      April 13, 2021
      Grace Ebert

      “Confinamiento” (2019), Cheste, Valencia, Spain. All images © Mohamed L’Ghacham, shared with permission
      Whether depicting a birthday party or a child’s first steps, the expressive murals by Mohamed L’Ghacham (previously) enlarge sincere, unposed moments into monumental celebrations of everyday life. The Moroccan artist recreates vintage photographs as wall-sized artworks in locations across Europe that portray a woman readying for bed or the chaotic minutes before a family portrait at a massive scale.
      L’Ghacham tells Colossal that his relationship to the original images has evolved in recent years from a simple juxtaposition of the site and the quiet, unassuming beauty of the domestic scenes to a more complex understanding. “Those first murals were done in abandoned, demolished places or simply on the outskirts of cities and public spaces. The impact of seeing an image of this type painted with a technique closer to classical painting than graffiti in such spaces created a concept by itself for me,” he says.
      Today, the Barcelona-based artist sources reference photographs and home videos from neighbors and city archives to connect more directly with the local culture. While his style is unchanged—L’Ghacham continues to use loose brushstrokes and layers of muted tones to achieve the vintage aesthetic—the streetside works reflect those living nearby. “I think (the murals) can be very symbolic and that many people can feel represented even if they are not necessarily the protagonists portrayed,” he says. “Until now my intention was to pay tribute and give visibility to situations that we all live in and that maybe sometimes we find it hard to value.”
      Starting next month, L’Ghacham will be traveling around Europe for a few projects and has a solo exhibition at PDP Gallery slated for this summer, which will be comprised of the smaller paintings he’s been sharing on Instagram.

      “Pillando el globo” (2019), Mataró, Spain. Done in collaboration with Ivan Floro
      “Matança do porco” (2019), Figueiró Dos Vinhos, Portugal
      “Indoor II” (2019), Schiedam, Netherlands
      “Dormitorio III” (2019), Mantova, Italy
      “La Fondue” (2019), Crans-montana, Switzerland
      “Family portrait” (2020), Wevelgem, Belgium
      “El dormitorio de Aina” (2020), Torrellas, Spain

      #found photographs
      #murals
      #public art
      #street art

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      Graphite Portraits Distort and Intertwine Subjects to Visualize Metaphors of the Body

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      Art
      Illustration

      #anatomy
      #drawing
      #graphite
      #portraits
      #surreal

      April 12, 2021
      Grace Ebert

      All images © Miles Johnston, shared with permission
      Malmö, Sweden-based artist Miles Johnston portrays subjects whose figures are in states of flux, whether through fragmented bodies, multiplied faces, or limbs contorted into impossible positions. Often depicting Johnston (previously) or his partner, the graphite portraits distort typical anatomy in a way that balances the familiar with the unknown and visualizes the thoughts and emotions otherwise hidden inside the mind.
      Whether set against a trippy backdrop or quiet beach, each piece portrays the experience of the body “through a kind of internal metaphorical language,” the artist says. He explains further:
      We don’t directly experience the actual biochemical facts of what is happening in our bodies, hormones secreting, weird little proteins and neurons doing whatever it is they do. Instead, we have a whole language of expressions like stomach tied up in knots, feeling empty, torn in two, burning with anger, etc… I’m aiming for this sort of naive direct representation of what things feel like instead of a literal representation of how they look from the outside.
      Keep an eye on Johnston’s site and Instagram for news on upcoming print releases and his latest works.

      #anatomy
      #drawing
      #graphite
      #portraits
      #surreal

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      Figures Experience Constraint and Confinement in Bronze Sculptures by Khaled DAWWA

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      Art

      #bronze
      #clay
      #sculpture

      April 12, 2021
      Grace Ebert

      “Sans titre” (2020), bronze, 35 x 14 x 13 centimeters. All images © Khaled DAWWA, shared with permission
      Whether folded into a box, bound by cords, or fragmented and stacked, the nondescript figures that Paris-based artist Khaled DAWWA sculpts experience some form of confinement. Their bodies are contorted into cages or squeezed into each other’s arms, and each looks down or away, a position that makes them appear to lack the power and agency to be free. Cast in dense blocks, the introspective sculptures reflect the artist’s preference for terracotta and bronze. “All that we received from the old history is by these two materials,” he says.
      Most of the pieces shown here are part of the Compressed series, which were born out of the artist’s own experiences. He tells Colossal:
      This project was inspired by my having lived in different places during a short period: detention and compulsory military service in Damascus for four months, then Lebanon for one year and finally arriving to France. Upon arrival in France, at first, I felt liberated from it all. Then I realized that the French live their lives in a complex system that turns them into “compressed people” and that we had this in common. This is the first series in which I look at people beyond Syria.
      If you’re in Paris, you can see Khaled DAWWA’s artwork at numerous spots around the city: his piece titled “Les Passants” will be installed in a public spot in Clamart in May 2021, and he’s also participating in Beautify Paris in June of this year. Currently, he is part of Répare, Reprise at the International City of Arts, a group show that’s up through July 10, and is in the process of making a film about the artworks on display. Explore more of the artist’s compacted sculptures on Instagram.

      “Compressé” (2016), bronze, 13 x 11 x 8 centimeters
      “Liberté” (2019), terracotta, 35 x 16 x 13 centimeters
      “Siége” (2019), bronze, 35 x 14 x 13 centimeters
      Left: “Les mille et une nuit” (2016), terracotta and wood, 20 x 30 centimeters. Right: “Et nous resterons amis pour toujours …,” bronze, 110 x 59 x 36 centimeters
      “Une cellule individuelle” (2016), terracotta and wood, 15 x 15 x 5 centimeters

      #bronze
      #clay
      #sculpture

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      150,000 Hearts Representing Lives Lost to Coronavirus in the UK Line the COVID Memorial Wall in London

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      Art
      History
      Photography

      #COVID-19
      #health
      #heart
      #memorial
      #public art

      April 12, 2021
      Grace Ebert

      All photos © Henri Calderon for Colossal
      Nearly 500 meters of small, red hearts will soon cover an expanse of concrete facing the River Thames in London. Now dubbed the National COVID Memorial Wall, the poignant display publicly commemorates the 150,000 lives lost to the coronavirus pandemic in the United Kingdom so far. Each heart represents one victim, with short messages of grief, love, and remembrance scribed by loved ones in their centers. It takes about ten minutes to walk by the entirety of the project, which serves as a staggering reminder of the virus’s devastation.
      Coordinated by COVID-19 Bereaved Families For Justice, the two-meter-high wall is situated between the Westminster and Lambeth bridges, opposite the Houses of Parliament. According to The Guardian, Matt Fowler helms the ongoing project, which he began a few weeks ago by painting 15,000 hearts on the facade. His father died from the virus last April. “When you see all the hearts and think what each one represents, it’s absolutely frightening,” Fowler says.
      Organizers still are raising money for supplies to complete all 150,000 hearts—although official government statistics currently reflect 149,000 deaths, which is the largest loss in Europe—that volunteers will continue to paint to account for all victims. Talks are also in the works about preserving the memorial to ensure that it’s a permanent fixture in London.
      This past weekend, photographer Henri Calderon captured images for Colossal that document the memorial’s progress, which you can see below.

      #COVID-19
      #health
      #heart
      #memorial
      #public art

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