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      Textural Sculptures by Artist Jessica Drenk Use Junk Mail, Book Pages, and Q-Tips to Explore Materiality

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      Art

      #books
      #installation
      #paper
      #pencils
      #sculpure
      #wood

      October 22, 2020
      Grace Ebert

      “Dendrite” (2019), Q-tips and plaster. All images © Jessica Drenk, courtesy of Galleri Urbane, shared with permission
      Montana-born artist Jessica Drenk (previously) employs simple materials, like shopping flyers and standard No. 2 pencils, to create organic sculptures that are chaotic and arresting explorations of the substances themselves. Bundled Q-tips spread across a site-specific installation like the roots of a tree, a carved section of plywood reveals concentric patterns, and strips of junk mail are plastered together in long waves.
      While Drenk’s latest series, titled Transmutations, is diverse and ranges from wall pieces to cavernous sculptures, each artwork explores materiality and how disparate shapes and textures combine to create forms that are new both physically and conceptually. The artist explains in a statement:
      In treating everyday objects as raw material to sculpt, I practice a form of conceptual alchemy: through physically manipulating these objects their meanings become transmuted. Each piece is a direct response to material—a subversion of the meanings associated with it, and a reference to the life cycle of objects through time.
      If you’re in Dallas, Transmutations is on view at Galleri Urbane through October 31. Otherwise, follow Drenk’s textural works on Artsy, and watch an interview with the artist at her studio below.

      “Contour 3” (2020), carved plywood, 47 x 38 x 3 inches
      “Implement 68” (2020), pencils, 22 x 18 x 17 inches
      “Cerebral Mapping” (2020), books and wax, 132 x 80 inches
      “Compression 3” (2020), books, wax on wood panel, and wood frame, 44 x 38 x 2 inches
      “Dendrite” (2019), Q-tips and plaster
      Top: “Aggregate 3” (2020), junk mail, 28 x 130 x 2.25 inches. Bottom: “Aggregate 2” (2020), junk mail and plaster, 20 x 78 x 2.5 inches
      Left: “Circulation 18” (2020), books and wax, 31 x 29 x 1.5 inches. Right: “Circulation 19” (2020), junk mail and cardboard, 36 x 36 x 1.5 inches

      

      #books
      #installation
      #paper
      #pencils
      #sculpure
      #wood

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      Oversized Spiders by Mister Finch Transform Vintage Textiles into Fairytale Sculptures

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      Art
      Craft

      #sculpture
      #spiders
      #textiles

      October 22, 2020
      Grace Ebert

      All images © Mister Finch, shared with permission
      Leeds-based artist Mister Finch (previously) thrifts scraps of brocades and cottons to shape into fantastical creatures that are both whimsical and slightly unnerving. His recent pieces include a series of oversized spiders that the artist photographs suspended from the ceiling or scaling his workshop wall. “The past few years my work has become more sculpture-based with my creatures pretty much all stood up and attached to bases.” Finch writes. “I love the way this looks and enables me to dress and humanize them, which is something I’ve always wanted to do.”
      Although the ongoing pandemic has stifled the artist’s foraging of fabrics and other materials in recent months, Finch notes that he’s been pulling textiles from his home stash and occasionally visiting fairs and markets. He’s also been scaling down his sculptures so that they’re easier to handle without assistance.
      Finch published two books filled with his fairytale-style sculptures and settings in recent years—and currently is working on a third—which you can purchase in his shop along with cards and totes. Dive further into his eccentric projects on Instagram.

      #sculpture
      #spiders
      #textiles

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      Overflowing with Flora and Fauna, Collaged Paper Installations Comment on Earth’s Dwindling Biodiversity

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      Art

      #animals
      #found photographs
      #installation
      #nature
      #paper
      #plants

      October 21, 2020
      Grace Ebert

      “Intimate Immensity” (2016). Photograph by Trevor Good. All images © Clare Börsch, shared with permission
      Sprawling across paint-chipped walls and tiny alcoves, the collaged installations of artist Clare Börsch mimic overgrown jungles and whimsical forest scenes. Layers of flora, fauna, and the occasional gemstone or human figure comprise the amorphous paper artworks as they transform spaces into fantastical ecosystems.
      In a note to Colossal, Börsch shares that she began her artistic practice as a way to translate her dreams, which are often lucid and informed by memories and a strong tie to nature, into physical objects that others could immerse themselves in. “Growing up in Brazil, I had the ocean, rivers, and jungles that always existed in stark contrast to the industrial cities (I lived in Sao Paulo). So my earliest and most formative memories are of lush, humming tropical ecosystems —and the encroaching industrial landscapes of Brazil’s cities,” she says.
      The Berlin-based American artist sources her many of the vintage photographs from open source archives, including the Biodiversity Heritage Library (previously), Pixabay, and Unsplash. Some of the botanical elements she draws or photographs herself before cutting around the organic elements and assembling them in new, sometimes bizarre, compositions.

      Jungle installation commissioned by Book A Street Artist Berlin for Riem Arcaden in Munich. Photograph by the artist
      Despite the vibrancy and lively qualities of the three-dimensional collages, Börsch uses her artworks to reflect on the ongoing climate crisis and destruction of biodiversity, commentary that’s laced with themes of decay and death. She explains:
      This came into focus for me when I made a series of collages and then later realized that many of the species in the vintage illustrations had already gone extinct. Humanity has wiped out 68% of all our planet’s biodiversity since 1970, so working with vintage illustrations can be very heartbreaking as much of the diversity in these gorgeous old naturalist prints has been wiped out by human activity.
      Since then, Börsch has been collaborating with scientist Louisa Durkin, of the Nordic Academy of Biodiversity and Systematics Studies, to identify ways the artworks can spark awareness and dialogue about environmental issues. “I often say that I do not want my art to be a funerary dirge for everything we could have saved,” she says.
      In recent months, Börsch has been working on a commissioned series that will culminate in a forthcoming book, titled Why Do Tigers Have Whiskers? And Other Cool Things About Animals, which is scheduled for release by Thames & Hudson in May 2021. Follow the artist on Instagram to see her latest projects, including an immersive installation commenting on regenerative approaches to tackling problems of biodiversity, which she plans to unveil in early November. (thnx, Elsie!)

      “Intimate Immensity” (2016)
      “Intimate Immensity” (2016)
      Jungle installation commissioned by Book A Street Artist Berlin for Riem Arcaden in Munich
      Photograph by Kolja Raschke
      “Intimate Immensity” (2016). Photograph by Trevor Good
      Photograph by Kolja Raschke
      Photograph by Kolja Raschke

      #animals
      #found photographs
      #installation
      #nature
      #paper
      #plants

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      Bright Floral Knitting Wraps an Iconic Stratocaster Guitar in a Psychedelic Layer of Color

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      Art
      Craft
      Music

      #flowers
      #guitars
      #knitting

      October 20, 2020
      Grace Ebert

      “Flower Power” (2020), knitted wool and Fender Stratocaster, 106.7 x 12.7 x 38.1 centimeters. All images courtesy of The Big Art Auction, shared with permission
      A new piece by Portuguese artist Joana Vasconcelos (previously) envelops one of Fender’s Stratocaster guitars in a vibrant sheath of wool. Titled “Flower Power,” loosely knit petals cover the entirety of the instrument, wrapping the body, neck, and head in a kaleidoscopic bouquet. The fibrous webbing evokes the aesthetic of the 1960s when Fender’s model secured its legendary status.
      Along with a diverse series of artist-customized Strats, “Flower Power” will be auctioned on Nov. 4 through The Big Art Auction, a collaborative event hosted by The Big Issue Group and Creative Giants. Proceeds from the sales will be donated to The Big Issue, a United Kingdom-based organization that creates economic opportunities for folks who are marginalized and in need. To follow Vasconcelos’s knitted interventions, head to Instagram.

      “Flower Power” (2020), knitted wool and Fender Stratocaster, 106.7 x 12.7 x 38.1 centimeters
      “Flower Power” (2020), knitted wool and Fender Stratocaster, 106.7 x 12.7 x 38.1 centimeters

      #flowers
      #guitars
      #knitting

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      Archaeologists Unearth a Nearly 2,000-Year-Old Cat Geoglyph Lounging on a Peruvian Hillside

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      Art
      History

      #archaeology
      #cats

      October 20, 2020
      Grace Ebert

      A new discovery on the side of the Mirador Natural Hill in Peru reveals that common feline activities—namely sprawling out in the most comfortable position—have remained relatively stable throughout the last 2,000 years. This week, archaeologists unearthed a 120-foot-wide etching of a cat at the Nazca Lines site in Peru, which is home to a series of geoglyphs depicting a spider, monkey, hummingbird, whale, and fish. The feline rendering dates back to the Late Paracas period between 200-100 BC, making it the oldest in the area.
      With bulbous eyes and a striped tail, the now-faded creature was created by stripping the top layers of soil to reveal the lighter-colored bedrock beneath, with lines ranging from 12 to 16 inches thick. “The figure was barely visible and was about to disappear due to its location on a fairly steep slope and the effects of natural erosion,” the Peruvian Ministry of Culture said in a release.
      The area is located in the Nazca Desert, which is about 250 miles south of Lima, and is recognized as a UNESCO World Heritage site. Although the cat predates Nazca culture—according to the ministry, feline renderings were common in Paracus society and found on textiles, ceramics, and other iconographic objects—similar prehistoric drawings influenced many of the geoglyphs found at the Nazca Lines site. (via Gizmodo)

      #archaeology
      #cats

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      Monochromatic Illustrations Personify the Power of the Sun and Moon through Fictional Deities

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      Art
      Illustration

      #drawing
      #portraits

      October 18, 2020
      Grace Ebert

      All images © Sara Golish, shared with permission
      In her ethereal portraits, Toronto-based artist Sara Golish (previously) renders lavishly adorned goddesses and gods that exude a sense of power and wisdom. The charcoal, conté, and ink drawings are part of two ongoing collections, titled Sundust and Moondust, that imagine a series of fictional deities. Each figure belongs to one of the celestial bodies, a correlation that the artist visualizes through the paper’s color, with a warmer beige for the sun and a cool gray for the moon. “I chose to keep them monochromatic so they could be imagined in any skin tone to each individual viewer’s liking—an ease to envision themselves,” the artist says.
      In recent months, Golish has been working on commissions and new bodies of work across mediums, which you can follow on Instagram. To add one of the mythical portraits to your collection, see what’s available in her shop.

      #drawing
      #portraits

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      Circular Paintings Expose the Fleshy Innards of Halved Oranges, Pomegranates, and Other Fruits

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      Art
      Food

      #fruit
      #painting

      October 16, 2020
      Grace Ebert

      “#65 (orange)” (2017), oil on canvas, 20 inches. All images © Alonsa Guevara, shared with permission
      Using round canvases with a range of diameters, Alonsa Guevara deftly paints the plump, juicy insides of oranges, watermelon, and other fruits. Each circular piece depicts a seemingly perfect slice down the middle, capturing the fibrous veins and central seeds found within fresh produce.
      Guevara spent her childhood in the Ecuadorian rainforests surrounded by tropical landscapes and nearby agriculture, an experience of nature that influences her artistic practice. The Chilean artist, who lives in New York City, began fruit portraits in 2014 as she reflected on her adolescence and thought of creating a body of work that felt universal.
      “Immediately I thought of fruits; they are everywhere and have been present as an essential part of evolution and as symbols throughout human history,” Guevara shares with Colossal. “I decided to paint the fruits cut open, revealing their insides, recreating and depicting all the incredible patterns, seeds, and infinite information they carry, which many people take for granted.”
      Now an extensive series with dozens of paintings—the artist creates both miniatures that are as little as 1.5 inches and larger works spanning 30 inches—Guevara considers the collection a representation of desire and fertility, in addition to death and decay. “These fruits of the earth can be delicious/poisoning, juicy/rotten, real/imaginary,” she says. No matter the type, though, every work is painted to elicit a sensory response.
      A limited print series of Guevara’s orange, kiwi, and pomegranate will go on sale on October 21 on Her Clique, a new platform dedicated to promoting women’s art, with a portion of the proceeds donated to a program for low-income international students at The New York Academy of Art. Explore the full series of fleshy fruits on Guevara’s site, and stay up to date with her work on Instagram and Artsy.

      Left: “#27 (kiwi)” (2015), oil on canvas, 12 inches. Right: “#55 (pomegranate)” (2016), oil on canvas, 20 inches
      “#47 (apricot)” (2015), oil on canvas, 10 inches
      “#48 (cactus pair)” (2015), oil on canvas, 5 inches
      Left: “#51 (imagined fruit)” (2015), oil on canvas, 8 inches. Right: “#52 (watermelon)” (2015), oil on canvas, 20 inches
      Installation view
      Upper left: Mini Fruit Portrait Lemon. Upper right: Mini Fruit Portrait Avocado. Lower left: Mini Fruit Portrait Watermelon. Lower right: Mini Fruit Portrait Orange
      “#42 (pineapple)” (2015), oil on canvas, 8 inches

      #fruit
      #painting

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      Lustrous Strips of Glass Bisect Debris, Bricks, and Semi-Precious Stones in Ramon Todo’s Sculptures

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      Art

      #found objects
      #gemstones
      #glass
      #installation
      #sculpture
      #stone

      October 16, 2020
      Grace Ebert

      “Debris” (2016), debris and layered glass. All images courtesy of Art Front Gallery, shared with permission
      Between gnarly chunks of concrete, basalt pillars, and smooth rounds of lapis lazuli, Ramon Todo (previously) positions sleek segments of layered glass. The Tokyo-born artist splices fragments of found objects that otherwise would be regarded as refuse, like a crumbling brick from Iizuka City or coal waste, to repurpose the existing material with a lustrous embellishment.
      Whether volcanic rock or chunks of demolished architecture, the resulting juxtapositions carry the original history, although they’re presented anew. “The characteristics of the place. The uniqueness of the place. Like the memories of the place and time,” the artist says in an interview about a recent solo show at Art Front Gallery in Tokyo. “I use the rocks, debris, Bota (stone similar to coal) for my works believing they have such memories inside. I used the glasses as material in the middle to peek into the time and the history of inside the rocks.”
      Find more of Todo’s textured sculptures on Artsy, and see where his work is headed next on Art Front’s site.

      (2015), basalt and glass
      (2015), basalt and glass
      “Debris 267703” (2016), debris and glass, 23 4/5 × 7 7/10 × 5 3/5 inches
      Top: “Debris – 267411” (2014), debris and glass, 8 1/10 × 23 3/5 × 7 1/10 inches. Left: “o.T-GS” (2018) stone and layered glass, 11 × 16 1/2 × 8 3/10 inches. Right: “o.T. -dtk267801″ (2016), stone from Datekan and glass, 7 1/5 × 7 1/5 × 7 inches
      (2015), basalt and glass
      “Afghanistan” (2017), Lapis lazuli and glass, 7/10 × 2 1/2 × 1 3/5 inches
      “Chikuho Coal waste #15” (2020), coal waste from Chikuho and glass, 12 3/5 × 12 1/10 × 5 3/5 inches
      “Chikuho Red Brick” (2020), brick pieces collected from Iizuka City and glass, 7 1/5 × 4 2/5 × 2 2/5 inches

      #found objects
      #gemstones
      #glass
      #installation
      #sculpture
      #stone

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