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      Hyperrealistic Portraits by Artist Arinze Stanley Reflect the Emotions of Black Experiences

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      Art

      #activism
      #black and white
      #charcoal
      #graphite
      #hyperrealism
      #portraits

      September 19, 2020
      Grace Ebert

      “Mindless #3.” All images © Arinze Stanley, courtesy of Corey Helford Gallery, shared with permission
      Arinze Stanley describes his hyperrealistic drawings as “a simple language of my feelings.” In a statement about his new series titled Paranormal Portraits, the Nigerian artist (previously) says he uses his art as a form of political activism and as a way to amplify the voices of those who are unheard. Stanley noes that the relationships he fosters with his subjects are complicated and more often a reflection of himself:
      In my opinion, artists are custodians of time and reality, hence why I try to inform the future about the reality of today, and through these surreal portraits seen in my new body of work, Paranormal Portraits, navigate my viewers into what is almost a psychedelic and uncertain experience of being Black in the 21st Century.
      Using graphite and charcoal pencils, Stanley draws with such detail, capturing a stray hair or glimmer of beading sweat. Whether featuring a subject wrapped in hands or dripping in paint, the monochromatic portraits are intimate, expressive, and “born out of the zeal for perfection both in skill, expression, and devotion to create positive changes in the world. I draw inspiration from life experiences and basically everything that sparks a feeling of necessity,” Stanley says.
      If you’re in Los Angeles, Stanley’s work will be on view at Corey Helford Gallery starting October 3. Otherwise, head to Instagram and check out this video from Great Big Story capturing his deftly rendered artworks.

      “The Machine Man #7”
      Left: “People and Paper #1.” Right: “The Machine Man #6″
      “Paranormal Portrait #3”

      #activism
      #black and white
      #charcoal
      #graphite
      #hyperrealism
      #portraits

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      Bees Encase Raw-Material Embroideries with Honeycomb in New Encaustic Works by Ava Roth

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      Art
      Design
      Science

      #bees
      #encaustic
      #honey
      #mixed media

      September 18, 2020
      Grace Ebert

      “Falling Horsehair, Gold #2,” encaustic, Japanese tissue, horse hair and thread in embroidery hoop, embedded in honeycomb, custom double length Langstroth hive frame, 19”x 9.5 inches. All images © Ava Roth, shared with permission
      When Ava Roth adds the last stitch grasping horsehair or porcupine quills to her embroidered artworks, she passes the fibrous material on to her black-and-yellow counterparts. The Toronto-based artist collaborates with bees to encase her mixed-media pieces in waxy honeycomb. What emerges are organic artworks that consider interspecies interactions and the beauty that such meetings can garner.
      Since 2019, Roth has been expanding the wooden frames of her works to twice the size as previous projects. She receives help from master beekeeper Mylee Nordin, and together, they vertically stack hive boxes, which are known as supers, and insert large, custom-made structures. The artist also has developed a more detailed practice in recent months. “Because this project has required so much trial and error, I was still experimenting with materials last season, trying to find substances that the bees would consistently respond to positively,” she writes. “I was trying to find organic substances that would not harm the bees but also that the bees would not eat or otherwise destroy.”
      When the bees finished wax production in late October, Roth says her understanding of the species and confidence in her choice of raw matter had grown. “I spent the winter weaving and embroidering beeswax, porcupine quills, horsehair, and other organic material into embroidery hoops, and then fixing them onto my new custom made frames,” she notes.

      Beeswax, porcupine quills, Japanese tissue, metallic thread in embroidery hoop, embedded in natural honeycomb
      Roth’s projects also have a sense of urgency through their connection to Colony Collapse Disorder, a phenomenon that’s killing colonies and threatening the species’ population. “Honeybees are often considered a harbinger of the health of our planet, and CCD is interpreted by many environmentalists and scientists as a clear indicator of our current environmental crisis,” the artist says.
      I consider the bees to be my co-workers, collaborators in every sense. I take cues from their needs, design the project around their capacities, and work in sync with their seasons. Ultimately, this art that we make together is essentially hopeful at a time when we are overwhelmed with despair at the state of the environment, and our role in its destruction.
      During the winter, Roth plans to refine her project further after reflecting on another season of interspecies collaboration. Follow the latest updates on her encaustic works on Instagram.

      Beeswax, porcupine quills, Japanese tissue, metallic thread in embroidery hoop, embedded in natural honeycomb
      “Honeycomb Embroidery, Amber,” beeswax, Japanese tissue, glass beads, thread, honeycomb in embroidery hoop, 6 inches
      “Porcupine Quill Flowers,” encaustic, Japanese tissue, porcupine quills, metal thread, seed beads, and embroidery hoop embedded in honeycomb, a traditional Langstroth hive frame, 19 x 9.5 inches
      Left: “Honeycomb Embroidery, Birch and Moss,” beeswax, Japanese tissue, glass beads, thread, honeycomb, birch bark in an embroidery hoop, 6 inches. Right: “Honeycomb Embroidery, Flora,” beeswax, Japanese tissue, glass beads, thread, honeycomb, birch bark, leaves, in embroidery hoop, 9.5 inches

      #bees
      #encaustic
      #honey
      #mixed media

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      A Plant Overruns an Incredibly Intricate Cardboard Universe for Robots by Greg Olijnyk

      by

      
      Art
      Craft

      #cardboard
      #light
      #plants
      #robots
      #science fiction
      #sculpture

      September 18, 2020
      Grace Ebert

      All images © Greg Olijnyk, by Griffin Simm, shared with permission
      Until now, Greg Olijnyk’s cardboard robots have been poised for adventure, whether perched on a speed bike or sailing an undulating sea. His meticulously crafted universe, though, has taken an eerie and slightly dystopic turn. The Melbourne-based artist presents fully articulate robots lying on an operating table and attempting to wrangle an aloe plant bound to a cage. Complete with LED lights and glass where necessary, the latest iteration even features an illustrated danger sign, warning that the plant will soon breach its enclosure.
      To follow the latest sculptures in Olijnyk’s science-fiction inspired reality, head to Instagram, where he shares process shots and videos of the robots in action.

      #cardboard
      #light
      #plants
      #robots
      #science fiction
      #sculpture

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      Meditative Faces Emerge from the Staggered Wooden Sticks Forming Artist Gil Bruvel’s Sculptures

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      Art

      #faces
      #gradients
      #meditation
      #sculptures
      #wood

      September 17, 2020
      Grace Ebert

      “Breathe” (2020). All images © Gil Bruvel, shared with permission
      Gil Bruvel (previously) has spent 40 years practicing vipassanā meditation, an introspective practice that invites judgment-free observation of the mind. The Australia-born artist infuses the philosophies of this decades-long ritual into his variegated sculptures as he forms a series of faces in deep thought. With eyes and mouths closed, the figures project serenity and calmness, serving as “a reminder of what it looks like to be centered and at peace,” Bruvel says of The Mask Series.
      Different in shape and size, the sticks are burned, painted with subtle gradients, and then held in place with wood glue, causing the figures to appear pixelated and as a disparate grouping of squares and rectangles when viewed up close. From a distance, however, “that fragmentation reveals a coherent whole: a face arises from apparent chaos,” Bruvel shares with Colossal. Through their collated forms, the assemblages offer a visual metaphor for the complexity and contradiction that’s inherent to human beings.
      Bruvel also draws attention to the backs of the sculptures, which stray from the figurative depictions of the front to focus on the abstract workings of the mind.  “The assemblage of pixel-like stick-ends conveys the hidden realm of emotion, sensation, and thought—our internal universe. The gradients of color represent the flows of feeling and consciousness that pass through our minds like ripples on a lake, leaving the lake unchanged,” he says.
      Explore more of Bruvel’s meditative artworks and see some works-in-progress on Instagram and Artsy.

      “Floating” (2019), burnt wooden sticks and acrylic paint, 24 × 21 inches
      “Mask #28” (2020), wood and paint, 16 × 16 × 9 inches
      “The Fountain” (2019), wood and paint, 27 × 19 × 23 inches
      “The Fountain” (2019), wood and paint, 27 × 19 × 23 inches
      “Moonlight” (2019), wood and paint, 22 × 22 × 21 inches
      “Moonlight” (2019), wood and paint, 22 × 22 × 21 inches
      “Mask #22” (2020), wood and paint, 16 × 16 × 9 inches
      “Mask #26” (2020), wood and paint, 16 × 16 × 9 inches
      “Breathe” (2020)

      #faces
      #gradients
      #meditation
      #sculptures
      #wood

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      An Artistic Endeavor in Brussels Installs Custom Mosaics Outside Your Home—People Are Choosing Portraits of Their Cats

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      Art

      #Brussels
      #cats
      #mosaics
      #pets
      #public art
      #street art

      September 16, 2020
      Grace Ebert

      Image courtesy of John Hyphen
      Cats, dogs, and other mammals are known to mark their territories in myriad ways, but pet owners in Brussels have discovered a more enduring and inviting method. What began as a single project by artist Ingrid Schreyers spurred a municipality-wide initiative: the government of Schaerbeek, a suburb bordering the city of Brussels, now installs any mosaic, either created by residents or a local artist, free of charge. Many people are choosing portraits of their furry companions, although the idiosyncratic designs range from playful depictions of wildlife to urban scenes.
      We’ve gathered some of the street-side assemblages here, but check out this Instagram account documenting the public art initiative for hundreds more. You also might enjoy these Japanese manhole covers and a similar mosaic-centered initiative to fill potholes.

      Image courtesy of John Hyphen
      Via pavement_project
      Image courtesy of John Hyphen
      Via pavement_project
      Image courtesy of John Hyphen

      #Brussels
      #cats
      #mosaics
      #pets
      #public art
      #street art

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      Subjects Undertake Futile Pursuits in Satirical Paintings by Artist Toni Hamel

      by

      
      Art

      #flowers
      #humor
      #nature
      #painting
      #satire

      September 16, 2020
      Grace Ebert

      “Loves Me Loves Me Not” (2020), oil on canvas, 12 x 12 inches. All images © Toni Hamel, shared with permission
      Based in Oshawa, a suburb of Toronto, artist Toni Hamel (previously) is concerned with human morality—or lack thereof. In her subtly hued artworks, Hamel portrays subjects in the midst of futile and trivial pursuits: children pluck stars from the night sky, a couple attempts to reconstruct a flower after its petals have fallen, and a young family literally watches wet paint dry. Many of the satirical pieces consider socially accepted anthropocentrism and the relationship people have with the surrounding environemnt.
      Since 2017, Hamel has been adding to High Tides and Misdemeanors, an ongoing series that is intentionally political. “It confronts us with the repercussions of our actions and denounces the current thinking models. In this age of alternative realities, ‘fake news’ and a culture that is increasingly more self-absorbed and superficial, I feel that it’s even more important for me to carry on reporting what I must,” she writes.
      Explore more of Hamel’s visual commentaries on culture and politics on Instagram.

      “The Harvest” (2020), oil on canvas, 12 x 16 inches
      “The Prototype 1” (2020), oil on canvas, 12 x 16 inches
      “The Spill” (2020), oil on canvas, 12 x 10 inches
      “Family Night In Kodachrome” (2020), oil on panel, 12 x 12 inches
      “The Replacement” (2019), oil on canvas, 14 x 18 inches
      “Ikebana 1” (2019), oil on canvas, 18 x 18 inches
      “Ikebana 3” (2020), oil on canvas, 18 x 18 inches

      #flowers
      #humor
      #nature
      #painting
      #satire

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      Precious Gems Form the Unsightly Rot of Artist Kathleen Ryan’s Decomposing Fruit

      by

      
      Art
      Food

      #fruit
      #gemstones
      #mold
      #sculpture

      September 15, 2020
      Grace Ebert

      “Bad Grapes” (2020), amethyst, aventurine, agate, garnet, pyrite, ruby in zoisite, tektite, tigereye, turquoise, serpentine, obsidian, blackstone, Indian unakite, labradorite, Sierra agate, red agate, black agate, serpentine, quartz, marble, amazonite, rhyolite, calcite, dalmation jasper, glass, steel and stainless steel pins, copper tube, and copper fittings, polystyrene. 59.5 x 90 x 54 inches. Image courtesy of Kathleen Ryan and François Ghebaly, Los Angeles, by Marten Elder
      New York-based artist Kathleen Ryan harvests inspiration for her oversized sculptures from natural sources: cherry orchards, vineyards, and mineral mines below the earth’s crust. She’s known for her fruit pieces that appear to be covered in mold, whether in the form of a deflated bunch of grapes or a pair of cherries spotted with fungi.
      Ryan portrays the moldy substances through precious and semi-precious gemstones like amethyst, quartz, and marble. The materials’ durability and longevity directly contrast the decay they represent. Whereas the most valuable and lustrous stones cover parts of the fruit, Ryan uses simple glass beads to create the still supple portions, forming the bright red flesh of the cherry or the pockets of yellow rind on the lemon.
      A virtual exhibition of the artist’s rotting sculptures, which sometimes span as many as 90 inches wide, is available for viewing from Karma. Follow Ryan on Instagram to see more of her work that explores the beautiful and the unsightly.

      “Bad Cherries (BFF)” (2020), agate, amazonite, aquamarine, aventurine, amethyst, angelite, brecciaded jasper, garnet, jasper, labradorite, magnesite, moonstone, quartz, red aventurine, rhyolite, serpentine, snow quartz, smoky quartz, spotted quartz, unakite, tiger eye, freshwater pearls, glass, steel pins on coated polystyrene, fishing poles, 26 × 12 × 39 inches. Image courtesy of Kathleen Ryan and Karma, New York
      “Bad Grapes” (2020), amethyst, aventurine, agate, garnet, pyrite, ruby in zoisite, tektite, tigereye, turquoise, serpentine, obsidian, blackstone, Indian unakite, labradorite, Sierra agate, red agate, black agate, serpentine, quartz, marble, amazonite, rhyolite, calcite, dalmation jasper, glass, steel and stainless steel pins, copper tube, and copper fittings, polystyrene. 59.5 x 90 x 54 inches. Image courtesy of Kathleen Ryan and François Ghebaly, Los Angeles, by Marten Elder
      “Bad Cherries (BFF)” (2020), agate, amazonite, aquamarine, aventurine, amethyst, angelite, brecciaded jasper, garnet, jasper, labradorite, magnesite, moonstone, quartz, red aventurine, rhyolite, serpentine, snow quartz, smoky quartz, spotted quartz, unakite, tiger eye, freshwater pearls, glass, steel pins on coated polystyrene, fishing poles, 26 × 12 × 39 inches. Image courtesy of Kathleen Ryan and Karma, New York
      “Pleasures Known” (2019), various semi-precious stones, shells, beads, wood, steel, plastic, hardware, coated polystyrene, iron trailer. Image courtesy of Kathleen Ryan and François Ghebaly, Los Angeles, by Marten Elder
      “Bad Grapes” (2020), amethyst, aventurine, agate, garnet, pyrite, ruby in zoisite, tektite, tigereye, turquoise, serpentine, obsidian, blackstone, Indian unakite, labradorite, Sierra agate, red agate, black agate, serpentine, quartz, marble, amazonite, rhyolite, calcite, dalmation jasper, glass, steel and stainless steel pins, copper tube, and copper fittings, polystyrene. 59.5 x 90 x 54 inches. Image courtesy of Kathleen Ryan and François Ghebaly, Los Angeles, by Marten Elder
      “Bad Cherries (BFF)” (2020), agate, amazonite, aquamarine, aventurine, amethyst, angelite, brecciaded jasper, garnet, jasper, labradorite, magnesite, moonstone, quartz, red aventurine, rhyolite, serpentine, snow quartz, smoky quartz, spotted quartz, unakite, tiger eye, freshwater pearls, glass, steel pins on coated polystyrene, fishing poles, 26 × 12 × 39 inches. Image courtesy of Kathleen Ryan and Karma, New York
      “Pleasures Known” (2019), various semi-precious stones, shells, beads, wood, steel, plastic, hardware, coated polystyrene, iron trailer. Image courtesy of Kathleen Ryan and François Ghebaly, Los Angeles, by Marten Elder
      “Pleasures Known” (2019), various semi-precious stones, shells, beads, wood, steel, plastic, hardware, coated polystyrene, iron trailer. Image courtesy of Kathleen Ryan and François Ghebaly, Los Angeles, by Marten Elder
      “Bad Lemon (Persephone)” (2020), Turquoise, serpentine, agate, smokey quartz, labradorite, tiger eye, tektite, zebra jasper, carnelian, garnet, pyrite, black stone, magnesite, Ching Hai jade, aventurine, Italian onyx, mahogany obsidian, vanadinite, glass, steel pins on coated polystyrene, 19.5 × 28.5 × 18 inches. Image courtesy of Kathleen Ryan and Karma, New York
      “Bad Lemon (Tart)” (2020), Citrine, amber, agate, turquoise, fluorite, prehnite, magnesite, Ching Hai jade, quartz, amethyst, garnet, labradorite, white lip shell, serpentine, sesame jasper, zebra jasper, grey feldspar, marble, glass, steel pins on coated polystyrene, 19 × 16 × 17 inches. Image courtesy of Kathleen Ryan and Karma, New York

      #fruit
      #gemstones
      #mold
      #sculpture

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      Vintage-Style Illustrations Merge Animals, Insects, and Botanics to Form Bizarre Hybrid Creatures

      by

      
      Art
      Illustration

      #animals
      #birds
      #humor
      #plants
      #watercolor

      September 15, 2020
      Grace Ebert

      All images courtesy of Mark Brooks, shared with permission
      Full of extraordinary creatures, the illustrated series The Creative Specimens seamlessly combines species into unusual hybrids. Similar in color, each organism is bizarre in form. The feathered head of a bird is placed on a tortoise’s body, octopus tentacles sprout from the bottom of a cactus, and speckled coral comprises a deer’s antlers.
      Adobe’s 99U Conference spurred the collaborative project as a way to offer a visual language encompassing various creative careers and passions. Inspired by the biological classifications of Charles Darwin and his contemporaries, New York-based art director and graphic designer Mark Brooks digitally rendered the organisms by referencing vintage illustrations. He then passed the project to Joanmiquel Bennasar, an illustrator living and working in the Balearic Islands, who recreated the creatures in watercolor.
      Explore more of Brooks’s and Bennasar’s illustrated projects on Behance.

      #animals
      #birds
      #humor
      #plants
      #watercolor

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