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    Between Wounds and Folds: Suspended Cow Carcasses and Tree Stumps Reveal Layers of Discarded Fabric by Tamara Kostianovsky

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    Art

    #animals
    #death
    #installation
    #sculpture
    #textiles
    #trees

    October 11, 2021
    Christopher Jobson

    Photo © Etienne Frossard. All images courtesy the artist, shared with permission.
    Working with the tattered remnants of consumer culture, artist Tamara Kostianovsky (previously) asks us to question the origins, process, and disastrous results of our seemingly unquenchable desire to buy and waste. Four distinct bodies of the artist’s work spanning fifteen years have been gathered at Smack Mellon in DUMBO, Brooklyn to form Between Wounds and Folds. The textile ecosystem of cow carcasses harboring new life, vibrantly hued cross-sections of trees, and colorful birds of prey, are constructed from repurposed fabrics and discarded textiles. In this final state, the soft pieces function as an echo of their concealed beginnings. Smack Mellon shares in a statement:

    Through alternating softness and aggression, her installations identify the nuances of violence that exist between a personal encounter and its normalization on a social and ecological level. Kostianovsky’s work asks for a re-imagination of human rights and environmental redemption models in order to consider the resultant violence as part of a larger, inseparable system.

    Between Wounds and Folds is on view until October 31, and you can explore more of the Brooklyn-based artist’s work on Instagram.

    Photo © J.C. Cancedda
    Photo © Roni Mocan
    Photo © Etienne Frossard
    Photo © J.C. Cancedda
    Photo © Etienne Frossard
    Photo © J.C. Cancedda
    Photo © J.C. Cancedda
    Photo © J.C. Cancedda
    The artist in her studio © J.C. Cancedda

    #animals
    #death
    #installation
    #sculpture
    #textiles
    #trees

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      A Field of Dried Grass Is Suspended from the Ceiling in ‘French Exit’ by Artist Tadao Cern

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      Art

      #death
      #grass
      #installation

      February 26, 2021
      Grace Ebert

      “French Exit,” (2020-2021). All images © Tadao Cern, shared with permission
      In Tadao Cern’s sweeping installation “French Exit,” a cloud of feathery grasses looms over the room. The immersive artwork juxtaposes the ephemeral, dried material with the viewers who stand underneath as it creates a soothing and introspective space to consider the notions of farewells, whether it be the close of a party or more profound experiences, like the end of a relationship or death.
      Cern tells Colossal that the title refers to the colloquialism about leaving a social gathering without saying goodbye. “This is something that I usually do because as an introvert, I can not bear with the attention that you get once you say that you have to go. A ping pong game starts of, ‘I have to go,’ and ‘please don’t go,’” says the Lithuania-based artist (previously) says.

      Emitting a soft glow, the long-stemmed grasses connect to both the organic nature of the life cycle and the human desire to situate ourselves within a broader context, particularly when confronted by aging and death. Cern writes:
      I tried to focus more on the aspect of what we would be missing the most during the last seconds of leaving this place.. My guess (is that) it would be something banal, like fields of wheat during the sunset… Banality is a result of such a strong love and affection with something/somebody that you even get sick of it. And hanging everything on the ceiling creates an illusion of floating for the viewer as if you are being taken to the sky.
      Cern finished initial sketches for the installation—which also includes CGI elements and a massive arrow pointing downward—just before the first wave of the COVID-19 pandemic. Months later, he was diagnosed with depression and anxiety, coincidental timing that altered his understandings of death and how we collectively say goodbye. “Once the pandemic is over, hopefully, we’ll have a chance to contemplate our farewells in reality. If there is such a thing,” he says.
      Purchase prints of the artist’s meditative projects on Patreon, and follow his latest installations on Instagram and Behance. (via Ignant)

      #death
      #grass
      #installation

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      Sinuous Snakes, Insects, and Florals Intertwine in Graphite Illustrations by Zoe Keller

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      “Where We Once Lived II,” copper belly water snake, graphite on paper, 14 x 14 inches. All images © Zoe Keller, shared with permission Through a winding series of delicate illustrations, Zoe Keller (previously) explores the fragility of the natural world. In Scale & Bone, the Portland-based illustrator renders copper belly water snakes, San Francisco garters, and […] More

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      in Street Art

      Yusk Imai – Organic Future

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      ORGANIC FUTURE by Brazilian artist YUSK IMAI is open now at Backwoods Gallery, Australia. The show is the Imai’s 5th solo exhibition at the space over a period of 10 years. [embedded content] Directed and filmed by Byron Kehoe, this edit was recorded over Zoom through some late night/ early morning interviews with Yusk, who […] More