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    Lena Guberman’s Emotive Sculptures Call Upon Childhood Social Anxiety

    All images courtesy of Lena Guberman, shared with permission

    Lena Guberman’s Emotive Sculptures Call Upon Childhood Social Anxiety

    February 12, 2025

    ArtCraft

    Kate Mothes

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    For any of us who are shy or anxious about interacting with others in the outside world, we might think of the face we “put on” that enable us to feel less fearful. For Lena Guberman (previously), a recent series of ceramic sculptures titled INS_IDE_OUT delves into her childhood experiences with social anxiety and the uncertainties of the unknown.

    “The mask provides a protective shell and presents a ‘perfect’ appearance to the outside world but fails to stop the fears and emotions from bursting out,” Guberman tells Colossal.

    Each piece is modeled on the same melancholy face of a young, brown-haired girl, with painted and sculpted elements that range from spikes to arrows to a dead bird. Emotionally evocative and sometimes slightly unsettling, her sculptures explore the spectrum of feelings associated with anxiety.

    Guberman is currently planning a project that expands upon her use of ceramics by adding other materials. See more work on her website, Instagram, and Behance.

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    Whimsical Ceramic Sculptures by En Iwamura Evoke Ancient Traditions and Childlike Curiosity

    “Neo Jomon: Green Mask” (2024), glazed ceramic, 35 3/8 x 30 1/4 x 28 3/4 inches. Photos by Grace Dodds. All images courtesy of the artist and Ross + Kramer, Gallery, New York, shared with permission

    Whimsical Ceramic Sculptures by En Iwamura Evoke Ancient Traditions and Childlike Curiosity

    February 6, 2025

    Art

    Kate Mothes

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    In Japanese philosophy, the concept of Ma emphasizes the relationships between time and space and how moments, intervals, and distance provide the basis for how we experience the world around us. Derived from the word Ma, or “間,” which translates to “pause” or “gap,” the idea of negative space is viewed as a fundamental element of art and architecture.

    For En Iwamura, who lives and works near Kyoto, working from the perspective of Ma forms a significant tenet of his sculpture practice (previously). He examines scale, the sense of one’s surroundings, and comfort in proximity to others. “People constantly read and measure different Ma between themselves, and finding the proper or comfortable Ma between people or places can provide a specific relationship at a given moment,” the artist says in a statement.

    “Neo Jomon: Black/White Mask” (2024), glazed ceramic, 38 1/4 x 34 5/8 x 29 1/2 inches

    In Mask, Iwamura’s solo exhibition at Ross+Kramer Gallery, he delves into the cultural, conceptual, and symbolic significance of the titular objects. Drawing on childhood memories of visiting the National Museum of Ethnology in Osaka, where he saw masks from around the world, the artist evokes the sense of mystery he felt upon viewing the works and curiosity about their origins.

    Masks have been used for centuries in cultures all around the globe, predominantly associated with religious ceremonies, funerary customs, festivals, dramatic performances, and other rituals of social importance. We don masks to protect us from inclement weather or to provide a layer of safety in certain sports or recreational activities. In 2020, the mask took on a new significance in the global effort to prevent the spread of coronavirus.

    Iwamura’s playful, gentle, sometimes wistful ceramic sculptures reference the historical nature of masks while reflecting their role in our contemporary world. “A driving force behind this collection of work is a reconnection to child-like senses of curiosity, wonderment, and creativity,” says an exhibition statement.

    In this exhibition, Iwamura presents numerous sculptures from his ongoing Neo Jomon series, drawing on details characterizing earthenware of the ancient Jōmon culture, which existed in what is modern-day Japan from around 14,000 to 300 B.C.E. The name literally means “cord-marking” after a style of pottery scholars attribute to the period.

    “Neo Jomon: Mask and Eyes” (2024), glazed ceramic, 31 7/8 x 31 7/8 x 28 inches

    Soft forms complement vibrant hues and a variety of textures in Iwamura’s sculptures, which range in size from a little over a foot tall to more than five feet. “To achieve these intricate surfaces, the artist allows his hand-built forms to air dry slightly before drawing various tools across the surface of the clay,” the gallery says. The textures recall rake-like patterns of Buddhist Zen gardens and cord-marking, a technique of pressing a twisted cord into wet clay.

    “While serving as a meditation on parenthood, this series is also an encouragement to reunite with one’s inner child,” the gallery says. Mask continues through March 26 in New York City. Find more on the artist’s website and Instagram.

    “Neo Jomon: Red Mask” (2024), glazed ceramic, 46 x 46 1/2 x 31 1/8 inches

    “Neo Jomon: Stacking Neighbor” (2024), glazed ceramic, 20 1/8 x 7 7/8 x 7 7/8 inches

    “Neo Jomon: Pink Mask (Beret)” (2024), glazed ceramic, 36 x 40 x 7 1/4 inches

    “Neo Jomon: Stacking Neighbor” (2024), glazed ceramic, 16 7/8 x 11 3/4 x 11 3/4 inches

    “Neo Jomon: Black Mask (Crack)” (2024), glazed ceramic and gold, 31 x 31 x 9 inches

    “Neo Jomon: Stacking Neighbor” (2024), glazed ceramic, 15 x 9 7/8 x 6 3/4 inches

    “Neo Jomon: Blue Mask” (2024), glazed ceramic and gold, 23 x 36 x 14 5/8 inches

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    Reen Barrera’s Expressive ‘Ohlala’ Characters Evoke Emotions and Empowerment

    All images courtesy of Reen Barrera, shared with permission

    Reen Barrera’s Expressive ‘Ohlala’ Characters Evoke Emotions and Empowerment

    January 23, 2025

    Art

    Kate Mothes

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    Sporting colorful garments and richly patterned faces, Reen Barrera’s doll sculptures (previously) evoke an expressive, make-believe world. Often dressed in striped tops and hand-stitched hoods with animalistic ears, his imaginative Ohlala characters represent the universality of human emotions while emphasizing every individual’s unique qualities.

    Barrera creates the sculptures from wood and patchwork textiles, and he also makes paintings depicting Ohlala figures in pensive moments or expressing a sense of empowerment. Find his work at Art Central Hong Kong in March, and see more on his website and Instagram.

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    Waves of Engraved Lines Texture the Emotional Figures Sculpted by En Iwamura

    
    Art
    #ceramics
    #clay
    #emotions
    #sculptureDecember 17, 2021Grace EbertAll images © En Iwamura, courtesy of Ross + Kramer Gallery, shared with permissionFrom hunks of clay, artist En Iwamura (previously) sculpts minimal forms with wildly varied facial expressions that range from shock and surprise to moody contemplation. Etched across the surface of each character are neat pathways of parallel lines, which evoke the clean, sweeping patterns in zen gardens, that are a physical manifestation of the Japanese concept of Ma. The philosophy identifies “the space between the edges, between the beginning and the end, the space and time in which we experience life. Ma is filled with nothing but energy and feeling.”Although his aesthetic and process remain relatively consistent—Iwarmura is generous about sharing works-in-progress and studio shots on his Instagram—his approach to spatial questions continues to evolve. “My work size has physically got bigger,” he tells Colossal. “That can have (a) different relationship with Ma, either micro (or) macro.”Iwamura is currently living in Shiga near his hometown of Kyoto, and if you’re in New York, you can see his oversized faces in January at Ross + Kramer Gallery.
    #ceramics
    #clay
    #emotions
    #sculptureDo stories and artists like this matter to you? Become a Colossal Member and support independent arts publishing. Join a community of like-minded readers who are passionate about contemporary art, help support our interview series, gain access to partner discounts, and much more. Join now! Share this story  More