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      Duplicate Limbs and Unusual Mashups Revitalize Vintage Ceramic Creatures by Artist Debra Broz

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      Art
      Craft

      #animals
      #ceramics
      #found objects
      #humor
      #surreal

      January 19, 2021
      Grace Ebert

      All images courtesy of Paradigm Gallery
      Simultaneously adorable and bizarre, Debra Broz’s porcelain creatures breathe new life into antique knick-knacks. The Los Angeles-based artist (previously) carefully gathers discarded figurines that she separates and reassembles into humorous and unusual sculptures: an entire flock of ducklings balances on just two feet, a hooved cat carries its equine baby, and tree branches sprout from a lounging ballerina.
      Broz’s hybrid animals are included in Salvage, a group exhibition curated by Colossal’s Founder and Editor-in-Chief Christopher Jobson at Paradigm Gallery + Studio in Philadelphia. Through the work of three artists and pieces from the Recycled Artist in Residency Program, Salvage examines how artists are revitalizing fragments of tradition and culture that were destined to be lost, relegated to the periphery, or buried forever. The show opens on January 22 with a live talk with Jobson, Broz, and artists Yurim Gough and André Schulze—tickets are available on Eventbrite—and runs through February 20.

      #animals
      #ceramics
      #found objects
      #humor
      #surreal

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      A Tyrannical Tabby Rules an Opulent Assemblage of Densely Layered Scenes by Artist Kris Kuksi

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      Art

      #assemblage
      #cats
      #found objects

      January 15, 2021
      Grace Ebert

      “Tabby Tyrant” (2021), mixed-media assemblage, 31 x 31 x 9 inches. All images courtesy of the artist and Joshua Liner Gallery, shared with permission
      A bejeweled tabby presides over Kris Kuksi’s sprawling new landscape teeming with retro figures, ornate baubles, and mass-produced trinkets all blanketed with a thick coat of metallic paint. The Lawrence, Kansas-based artist (previously) melds found objects into complex, frieze-style assemblages that are infused with themes of “historical narratives, biblical subjects, animal worship, architecture, symbolic views on commerce and development, as well as human psychology and behavior.”
      Titled “Tabby Tyrant,” the fantastical work is replete with juxtapositions: the individual and the collective, peace and war, industrial and classical architecture, and historic and modern. Minuscule soldiers wrangle a winged figure, a mouse swallows a human whole, and a team of warriors is outfitted with anachronistic weapons, although every action is in service of the feline ruler. Depicting disquieting and eerie actions, each scene is presented through opulent, gilded tableaus.
      For more of Kuksi’s densely layered artworks, pick up a copy of his book Conquest and follow him on Instagram.

      #assemblage
      #cats
      #found objects

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      More Than 90 Artists Create Original Works on Vintage Envelopes for ‘Couriers of Hope’

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      Art
      Illustration

      #animals
      #drawing
      #envelopes
      #found objects
      #mail art
      #watercolor

      January 14, 2021
      Grace Ebert

      By Andrew Hem
      What brings you hope? That’s the central question behind a new group exhibition presented by Port City Creative Guild. Couriers of Hope boasts more than 120 original pieces from more than 90 artists—the list includes Rosanne Kang Jovanovski, Andrew Hem (previously), Sean Chao (previously), and Yoskay Yamamoto—all rendered on vintage envelopes. Prompted by the mail art movement of the 1960s, the exhibition features an eclectic array of watercolor, pencil, and mixed-media illustrations that transform the miniature canvases into the artists’ vision for the future, whether through relaxed otters, peaches, or vivid portraits. Many of the works prominently display original postmarks and stamps and serve as a reminder that communication doesn’t have to be digital.
      Students from Long Beach Unified School District have the opportunity to acquire one of the envelopes by trading their own response to the artists’ same prompt, with the guild providing art supplies for participants to ensure that everyone has access to the initiative. The show was curated collectively by a Long Beach Museum of Art, Creative Arts Coalition to Transform Urban Space, Flatline, Inspired LBC, The Icehouse x Ink and Drink Long Beach, Arts Council Long Beach, Carolyn Campagna Kleefeld Contemporary Art Museum, Pacific Island Ethnic Art Museum, Compound LBC, and the Creative Class Collective.
      Couriers of Hope will be on display in the windows of the Psychic Temple of the Holy Kiss in downtown Long Beach and on the guild’s site for virtual viewing from January 19 to February 28, 2021.

      By Sean Chao
      By Megan Boterenbrood
      By Adam Harrison
      By Bodeck Luna
      By Christine Yoon
      By Hilary Norcliffe
      By Judy Kepes
      Left: By Jonathan Martinez. Right: By Kelly Yamagishi
      By Narsiso Martinez
      By Rosanne Kang Jovanovski
      By Sean Chao

      #animals
      #drawing
      #envelopes
      #found objects
      #mail art
      #watercolor

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      Vibrant Botanic Embroideries Embellish the Dried Leaf Sculptures of Hillary Waters Fayle

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      Art
      Craft

      #embroidery
      #found objects
      #leaves
      #sculpture
      #seeds
      #thread

      December 29, 2020
      Grace Ebert

      All images via the artist and Momentum Gallery
      Merging traditional craft techniques and the natural world’s abundant materials, Hillary Waters Fayle (previously) meticulously stitches brightly hued florals into found camellia leaves and other foliage. From simple lines and ribbing to fully rendered botanics, the thread-based embellishments interrupt the fragile matter. The resulting sculptures evidence nature’s durability while juxtaposing the organic material with the fabricated additions.
      In the interview below, Waters Fayle describes how she gathers leaves and seed pods from areas around her home in Richmond, Virginia, and notes that her practice is rooted in sustainability. By using materials that are already available, like thread from her grandmother, the artist strives for zero-waste in her practice. Overall, her intention is to “bind nature and human touch,” magnifying how the two interact.
      Head to Waters Fayle’s site or Instagram to view a larger collection of her embroidered works. You also might enjoy Susanna Bauer’s crocheted leaves.

      “Inherent,” hand-stitched camellia leaves, 5 x 5 inches
      “Implications,” hand-stitched camellia leaves, 4-3/4 x 4-3/4 inches
      “Circle Inscribed,” hand-stitched camellia leaves, 5 x 5 inches
      “Reaching Toward The Other,” hand-stitched camellia leaves, 4-1/2 x 2 inches
      “Flora Series 7,” hand-embroidered foliage, 6 x 6 inches
      

      #embroidery
      #found objects
      #leaves
      #sculpture
      #seeds
      #thread

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      Teeming with Flourishes, Narrative Sculptures by Amber Cowan Revitalize Vintage Pressed Glass

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      Art

      #found objects
      #glass
      #narrative
      #sculpture

      December 23, 2020
      Grace Ebert

      “Bridesmaid Returns to the Shore of Her Full Moon” (2019), glass and mixed media, 23 x 22 x 9.5. Photo by Matthew Hollerbush. All images © Amber Cowan, shared with permission
      The monochromatic assemblages of Amber Cowan (previously) are at once domestic narratives and homages to an abandoned industry. Delicate baubles frame a central figure or scene that the Philadelphia-based artist illustrates with scraps of pressed glass. Whether focused on a lone bridesmaid or a hen hoarding eggs, Cowan’s works explore the feminine experience through themes of “loneliness, the search for meaning, the search for love, and the following of symbolism in the mundane.”
      Cowan shops at antique stores and markets for materials, although she more frequently scours scrapyards around the country for discarded bits of glass, which are known as cullets. As a whole, the now-defunct industry was booming from the mid-1800s before it dropped off during the 20th Century. “Nowadays, this material is out of fashion and relegated to the dustbin of American design,” the artist writes, noting that she often finds masses of historic hues at the scrapyards. “These barrels of color are often the last of their run, and my work will essentially give the formulas their final resting place and visually abundant celebration of life.”
      Some of Cowan’s work is included in the recently published book, Objects: USA 2020. If you’re in New York, her piece “Dance of the Pacific Coast Highway at Sunset” is permanently on view at The Museum of Arts and Design, and she’s also part of an upcoming group exhibition at R & Co. Gallery. Until then, explore more of her textured sculptures on her site and Instagram.

      “Young Love Resting in Gray Meadow” (2019), glass and mixed media, 22 x 19 x 11 inches. Photo by Matthew Hollerbush
      “Nautilus in Crown Tuscan” (2019), glass and mixed media, 8 x 4 x 12 inches. Photo by Matthew Hollerbush
      “Hen Collecting All of Her Ova” (2020), glass and mixed media, 18 x 20 x 9 inches. Photo by Constance Mensh
      Detail of “Bridesmaid Returns to the Shore of Her Full Moon” (2019), glass and mixed media, 23 x 22 x 9.5. Photo by Matthew Hollerbush
      “Snail Passing Through the Garden of Inanna” (2019), glass and mixed media, 22 x 19.5 x 10.5. Photo by Matthew Hollerbush
      “Dance of the Pacific Coast Highway at Sunset” (2019), glass and mixed media, 34 x 46 x 12.5 inches. Photo by Constance Mensh
      “Hen Collecting All of Her Ova” (2020), glass and mixed media, 18 x 20 x 9 inches. Photo by Constance Mensh
      “Bubble Bath in the Tunnel of Love” (2020), glass and mixed media, 25 x 25 x 15 inches. Photo by Constance Mensh

      #found objects
      #glass
      #narrative
      #sculpture

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      Artist Nari Ward Has Spent Decades Revitalizing Found Objects to Elucidate Counter Narratives

      by

      
      Art

      #found objects
      #installation
      #sculpture
      #social commentary

      November 13, 2020
      Grace Ebert

      “We the People” (2011), shoelaces, 96 x 324 inches. All images courtesy Nari Ward and Lehmann Maupin, New York, Hong Kong, Seoul, and London
      Jamaica-born artist Nari Ward bases his practice in found objects and their inherent mutability. The Harlem-based artist has scoured New York City’s streets for 25 years gathering house keys escaped from a ring, discarded glass bottles, and clothing tossed season-to-season. Through sculptures and large-scale installations, the scavenged objects find new meaning, whether explicitly scribing a phrase from the United States Constitution or creating more subtle historical connections.
      While commenting broadly on themes of race, poverty, and rampant consumerism, Ward is cognizant of the varied meanings burned wooden bats or shoelaces hold for different populations. No matter the medium, many of his works are site-specific in form and fluid in context, allowing the narratives to take new shapes as they travel from community to community.
      His 1993 installation “Amazing Grace,” for example, originally was presented in Harlem in response to the AIDS crisis. The artist gathered lengths of fire hose and approximately 300 baby strollers to line the space’s perimeter, with some piled in a central area, as well. In New York City, houseless populations sometimes use the childcare item to carry their belongings, imbuing the objects with a specific message within that milieu. When “Amazing Grace” later traveled around Europe, the strollers were interpreted anew.

      “Amazing Grace” (1993), approximately 300 baby strollers and fires hoses, sound, dimensions variable. Installation view, New Museum, New York (2019)
      In a 2019 interview, Ward expanded on the inherent fluctuations within the symbols and objects he employs:
      History tells a particular story, and I’m trying to say: ‘Yeah there is a particular story, but there are many stories that aren’t visible within that one created narrative.’ I think that it’s about bringing mystery into the conversation more so than facts. So the whole idea is bringing this marker, image, or form to the forefront, but at the same time destabilizing it so that it acts as a placeholder for other possibilities or somebody else’s narrative.
      Ward is incredibly prolific, and in 2020 alone, his public artworks and installations have been shown in Hong Kong, Denver, New York City, Ghent, New York, and Ridgefield, Connecticut. To explore the artist’s projects further, check out his site and pick up a copy of Phaidon’s 2019 book, Nari Ward: We the People, which accompanied the 2019 New Museum retrospective of his early works.

      “Spellbound” (2015), piano, used keys, Spanish moss, light, audio, and video elements, 52.5 x 60 x 28 inches. Photo by Max Yawney
      “Spellbound” (2015), piano, used keys, Spanish moss, light, audio, and video elements, 52.5 x 60 x 28 inches. Photo by Max Yawney
      “Geography: Bottle Messenger” (2002), bottles, letters, wire, and metal frame, 354.33 x 157.48 x 157.48 inches
      “We the People” (2011), (detail), shoelaces, 96 x 324 inches
      “Iron Heavens” (1995), oven pans, ironed sterilized cotton, and burnt wooden bats, 140 x 148 x 48 inches
      “Amazing Grace” (1993), approximately 300 baby strollers and fires hoses, sound, dimensions variable. Installation view, New Museum, New York (2019)
      “SoulSoil” (2011), earth, ceramic toilet fixtures, shoes, broom and mop handles, acrylic and polyurethane, approximately 236 x 236 x 236 inches. Photo by Agostino Osio
      “SoulSoil” (2011) (detail), earth, ceramic toilet fixtures, shoes, broom and mop handles, acrylic and polyurethane, approximately 236 x 236 x 236 inches. Photo by Agostino Osio
      “Mango Tourist” (2011), foam, battery canisters, Sprague Electric Company resistors and capacitors, and mango pits, 8 figures, each approximately 120 inches in height. In collaboration with MASS MoCA, North Adams, Massachusetts

      #found objects
      #installation
      #sculpture
      #social commentary

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      Antique Watches, Cameras, and Medical Equipment Morph Into Meticulous Steampunk Spiders

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      Art

      #found objects
      #sculpure
      #spiders
      #steampunk
      #watches

      November 10, 2020
      Grace Ebert

      All images © Peter Szucsy, shared with permission
      For 25 years, art director and artist Peter Szucsy has filled his days with rendering the bizarre, sinister beasts that run rampant through video games. “I have made many creatures, monsters in the virtual world… but a few years ago I felt it is about time to create something different,” he says of his time working in the industry. “So I left my computer and made lots of my ideas come alive in the real world.”
      The result is a curious menagerie of steampunk spiders that the Budapest-based artist assembles with parts of vintage watches, cameras, and medical equipment. Each week, Szucsy scours a flea market near his home to find materials that include rare, pricey timepieces, although the artist notes he avoids dismantling anything that a museum or institution would value. In his studio, he parses the found metals and meticulously crafts the articulate eight-legged creatures.
      Szucsy holds a degree in illustration from Moholy-Nagy University of Art and Design and plans to launch an online shop to sell some of the spiders in the coming days. You can follow his latest creatures, which he hopes to include dragonflies and praying mantises, on Instagram.

      #found objects
      #sculpure
      #spiders
      #steampunk
      #watches

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

      by

      
      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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