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      Unearthly Anatomical Works Sculpted in Crystal and Glass by Debra Baxter Explore Grief and Loss

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      Art

      #anatomy
      #crystals
      #glass
      #metal
      #sculpture

      October 8, 2021
      Grace Ebert

      “Catch your Breath” (2021), alabaster, bronze, and druzy snow chalcedony, 10 x 10 x 5 inches. All images courtesy of form & concept, shared with permission
      Artist and jewelry designer Debra Baxter (previously) explores the endurance of grief, mortality, and human bonds in Love Tears. Comprised of anatomical and figurative sculptures, the multifaceted series blend alabaster, quartz, and wood with delicate glass or metal to create forms that contrast the fragility of the body and natural world with the rugged topographies of crystals and rock.
      Simultaneously corporeal and unearthly, the spliced works evoke the Victorian tradition of mourning jewelry, which used various motifs and deep colors as memorials. In “Catch Your Breath,” for example, branch-like veins in bronze sprawl throughout crystalline lungs, while “Love Hard” bisects a smooth, glass heart with spiky quartz. “There’s inevitable pain in every form of love,” Baxter says about the series. “I’m fascinated by the ways in which we decorate this grief and mourning, and I wanted to see how far I could push myself with balancing the immediate, often ornate, demonstration of loss, and my use of permanent materials. This is about loss and legacy.”
      Love Tears will be on view at Santa Fe’s form & concept gallery from October 29, 2021, to January 15, 2022, and you can find more of Baxter’s bodily works on Instagram.

      “Crystal Brass Knuckles (forever)” (2021), sterling silver and quartz, 5 x 4.5 x 2 inches
      Left: “Soften the Blow” (2021), walnut and glass, 9.25 x 10 x 7.5 inches. Right: “” (2021), alabaster and glass, 9 x 6 x 6 inches
      “Love Hard” (2020), glass and quartz, 8 x 3 x 3.5 inches
      Left: Detail of “Ear to the Ground” (2020), alabaster and glass, 10 x 4 x 3 inches. Right: “” (2020), alabaster and green onyx, 12 x 7 x 4 inches
      “Holding It Together” (2021), bronze and amethyst, 9 x 16 x 5 inches

      #anatomy
      #crystals
      #glass
      #metal
      #sculpture

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      Wilting Flowers Elegantly Sculpted in Glass by Lilla Tabasso Are Suspended in States of Decay

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      Art

      #flowers
      #glass
      #sculpture

      September 16, 2021
      Grace Ebert

      All images by Roberto Marossi, courtesy of Caterina Tognon Vetro Contemporaneo
      Artist Lilla Tabasso (previously) traps bouquets and tufts of grass at their most precarious stages of life. From her studio in Milan, she creates delicate glass sculptures of wilting flowers and rough clusters of sod that have just breached their prime, capturing how they elegantly bow and collapse as they decay. “The focus is on the way in which they burst with life and vigor at first bloom until eventually the passage of time inevitably takes its toll,” the artist says.
      Although Tabasso’s background is in biology, she doesn’t draw preliminary sketches and strays from sculpting faithful depictions, preferring instead to reinterpret a lily, peony, or hydrangea as her process unfolds. “More so than the shape or form, it is the choice of color, together with a warm and natural shade, which is a priority, (that) gives the flower its transparent melancholy, a permanent condition of every creation,” she says. Her recent works revolve around the idea of ataraxia, or equanimity, which manifests in the contrasts between the durable, resilient lifeforms and their inherent ephemerality.
      In November, Tabasso will open a solo exhibition at Galerie Coatalem in Paris and is preparing her work for shows at Musverre and The European Fine Art Fair in 2022. Find glimpses into her process on Instagram.

      #flowers
      #glass
      #sculpture

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      More Than 750 Creatures Inhabit an Extraordinarily Eclectic Menagerie as Part of ‘The Glass Ark’

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      Art

      #animals
      #birds
      #glass
      #sculpture

      June 4, 2021
      Grace Ebert

      All images courtesy of Le Stanze Del Vetro
      Land and sea creatures alike overrun a new exhibition at Le Stanze Del Vetro in Venice. Titled The Glass Ark, the eclectic bestiary—among the more than 750 animals on view are elephants, hippos, cats, giraffes, polar bears, parrots, and poodles adorned with bows—is the expansive collection of art historian and former Louvre president Pierre Rosenberg.
      For thirty years, Rosenberg gathered the lustrous sculptures during regular trips to Venice, a region with a long history of innovative techniques and a hub for glassblowing since the 13th Century. Charming and playfully expressive, the Murano glass pieces diverge from similar collections produced in other media. “They never display fierce poses, which are typical of more traditional animalier sculptures,” a statement says, “and above all, they are never conceived as a toy.” 
      In addition to Rosenberg’s collection, The Glass Ark also features pieces from artists working today, including Cristiano Bianchin, Marcantonio Brandolini d’Adda, Franck Ehrler, Massimo Nordio, Isabelle Poilprez, Maria Grazia Rosin, and Giorgio Vigna. It runs both in-person and virtually through August 1. (via designboom)

      #animals
      #birds
      #glass
      #sculpture

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      Lustrous Seas of Layered Glass Are Sliced into Cross-Sections in Ben Young’s Sculptures

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      Art

      #glass
      #ocean
      #sculpture
      #water

      April 21, 2021
      Grace Ebert

      “Solitary Catch Awaits,” laminated clear float glass with cast concrete, bronze, and stainless steel frame, 300 x 300 x 180 millimeters. All images © Ben Young
      Calm bodies of hand-cut glass pool atop jagged concrete in Ben Young’s aquatic sculptures. The New Zealand-based artist (previously) is known for his marine landscapes that position miniature figures in vast expanses of the translucent material, creating a contemplative environment that juxtaposes a minuscule representation of humanity alongside the immensity of the oceans and other bodies of water. Each piece similarly contrasts the organic topography with the perfect right angles that provide the cubic shape and revealing cross-sections.
      A few of Young’s sculptures are currently available at Black Door and Red Sea galleries, and you can find prints in his shop. Explore a larger collection of his works on Behance and Instagram.

      “Sea of Separation,” laminated float glass, cast concrete, bronze, and stainless steel stand, 600 x 350 x 170 millimeters
      “Sea of Separation,” laminated float glass, cast concrete, bronze, and stainless steel stand, 600 x 350 x 170 millimeters
      “Still Water”
      “Diverge”
      “Diverge”
      “Daydream”
      Detail of “Daydream”
      “Weathering the Storm”
      “The Divide,” laminated float glass and cast concrete, 930 x 375 x 165 millimeters

      #glass
      #ocean
      #sculpture
      #water

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      Speckled with Light, Glowing Glass Sculptures React to Viewers with Shifts in Brightness

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      Art

      #glass
      #light
      #sculpture
      #sun
      #weather

      March 30, 2021
      Grace Ebert

      Detail of “Liquid Sunshine/I am a Pluviophile” (2019), glass, phosphorescent material, broad-spectrum UV lights, motion detector, 3,353 x 4,267 x 3,658 millimeters as installation. Photo by Yasushi Ichikawa, 33rd Rakow Commission, courtesy of The Corning Museum of Glass. All images © Rui Sasaki, shared with permission
      Approach the delicate glass artworks by Rui Sasaki, and witness the unpredictable patterns of the weather through a subtle glow of blue light. The Japanese artist’s experiential body of work translates varying forecasts into speckled sculptures that radiate once encountered, an intimate process that Sasaki describes as a way to “visualize subtle sunshine, record today’s weather, and transfer it from here to there/from there to here.”
      At their brightest, the phosphorescent crystals are tinged green before fading to blue. “Visitors will doubtless be surprised to find that even if they cannot see anything on first entering the gallery, stay long enough and their eyes will become accustomed to the dark, and the elements of the work will gradually become visible,” Sasaki writes. Because each encounter sparks a unique reaction in the embedded lights, no two experiences will be the same. She explains:
      The phosphorescent glass used stores light of a wavelength close to that of sunlight, with this stored light then glowing in the dark. That is to say, one is now seeing light accumulated in the past. If a viewer remains in the gallery for an extended period, the next viewer will see the work glowing weakly in the darkness. With longer viewing time, the light of the phosphorescent glass fades, moment by moment, until finally the gallery is plunged into darkness. This might occur a minute later, or a day later, depending on viewer movements.
      Many of the sculptures evoke organic elements in material, concept, and sometimes form, whether shaped into swollen raindrops or a sun-like orb. Others, though, are depicted through domestic scenes with dinnerware or a suspended chandelier, a juxtaposition that relates to Sasaki’s feeling she had lost her sense of home after moving to the U.S. for a few years. Now living in Kanazawa, the artist is using the weather and surrounding environment as a way “to recover from the reverse culture shock and rediscover my intimacy towards my home Japan little-by-little and day-by-day.”
      Sasaki’s sculptures are part of multiple group shows, including one at Toyama Prefectural Museum of Art & Design through April 4, another at Art Museum Riga Bourse that will re-open April 6, and an upcoming spring exhibition at Tainan Art Museum in Taiwan. She also has a solo exhibition at Tokyo’s Gallery DiEGO Omotesando slated for May. Watch this interview and studio visit for a glimpse into her process, and follow where her work is headed next on Instagram.

      “Weather Project” (2015), glass, phosphorescent crystal mixture, sunshine, 1,050 x 1,300 x 750 millimeters (as installation)
      “Liquid Sunshine/I am a Pluviophile” (2019), glass, phosphorescent material, broad-spectrum UV lights, motion detector, 3,353 x 4,267 x 3,658 millimeters as installation. Photo by Yasushi Ichikawa, 33rd Rakow Commission, courtesy of The Corning Museum of Glass
      “Liquid Sunshine” (2016), glass, phosphorescent crystal mixture, solarium lights, motion detector, timer, 2,300 x 5,800 x 3,100 millimeters (as installation). Photo by Pal Hoff
      “Liquid Sunshine” (2016), glass, phosphorescent crystal mixture, solarium lights, motion detector, timer, 2,300 x 5,800 x 3,100 millimeters (as installation). Photo by Pal Hoff
      “Liquid Sunshine” (2016), glass, phosphorescent crystal mixture, solarium lights, motion detector, timer, 2,300 x 5,800 x 3,100 millimeters (as installation). Photo by Pal Hoff
      “Liquid Sunshine/I am a Pluviophile” (2019), glass, phosphorescent material, broad-spectrum UV lights, motion detector, 3,353 x 4,267 x 3,658 millimeters as installation. Photo by Yasushi Ichikawa, 33rd Rakow Commission, courtesy of The Corning Museum of Glass
      “Remembering the weather” (2020), glass, phosphorescent crystal mixture, lights, motion sensor, plywood, 1,800 x 590 x 300 millimeters. Photo by Kichiro Okamura
      “Weather Chandelier” (2015), glass, phosphorescent crystal mixture, metal, timer, motion detector, solar panel, sunshine, 700 x 550 millimeters. Photo by Kichiro Okamura, collection of Glasmuseet Ebeltoft
      “Weather Mirror” (2021), glass, phosphorescent crystal mixture, mirror, foot switch. Photo by Kichiro Okamura

      #glass
      #light
      #sculpture
      #sun
      #weather

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      A Pulsating Light Room of Multi-Layered Glass by Claudia Bueno to Premiere at Meow Wolf Las Vegas

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      Art

      #drawing
      #glass
      #installation
      #light
      #nature
      #plants
      #sound

      January 8, 2021
      Grace Ebert

      Step into Claudia Bueno’s aquarium-style installation at Meow Wolf’s new space in Las Vegas and experience the slow, oscillating movements of natural life. “Pulse” is comprised of countless white line drawings that are meticulously intertwined and superimposed on 60 glass panels. When illuminated, they mimic scores of nautilus spirals, coral, vines, and botanics that sway and throb in glowing masses.
      “This is what ‘Pulse’ is, a way of creating animated volumes using layers of drawings that build up. I have been refining this technique for the last six years, understanding how these forms can also have a moving quality when the light system is applied,” the Venezuela-born artist says, noting that the idea for the project grew out of a visit to Yellowstone National Park.

      [embedded content]
      During the course of eight months, a team of women painstakingly painted the glass panels at Bueno’s Idaho studio. “The repetitive/meditative quality of the work lent itself to provide a very special healing space for us as we drew fine lines for hours and openly shared and supported each other,” she says. No matter the scale of the project, Bueno begins with a single dot that she duplicates, expands into lines, and eventually into intricately developed patterns, which she explains:
      It seems like it doesn’t matter what size, materials, and tools I am working with, the same kinds of patterns manage to manifest themselves over and over, building on each other, gaining both complexity and simplicity at the same time… It has been an interesting brain challenge to visualize a stack of 2D drawings that then become 3D and move. It’s my own version of a non-digital, hand-drawn time-lapse or animation.
      Although much of the installation’s work is complete, Bueno shares that she’s creating smaller sculptures, jewelry, and other works to coincide with the larger project. “Pulse” is set to premiere at Meow Wolf’s satirical sendup of consumerism, Omega Mart, which the Santa Fe-based arts group (previously) will open within Area 15 in early 2021. Until then, find more of Bueno’s light-based works on her site and Instagram.

      #drawing
      #glass
      #installation
      #light
      #nature
      #plants
      #sound

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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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      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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