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Ubiquitous Items Are Organized Into Intricate and Colorful Compositions by Adam Hillman
Art
Food
Photography#Adam Hillman
#flat lay
#gradients
#multiplesOctober 27, 2022
Kate Mothes More
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Loops and Coils in Bright Gradients Grow from Claire Lindner’s Ceramic Sculptures
Art
Craft
#ceramics
#gradients
#sculpturesFebruary 6, 2022Anna MarksAll images © Claire Lindner, shared with permissionVine-like colorful coils of material overlap in Claire Lindner’s latest sculpture collection, which blurs the line between organic and human-made forms. Each piece has a vibrancy and motion designed to push the possibilities of the medium. “My ideas are guided by the evocation of the living,” she tells Colossal. “I try through movement and color to combine images of vegetation, the animal or the mineral world, the body as if everything was made of the same substance.”Lindner plays on oppositions when designing her ceramics to “create a visual confusion that triggers our imagination.” She creates tensions between aesthetics and textures, including soft and hard, light and heavy, and attractive and repulsive.Each piece is made from glazed stoneware, and before the artist starts working on a new sculpture, she envisions the “movements, flow, and colors” that make up its base and core. But as she works, she lets the material inform her choices. “Once in the making, I let myself be guided by the specificity of clay,” she explains. “I have to be attentive to its tensions, folds, and plasticity in order to make a form that will ‘flow’ and tell an interesting story.”Lindner attended the Ecoles des Arts Décoratifs Strasbourg and developed an interest in clay from studying its organic and malleable characteristics. She compares her process to metamorphosis: how after time, one form changes into another. “Unlike glass, metal, wood, or 3D printing, working with clay felt like a prolongation of the body. It can be apprehended safely. It is soft and malleable,” she says. “It also has the ability in its process to keep all of the imprints of its manipulation, just like skin you can see the stretch marks, feel the tension, and play with the limits.”In spring, Lindner will exhibit her work in a solo show at Maab Gallery in Milan and a group show at the MOCO La Panacée Museum in Montpellier. She is currently working on larger-scale pieces, which you can follow on her website or Instagram. (via Ceramics Now)
#ceramics
#gradients
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Posed Women Rendered in Vibrant Gradients by Hanna Lee Joshi Embody Loss and Acceptance
Art#body
#colored pencil
#gouache
#gradients
#self-portraitJuly 28, 2021
Grace Ebert“Alignment of Virtue.” All images © Hanna Lee Joshi, shared with permission
Twisting into subtle backends or hunching into a cross-legged crouch, the faceless women that find themselves at the center of Hanna Lee Joshi’s practice all personify an aspect of the artist herself. Conveyed through vibrant gradients in gouache and colored pencil, the figures shown here are companions to those the Korean-Canadian artist created last year, although they plunge deeper into themes of loss, acceptance, and inclusivity. “The magic and mystery of life can seem very fleeting when you’re in the pits of depression. I wanted to reconnect with that spark of fire within,” she says, explaining:
I’m working on pieces that explore finding my identity and the nature of the self. Reconnecting with my Korean heritage and accepting all the things that make up who I am. In the end, I am just a piece of this earth having an experience of the self, and I’m trying to make a visual representation of some of it.
The introspective subjects have signature features like elongated torsos and limbs, dark, glossy locks, and large hands gesturing yogic mudras that further visualize emotion and feeling. The women are subversive in color and form, deviating from the skin tones and body shapes typically associated with nude figures.
Joshi, who’s based in Vancouver, is preparing for upcoming exhibitions at Spoke Art SF on August 7, at Thinkspace Projects in October, and later in fall at Hashimoto Contemporary. Prints are available in her shop, and you can see a few works-in-progress on Instagram.“Wheel of Desire”
“Liberation”
“Pursuit of Prosperity”
“I’m a Little Shy But That’s Okay”
“Sun, Moon, and Fire”#body
#colored pencil
#gouache
#gradients
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Innumerable Pieces of Dyed Clay Envelop Meditative Sculptures in Subtle Patterns and Gradients
Art
Craft#abstract
#ceramics
#clay
#gradients
#porcelain
#sculptureJune 7, 2021
Grace Ebert“Clements Shade” (2020), porcelain ,29.5 x 16 x 43 centimetres. Photo by Mark Robson. All images © Alice Walton, shared with permission
Thin ribbons of porcelain ripple across the surfaces of Alice Walton’s abstract sculptures. Gently sloped domes and pillars are covered in countless individual strips, which vary in thickness and length and add irregular texture and depth to the finished pieces. “Every mark I make, whether this be a tool mark or a fingerprint, are preserved in the firing and are not covered or coated or inhibited by a glaze,” the artist writes. “I want the viewer to be able to look at my sculptures from afar and to have one perception of the surface (and) then want to explore closer. On a nearer inspection, the surface decoration reveals layers of multiple colours and time spent through process.”
Focusing on the meditative qualities of repetition, Walton combines pastels and vibrant Earth tones to evoke the sights of her surrounding environment and travels. “The vividly painted sun-bleached street walls and the monsoon-drenched temples, to me, instantly resembled the dry powdery palette of coloured clays,” she shares about a visit to Rajasthan, India. Her choices in pigment still revolve around what she sees on a daily basis—these range from old maps to the seasonal landscapes nearby her studio in Somerset, U.K.—that result in undulating stripes or bold gradients composed with more than 40 colors in “Clements Shade.”
At the 2019 British Ceramics Biennial, Walton was awarded a residency with Wedgwood, where she’s currently working on a new series of sculptural vessels made from the English company’s traditional Jasper clay. Those pieces will be shown at the 2021 biennial in September. She’ll also have work at London’s Chelsea Design Centre from June 22 to 29 and at MAKE Hauser & Wirth Somerset in November. Until then, explore more of her sculptures on her site and Instagram. (via Seth Rogan)“Clements Shade” (2020), porcelain, 29.5 x 16 x 43 centimeters. Photo by Mark Robson
Detail of “Avonvale Mapping” (2020), colored porcelain. Photo by Alice Walton
“Avon Ribbons” (2020), colored porcelain, 30.5 x 28 x 28 centimeters. Photo by Alice Walton
Detail of “Janta Grove.” Photo by Sylvain Deleu
“Vale Ribbons” (2020), colored porcelain, 18.5 x 10.5 x 22 centimeters. Photo by Alice Walton
“Ley Line Pair” (2021), porcelain, 14 x 14 x 31 centimeters and 14 x 14 x 31 centimeters. Photo by Mark Robson
Detail of “Avonvale Mapping” (2020), colored porcelain. Photo by Alice Walton
“Avon Strata,” wall-mountable colored porcelain, 48.5 x 48.5 x 1.5 centimeters. Photo by Alice Walton#abstract
#ceramics
#clay
#gradients
#porcelain
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Meditative Faces Emerge from the Staggered Wooden Sticks Forming Artist Gil Bruvel’s Sculptures
Art#faces
#gradients
#meditation
#sculptures
#woodSeptember 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
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Anonymous, Posed Figures by Artist Hanna Lee Joshi Explore the Female Body
Art#body
#colored pencil
#gouache
#gradients
#self-portraitAugust 24, 2020
Grace Ebert“Untitled,” gouache and colored pencil, 15 x 20 inches. All images © Hanna Lee Joshi, shared with permission
The posed women in Hanna Lee Joshi’s latest series are comprised of vivid gradients: their chests are cobalt, shoulders rose, and palms lime. Created with gouache and colored pencil, the bright hues stray from flesh tones in favor of what Joshi terms “a more otherworldly aspect in my women. Reclaiming the goddess within and exploring the concept of embodying an ephemeral spirit in form,” she says. By rendering their enlarged, curved torsos and limbs in bold shades, Joshi subverts the tradition of the nude figure.
The Korean-Canadian artist, who’s based in Vancouver and recently was part of the group show “Somebody” at Hashimoto Contemporary, is concerned with how idiosyncratic experiences transcend the personal, which is why the subjects are all anonymous. Each work is, in part, a self-portrait that encompasses the physical, mental, and spiritual.
It is my way of coming to terms with being ok with taking up space; in society, in my day to day life. My pieces range from exploring a feeling of being contained within social constraints or self-created limitations to depicting the ceaseless chase for freedom. For me, it is a therapeutic reclaiming of how female bodies are depicted, little by little dismantling any internalized misogyny or any notion of how a woman should be or behave. It is a constant process where I am attempting to redefine how I see myself.
The unclothed figures also share messages with the positions of their elongated fingers and hands. Joshi depicts them with yogic mudras to embody “the beautifully poetic gestures that are so loaded with powerful symbolism,” she says.
To follow the artist’s introspective work, head to Instagram, and pick up a print in her shop.“Sometimes we dance”
“Holding chaos within” gouache, color pencil on paper, 22 x 30 inches
“Untitled”
“Thousand petal lotus,” gouache and colored pencil, 12 x 12 inches
“Touching the earth,” gouache and colored pencil, 15 x 22 inches#body
#colored pencil
#gouache
#gradients
#self-portraitDo 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!
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