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    Bruno Pontiroli’s Absurd Portraits Highlight Quirky Behavior and Zoological Buffoonery

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    “Les enjambées sauvages II” (2024), 100 x 81 centimeters. All images courtesy of the artist and Corey Helford Gallery, shared with permission

    Bruno Pontiroli’s Absurd Portraits Highlight Quirky Behavior and Zoological Buffoonery

    October 28, 2024

    Art

    Kate Mothes

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    You’ve probably heard expressions like “going around in circles” or “running like a rabbit,” but chances are you haven’t pictured them quite like Bruno Pontiroli’s scenes of zoological mayhem.

    In oil paintings that nod to 19th-century wildlife illustrations, Lyon-based artist (previously) evokes common phrases like “la vie en rose,” akin to the English saying: “to see life through rose-colored glasses.” And in “Le conflit intérieur,” or “interior conflict,” a tiger and a grizzly bear duke it out despite being joined together.

    “Le conflit intérieur” (2024), 100 x 81 centimeters

    Histoires Naturelles & Grotesques, Pontiroli’s solo show opening soon at Corey Helford Gallery, highlights the artist’s continued fascination with defying natural order. His compositions fuse animals into single beings, add absurdly long legs, or extend numerous extra appendages from a single creature to illustrate the often farcical quirks of human behavior.

    Histoires Naturelles & Grotesques runs from November 2 to December 7 in Los Angeles. Find more on the artist’s website and Instagram.

    “Copains comme cochons” (2024), 50 x 60 centimeters

    “La vie en rose” (2024), 61 x 46 centimeters

    “Portrait d’un tocard” (2024), 60 x 81 centimeters

    “Tourner en rond” (2024), 50 x 40 centimeters

    “Courir comme un lapin” (2024), 30 x 40 centimeters

    “Le pli de génie II” (2024), 97 x 78 centimeters

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    • 125 Shares166 Views

      in Art

      Dressed to the Canines: Helga Stentzel Styles Playful Clothesline Illusions

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      All images courtesy of Helga Stentzel, shared with permission

      Dressed to the Canines: Helga Stentzel Styles Playful Clothesline Illusions

      October 25, 2024

      ArtPhotography

      Grace Ebert

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      The cat’s pajamas take on new meaning in Helga Stentzel’s fashionable menagerie. Working in what she calls “household surrealism,” the London-based artist styles cheeky illusions from socks, sweatshirts, and even onesies that, once draped over a washline, appear like a cow grazing in a pasture or a sloth hanging lazily from a branch. Her latest projects roam from the snowy mountains of Austria to the River Thames to the brightly colored buildings of the island city of Burano in the Venetian Lagoon.

      Stentzel is currently collaborating with Portmanteau, a Helsinki-based performance company on a production with her chic compositions. She has select prints available in her shop, and keep an eye on Instagram for new clothesline creatures.

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    • 138 Shares179 Views

      in Art

      In ‘Hidden Portraits,’ Volker Hermes Reimagines Historical Figures in Overwhelming Frippery

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      “Hidden van Mierevelt IV” (2022), from “Portrait of a Man in a White Frill” (1620s) by Michiel Jansz. van Mierevelt

      In ‘Hidden Portraits,’ Volker Hermes Reimagines Historical Figures in Overwhelming Frippery

      October 18, 2024

      ArtBooksHistory

      Kate Mothes

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      Engulfed in their own finery, the subjects of Volker Hermes’ portraits epitomize a bygone era. From the Italian High Renaissance to French Rococo, his digital reinterpretations playfully hide the faces of wealthy and aristocratic sitters.

      Hidden Portraits: Old Masters Reimagined, a new book forthcoming this month, gathers a quintessential selection of Hermes’ works into one volume. Highlighting the artist’s wry commentary on luxury, social status, and fame, the selection delves into the history of portraiture through a humorous lens.

      “Hidden Wright of Derby” (2023), from “Portrait of Dorothy Beridge, née Gladwin” (1777) by Joseph Wright of Derby

      Hermes expands upon the ornate silk gowns, brocade, and lace ruffs that characterized elite fashion through the centuries (previously). An enormous bow cocoons a woman in “Hidden Wright of Derby,” for example, elaborating on a portrait of a wealthy woman painted by Joseph Wright of Derby, now in the collection of the Minneapolis Institute of Art.

      In striking profile, strings of pearls and a green, helmet-like hood envelop Bianca Maria Sforza, Empress of the Holy Roman Empire, in “Hidden de Predis,” the 15th-century inspiration for which can be viewed at the National Gallery of Art.

      Explore more of Hermes’ work on his website, and snag a copy of Hidden Portraits on Bookshop.

      “Hidden de Predis” (2023), from “Portrait Bianca Maria Sforza” (1493-95) by the workshop of Ambrogio de Predis

      “Hidden Titian II” (2021), from “Portrait of a Man with a Quilted Sleeve” (1511) by Titian

      “Hidden de Bray” (2022), from “Portrait of a Young Woman” (1667) by Jan de Bray

      “Hidden Cornelius Johnson” (2023), from “Portrait of Thomas, 1st Baron Coventry” (1631) by Cornelius Johnson

      “Hidden de Keyser” (2019), from “Portrait of a Gentleman” (c. 1626) by Thomas de Keyser

      “Hidden Pourbus VIII” (2023), from “Portrait of a Nobleman” (1593) by Frans Pourbus the Younger

      “Hidden Anonymous (Munich Court Painter)” (2023), from “Portrait of a Young Lady” (1623), by an unknown artist

      Cover of ‘Hidden Portraits: Old Masters Reimagined,’ featuring “Hidden Jacometto” (2019), from “Portrait of a Young Man” (1480s) by Jacometto Veneziano

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    • 175 Shares189 Views

      in Art

      Eight Pairs of Woven Shoes Fit for Cranes Roost in a Field of Pebbles

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      All photos by Ahina, courtesy of the artist and Real DMZ Project, shared with permission

      Eight Pairs of Woven Shoes Fit for Cranes Roost in a Field of Pebbles

      October 17, 2024

      ArtCraftNature

      Grace Ebert

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      If a white crane were to choose a pair of boots, would he gravitate toward knee-high lace-ups or balance his talons in yellow tabi stilettos?

      Young In Hong fashioned a collection of shoes with these long-legged birds in mind. Titled “White Cranes and Snowfall,” the playful sculptures are made from woven sedges and nested in a shallow field of pebbles, intertwining references to avian life and endangered craft traditions.

      Based in Bristol, Hong visited Korea in the winter of 2023 and witnessed a flock of rare cranes migrating to the demilitarized zone dividing the peninsula. “The once blood-stained DMZ has now become an ecological paradise for the cranes,” she shares. “When nature is left alone it can replenish its lives, and when we as humans observe other species more carefully, we can learn something from them that alters our way of being in the world.”

      Researchers estimate that in the seven decades since the zone was established, about “1,200 plant species, 83 fish varieties, 51 different mammals, and numerous birds, insects, and microorganisms” have thrived in the area, many of which were previously endangered or threatened.

      Observing the birds inspired the latest series in Hong’s growing collection of avian footwear. Each references jipsin, flat sandals woven from straw and largely worn by farmers and the working class throughout Korea. Affordable and widely available, the shoes would wear down quickly—a long day’s walk could burn through a pair—and people across the socioeconomic order knew how to make them. Straw is biodegradable, too, making jipsin naturally sustainable.

      To learn the craft practiced for generations, Hong began working with Choong Kyung Lee, a straw-weaving master from Asan in 2021. Together, they created numerous projects, including shoes fit for a baby elephant, giraffe, kangaroo, heron, gorilla, and bear. “For me, the collaboration with Lee was a journey to open up my eyes towards natural fibre weaving, a part of the history of Korea that has not been thoroughly written about,” Hong shared.

      For “White Cranes and Snowfall,” the artist pulled out specific personalities to inspire each design rather than thinking of the birds as anonymous entities. Displayed together, the sculptures become a stand-in for community and gathering—and perhaps a cheeky and yet urgent plea to imagine oneself in another’s shoes, even if those shoes belong to another species. The artist adds:

      For me, fictionalising the collective white cranes, and visualising them through humorously designed shoes, is to remind us of the fact that birds are like us, expressing tastes and preferences, also by having individually different characters and personalities.

      “White Cranes and Snowfall” is on view through November 7 at Secession in Vienna. Two of Hong’s textile works are also on view this month as part of the 7th Changwon Sculpture Biennale, and she’s currently preparing for two solo shows, one opening at Art Sonje Center in May and another at PKM Gallery in September. Peruse an archive of her works on her website and Instagram.

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    • 138 Shares199 Views

      in Art

      Genesis Belanger Coaxes the Uncanny from Vignettes of Consumption and Gluttony

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      “Self-awareness” (2024),
      veneered plywood, cork, stoneware, porcelain,
      patinaed brass, oil painted manicure, wooden vanity,
      28 × 61 × 20 inches. All photos by
      Pauline Shapiro, © Genesis Belanger, courtesy of the artist and
      Pace Gallery, shared with permission

      Genesis Belanger Coaxes the Uncanny from Vignettes of Consumption and Gluttony

      October 15, 2024

      Art

      Grace Ebert

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      A comb with perfectly manicured teeth, a tote overflowing with groceries and a bitten chocolate cookie, and a vacuum cleaner intent on eating a rug are a few of the peculiar details in Genesis Belanger’s latest exhibition.

      In the Right Conditions we are Indistinguishable, on view now Pace Gallery in London, presents fourteen vignettes of everyday life gone awry. Known for her disorienting, sometimes seductive sculptures, the artist continues working with her signature flatness and distinctive visual language, drawing on advertising techniques to critique consumerism plaguing modern life.

      “Cause and Effect” (2024), stoneware, powder coated steel, plywood, composite board, sunbrella fabric, silk and cashmere suiting, hardware, 41 × 35 × 53 inches

      Belanger’s earlier sculptures revel in pastel hues and the warm textures of ceramic, while this new body of work is more expansive. Bold, saturated colors appear throughout the individual vignettes, like on a cobalt vase and bright pink fruits resting in a squat dish. The artist also incorporates a wider array of materials into these sculptures, including the silk cashmere lining a vacuum cleaner bag and the veneered plywood that structures shelving.

      Arousing humor and absurdity from the most banal objects, Belanger invokes excessive desire, gendered expectations, and corporate malaise. “Self-Awareness,” for example, features a disjointed portrait of various objects spread across a wood table. The candlesticks with knotted wicks reference the feeling of working a 9-to-5 job, which she describes as “burnt down and tied in knots,” while the tableaux as a whole nods to self-curation and performance.

      “A Breeze Shimmers” (2024), patinaed brass, powder-coated aluminum, porcelain,hardware, 84 × 50 × 45 inches

      The artist typically shies away from depicting the human body in full form, instead preferring to represent it through fragmented parts or symbols like food and shapely objects. Fruit often takes on this role, especially in the pair of round, potted sculptures that give credence to natural growth.

      These works stand in stark contrast to the flattening effect of “16 Bit Eden,” which layers flowers and cherries atop a grid. Evoking the digital world, the pixelated backdrop questions the contemporary desire to ignore the objects and realities right in front of us.

      In the Right Conditions we are Indistinguishable is Belanger’s first U.K. exhibition and runs through November 9. See more of her work on Instagram.

      “Husband Material” (2024), porcelain, stoneware, plywood, raincoat fabric, rubber-coated linen18 1/4 × 21 × 16 5/8 inches

      “Family Portrait” (2024), veneered plywood, cork, porcelain, stoneware, 45 1/2 × 41 × 11 1/4 inches

      “Sentimental Attachment” (2024), stoneware with oil-painted manicure, 25 × 13 × 2 inches

      “Managed Expectations (you only deserve a tiny piece)” (2024), veneered plywood, powder-coated steel, cork, porcelain, 30 × 20 1/4 × 7 3/8 inches

      “It Always Comes Out in the Wash” (2024), stoneware, porcelain, patinaed brass, and fiberglass,29 × 6 × 32 inches

      Installation view of ‘Genesis Belanger: In the Right Conditions we are Indistinguishable,’ Pace Gallery, London (2024). Photo by Damian Griffiths

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    • 150 Shares169 Views

      in Art

      From Early Computers to Ships at Sea, Lola Dupre Warps Everyday Objects

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      From Early Computers to Ships at Sea, Lola Dupre Warps Everyday Objects

      October 9, 2024

      ArtPhotography

      Grace Ebert

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      How would you find home row in fourth-grade typing class if there were 1,700 keys in front of you? Lola Dupre’s latest collages would be intimidating to even the most ambitious student.

      The artist (previously) continues her disorienting manipulations with a pair of early Apple desktops, ships with enough stories to rival a high-rise, and a cow so bloated she needs eight legs to stand. Each work pushes the limits of legibility as limbs and common objects undergo exaggerated distortions.

      Dupre’s work is on view through November 23 at Prescription Art in Brighton, and she has another show slated for April at Corey Helford Gallery in Los Angeles. Until then, find more on Instagram.

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    • 163 Shares99 Views

      in Art

      Debra Broz Merges Humor and Kitsch in a Nod to Our ‘Strange World’

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      Left: “Collie Pheasant” (2023). Right: “St. Bernard Pheasant” (2023). Both mixed media on secondhand ceramics, 10.5 x 8 x 3.5 inches. All images © Debra Broz, courtesy of Track 16 Gallery, shared with permission

      Debra Broz Merges Humor and Kitsch in a Nod to Our ‘Strange World’

      September 10, 2024

      Art Craft

      Kate Mothes

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      Vintage, mass-produced porcelain knick-knacks take on new life in Debra Broz’s intricate and uncanny hybrids (previously). Collies and St. Bernards with the bodies of pheasants meet rabbits with curiously long appendages and woodland creatures with human arms.

      In her solo exhibition Strange World at Track 16, Broz continues to explore the subversive and absurd through the leitmotif of midcentury kitsch. Whether merging two small sculptures or creating elaborate amalgamations, the artist finds the humor—and just a tinge of unease—in busyness, cuteness, and perplexity.

      “Weight of the World” (2024), mixed media on secondhand ceramics, 34 x 18 x 18 inches

      Strange World, which incorporates dozens of sculptures and glazed platters, revolves around three maximalist assemblages made of hundreds of individual figurines Broz collected during the past decade. Clusters of adorable animals like big-eyed bunnies, ducks, and cows emerge from bases as if blossoming with energy.

      In a statement for the show, Track 16 describes the pieces as “darkly optimistic, synthesizing the confusion of limitless information.” Chaotic and idiosyncratically beautiful, Broz’s pieces tap into our contemporary social reality, balancing tension and overwhelm with moments of levity and clarity.

      Strange World continues through October 12 in Los Angeles. Find more on Broz’s website and Instagram.

      Detail of “Weight of the World”

      “Slightly Human: Cat & Skunk” (2024), mixed media on secondhand ceramics, 4 x 5 x 3 inches

      “Slightly Human: Squirrels” (2024), mixed media on secondhand ceramics, 5.25 x 7.5 x 4 inches

      “Galaxy Brain” (2024), mixed media on secondhand ceramics, 25 x 22 x 18 inches

      Detail of “Galaxy Brain”

      “Slightly Human: Horse (The Champion)” (2024), mixed media on secondhand ceramics, 8.5 x 7 x 4 inches

      “White Rabbit No. 33” (2024), mixed media on secondhand ceramics, 6 x 4 x 2 inches

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