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      In ‘Eyes as Big as Plates,’ Sculptural Garments Camouflage Subjects in Natural Environments

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      Art
      Photography

      #books
      #camouflage
      #landscapes
      #nature
      #portraits

      February 11, 2022
      Grace Ebert

      Eyes as Big as Plates # Andrea (Outer Hebrides 2019)
      Hailing from fifteen countries, the individuals participating in Eyes as Big as Plates have backgrounds as varied as their surroundings: there are zoologists, academics, and librarians; fishermen, wild boar hunters, and Sami reindeer herders; and opera singers, kantele players, and artists. They’re tethered by the ongoing project, which dresses each figure in sculptural wearables made of organic materials that allow them to blend in with the surrounding landscape.
      Launched in 2011 by Norwegian-Finnish artist duo Karoline Hjorth and Riitta Ikonen (previously), Eyes as Big as Plates hinges on the idea that it’s essential to explore how humans exist within nature. The portraits center on lone figures partially camouflaged with their backdrops or outfitted with imaginative garments constructed with objects found nearby. Boubou (shown below), for example, is a Senegalese fisherman who wears a mesh shawl of sea creatures, while North Tolsta-based photographer Andrea (above) is almost entirely masked by spindly branches and peat near her home. Every portrait comes after a conversation with the subject and a collaborative effort to find the proper location and attire.
      The duo has now compiled dozens of photos in a forthcoming book that marks the 10th anniversary of the project. A follow-up to their sold-out first volume, Eyes as Big as Plates 2 is comprised of 52 new portraits, conversations with those featured, and field notes from their travels. “While transcribing the interviews for each of the collaborators here, we got to experience what many of them often say is the most exciting part: ‘ … just being there, looking at a familiar landscape like you’ve never looked at it before. Letting the surroundings wash over you,’” they write.
      Eyes as Big as Plates 2 is currently available for pre-order on the project’s site. Some of the series is on view through June at the landmarked entry at 200 5th Avenue in New York and will be up this May at London’s Barbican and at the Harbourfront Centre in Toronto in September.

      Eyes as Big as Plates # Boubou (Tasmania 2019)
      Eyes as Big as Plates # Liv (Norway 2017)
      Eyes as Big as Plates # Momodou Toucouleur (Senegal 2019)
      Eyes as Big as Plates # Mr Oh (South Korea 2017)
      Eyes as Big as Plates # Niels (Faroe Islands 2015)
      Eyes as Big as Plates # Scotty (Tasmania 2019)
      Eyes as Big as Plates # Sinikka (Norway 2019)

      #books
      #camouflage
      #landscapes
      #nature
      #portraits

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      Ritualistic ‘Moon Drawings’ by Yuge Zhou Etch Patterns in Snow and Sand

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      #drawing
      #landscapes
      #performance
      #sand
      #snow
      #videoFebruary 10, 2022Grace EbertJanuary 2021. All images © Yuge Zhou, shared with permission“In traditional Chinese culture, the moon is a carrier of human emotions,” writes artist Yuge Zhou. “The full moon symbolizes family reunion.” This belief grounds Zhou’s meditative series of landscape drawings that etch wide, circular patterns in the beach along Lake Michigan and in snowy parking lots near her apartment.The Chicago-based artist postponed a visit with her family in Beijing back in 2020 and has since channeled her longing to return into her ritualistic performances. Filming aerially at dawn, Zhou traces the patterns left by the moon with her suitcase and allows the glow of nearby light poles to illuminate the concentric markings. Stills from the videos appear more like dreamy renderings than footage, an aesthetic choice that corresponds with their allegorical roots in the Han dynasty legend, “The lake reflecting the divine moon,” about the universality of longing.Having created five works in summer and winter, Zhou likens the pieces to “mantras suspended in a time of waiting.” Until she’s able to return to China, she plans to add more drawings to her collection and continue “bringing the moon down to me on the earth.” For more of the artist’s multi-media works, visit her site and Vimeo.February 2022January 2020July 2020February 2022August 2021
      #drawing
      #landscapes
      #performance
      #sand
      #snow
      #videoDo 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

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      Hand-Dyed Paper Seeds Flow Through Sculptural Landscapes and Portraits by Ilhwa Kim

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      #abstract
      #landscapes
      #paper
      #portraits
      #sculptureFebruary 2, 2022Grace Ebert“Run” (2021), 132 x 164 x 13 centimeters. All images © Laam Yi, shared with permissionSouth Korean artist Ilhwa Kim describes her meditative sculptural works as analogous to living architecture, “a live plant or the tree in (an) urban or natural space.” Comprised of carefully placed components in parallel lines and dense fields, Kim’s pieces materialize through innumerable rolled paper seeds that form organic, abstract landscapes and portraits—read about the artist’s painstaking process for crafting the individual elements previously on Colossal.In each work, Kim arranges an assortment of depths, colors, and textures: she tucks visible folds among more upright segments and installs thin, sweeping lines evocative of a single brushstroke through vast expanses of white. “When moving from painting to sculpture, I wanted to do everything I was able to use in painting; even brush strokes and all the wide color paints,” she tells Colossal. “But I’d like my works to have a far stronger life presence in the physical surroundings as a sculpture.”Because the dimension of each seed varies, the fluctuating compositions shift in color and texture depending on the perspective of the viewer, animating the scenes with light and shadow. Kim frequently photographs her pieces on sidewalks and in public places, which she shares on Instagram, to present the lively works within similarly bustling environments, and you can see the sculptures in person this October at HOFA Gallery.Seedsystem detail“Spectrum 2” (2021), 119 x 93 x 13 centimeters“The Face of Nature” (2021), 132 x 164 x 13 centimeters“Forrest Keeper” (2021), 164 x 132 x 15 centimeters“Choral Symphony” (2021), 192 x 224 x 13 centimetersDetail of “Choral Symphony” (2021), 192 x 224 x 13 centimeters“My Seed Your Town” (2021), 164 x 132 x 13 centimeters“White Portrait” (2022), 119 x 93 x 12 centimetersSeedsystem detail
      #abstract
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      #paper
      #portraits
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      Sublime Plein Air Paintings by Jeremy Sams Are Photographed Against Lush North Carolina Landscapes

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      #acrylic
      #landscapes
      #painting
      #plein airJanuary 31, 2022Grace EbertAll images © Jeremy Sams, shared with permissionWhen painting in plein air, artist Jeremy Sams scours the landscapes around his home in Archdale, North Carolina, for a spot that rouses all of his senses. “It begins in your initial journey, whether it’s a hike through a place of natural solitude with all of the smells and cool breezes or just a stroll down a street with the melodies of urban life,” he shares.He then paints sublime interpretations of the nearby landscape, relying on a realistic color palette in acrylic to render slightly blurred edges and the location’s generally serene qualities: overlaid by a dreamy haze, brooks reflect the surrounding trees, a small brood of chickens pecks at spring grass, and snow melts into a rocky stream.In a note to Colossal, Sams says he’s most attracted to places layered with contrast, sometimes in the form of light and shadow or disparities in color and others when natural features are positioned alongside human interventions like pathways and barns. “Whatever it is that draws my attention, there is something truthful about the landscape that begs to be painted,” he shares. “This is one of the reasons that I do very little editing to the scene on my canvas, but I try to capture the essence of that thing which initially drew me in.”Sams tends to photograph his finished paintings against their original source, which you can see more of on Instagram.
      #acrylic
      #landscapes
      #painting
      #plein airDo 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