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      Evoking Fire and Air, Intricate Paper Masks by Artist Patrick Cabral Honor Filipino Culture

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      Art

      #festivals
      #masks
      #paper
      #Philippines
      #sculpture

      March 15, 2021
      Grace Ebert

      Detail of “Lupa.” All images © Patrick Cabral, shared with permission
      Encircled by oversized crowns of paper, two new masks by Patrick Cabral celebrate Filipino culture through elaborately fashioned works defined by their colors. Titled Mananayaw ng Langit at Lupa, or Dancers of Heaven and Earth, the ongoing series was commissioned by the Iloilo Museum of Contemporary Art for the Dinagyang Festival. The cultural celebration is held annually the last week in January with the Ati Tribe competition, which involves warrior dancers performing to loud chants and drum beats, as the main event.
      Preserving the tradition in paper, Cabral’s masks both mimic the performers’ costumes and draw on the detail and intricacy of his earlier animal figures. “Lupa” is brilliantly colored and embodies the passionate spirits of a dragon or crocodile, representing Earth, fire, and light. “Langit,” on the other hand, is more subdued with bird-like features, peacock feathers, and a quiet expression. It symbolizes air, flight, horizons, and dreams. “Both animals are important because birds are used in ancient sea navigation, which our ancestors are known for, and the crocodile is the biggest animal native to the Philippines…I want one to look calm and the other chaotic. One is a feather. One is fire,” the Manila-based artist says.
      Cabral currently is working on an exhibit for the Philippine Pavillion at the World Expo that shares the “courage of our ancestors, the people who brave the angry ocean from Taiwan to the Batanes Islands.” Follow that project and explore a larger collection of the artist’s painstakingly constructed works on Behance and Instagram.

      “Langit”

      “Lupa”
      Detail of “Langit”
      Detail of “Lupa”
      Cabral with “Langit”

      #festivals
      #masks
      #paper
      #Philippines
      #sculpture

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      Artists Explore Self-Expression Through Bizarre and Whimsical Masks at Denver’s Vicki Myhren Gallery

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      Art
      Design
      History

      #COVID-19
      #masks
      #sculpture

      October 26, 2020
      Christopher Jobson

      Felicia Murray, “Our Dying Reefs,” felted COVID mask, 2020. All photos shared with permission.
      There is perhaps no symbol more representative of contemporary life than the humble face mask. A simple health device crucial to saving millions of lives around the world from a deadly COVID-19 pandemic spread by invisible airborne pathogens, and yet an object that’s been quixotically politicized at the callous expense of humanity for the gain of an elite few. A new exhibition at the University of Denver’s Vicki Myhren Gallery approaches the lighter side of face coverings: the ancient tradition of masks as self-expression.
      Arranged on mannequins lining the gallery space, over 40 artists present interpretations of protective face wear in MASK, currently on view by appointment through December 1, 2020. The collection of whimsical, grotesque, quirky, and beautiful masks are medically non-functional but guaranteed to provoke a reaction through their novel construction. Several designs mimic natural filtration systems like foliage or a coral reef, while others use repurposed objects like zippers or pipes to create wholly unusual face sculptures.
      “Through this project, we hope to call attention to the significance and signification of masking as an issue of public health and demonstration of civic responsibility,” the gallery shares in a statement. “As the selected artists show, masking is also a mode of outward self-expression and opportunity for creativity. In turns utilitarian and fantastical, the wearable artworks shown demonstrate how makers and thinkers are engaging with the pandemic and applying their skills and individual styles to a newly important medium.”
      As part of the exhibition, Vicki Myhren Gallery has partnered with Denver’s RedLine Contemporary Art Center to fabricate free masks for distribution for those in need. (via Hyperallergic)

      Scottie Burgess, “Mask for Our Unseen Smiles” (2020)
      Serge Clottey, “Mask for Our Times” (2020) (photo by Nii Odzenma)
      Elizabeth Morisette, “Beak” (2020)
      Liz Sexton, Porcupinefish, 2020.
      Freyja Sewell, “Food” from Key Worker Series (2020)
      Matt Harris, “Hope” (2020); Cristina Rodo, “Covidus,” wet and needle-felted wool, 2020. Photo courtesy Emma Hunt.
      Kate Marling, “Classical Sculpture Mask” (2020)

      #COVID-19
      #masks
      #sculpture

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      Chrome Faces Protrude from Drippy, Graffiti Backdrops in Hyperrealistic Paintings by Artist Kip Omolade

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      Art

      #chrome
      #hyperrealism
      #masks
      #painting
      #portraits

      September 28, 2020
      Grace Ebert

      “Luxury Graffiti Kace I,” oil, spray paint and acrylic on canvas, 36 x 48 inches. All images © Kip Omolade, shared with permission
      Set on a graffitied backdrop, the chrome masks Kip Omolade (previously) paints appear to emerge from the canvas, jutting out from the vibrant display to confront the viewer. The Harlem-born artist layers dripping colors and typographic markings that contrast the smooth, gleaming faces protruding from the center for his new series Masks: Portraits of Times Square and Luxury Graffiti, which he completed in the wake of the COVID-19 pandemic. In a statement, he explains the history of the collection:
      In New York City during the ’80s, my tag was ‘Kace’ and I would ‘get up’ on MTA subway car interiors, public walls in Brooklyn, and graffiti black books. Throughout the ’90s, I never stopped tagging. Even when I was painting from life, I was still tagging here and there in random spaces. Years later, I produced a real-life ‘Kace’—when my twin sons were born, I named them Kent and Kace. The ‘Kace’ tags in these paintings reference NYC subway ‘bombing’ of the ’80s, but mostly it’s about legacy. I want my work to represent our shared experiences of the past, present, and future.
      Omolade’s process includes sculpting a resin mold of a chosen subject, which he then covers with chrome and uses as a reference for his hyperrealistic portraits. Many of the masks are reflective, revealing a hidden landscape. In Omolade’s self-portrait (shown below), an American flag in the shape of a bullseye marks his forehead, a nod to racial injustices in the United States.
      To see more of Omolade’s works, check out his virtual solo show at Jonathan LeVine Projects through October 4 and head to his Instagram.

      “Luxury Graffiti Self-Portrait (COVID-19),” oil on canvas, 36 x 48 inches
      “Luxury Graffiti Kent I,” oil on canvas, 36 x 48 inches
      “Luxury Graffiti Kent I,” oil on canvas, 36 x 48 inches
      “American Love,” oil on canvas, 36 x 48 inches
      “Red Stare,” oil on canvas, 36 x 48 inches
      

      #chrome
      #hyperrealism
      #masks
      #painting
      #portraits

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      Evoking West-African Masks, Faces Emerge from Cast-Iron Skillets by Artist Hugh Hayden

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      Art
      Food

      #cooking
      #diaspora
      #masks
      #sculpture

      August 12, 2020
      Grace Ebert

      “Jazz 10” (2020), cast iron, 16 1/2 x 11 3/4 x 3 1/8 inches. All images © Hugh Hayden, courtesy of Lisson Gallery
      New York-based artist Hugh Hayden (previously) visualizes the ways African traditions are embedded into multiple facets of American culture through a series of cast-iron skillets. Part of a larger exhibition titled American Food, the 26 pans are molded to reveal facial impressions that evoke West African-style masks, blending the cooking tool and cultural object.
      Generally established by cooks who were enslaved, southern food includes many of the flavors, techniques, and ingredients prevalent in African cuisine, forming what Hayden sees as one of the foremost culinary traditions distinct to the United States. This direct impact is evident in the physical artworks—the expressive masks literally emerge from the pans—although it transcends the effects on the kitchen. As he writes about “The Cosby’s” (shown below) on Instagram, “I made this triptych as an homage to the indelible cultural impact of the African diaspora on the creation of American entertainment, food, industry, and society.”
      Hayden creates the skillets through sand casting, a manufacturing technique that utilizes the granular substance as a mold, which the artist employs as a way to recognize “the imperfectness of the materials, their colonial histories, and the inherent loss of detail in the reproduction process.” He also parallels the sculpting process to the diaspora, considering how the original object is obscured and imbued with cultural significance when it’s finished. Ultimately, American Food celebrates “the indebtedness to African origins in the cooking—as a form of creation of America, Western culture, and Modern Art,” a statement says.

      “Jazz 19” (2020), cast iron, 21 1/4 x 12 x 5 1/2 inches
      “The Cosby’s” (2020), cast iron, three skillets, 12 1/8 x 8 1/4 x 5 7/8 inches, 14 1/2 x 10 5/8 x 4 1/4 inches, 18 7/8 x 14 1/8 x 2 1/2 inches
      “Jazz 15” (2020), cast iron, 16 7/8 x 11 3/8 x 6 1/4 inches
      Left: “The Cosby’s” (2020), cast iron, three skillets, 12 1/8 x 8 1/4 x 5 7/8 inches, 14 1/2 x 10 5/8 x 4 1/4 inches, 18 7/8 x 14 1/8 x 2 1/2 inches. Right: “Jazz 17” (2020), cast iron, 16 1/4 x 10 3/8 x 7 inches
      “Jazz 18” (2020), cast iron, 19 5/8 x 9 5/8 x 5 inches

      #cooking
      #diaspora
      #masks
      #sculpture

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      Masks, Toilet Paper, and Thermometers Transform into Miniature, Outdoor Adventures by Artist Tatsuya Tanaka

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      Art
      Photography

      #COVID-19
      #masks
      #miniature
      #paper
      #sports
      #swimming

      August 3, 2020
      Grace Ebert

      All images © Tatsuya Tanaka, shared with permission
      In the time of COVID-19, disposable face masks, toilet paper, and other essentials are synonymous with safety, precaution, and staying indoors. But in Tatsuya Tanaka’s ongoing Miniature Calendar series, the everyday items are subverted to create the tiny sets of outdoor adventures. A folded mask serves as a small tent, toilet paper descends from a wall holder as a snowy ski hill, and a thermometer outfitted with wheels transforms into a speedy racecar. For more of the miniature scenes from the Japanese artist and photographer (previously), head to Instagram, where he publishes a new piece daily. (via Lustik)

      #COVID-19
      #masks
      #miniature
      #paper
      #sports
      #swimming

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    • 150 Shares199 Views

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      Ai Weiwei Has Designed Face Masks to Raise Funds for COVID-19 Relief

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       All images © Ai Weiwei A defiant middle finger, a heap of sunflower seeds, and various mythical creatures are all silk-screened in black ink on the blue cloth backdrops of nonsurgical masks. The artworks the most recent intervention by artist and activist Ai Weiwei (previously) to help raise money for organizations directly involved with combating […] More

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      Artist-Designed Face Masks by Threadless Give Medical Supplies to Communities in Need

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      A recent launch by Threadless is an impressive, multifaceted initiative to combat COVID-19 that’s a win for consumers trying to stay safe, health-care workers on the front lines, and artists and creatives who’ve lost income. The Chicago-based eCommerce company announced this week that it would release artist-designed face masks, with a portion of proceeds going […] More

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      Extravagant Masks by threadstories Offer Cultural Commentary on Selfhood and Social Media

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       All images © threadstories, shared with permission Covered in full-face masks of fringe and knotted details, threadstories (previously) explores the tension between contemporary portrayals of public and private life. The Irish artist poses in front of gray backdrops for her self-portraits that obscure her face and only sometimes reveal a set of eyes or […] More