Enigmatic Sketchbooks Record Visual Stories in Colored Pencil and Ink by Katherine Akmulun
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#colored pencil
#drawing
#ink
#Katherine Akmulun
#memory
#narrative
#portraits
#sketchbooks
November 21, 2022
Kate Mothes More
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Art
#colored pencil
#drawing
#ink
#Katherine Akmulun
#memory
#narrative
#portraits
#sketchbooks
November 21, 2022
Kate Mothes More
175 Shares149 Views
in Art
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#acrylic
#landscapes
#light
#memory
#painting
#Sung Hwa Kim
September 2, 2022
Grace Ebert More
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#China
#impasto
#memory
#oil painting
#painting
#portraits
November 11, 2021
Grace Ebert
“I Am What I Am” (2020), 120 x 100 centimeters. All images © Li Songsong, shared with permission
Chinese artist Li Songsong (previously) obscures portraits and wider landscapes with thick dabs of oil paint. His textured, impasto works are based on found photographs or imagined scenes, and each conveys a narrative tied to ordinary moments or a broader shared history. Varying the extent of distortion in every piece, Songsong tells Colossal that interrogating personal identity is at the center of his practice. The “cultural and historical aspects are related to China, and the language and expressions are my own,” he explains.
Songsong’s recent works include a tender scene with an officer and his dog, a portrait of a hopeful pilot, and a panoramic shot featuring a crowd with hundreds of anonymous faces. The richly layered pieces speak to the haziness and fragmentary nature of memories and stories, especially those interpreted from a distance, and come into focus when viewed farther back with a squint.
Based in Beijing, Songsong is currently working on a new series of works, which you can follow on his site.
“Blondi” (2019), 210 x 180 centimeters
“Blondi” (2019), 210 x 210 centimeters
“Tea for Two” (2020), 210 x 210 centimeters
“No More Tears” (2020), 100 x 100 centimeters
“You Haven’t Looked at Me that Way in Years” (2020), 170 x 280 centimeters
“Three Decades” (2019), 210 x 420 centimeters
#China
#impasto
#memory
#oil painting
#painting
#portraits
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in Art
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#encaustic
#flowers
#hands
#memory
#plants
#wax
March 2, 2021
Grace Ebert
All images © Valerie Hammond, shared with permission
In Valerie Hammond’s series of wax drawings, protection is two-fold: the artist (previously) encases dried flowers and ferns in a thin layer of wax, preserving their fragile tissues long after they’ve been plucked from the ground. In outlining a pair of hands, she also secures a memory, or rather, “the essence of a gesture and the fleeting moment in which it was made.”
Centered on limbs lying flat on Japanese paper, the ongoing series dates back to the 1990s, when Hammond made the first tracing “partly in response to the death of a dear friend, whose beautiful hands I often found myself remembering.” She continued by working with family and friends, mainly women and children, to delineate their wrists, palms, and fingers. Today, the series features dozens of works that are comprised of either hands tethered to the dried botanics, which sprout outward in wispy tendrils, or others overlayed with thread and glass beads.
Although the delicate pieces began as a simple trace, Hammond shares that she soon began to overlay the original drawing with pressed florals, creating encaustic assemblages that “echoed the body’s bones, veins, and circulatory systems.” She continued to experiment with the series by introducing various techniques, including printmaking, Xerox transfers, and finally Photoshop inversions, that distorted the original rendering and shifted her practice. Hammond explains:
The works suddenly inhabited a space I had been searching for, straddling the indefinable boundary between presence and absence, material and immaterial, consciousness and the unconscious. For me, they became emblematic not only of the people whose hands I had traced but of my own evolving artistic process—testimony to the passing of time and the quiet dissolution of memory.
Hammond’s work recently was included in a group show at Leila Heller Gallery. Her practice spans multiple mediums including collage, drawing, and sculpture, all of which you can explore on her site and Instagram.
#encaustic
#flowers
#hands
#memory
#plants
#wax
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in Art Caledonia Curry, aka Swoon, is known for her street art utilizing paper that’s pasted onto building walls, but the Brooklyn-based artist has made a recent pivot that transfers her mythical style to stop-motion animations. Part of her solo exhibition Cicada, Curry’s short film “Sofia and Storm” is centered on a human-arachnid hybrid. After emerging […] More
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