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      Folds in Recurring Patterns Form the Tessellated Origami Sculptures by Goran Konjevod

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      Art
      Craft
      #copper
      #metal
      #origami
      #paper
      #sculptureFebruary 8, 2022Grace EbertAll images © Goran Konjevod, shared with permissionWhether folding flat, square tessellations or rounded forms that billow from a central point, origami artist  Goran Konjevod (previously) focuses on the tension inherent in a single sheet of material. His sculptures draw on his background in mathematics and computer science and configure precise geometries, fanned pleats, and small woven pieces that appear to be individual strips threaded together rather than a series of carefully aligned creases. Each form is a meticulous blend of texture, pattern, and dimension that’s translated into elegant, abstract constructions through repetitive folds.In recent months, Konjevod has shifted to working with paper infused with encaustic paint, although he’s also created an array of knotted creatures, twisted ropes, and small vessels out of thin sheets of copper, other metals, and mesh. You can find hundreds of his sculptures on his site, and take a peek into his process on Instagram.
      #copper
      #metal
      #origami
      #paper
      #sculptureDo 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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      Sculptural Kinetic Lifeforms by Choe U-Ram Sway and Flutter in Hypnotic Motion

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      Art
      #kinetic
      #LED lights
      #metal
      #sculpture
      #videoJanuary 20, 2022Grace Ebert[embedded content]With assistance from embedded CPU motors, Seoul-based artist Choe U-Ram (previously) mimics the lithe movements of animals and plants with his mesmerizing kinetic sculptures. The large-scale pieces are often suspended from the ceiling and illuminated by LED lights that cast glimmering reflections on the metallic components.Included in his most recent works is the frayed, Tyvek-coated sculpture titled “One,” which imitates the lifecycle of a flower as it opens to a bright, full bloom before retreating to a smaller, darker form associated with decay. “Orbis” and “Song of the Sun” conjure more animalistic motions that evoke long fins gliding through the water and flapping wings, respectively, although the latter’s petal-like elements produce shadows that fill the gallery space with silhouettes of thick foliage.Watch more of the artist’s sculptural creatures in action on his site and YouTube.
      #kinetic
      #LED lights
      #metal
      #sculpture
      #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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      Complex Networks of Metallic Branches Shape Animal Sculptures by Kang Dong Hyun

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      Art
      #animals
      #metal
      #sculpture
      #steelJanuary 6, 2022Grace Ebert“Forest of Coexistence” (2019), stainless steel and urethane paint, 300 x 160 x 120 centimeters. All images © Kang Dong Hyun, shared with permissionWhat eventually becomes a stately stag or majestically posed lion in Kang Dong Hyun’s Forest of Coexistence starts with countless metallic branches that splay in every direction. The Korean artist (previously) welds spindly shoots and sprawling root-like shapes into facial features and bodies that are then finished with urethane paint. Creating a cohesive display of flora and fauna, each hollow, stainless steel sculpture considers the relationship between species and the idea that “all life on Earth may lead to an invisible string,” Kang says. For more of the artist’s intricately formed animals, visit Instagram.“Forest of Coexistence” (2020), stainless steel and urethane paint, 73 x 46 x 11 centimeters“Forest of Coexistence” (2021), stainless steel and urethane paint, 150 x 120 x 50 centimeters“Forest of Coexistence” (2021), stainless steel and urethane paint, 64 x 36 x 114 centimeters“Forest of Coexistence” (2021), stainless steel and urethane paint, 68 x 80 x 20 centimeters“Forest of Coexistence” (2018), stainless steel and urethane paint, 130 x 45 x 85 centimeters“Forest of Coexistence” (2020), stainless steel and urethane paint, 51 x 80 x 39 centimeters
      #animals
      #metal
      #sculpture
      #steelDo 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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      Colorful Strips of Metal Coil into Minimal Animal Sculptures by Artist Lee Sangsoo

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      Art

      #animals
      #metal
      #sculptures

      October 12, 2021
      Grace Ebert

      All images © Lee Sangsoo, shared with permission
      Considering his practice a form of “drawing in the air,” artist Lee Sangsoo forges colorful, spiraled flamingos, dogs, parrots, and other creatures with long strips of metal. He sculpts the minimal works with resin or stainless steel depending on the size—he uses the latter for any piece that spans more than one meter—and coats each angled side with subtle gradients or a complementary palette. Although three-dimensional and sometimes so large that they tower over the landscape, the creatures are inspired by Picasso’s small, abstract animal drawings, which the artist explains:
      Lines, planes, and colors are important elements that work in my work. The lines drawn in the two-dimensional sketchbook determine the large flow and form of the work, and it becomes three-dimensional in the three-dimensional space. The square lines are shown in various shapes and colors according to the flow and twist, and you can feel the dynamism in the still work. Also, depending on the flow, the thickness of the lines may be rhythmically thickened or thinned.
      Some of Lee’s works are on view as part of KIAF Seoul, and you can find more of the twisted menagerie on his Instagram. (via Lustik)

      #animals
      #metal
      #sculptures

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      Unearthly Anatomical Works Sculpted in Crystal and Glass by Debra Baxter Explore Grief and Loss

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      Art

      #anatomy
      #crystals
      #glass
      #metal
      #sculpture

      October 8, 2021
      Grace Ebert

      “Catch your Breath” (2021), alabaster, bronze, and druzy snow chalcedony, 10 x 10 x 5 inches. All images courtesy of form & concept, shared with permission
      Artist and jewelry designer Debra Baxter (previously) explores the endurance of grief, mortality, and human bonds in Love Tears. Comprised of anatomical and figurative sculptures, the multifaceted series blend alabaster, quartz, and wood with delicate glass or metal to create forms that contrast the fragility of the body and natural world with the rugged topographies of crystals and rock.
      Simultaneously corporeal and unearthly, the spliced works evoke the Victorian tradition of mourning jewelry, which used various motifs and deep colors as memorials. In “Catch Your Breath,” for example, branch-like veins in bronze sprawl throughout crystalline lungs, while “Love Hard” bisects a smooth, glass heart with spiky quartz. “There’s inevitable pain in every form of love,” Baxter says about the series. “I’m fascinated by the ways in which we decorate this grief and mourning, and I wanted to see how far I could push myself with balancing the immediate, often ornate, demonstration of loss, and my use of permanent materials. This is about loss and legacy.”
      Love Tears will be on view at Santa Fe’s form & concept gallery from October 29, 2021, to January 15, 2022, and you can find more of Baxter’s bodily works on Instagram.

      “Crystal Brass Knuckles (forever)” (2021), sterling silver and quartz, 5 x 4.5 x 2 inches
      Left: “Soften the Blow” (2021), walnut and glass, 9.25 x 10 x 7.5 inches. Right: “” (2021), alabaster and glass, 9 x 6 x 6 inches
      “Love Hard” (2020), glass and quartz, 8 x 3 x 3.5 inches
      Left: Detail of “Ear to the Ground” (2020), alabaster and glass, 10 x 4 x 3 inches. Right: “” (2020), alabaster and green onyx, 12 x 7 x 4 inches
      “Holding It Together” (2021), bronze and amethyst, 9 x 16 x 5 inches

      #anatomy
      #crystals
      #glass
      #metal
      #sculpture

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      Innumerable Metal Leaves and Flowers Cloak Intricately Sculpted Animals by Taiichiro Yoshida

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      Art

      #animals
      #butterflies
      #flowers
      #metal
      #sculpture

      September 3, 2021
      Grace Ebert

      “The Dog in the Night Fog”
      Japanese artist Taiichiro Yoshida (previously) continues his surveys into the possibilities of metalsmithing with a new series of elaborately layered sculptures. Spending between two and six months on each work, Yoshida meticulously molds copper, bronze, silver, and other materials by hand, creating countless metallic pieces with intricately impressed textures and edgings. Once wrapped around an armature of a dog, chick, or stuffed teddy bear, the fragile components ripple across the form, or as is the case with “The Dog in the Night Fog,” they appear as dozens of butterflies poised for flight. Explore a larger collection of Yoshida’s wrought sculptures on his site.

      “Shell.” All images © Taiichiro Yoshida, shared with permission
      Detail of “The Dog in the Night Fog”
      “Red chick no. 6”
      “Vessel”
      “Calico”
      “Doppel”
      “Mottled rabbit”

      #animals
      #butterflies
      #flowers
      #metal
      #sculpture

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      Wrinkled Drapery and Speckled Orbs Disguise the Figures of Jessica Calderwood’s Peculiar Sculptures

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      Art
      Craft

      #clay
      #found objects
      #identity
      #metal
      #sculpture
      #wool

      August 24, 2021
      Grace Ebert

      “Digging Heels,” copper, enamel, blown glass, porcelain, glass pins, and milk paint, 4 x 6 x 12 inches. All images © Jessica Calderwood, courtesy of Momentum Gallery, shared with permission
      Indiana-based artist Jessica Calderwood imbues her whimsically camouflaged figures with questions about the female psyche. Whether covered by a polka-dotted orb or stuck in a ruffled tube of fabric, her nondescript women are temporarily trapped by their environments, their only defining features the sleek black pumps or striped kneesocks that stick out from their disguise. This concealment, Calderwood says, serves as “a negation, a censoring or denial of what lies beneath. These anthropomorphic beings are at once, powerful and powerless, beautiful and absurd, inflated, and amputated.”
      Deftly melding historical techniques with contemporary themes of identity, each of the works is rooted in traditional craftsmanship. A focus on mixed media is at the center of Calderwood’s broad body of work, which spans metalsmithing, jewelry, and wall-based ceramics, and many of her projects blend materials like enamel, porcelain, polymer clay, and felted wool to further evoke craft forms.
      Many of the pieces shown here are all on view at Asheville’s Momentum Gallery through September 7, and you can find more of Calderwood’s peculiar sculptures on her site and Instagram.

      “Plop,” copper, enamel, porcelain, glass micro-beads, milk paint, and gold luster, 6 x 8 x 6 inches
      “Ivory Tower,” copper, brass, polymer, blown glass, vintage plastic buttons, glass pinheads, porcelain, milk paint, and enamel, 5 x 10 x 10 inches
      “Stacked,” aluminum, powder coating, cast bronze, brass, blown glass, ceramic decals, porcelain, and milk paint, 15 x 6 x 6 inches
      “Shortcake” (2019), copper, enamel, porcelain, rayon flocking, glass head pins, and milk paint
      Left: “Succulent” (2014), slip-cast vitreous china, brass, stainless steel, polymer clay, milk paint, 5 x 4 x 4 inches. Right: “Shade” (2017), slip-cast vitreous china, felted wool, head pins, milk paint, stainless steel, and sterling silver, 6 x 4 x 4 inches
      “Public and Private,” copper, electroplated enamel, porcelain, milk paint, and steel, 7 x 13 x 4 inches
      “Spout,” copper, enamel, glass microbeads, porcelain, pearls, sterling silver, and milk paint, 9 x 5 x 4 inches
      “Twist,” copper, enamel, glass seed beads, powder coating, porcelain, milk paint, and brass, 9 x 9 x 5 inches

      #clay
      #found objects
      #identity
      #metal
      #sculpture
      #wool

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      Expressive Portraits Made as Scrap-Metal Mosaics Question Societal Notions of Value

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      Art

      #metal
      #mosaics
      #portraits

      July 19, 2021
      Grace Ebert

      All images © Matt Small, shared with permission
      At the heart of Matt Small’s practice is the idea that “there’s always potential within everything.” The British artist gravitates toward an overarching theme of disregard in both subject matter and material, choosing oxidized hunks of iron, bits of patinaed copper, and crinkled aluminum strips that have been relegated to the trash to construct his metallic portraits.
      Expressive and emotionally charged, the corroded mosaics link rampant overconsumption and widespread tendencies to throw away what’s deemed obsolete or undesirable to the ways adolescents are marginalized and subsequently not seen as viable members of society. “Because of the social backgrounds they come from, young people find themselves overlooked, disregarded, and left uninvested in,” the artist says. “Marrying the discarded item and painting a portrait of a young person on it or utilizing the material to construct a mosaic face, I hope that the viewer sees that everybody and everything has a right to be viewed as valuable and of worth. It’s just up to us to see that.”

      Detail of “Jake” (2020), assembled metal on wooden board, 35.5 x 35.5 inches
      In a conversation with Colossal, Small references Marcel Duchamp’s urinal and the way that readymade sculpture upended long-standing notions of worth as a foundational concept he draws on his own practice. By turning debris and seemingly useless materials into works of significance, he hopes to prompt questions about the arbitrary values assigned to objects and people alike, explaining:
      The scrap metal has worth because of what I did with it, not because I say it is of worth. The rusted tin can becomes a tone in the face. The shiny metal brings out a highlight on the forehead. All these worthless items have been incorporated into something that someone may now appreciate, and the potential of this scrap item can now be realized.
      Small, who lives in his hometown of Camden, currently has work on view as part of Vanguard, which is considering the role of Bristol-area artists who’ve had an outsized impact on British street art since the 1980s. The extensive exhibition, which includes memorabilia and dozens of originals works, is open at M Shed through October 31. If you’re in London, watch for a large-scale mural portrait of the young British entrepreneur Jamal Edwards that Small is working on in Acton, and follow the artist on Instagram to stay up to date with his latest projects.

      “Jake” (2020), assembled metal on wooden board, 35.5 x 35.5 inches

      #metal
      #mosaics
      #portraits

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