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Lush Growths and Classical Architecture Converge in Eva Jospin’s Meticulous Sculptures

by Aurelia Butler 16 November 2024, 13:57

“Forêt” (2024), wood, cardboard, 94 1/2 x 133 7/8 x 19 3/4 inches. All images courtesy of Mariane Ibrahim, shared with permission

Lush Growths and Classical Architecture Converge in Eva Jospin’s Meticulous Sculptures

November 16, 2024

ArtNature

Grace Ebert

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Rather than position herself as an observer of landscapes, Eva Jospin imagines humans and their environments as one. The Parisian artist carves intricate forests and stately architecture subsumed by vines and craggy cliffs all from humble cardboard, accentuating the corrugated textures to add depth and intrigue.

In her Chicago debut at Mariane Ibrahim, Jospin presents a series of freestanding sculptures and wall works that invite the viewer to venture into her large-scale, yet incredibly intricate worlds. Titled Vanishing Points, the exhibition gestures toward perspective and the ways subtle details and contemplation can shift how we see.

“Forêt troglodyte” (2024), wood, cardboard, and mixed media, 72 1/2 x 59 x 31 1/2 inches

As with earlier bodies of work, Jospin’s paper sculptures and vivid, silk tapestries draw on classical styles and the 18th-century tradition of follies, architectural structures designed for decoration. These often ornate buildings could be found in many Baroque gardens, which took human mastery over nature as an imperative.

The artist’s works instead depict a convergence between the manufactured and the organic. In the six-foot tall “Forêt troglodyte,” for example, vines crawl down from a ceiling embedded with shells and sea sponges. The exquisite vault stands parallel to a similarly shaped cavern, occupied by trees rising from a rugged bluff.

Jospin walks viewers through her process and studio in the video below. If you’re in Chicago, see Vanishing Points before January 25.

Detail of “Forêt troglodyte” (2024), wood, cardboard, and mixed media, 72 1/2 x 59 x 31 1/2 inches

“Capriccio” (2024), wood, cardboard, and mixed media, 76 3/8 x 41 3/8 x 21 5/8 inches

Detail of “Capriccio” (2024), wood, cardboard, and mixed media, 76 3/8 x 41 3/8 x 21 5/8 inches

“Jardin Constantine” (2024), silk thread, silk canvas, wood and cardboard frame,46 x 96 7/8 x 4 inches

“Petit Bois” (2024), wood, cardboard, 28 x 34 1/2 x 9 1/4 inches

“Treille” (2024), silk thread, silk canvas, wood and cardboard frame, 100 3/4 x 69 1/4 x 4 inches

Detail of “Forêt” (2024), wood, cardboard, 94 1/2 x 133 7/8 x 19 3/4 inches

Detail of “Treille” (2024), silk thread, silk canvas, wood, and cardboard frame, 100 3/4 x 69 1/4 x 4 inches

“Labyrinthe” (2024), wood, cardboard, and mixed media, 41 x 39 3/8 x 27 1/2 inches

Detail of “Labyrinthe” (2024), wood, cardboard, and mixed media, 41 x 39 3/8 x 27 1/2 inches

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Laura Kramer’s Glass Sculptures Intersect Aesthetics and Archaeology
by Aurelia Butler 13 November 2024, 19:30
“Curiosity Box.” All images © Laura Kramer, shared with permission
Laura Kramer’s Glass Sculptures Intersect Aesthetics and Archaeology
November 13, 2024
ArtNature
Jackie Andres
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Material culture is an important aspect of understanding past and present histories. Used in anthropology and archaeology, the concept refers to the the cultural significance an object may hold. Whether it be tools, religious articles, clothing, or even art, physical items have always been a reflection of the societies that wield them. Glass artist Laura Kramer is driven by this phenomenon.
Into her work, Kramer carries personal experiences from studying anthropology and archaeology and participating in excavations—or “digs”— in St. Eustatius, an island in the Caribbean. “I am interested in the connection of the imbued spirit within the object,” she explains. “My work is deeply influenced by the cabinet of curiosities—odd objects that may not be easily categorized.”
“Cinnabar”
From her studio in Rhode Island, Kramer sculpts organic forms encrusted in ornate textures that mimic the natural formation of crystals. Sometimes using found objects like wasp nests, the artist creates peculiar sculptures that defy generally accepted systems of classification. Challenging the typical boundary between the manmade and natural, her sculptures land in a liminal space when examined from an anthropological point of view.
See more from Kramer on Instagram.
“Marie”
“Memento Mori”
“Azurite”
“Mary”
“Crystal Bowl”
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Quentin Garel’s Lifelike Sculptures Transport Us to the ‘Faraway Forest’
by Aurelia Butler 7 November 2024, 14:22
All images courtesy of the artist and Galerie LJ, shared with permission
Quentin Garel’s Lifelike Sculptures Transport Us to the ‘Faraway Forest’
November 7, 2024
ArtNature
Kate Mothes
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Lifelike mammals with sage expressions characterize the sculptures of Quentin Garel (previously). A deer with enormous antlers, an ibex—a type of wild goat—with curving horns, and a beady-eyed donkey are just a few of the creatures in the artist’s current solo exhibition with Galerie LJ, Dans la Forêt Lontaine—or, “in the faraway forest.”
Oscillating between reality and fantasy, Garel’s sculptures portray creatures threatened by overhunting, displaying them on the wall or atop metal rods like trophies. He works with the wood’s natural grain, allowing the whorls and knots to emphasize musculature.
Part of a commissioned series for a public installation in Thonon-les-Bains, France, Garel explores the theme of mountain animals, drawing attention to the needless impulse to hunt for sport. In Thonon-les-Bains, bronze casts of the pieces shown currently at Galerie LJ will be installed in a large wall fountain.
Dans la Forêt Lontaine continues through November 23 in Paris. Find more of Garel’s work on Instagram.
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A Sprawling Garden Opening Next Spring Embodies Van Gogh’s ‘Starry Night’
by Aurelia Butler 4 November 2024, 14:31
Photos by Almin Tabak. All images courtesy of Starry Night Retreat, shared with permission
A Sprawling Garden Opening Next Spring Embodies Van Gogh’s ‘Starry Night’
November 4, 2024
ArtDesignNature
Kate Mothes
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Two decades ago, Halim Zukic purchased a 173-acre plot of land in a verdant valley near his hometown of Visoko, Bosnia and Herzegovina. He conceived of a retreat, where his love of nature and landscape design could open to the public. But it wasn’t until 2018 that the businessman and art enthusiast began replicating details of one of the world’s most recognizable paintings on an enormous scale.
While working on the property one day, Zukic observed some tractor tracks that reminded him the swirls and waves of Vincent van Gogh’s seminal work from 1889, “The Starry Night.” With plenty of motivation but less of a clear plan, he and an amateur team intuitively followed the contours of the land and made numerous adjustments over time to achieve visual and spatial harmony.
The elaborate design for Starry Night Retreat, which employs lavender and a variety of other herbs as its medium, is characterized primarily by the absence of straight lines. The estate encompasses a 25-acre park within its overall footprint, which includes meeting places like a natural amphitheater.
The project “honors Vincent van Gogh and those who bravely pursue their passions despite the sacrifices required,” says hospitality manager Merjem Zukić. “Mr. Zukic views the retreat as a unique space where nature and art blend, enabling visitors to reconnect with essential elements of their being and engage their senses.”
Starry Night Retreat is slated to open to the public next May. Find more on its website.
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On Canvas and Shell, Alexis Trice Paints Ethereal Scenes Gleaming with Energy
by Aurelia Butler 22 October 2024, 10:00
“High Spirits II.” All images courtesy of Arch Enemy Arts, shared with permission
On Canvas and Shell, Alexis Trice Paints Ethereal Scenes Gleaming with Energy
October 22, 2024
ArtNature
Grace Ebert
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For Alexis Trice, water is about moving energy and emotion. The native New Yorker (previously) paints gleaming tears that gush from an animal’s eyes or green-tinged seas with roiling waves to “release and recycle.” She adds, “I wanted to make work that could be felt without fully being seen.”
Earthy color palettes and glinting light recur in Trice’s works, along with shaggy brown dogs that “represent the ideal conduit to bridge the gap of shared emotion between wild animals and humans.” One such creature appears in “Hay Fever,” which features the canine surrounded by thick grass with broken strands of pearls in its mouth.
“Deep Sea, Deep Sea, Swallow Me”
Trice frequently returns to these naturally lustrous gems to convey the passage of time, and in her latest exhibition Dust & Brine, mollusks appear as substrates in addition to subject matter. Twenty scallop shells hold ethereal scenes in miniature, whether a diptych of a bisected blue whale or three fish swirling in a lucky trinity.
Atmospheric and ethereal, this body of work ventures further into the surreal. The artist writes about “High Spirits II,” which depicts a pair of taper candles embedded in a pink fish: “Soft flaky scales and iridescence achieved through many glazes, trial, and error. Juicy wet flesh, and flashes of candlelight peering through astigmatism eyes.”
If you’re in Philadelphia, stop by Arch Enemy Arts to see Trice’s work through October 27. Otherwise, find more on her website and Instagram.
“Fortune II”
“My Heart is a Lonesome Hunter”
“Low Tide”
“The Old Dog”
“A Fly”
“Hay Fever”
“The Sun Gets in Your Eyes”
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From Reviled to Revered, an Enormous Pigeon Perches Atop the High Line
by Aurelia Butler 21 October 2024, 18:37
“Dinosaur.” All photos by Timothy Schneck, courtesy of the High Line, shared with permission
From Reviled to Revered, an Enormous Pigeon Perches Atop the High Line
October 21, 2024
ArtNature
Grace Ebert
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The latest sculpture to grace New York City’s High Line is a monumental tribute to an unlikely creature.
Perched above 10th Avenue, a hyper-realistic pigeon stops to rest in the outdoor pavilion. The work of artist Iván Argote (previously), the hand-painted, aluminum bird is titled “Dinosaur” and looms 21 feet in the air, rivaling the enormous proportions of some of its ancestors.
Argote is known for questioning the role of monuments and statues, particularly as they relate to colonial histories and power imbalances. For this work, he upends the human-animal relationship and notions of migration and value as the common street bird is vaulted into a glorified figure, peering down on pedestrians and drivers. The artist says in a statement:
The name “Dinosaur” makes reference to the sculpture’s scale and to the pigeon’s ancestors who millions of years ago dominated the globe, as we humans do today… the name also serves as a reference to the dinosaur’s extinction. Like them, one day we won’t be around anymore, but perhaps a remnant of humanity will live on—as pigeons do—in the dark corners and gaps of future worlds.
Despite their ubiquity throughout North American cities, pigeons aren’t native to the continent. The birds were initially brought from Europe as a barnyard animal and food source, but as they escaped into the wild, they grew into the scavenging flocks they are today. No longer domesticated and not quite wild, pigeons occupy a unique position.
Argote’s work is a cheeky nod to the birds and suggests they’re more deserving of appreciation than some of the figures we’ve collectively honored in the past. Standing tall and confident atop a concrete plinth, the sculpture also serves as a reminder that “everyone is an immigrant,” a statement says. “Even the pigeon, a New York fixture, initially migrated here and made the city their home, like millions of other ‘native’ New Yorkers.”
“Dinosaur” will be on view through spring. Find more from Argote on Instagram.
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Eight Pairs of Woven Shoes Fit for Cranes Roost in a Field of Pebbles
by Aurelia Butler 17 October 2024, 21:04
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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Nature and Geometry Merge in Yulia Brodskaya’s Meticulously Quilled Paper Birds
by Aurelia Butler 10 October 2024, 10:00
“Nature of Things.” All images courtesy of Yulia Brodskaya, shared with permission
Nature and Geometry Merge in Yulia Brodskaya’s Meticulously Quilled Paper Birds
October 10, 2024
ArtCraftNature
Kate Mothes
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From individual strips of colorful, methodically folded paper, Yulia Brodskaya’s vibrant compositions take wing. In a new series of quilled artworks, the artist (previously) taps into her love of drawing to emphasize the power of a line.
“In my paper art practice, a drawn two-dimensional line is represented by a three-dimensional strip of paper glued on its edge,” Brodskaya says. For her mini-series of birds, the dimensionality of each line symbolizes ethereality and energy made visible.
“Eagle of Light”
In “Nature of Things,” for example, a kingfisher sits on the edge of a leaf, which appears to overflow with a geometric grid evocative of quantum illustrations of black holes.
Foliage initially inspired the composition. “I was just sitting, observing its shape, following the curving lines with my eyes, and it didn’t take long to receive a vision of a superimposed toroidal shape…” she says, “like an organising principle that has always been there.”
Find more of Brodskaya’s work on her website, and peek into her practice on Instagram.
Detail of “Eagle of Light”
“Things of Nature”
Detail of “Nature of Things”
“Take Off”
Detail of “Take Off”
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Papier Mâché Bat Masks by Jym Davis Take Wing in Bold Portraits
by Aurelia Butler 2 October 2024, 16:00
White bat, Florida. All images courtesy of Jym Davis, shared with permission
Papier Mâché Bat Masks by Jym Davis Take Wing in Bold Portraits
October 2, 2024
Art Craft Nature Photography
Kate Mothes
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Atlanta-based artist Jym Davis, who also goes by False Face, has a thing for bats. He began making masks of the winged mammals during a series of residencies at national parks in the American West. In Arizona, he learned about Townsend’s big-eared bat and critically threatened species like the pallid bat in Northern California, Oregon, and Idaho.
“(The Townsend’s big-eared bat’s) scrunched up, wrinkly faces, and huge ears seemed so sculptural and beautifully grotesque to me,” Davis tells Colossal. “The more strange and exotic bats I discovered, the more I was inspired to push my sculpting and painting techniques.”
Pallid bat, Idaho
When entering the caves or lava tubes that the bats call home, Davis takes precautions to help protect the animals from contagious diseases and fungi that visitors can track in on their shoes. “In the past century, bats were villainized and intentionally eradicated,” he says. “I think I have a particular fondness for bats because they are so historically misunderstood.”
Drawn to ancient European festival traditions and materials used for centuries, Davis began making masks as a way to connect his work to history and the land.
“For instance, I really love sculpting with papier mâché because it goes back hundreds of years,” he says. “I sew bells and ribbons into my outfits because it is another old festival element—even referenced by Shakespeare.” He typically avoids modern materials, especially anything made of plastic.
Townsend’s big-eared bat, Arizona
While Davis’s designs are based on real creatures, he often embellishes the masks with bold patterns, colors, and geometries. The pieces are part of a broader, ongoing body of work that he describes as a “menagerie of mythological characters,” which include a series of otherworldly avian creatures called Flood Birds and a grouping inspired by moths and butterflies titled Morph Angels, among others.
Davis dons the masks amid natural settings and captures each personality in striking photographs and performances. This month, he is headed to Joshua Tree, California, for some photo sessions in preparation for his forthcoming book focused on Morph Angels.
The artist currently has an albatross mask on view in FORAGE: OCEANS at Dorado 806 Projects in Los Angeles through October 12. Some of his masks are also available for sale on his website, and you can follow updates on Instagram.
You might also enjoy Ashley Suszczynski’s ongoing documentation of ancient masked traditions.
Bat, Florida
Red bat, California
Bat, Florida
Pallid bat, Idaho
White bat, Florida
Red bat, Idaho
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nature

Latest story

Lush Growths and Classical Architecture Converge in Eva Jospin’s Meticulous Sculptures

More stories

Laura Kramer’s Glass Sculptures Intersect Aesthetics and Archaeology

Quentin Garel’s Lifelike Sculptures Transport Us to the ‘Faraway Forest’

A Sprawling Garden Opening Next Spring Embodies Van Gogh’s ‘Starry Night’

On Canvas and Shell, Alexis Trice Paints Ethereal Scenes Gleaming with Energy

From Reviled to Revered, an Enormous Pigeon Perches Atop the High Line

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

Nature and Geometry Merge in Yulia Brodskaya’s Meticulously Quilled Paper Birds

Papier Mâché Bat Masks by Jym Davis Take Wing in Bold Portraits

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