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      Lifelike Sculptures by Diana Beltrán Herrera Recreate Flora and Fauna in Intricately Cut Paper

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      Art
      Design
      Food
      Illustration

      #animals
      #birds
      #flowers
      #fruit
      #paper
      #plants
      #sculpture

      August 12, 2021
      Grace Ebert

      All images © Diana Beltrán Herrera, shared with permission
      Colombian artist Diana Beltrán Herrera (previously) adds to her growing collection of intricate paper sculptures with new plant and animal life. From her studio in Bristol, the artist and designer recreates lifelike reproductions of turacos, monarchs, and various species with nearly perfect precision. Innumerable fringed strips become feathers, faint scores mimic delicate creases in petals, and layers of bright paper form brilliantly colored plumes, creating a colorful and diverse ecosystem of wildlife from around the world.
      Prints, jigsaw puzzles, and cards are available in Beltrán Herrera’s shop, and you can see more of her recent commissions and personal projects on Behance and Instagram.

      #animals
      #birds
      #flowers
      #fruit
      #paper
      #plants
      #sculpture

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      An Eclectic Group Exhibition Brings Together Contemporary Interpretations of the Archetypal Vessel

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      Art

      #ceramics
      #painting
      #paper
      #sculpture
      #yarn

      July 15, 2021
      Grace Ebert

      CHIAOZZA, “Bouquet Sculpture No. 2” (2021), acrylic paint on paper pulp, 36 x 23 x 9 inches. All images courtesy of Hashimoto Contemporary, shared with permission
      A group exhibition at Hashimoto Contemporary in San Francisco offers a new perspective on the enduring legacy of the vessel as both standalone object and motif. Spanning ceramic vases, oil-based works on canvas, and sculptures made of paper pulp, the show explores the myriad ways the ubiquitous container has appeared throughout art history and how two dozen artists working today interpret the classic form. Included are the minimal, ritualistic paintings by Laura Berger (previously), Stephanie Shih’s sleek Molotov cocktail inscribed with a strikingly hopeful message, and Katie Kimmel’s zany dogs. We’ve gathered some of our favorite works below, and stop by the gallery before Vessel closes on July 31 to see them in person.

      Laura Berger, “Vessel 1” (2021), oil on canvas, 42 x 32 inches
      Left: Munisa, (2021), clay, wire, and glaze, 18 x 11 x 6 inches. Right: Stephanie Shih, “Molotov Cocktail (A Better World Is Possible)” (2021), 10 x 4.5 x 2.5 inches
      Leif Zikade, “Emergence” (2021), acrylic yarn, 24.5 x 16.5 inches
      Hilda Palafox, “Cosecha” (2021), high temperature ceramics, 12 x 12 x 12 inches
      Left: Katie Kimmel, “Nosferatu vase” (2021), ceramic, 13 x 7 x 3.4 inches. Right: Katie Kimmel, “” (2021), ceramic, 11 x 6 x 3.4 inches
      Lorien Stern, “Ready for the Afterparty” (2021), ceramic, 14 x 14.25 x 8.5 inches

      #ceramics
      #painting
      #paper
      #sculpture
      #yarn

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      Monumental Cut Paper Portraits Celebrate the Fundamental Importance of Community and Friendship

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      Art

      #identity
      #paper
      #portraits

      July 12, 2021
      Grace Ebert

      “The limits of my language are the limits of my world” (2021), hand-cut paper, ink, pencil, paint, 77 x 48 1/4 inches. All images courtesy of Antonius Bui and Monique Meloche Gallery, shared with permission
      Vietnamese-American artist Antonius Bui highlights the flexible, evolving nature of identity and the value of community through a series of unapologetically affectionate portraits. Elaborate hand-cut botanicals and geometric motifs envelop and give shape to Bui’s subjects, who include chosen and biological family members, friends, and colleagues. Painted in deep blue or inked in smaller spots to emit a warm glow, the pieces are monumental in scale—some extend upwards of 10 feet—and saturated with underlying stories that reveal themselves through smaller portraits and displays of domestic life embedded in the central image.
      Continually focused on the power of narrative, Bui leaves gaps in the metaphorical, mesh-like works as a way to create space for more nuanced understandings of Asian American and Pacific Islander communities, immigrant experiences, queerness, and the prevalence of false binaries. A child of Vietnamese refugees, they draw on their family’s heritage with “allusions to the spiritual significance of Joss paper, an incense paper used both to imitate value and as a form of blessings, position(ing) each work almost as an offering to honor queer communities,” a statement about the portraits says.
      All of the works shown here are part of The Detour Is to Be Where We Are, which is on view through August 14 at Monique Meloche Gallery in Chicago. You can find more of Bui’s intimate pieces on their site and Instagram.

      Detail of “The limits of my language are the limits of my world” (2021), hand-cut paper, ink, pencil, paint, 77 x 48 1/4 inches
      Detail of “for hunger is to give the body what it knows it cannot keep” (2020), hand-cut paper, ink, pencil, 120 x 61 inches
      “If I had the words to tell you we wouldn’t be here now” (2020), hand-cut paper, ink, pencil, 104 x 60 inches
      Left: “I remember opening you into words, gently, with a single question” (2021), hand-cut paper, ink, pencil, paint, 100 3/4 x 49 3/4 inches. Right: “for hunger is to give the body what it knows it cannot keep” (2020), hand-cut paper, ink, pencil, 120 x 61 inches
      “theoriginalcalloutqueen” (2021), hand-cut paper, ink, pencil, 50 x 99 1/2 inches
      Left: “When they move on, it’s just us” (2021), hand-cut paper, ink, pencil, 34 3/4 x 26 3/4 inches. Right: “Vessel 4″ (2021), hand-cut paper, ink, pencil, paint, 33 3/4 x 21 inches
      “If I had the words to tell you we wouldn’t be here now” (2020), hand-cut paper, ink, pencil, 104 x 60 inches

      #identity
      #paper
      #portraits

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      Layers of Cut Paper Foliage Fragment Christine Kim’s Collaged Portraits

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      Art
      Craft
      Illustration

      #collage
      #graphite
      #mixed media
      #paper
      #portraits

      July 8, 2021
      Grace Ebert

      All images © Christine Kim, shared with permission
      Obscured faces peek through tangles of leaves and stems in the ethereal portraits of Toronto-based artist Christine Kim. Her mixed-media collages layer textured graphite gradients and mesh-like cuttings into splintered depictions of her subjects. “‘Fragmentary’ is one word that I return to again and again because I think portraiture is an act of catching glimmers of a person,” she tells Colossal. “I like the idea of not being able to see everything. Having multiple layers partially conceals but the patterns of foliage, (which) also act like a kind of shelter.”
      For each work, Kim first illustrates a single figure—the subjects shown here are models Yuka Mannami and Hoyeon Jung—and then digitally draws a corresponding botanical pattern. Those motifs are cut with the help of a Silhouette Cameo machine before they’re built up sheet by sheet. Graceful and at times surreal, the resulting portraits portray fractions of faces and hands that are duplicated or filtered through colorful webs.
      You can dive into Kim’s process in this studio visit, and find a larger collection of her tiered illustrations on Instagram. (via Supersonic Art)

      #collage
      #graphite
      #mixed media
      #paper
      #portraits

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      Interlocking Lines of Text Spring from Stephen Doyle’s Poetic Book Sculptures

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      Art

      #books
      #language
      #paper
      #sculpture

      July 6, 2021
      Grace Ebert

      All images © Stephen Doyle, shared with permission
      Stephen Doyle describes his interconnected book sculptures as “miniature monuments, testaments to the power of language and metaphors of imagination.” Featuring angled scaffolding and interlocking constructions that appear to grow directly from the bound pages, the sprawling sculptural forms that comprise his Hypertexts series are unruly and enchanting reimaginings of how information is communicated.
      The New York City-based artist lobs off parts of sentences, tethers phrases together with an unrelated word, and generally obscures the author’s intended meaning, producing arbitrary and striking connections within the text. Although the paper sculptures are tangible manifestations of language, Doyle tells Colossal that he originally envisioned the spliced works as satirical commentaries on digital diagramming. “I first started when ‘hypertext’ was a novel term of the internet: blue underlined text was a portal, linked to another document in the ether. Linking one text to another seemed rather DADA in intent, abstract, random, and capricious,” he says, explaining further:
      I conjured sculptures in which the lines of text shook off the shackles of the page, leapt up, out of the book, and started conferring with their neighboring lines of text, creating an aerial network of language, turning text into synapse, circulation… I soon realized that these three-dimensional diagrams seemed to have a poetic power of their own, recontextualizing language and ideas into sculptural forms, inspired by the books themselves.
      A graphic designer by day, Doyle has spent the last few years expanding his Hypertexts series, which has been featured in The New Yorker, Wired, The Atlantic, The New Republic, and other publications. If you’re in New York City, you also might have seen the triptych he created for the subway a few years back. You can follow his works on Instagram. (via swissmiss)

      #books
      #language
      #paper
      #sculpture

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      Moonlit Forests, Fish, and Branches Populate Kirie Silhouettes Cut from a Single Sheet of Paper

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      Art

      #nature
      #paper
      #portraits
      #silhouettes

      April 20, 2021
      Grace Ebert

      All images © Kanako Abe, shared with permission
      From a single sheet of white paper, Kanako Abe (previously) carves exquisite silhouettes of children and young adults who are awash in seas of fish or occupied by quiet campouts. She utilizes the traditional Japanese art form called Kirie—which translates to cut picture—a technique that Abe begins with a sketch before slicing the delicate material with a variety of knives. “I don’t have a chance to change the design once I start cutting, so I find it challenging,” the Seattle-based artist says. “I have to think of the right patterns, controlling negative space, and make sure all the lines are connected so the art won’t fall apart once it’s finished.” A single piece can take anywhere from six to 60 hours to complete.
      Abe shifted to full-time in 2020 and now balances her practice between commissions and ongoing personal projects, a few of which she’ll be sharing soon on Instagram. No matter the context, each artwork reflects a broader connection to nature and its ability to provide an escape from the complications and heartbreak of the current moment. “I find the process of art-making is a way for me to meditate on everyday thoughts and emotions, and it’s much easier for me to express complex feelings or emotions visually than verbally,” she tells Colossal. “The cycle of nature teaches us about the power of letting go or accept things as they are and that there’s a silver lining in everything.”
      If you’re in San Francisco, you can see Abe’s intricate portraits at her September solo show at Rare Device. She’ll also be included in a group exhibition at Today’s Gallery in Ehime, Japan, which opens in December.

      #nature
      #paper
      #portraits
      #silhouettes

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      Hundreds of Minuscule Paper Cranes Perch in Bonsai Trees in Naoki Onogawa’s Sculptures

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      Art
      Craft

      #miniature
      #origami
      #paper
      #sculpture
      #trees

      April 5, 2021
      Grace Ebert

      All images © Naoki Onogawa, shared with permission
      Using just his hands, Tokyo-based artist Naoki Onogawa folds scores of origami cranes with wingspans that never top a single centimeter. He then fastens the minuscule birds to asymmetric tree forms, creating bonsai-like sculptures engulfed by hundreds of the monochromatic paper creatures.
      Onogawa tells Colossal that he began crafting the tiny birds following the 2011 Great East Japan Earthquake that devastated parts of southern Hokkaido and Tohoku, which the artist visited the next year. As he walked around the city of Rikuzen Takata, he spotted 1,000 paper cranes at the site of a school demolished by the tsunami. “I found myself in terror of how powerless we humans are in the face of nature’s wonder; yet at the same time, I felt empowered by the power of life, vitality, that shined so brightly in the aftermath of its wrath,” Onogawa says. He explains further:
      It was like witnessing the result of a desolate ritual where people channeled their unsettled feelings into these cranes. And here they exist, spirited with prayers that they would go back and forward to and from a world beyond here. I struggle to find the words to describe it, but I think that maybe the cranes that I fold now come from that place of solemn prayer.
      Onogawa’s cranes are on view at the Setouchi City Museum of Art alongside Motoi Yamamoto’s sprawling salt installation through May 5. Browse available artworks on Picaresque, and explore a larger collection of his pieces on Instagram. (via designboom)

      #miniature
      #origami
      #paper
      #sculpture
      #trees

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      A New Book Highlights an Eclectic Collection of Paper Works by 24 Artists Defining the Medium

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      Art
      Craft

      #books
      #paper

      March 31, 2021
      Grace Ebert

      JUDiTH+ROLFE. All images courtesy of Gingko Press, shared with permission
      A celebration of contemporary paper art, a new book gathers a wide-ranging collection of collages, quilled portraits, and intricately cut landscapes from 24 artists and studios around the globe. Published by Gingko Press, Paperists: Infinite Possibilities in Paper Art spans 256 pages that explore the unexpected ways the medium is used today and features work from a slew of artists featured on Colossal, including Estudio Guardabosques (previously), Makerie Studio (previously), Yulia Brodskaya (previously), and Zim & Zou (previously), to name a few. Grab a copy of the forthcoming volume on Bookshop.

      Pippa Dyrlaga

      Left: Pippa Dyrlaga. Right: Ale Rambar
      Zim & Zou
      Left: Diana Beltran Herrera. Right: Sam Pierpoint
      Zim & Zou
      Hazel Glass

      #books
      #paper

      Do 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!

       
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