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    • 175 Shares109 Views

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      Preserved Grasses and Twigs Radiate Outward in Delicately Embroidered Sculptures by Artist Kazuhito Takadoi

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      Art

      #embroidery
      #grass
      #sculpture
      #weaving
      #wood

      June 9, 2021
      Grace Ebert

      All images © Kazuhito Takadoi, shared with permission
      Artist Kazuhito Takadoi (previously) tames the unruly grasses, leaves, and twigs grown in his garden by weaving the individual strands into exquisite radial sculptures. Stitched into paper or bound to wooden discs made of cedar of Lebanon, oak, elm, or walnut, the abstract forms hover between two and three dimensions and utilize traditional Japanese bookbinding techniques to secure the threads. Each artwork, whether an intricately overlapping mass or pair of circular sculptures, is an act of preservation and a study of inevitable transformation: although the materials won’t decompose entirely, subtle shifts in color and texture occur as they age. “As the light changes or the point of view is moved, so the shadows will create a new perspective,” the artist says.
      Born in Nagoya, Japan, Takadoi is currently based in the U.K. His meticulously woven works will be on view from June 22 to 29 at Artefact in Chelsea Harbor, and you can find a larger collection of his pieces on Artsy and jaggedart.

      #embroidery
      #grass
      #sculpture
      #weaving
      #wood

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    • 163 Shares159 Views

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      Innumerable Pieces of Dyed Clay Envelop Meditative Sculptures in Subtle Patterns and Gradients

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      Art
      Craft

      #abstract
      #ceramics
      #clay
      #gradients
      #porcelain
      #sculpture

      June 7, 2021
      Grace Ebert

      “Clements Shade” (2020), porcelain ,29.5 x 16 x 43 centimetres. Photo by Mark Robson. All images © Alice Walton, shared with permission
      Thin ribbons of porcelain ripple across the surfaces of Alice Walton’s abstract sculptures. Gently sloped domes and pillars are covered in countless individual strips, which vary in thickness and length and add irregular texture and depth to the finished pieces. “Every mark I make, whether this be a tool mark or a fingerprint, are preserved in the firing and are not covered or coated or inhibited by a glaze,” the artist writes. “I want the viewer to be able to look at my sculptures from afar and to have one perception of the surface (and) then want to explore closer. On a nearer inspection, the surface decoration reveals layers of multiple colours and time spent through process.”
      Focusing on the meditative qualities of repetition, Walton combines pastels and vibrant Earth tones to evoke the sights of her surrounding environment and travels. “The vividly painted sun-bleached street walls and the monsoon-drenched temples, to me, instantly resembled the dry powdery palette of coloured clays,” she shares about a visit to Rajasthan, India. Her choices in pigment still revolve around what she sees on a daily basis—these range from old maps to the seasonal landscapes nearby her studio in Somerset, U.K.—that result in undulating stripes or bold gradients composed with more than 40 colors in “Clements Shade.”
      At the 2019 British Ceramics Biennial, Walton was awarded a residency with Wedgwood, where she’s currently working on a new series of sculptural vessels made from the English company’s traditional Jasper clay. Those pieces will be shown at the 2021 biennial in September. She’ll also have work at London’s Chelsea Design Centre from June 22 to 29 and at MAKE Hauser & Wirth Somerset in November. Until then, explore more of her sculptures on her site and Instagram. (via Seth Rogan)

      “Clements Shade” (2020), porcelain, 29.5 x 16 x 43 centimeters. Photo by Mark Robson
      Detail of “Avonvale Mapping” (2020), colored porcelain. Photo by Alice Walton
      “Avon Ribbons” (2020), colored porcelain, 30.5 x 28 x 28 centimeters. Photo by Alice Walton
      Detail of “Janta Grove.” Photo by Sylvain Deleu
      “Vale Ribbons” (2020), colored porcelain, 18.5 x 10.5 x 22 centimeters. Photo by Alice Walton
      “Ley Line Pair” (2021), porcelain, 14 x 14 x 31 centimeters and 14 x 14 x 31 centimeters. Photo by Mark Robson
      Detail of “Avonvale Mapping” (2020), colored porcelain. Photo by Alice Walton
      “Avon Strata,” wall-mountable colored porcelain, 48.5 x 48.5 x 1.5 centimeters. Photo by Alice Walton

      #abstract
      #ceramics
      #clay
      #gradients
      #porcelain
      #sculpture

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    • 188 Shares179 Views

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      More Than 750 Creatures Inhabit an Extraordinarily Eclectic Menagerie as Part of ‘The Glass Ark’

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      Art

      #animals
      #birds
      #glass
      #sculpture

      June 4, 2021
      Grace Ebert

      All images courtesy of Le Stanze Del Vetro
      Land and sea creatures alike overrun a new exhibition at Le Stanze Del Vetro in Venice. Titled The Glass Ark, the eclectic bestiary—among the more than 750 animals on view are elephants, hippos, cats, giraffes, polar bears, parrots, and poodles adorned with bows—is the expansive collection of art historian and former Louvre president Pierre Rosenberg.
      For thirty years, Rosenberg gathered the lustrous sculptures during regular trips to Venice, a region with a long history of innovative techniques and a hub for glassblowing since the 13th Century. Charming and playfully expressive, the Murano glass pieces diverge from similar collections produced in other media. “They never display fierce poses, which are typical of more traditional animalier sculptures,” a statement says, “and above all, they are never conceived as a toy.” 
      In addition to Rosenberg’s collection, The Glass Ark also features pieces from artists working today, including Cristiano Bianchin, Marcantonio Brandolini d’Adda, Franck Ehrler, Massimo Nordio, Isabelle Poilprez, Maria Grazia Rosin, and Giorgio Vigna. It runs both in-person and virtually through August 1. (via designboom)

      #animals
      #birds
      #glass
      #sculpture

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    • 163 Shares159 Views

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      Technicolor Chunks and Drips Trickle Down Textured Ceramic Vessels Sculpted by Brian Rochefort

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      Art
      Craft

      #ceramics
      #sculpture

      May 28, 2021
      Grace Ebert

      “Paint Can 8” (2019), ceramic, glaze, glass fragments, 12 × 12 × 11 inches. All images © Brian Rochefort, by Marten Elder, courtesy of MASSIMODECARLO, shared with permission
      Bulging hunks of glaze and smooth, speckled drips flow from Brian Rochefort’s chunky ceramic sculptures. The Los Angeles-based artist continues his signature abstract style in a newer series of paint cans and oozing vessels, many of which resemble the crusty remnants of volcanic eruptions. Rochefort builds each piece from a combination of clay, glaze, and glass fragments through multiple rounds of firing in the kiln. The final assemblages are literally overflowing with speckles, gloopy lumps, and delicately cracked patches all layered in a kaleidoscope of color and texture.
      In a note to Colossal, the artist describes his process as multi-faceted with a diverse array of influences that range from visual to intellectual and historical. The most important, though, are from travel and experiences outside of his studio or gallery spaces. “My work is generated from numerous trips to remote areas in Latin America and Africa such as the Bolivian Amazon, Ecuador, Peru, and Colombia. I think of myself as an authentic abstract artist and place importance behind the criticality of experiencing these environments in person,” he says.
      Rochefort’s sculptures are on view at Blum & Poe in Los Angeles through June 26, and you can follow his drippy works on Instagram.

      “Paint Can 6” (2020), ceramic, glaze, glass fragments, 12 × 11 × 11 inches
      “Paint Can 7” (2020), ceramic, glaze, glass fragments, 12 × 13 × 11 inches
      Detail of “Fiery Dawn” (2020), ceramic, glaze, glass fragments, 22 × 20 × 22 inches
      “Rocksteady” (2020), ceramic, glaze, glass fragments, 24 × 23 × 21 inches
      Left: Right: “Paint Can 1” (2020), ceramic, glaze, glass fragments, 11 × 11 × 9 inches
      “Paint Can 3” (2020), ceramic, glaze, 12 × 11 × 11 inches
      Top left: “Rarity” (2020), ceramic, glaze, glass fragments, 21 × 21 × 22 inches. Top right: “Supervolcano” (2020), ceramic, glaze, glass fragments, 21 × 21 × 20 inches. Bottom left: “Fiery Dawn” (2020), ceramic, glaze, glass fragments, 22 × 20 × 22 inches. Bottom right: “Captain Planet” (2020), ceramic, glaze, glass fragments, 24 × 22 × 20 inches
      Detail of “Rocksteady” (2020), ceramic, glaze, glass fragments, 24 × 23 × 21 inches

      #ceramics
      #sculpture

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    • 188 Shares139 Views

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      Five Towering Figures Sculpted in Wood by Artist Daniel Popper Loom Over The Morton Arboretum

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      Art

      #sculpture
      #wood

      May 27, 2021
      Grace Ebert

      “Sentient,” 18 feet. All images © Daniel Popper, courtesy of The Morton Arboretum, shared with permission
      Spread across the 1,700 acres at The Morton Arboretum just outside of Chicago are five enormous figures by Cape Town-based artist Daniel Popper (previously). Constructed mainly of wood with elements of glass-reinforced concrete, fiberglass, and steel, the looming sculptures stand out against the verdant landscape and pay homage to nature’s endurance and diversity, particularly the 220,000 individual specimens growing on the grounds. Human+Nature is Popper’s largest exhibition to date.
      The female figures, four of which are shown here, vary in pose, material, and overall aesthetic. “Hallow,” which stands at the arboretum’s entrance, is a poetic sculpture evocative of the fern-canopied installation the artist unveiled late last year in Fort Lauderdale. “Sentient,” on the other hand, surrounds a central bust with a surreal assemblage of facial features depicted on angled hunks of wood. Each is constructed at a monumental scale, standing up to 26 feet tall and weighing multiple metric tons.
      Human+Nature opens May 28 at the arboretum and will remain on display for at least one year. Find more of Popper’s massive artworks in addition to glimpses into his process on Instagram.

      “Hallow,” 26 feet
      “UMI,” 20.5 feet
      “Sentient,” 18 feet
      “Sentient,” 18 feet
      “Heartwood,” 15.5 feet
      “Heartwood,” 15.5 feet
      “UMI,” 20.5 feet

      #sculpture
      #wood

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    • 138 Shares169 Views

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      Precious Gemstones Cloak Giant Fruit Sculptures in Gleaming Pockets of Decay

      by

      
      Art
      Food

      #fruit
      #gemstones
      #mold
      #sculpture

      May 26, 2021
      Grace Ebert

      “Bad Lemon (Sea Witch)” (2020), aventurine, serpentine, prehnite, chrysoprase, rhyolite, agate, moss agate, jasper, peridot, moonstone, magnesite, lilac stone, turquoise, citrine, calcite, feldspar, ruby in zoisite, labradorite, swarovski crystal, quartz, mother of pearl, freshwater pearls, glass, steel pins on coated polystyrene, 16½ x 18 x 20 inches
      Colorful, lustrous patterns made of precious and semi-precious stones coat a new series of oversized fruit sculptures by Kathleen Ryan. A bright rind peeks through layers of mold on a halved lemon, white and green Penicillium spoils a basket of cherries, and multicolored fungi crawls out of a grinning Jack-o-lantern. Continuing her practice of portraying the grotesque through traditionally beautiful materials, the New York-based artist (previously) ironically questions notions of value, desire, and “how objects bring meaning and carry a history.”
      You can see Ryan’s sculptures at Karma in New York through June 19, and find more of her unsightly fruits on Instagram.

      Detail of “Bad Cherries (Twins)” (2021), freshwater pearl, magnesite, quartz, moonstone, agate, turquoise, lapis lazuli, amazonite, garnet, citrine, serpentine, jasper, limestone, rose quartz, unakite, rhodonite, pink opal, calcite, glass, steel pins on coated polystyrene, fishing poles, lead sinkers, 36½ x 49 x 16 inches
      “Bad Cherries (Twins)” (2021), freshwater pearl, magnesite, quartz, moonstone, agate, turquoise, lapis lazuli, amazonite, garnet, citrine, serpentine, jasper, limestone, rose quartz, unakite, rhodonite, pink opal, calcite, glass, steel pins on coated polystyrene, fishing poles, lead sinkers, 36½ x 49 x 16 inches
      Detail of “Bad Lemon (Sea Witch)” (2020), aventurine, serpentine, prehnite, chrysoprase, rhyolite, agate, moss agate, jasper, peridot, moonstone, magnesite, lilac stone, turquoise, citrine, calcite, feldspar, ruby in zoisite, labradorite, swarovski crystal, quartz, mother of pearl, freshwater pearls, glass, steel pins on coated polystyrene, 16½ x 18 x 20 inches
      “Bad Cherries” (2021), amazonite, aventurine, fluorite, turquoise, malachite, angelite, labradorite, smokey quartz, quartz, rose quartz, citrine, magnesite, aquamarine, green line jasper, sesame jasper, pink aventurine, agate, tiger eye, garnet, carnelian, lapis lazuli, moonstone, mother of pearl, shell, freshwater pearls, wood, acrylic, glass, steel pins on coated polystyrene, fishing poles, lead sinkers, steel pallet cage, 98½ x 100 x 110½ inches
      “Bad Cherry (Bite)” (2021), garnet, pink opal, agate, peach moonstone, red aventurine, smokey quartz, quartz, carnelian, brecciated jasper, magnesite, glass, steel pins on coated polystyrene, fishing pole, lead sinker, 11½ x 31½ x 10 inches
      “Bad Lemon (Sour Blush)” (2020), aventurine, smokey quartz, rhodonite, calcite, quartz, labradorite, green line jasper, kambaba jasper, pink opal, citrine, amethyst, rose quartz, agate, serpentine, pink lepidolite, malachite, mother of pearl, freshwater pearl, bone, glass, acrylic, steel pins on coated polystyrene, 28 x 19½ x 18½ inches
      “Jackie” (2021), azurite-malachite, lapis lazuli, agate, black onyx, breccicated jasper, moss agate, malachite, calcite, labradorite, rose quartz, smokey quartz, ching hai jade, red aventurine, carnelian, citrine, amethyst, quartz, acrylic, polystyrene, fiberglass, nails, steel pins, wood, 66 x 90 x 86 inches
      Left: “Bad Cherry (Junior)” (2021), garnet, aventurine, rhodonite, serpentine, quartz, marble, agate, pink opal, amazonite, jasper, moonstone, carnelian, smokey quartz, limestone, unakite, freshwater pearls, glass, steel pins on coated polystyrene, fishing pole, lead sinker, 32½ x 23½ x 17½ inches. Right: “Bad Cherries (Shirley Temple)” (2020), carnelian, garnet, rhodonite, rhodochrosite, amethyst, marble, agate, moss agate, lava rock, red aventurine, flower amazonite, brecciated jasper, hessonite, pink opal, tiger eye, glass, steel pins on coated polystyrene, fishing poles, 39 x 23 x 11 inches
      “Bad Lemon (Armadillo)” (2021), tiger eye, tektite, limestone, agate, amber, lava rock, turquoise, magnesite, carnelian, serpentine, garnet, citrine, brecciated jasper, tigerskin jasper, unakite, moonstone, pyrite, mother of pearl, black turban shell, horn, acrylic, glass, steel pins on coated polystyrene, 21½ x 18 x 28 inches

      #fruit
      #gemstones
      #mold
      #sculpture

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    • 125 Shares99 Views

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      Miniature Architectural Spaces Nestle into Carved Chunks of Raw Marble

      by

      
      Art

      #architecture
      #marble
      #miniature
      #sculpture
      #stone
      #stone carving

      May 25, 2021
      Grace Ebert

      “Tetraconch II” (2019), Faxe limestone, 38 centimeters. All images © Matthew Simmonds, shared with permission
      Since antiquity, marble has been a preferred material for sculptors and architects alike because of its relative softness and the unlikelihood that it’ll shatter. British artist Matthew Simmonds (previously) fuses these two traditional forms and honors their history with his miniature models carved into hunks of the raw stone. Evoking ancient ruins and sacred architecture—most pieces aren’t modeled after specific structures—the chiseled sculptures are complete with grand archways, ornately tiled ceilings, and minuscule statues on display in their halls.
      Within the spaces, Simmonds contrasts the rough, jagged edges of the stone with precise angles and detailed flourishes. “Drawing on the formal language and philosophy of architecture the work explores themes of positive and negative form, the significance of light and darkness, and the relationship between nature and human endeavor,” he says in a statement.
      See more of the artist’s carved interiors, which are often less than a foot wide, on his site.

      “Mystras” (2020), Carrara marble, 39 centimeters
      Left: “Essay in Perpendicular” (2018), limestone, 42 centimeters. Right: “Window” (2020), limestone, 24 centimeters
      Detail of “Hidden Landscape II” (2019), Carrara marble, 180 centimeters
      “Gothic Passage II” (2021), limestone, 25.5 centimeters
      Left: “Single Helix II” (2019), Faxe limestone, 24 centimeters. Right: “Landscape: study” (2020), limestone, 10 centimeters
      Detail of “Basilica V” (2020), Carrara marble, 170 centimeters
      “Stepwell” (2020), Faxe limestone, 39 centimeters
      Detail of “Stepwell” (2020), Faxe limestone, 39 centimeters

      #architecture
      #marble
      #miniature
      #sculpture
      #stone
      #stone carving

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    • 138 Shares159 Views

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      Sculptural Portraits Fashion Raw Wool into Expressive Figures by Salman Khoshroo

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      Art

      #portraits
      #sculpture
      #wool

      May 24, 2021
      Grace Ebert

      All images © Salman Khoshroo, shared with permission
      Iranian artist Salman Khoshroo (previously) continues his wool portraiture series with dozens of new sculptural works. Chunky, dyed rovings stretch and curl into facial features, beards, and coifs that pair the supple shape and color of the raw materials with a unique expression.
      This nuanced set expands on the original collection he created last year in response to quarantine and personal trauma, although they deviate with more stable and durable structures and new materials like velvet and synthetic fur. Khoshroo describes this evolved process as therapeutic and indicative of wide-spread change:
      Weaving inanimate fibers into faces has brought me comfort and helped with overcoming my own experience of contracting the virus. These portraits are delicate and vulnerable and resonate with my own precarious situation. We live in fragile times, and I feel the need to find new materials and the mindset to reinvent my practice. Wool brings warmth and intimacy to these portraits and plays with provoking the nurture instinct.
      In addition to shaping unspun wool into the portraits shown here, Khoshroo also has been creating full busts with the natural fiber along with sculptures made of foam paint, all of which you can see on his site and Instagram.

      #portraits
      #sculpture
      #wool

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