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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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      Translucent Textiles Cast Organisms and Mundane Objects as Dreamy Sculptures and Wearables

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      Art
      Design

      #coral
      #fabric
      #fashion
      #nature
      #sculpture

      July 9, 2021
      Grace Ebert

      All images © Mariko Kusumoto, shared with permission
      From polyester, nylon, and cotton, Japanese artist and designer Mariko Kusumoto fabricates sculptural forms that resemble the creatures and everyday objects she finds most fascinating. She uses a proprietary heat-setting technique to mold the ubiquitous materials into undulating ripples, honeycomb poufs, and even tiny schools of fish that are presented in elegant and fanciful contexts. Whether a pastel coral reef or a fantastical bracelet filled with mushrooms, rosettes, and minuscule bicycles, Kusumoto’s body of work, which includes standalone objects and wearables, uses the ethereal qualities of the translucent fibers to make even the banalest forms appear like they’re part of a dream.
      You can find a larger archive of the artist’s pieces, which ranges from textiles to metal and resin, on her site and Instagram.

      #coral
      #fabric
      #fashion
      #nature
      #sculpture

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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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      Found Silverware and Scrap Metal Are Welded into Lively Sculptural Creatures by Matt Wilson

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      Art

      #animals
      #birds
      #found objects
      #metal
      #sculpture

      July 2, 2021
      Grace Ebert

      All images © Matt Wilson
      Wide spoons become muscular hind legs, pointed handles fan out into wings, and fork prongs curl around a branch like talons in Matt Wilson’s wildlife assemblages. Using found flatware and other metal objects, the Charleston-based artist (previously) welds sculptural renditions of birds, insects, and other small animals that appear lifelike and primed for movementt. He mounts the metallic sculptures on pieces of driftwood or smooth plaques—many of which are handcrafted by his friend Jacob Kent—that contrast the shining metal with the natural, grainy material.
      Wilson has spent the last few years broadening his practice and working on multiple birds simultaneously, allowing for more cohesive, well-rounded flocks. His next collection launches at 9 a.m. EST on July 9 in his shop, and his works sell quickly so keep an eye on Instagram for early looks at the 100 creatures set for release.

      #animals
      #birds
      #found objects
      #metal
      #sculpture

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      Glitches Distort Household Objects and Art Historical Figures in Sculptures by Jeremiah Hulsebos-Spofford

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      Art

      #art history
      #sculpture

      June 25, 2021
      Grace Ebert

      “Garden Gipsoteca: Hercules” (2019), marble, resin, pigment, urethane foam, steel, abd wood, 84 x 36 x 24 inches. All images © Jeremiah Hulsebos-Spofford, shared with permission
      Artist Jeremiah Hulsebos-Spofford reenvisions classical sculptures as chaotic, glitched assemblages that piece together fragmented bits of the original work. His interpretation of “Hercules” is teeming with textured pockets of the figure’s beard and facial features that become increasingly smaller and indiscernible toward the base, while “Venus” is reimagined in a similarly disjointed fashion with fractured body parts forming an upward curve.
      Although many of his works evoke ancient art history, Hulsebos-Spofford’s pieces are rooted in modernist aesthetics and understandings of functionality, which manifest more apparently in his oversized Moka pot and Mr. Coffee sculptures. Each piece alters the traditional forms with an implied digital malfunction, which a statement about the works explains:
      Inspired by the history of the 1927 architectural competition in Geneva, which asked architects to submit plans for the creation of the Palace of Nations, Hulsebos-Spofford points to the unsettled quandaries and contradictions between classical design and modernist functionalism. Repeating classical sculptural figures remind us of copy-and-paste multiple errors that reference the history of the gipsoteca galleries…Behind all of these references, we are presented with a global constellation of history and technological decay.
      If you’re in Chicago, you can see the works shown here as part of League of Nations, which is on view between June 2 and August 29 at the Chicago Cultural Center. Find more of Hulsebos-Spofford’s sculptures on his site and Instagram, where he also shares glimpses into his process.

      “Hyperlexia: Venus” (2021), marble, resin, foam, and fiberglass, 40 x 30 x 24 inches
      “Mr. Coffee” (2019), sand blasting sand, resin, urethane foam, steel, hardware, and wood, 68 x 48 x 24 inches
      Detail of “Garden Gipsoteca: Hercules” (2019), marble, resin, pigment, urethane foam, steel, abd wood, 84 x 36 x 24 inches
      “Hyperlexia: Moka” (2020), aluminum, resin, foam, and fiberglass, 41 x 40 x 14 inches
      “Hyperlexia: Solicitude” (2021), foam, pigment, and wood, 48 x 36 x 36 inches

      #art history
      #sculpture

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      Future Returns: A Plasma-Cut Forest Reclaims an Oil Tanker in a New Sculpture by Dan Rawlings

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      Art

      #cars
      #churches
      #oil
      #sculpture
      #trees

      June 21, 2021
      Christopher Jobson

      “Future Returns” by Dan Rawlins. All photos by Mark Bickerdike, shared with permission.
      In perhaps the not so distant future, sculptor Dan Rawlings (previously) imagines a world where machinery from the unsustainable energy industry is now a relic of the past, slowly overtaken by nature in a state of decomposition. In his latest sculpture titled Future Returns, the artist uses his trademark plasma cutting style to etch a sizeable canopy of foliage that emerges from the steel shell of a reclaimed oil tanker. The work is currently housed inside a 19th-century church in Scunthorpe in Lincolnshire, England. From a statement about the project:

      Future Returns invites us to examine our own part in commercialization and the resulting changes to our natural environment. Rawlings believes it is easy to demonize industry but we must acknowledge that it has allowed life as we know it to bloom. It is our ability to design, create and produce that has put towns like Scunthorpe on the global map. He also believes oil companies have much to answer for, from the state of our environment to mistrust of science.

      Future Returns will be on view through September 25, 2021 and you can book free viewing times on the Visual Arts Centre website. (via Creative Boom)

      #cars
      #churches
      #oil
      #sculpture
      #trees

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      An Eclectic Group Show Features Sound Sculptures, Collages, and Toy Assemblages for the Annual BBA Artist Prize

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      Art

      #collage
      #fiber art
      #light
      #painting
      #sculpture
      #sound

      June 18, 2021
      Grace Ebert

      By June Lee. All images courtesy of BBA Artist Prize, shared with permission
      A broad, varied collection of work from 20 emerging artists converges in a group exhibition for the sixth-annual BBA Artist Prize. Living in ten countries and working across mediums, this year’s finalists include Steve Parker’s touch-activated horn sculptures, Fiona White’s vivid collaged paintings, and June Lee’s figurative assemblages of toys and everyday objects. The winner of 2021’s award will be announced on June 25, with all works on view at Kühlhaus Berlin through June 30. Get a preview on the BBA site, and check out artist Ming Lu’s blue-and-white porcelain sculptures, which won the 2020 competition.

      By Ewa Cwikla
      By Fiona White
      By Ernst Miesgang
      By Steve Parker
      Left: Nina Ekman. By Right: By Juliette Losq
      By Sandra Blatterer

      #collage
      #fiber art
      #light
      #painting
      #sculpture
      #sound

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      Traditional Chinese Characters and Motifs Cover Ming Lu’s Porcelain Busts and Ducks

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      Art

      #birds
      #busts
      #porcelain
      #sculpture

      June 18, 2021
      Grace Ebert

      “Dialogue, Reaching the Station We’ll Never Reach” (2019), blue and white porcelain, 26 x 18 x 18 centimeters. All images © Ming Lu, shared with permission
      Artist Ming Lu melds multiple facets associated with Chinese culture in her delicate blue-and-white porcelain works. She utilizes traditional craft techniques to sculpt ubiquitous cultural symbols often found throughout the streets of Chinatown, encompassing both the Berlin-based artist’s broad cultural connections to her native country and more personal interactions.
      In the three busts that comprise “Dialogue,” for example, Ming Lu transcribes conversations with her partner in calligraphic script. Titled “Reason,” “Trick,” and “Reaching a Station We’ll Never Reach,” the self-portraits embody a contemporary change in situation and perspective through a classic medium. Similarly, a trio of butchered ducks evokes the popular dish in form and are coated in a traditional floral motif, a cracked glaze, and characters depicting an old-fashioned spelling of “I love you.” Each of the birds strikes a balance between history and more contemporary culture, which Ming Lu describes:
      It’s a funny experience when I first went to Chinatown and I saw these roast ducks hanging on the restaurant windows. We don’t do this in China, at least not in the cities I’ve been to. It’s a funny experience for me. And when you go to a museum, in the “China” (the country) section, you see many porcelains. It also represents China in a way as in history, especially in Ming and Qing dynasties, (porcelain) was one of the largest export commodities, so I put them together.
      Ming Lu works across mediums, and you can see more of her sculptures, paintings, and embroideries on her site. Some of the pieces shown here on view through July 3 as part of her solo show Tigress, Tigress at BBA Gallery in Berlin and in a group exhibition running June 24 to 30 at Kühlhaus Berlin.

      “Blues Is My Business” (2019), blue and white porcelain, 30 x 16 x 9 centimeters
      Detail of “Dialogue, Reason” (2019), blue and white porcelain, 26 x 18 x 18 centimeters. Photo by Christian Schneider
      “Dialogue, Reason” (2019), blue and white porcelain, 26 x 18 x 18 centimeters. Photo by Christian Schneider
      “Blues Is My Business” (2019), blue and white porcelain, 30 x 16 x 9 centimeters
      “Will You Still Love Me Tomorrow” (2019), blue and white porcelain, 30 x 16 x 9 centimeters
      “Wonderful World” (2019), ge porcelain, 30 x 16 x 9 centimeters

      #birds
      #busts
      #porcelain
      #sculpture

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