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      Precious Gemstones Cloak Giant Fruit Sculptures in Gleaming Pockets of Decay

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      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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      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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      Sculptural Portraits Fashion Raw Wool into Expressive Figures by Salman Khoshroo

      by

      
      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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      An Expansive Exhibition Pairs Two Indigenous Artists to Explore the Power of Socially Engaged Artmaking

      by

      
      Art

      #animals
      #collaborative
      #found objects
      #installation
      #portraits
      #sculpture

      May 21, 2021
      Grace Ebert

      “Each/Other,” (2021) about 700 bandannas, approximately 16 x 9 feet, a collaboration between Marie Watt and Cannupa Hanska Luger
      A monumental patchwork wolf, warriors sparring with a fang-bearing snake, and an abstract woolen tapestry made of restored blankets comprise Each/Other: Marie Watt and Cannupa Hanska Luger, which opens this weekend at the Denver Art Museum. The expansive exhibition—featuring 26 mixed-media sculptures, installations, and wall hangings—joins two of the leading Indigenous artists working today in a manner that distinguishes both the connective threads and nuances within their bodies of work.
      Situated at the center of the space is the 16-foot creature the pair created together by fashioning about 700 patterned bandannas submitted by an international crew around a steel armature. The collaborative installation, titled “Each/Other,” physically tethers Watt’s and Luger’s individual artworks while drawing on the socially engaged aspects inherent to both of their practices.

      Cannupa Hanska Luger, “Every One” (2018), ceramic, social collaboration, 12 x 15 x 3 feet. Image courtesy of Marie Walsh Sharpe Gallery of Contemporary Art at Ent Center for the Arts, UCCS, Colorado Springs, Colorado
      Based in New Mexico, Luger is a multi-media artist of Mandan, Hidatsa, Arikara, Lakota, and European descent whose projects often speak to contemporary life within Indigenous communities. For example, his 2018 piece “Every One” strings together 4,096 ceramic beads into a pixelated portrait of a young figure. Each individual orb represents one of the women, girls, and queer and trans folks who have been murdered or gone missing in Canada.
      Watt, who is a member of the Seneca Nation and has Scottish and German heritage, utilizes everyday objects steeped in historical narratives and collective memory. Whether presented through leaning, stacked towers or smaller wall hangings, the Portland-based artist primarily works with materials gathered from the community, like blankets stitched in sewing circles.
      Following the end of its run in Denver on August 22, Each/Other will visit the Michael C. Carlos Museum in Atlanta from September 25 to December 12, 2021, and the Peabody Essex Museum in Salem from January 29 to May 8, 2022. Find out more about Luger and Watt on their sites.

      Marie Watt (Seneca), “Butterfly” (2015), reclaimed wool blankets, satin binding, thread, cotton twill tape, and tin jingles, 94 x 126 inches. Image © Marie Watt
      Cannupa Hanska Luger, “This Is Not A Snake” (2017-2020), ceramic, fiber, steel, oil drums, concertina wire, ammunition cans, trash, found objects, 78 x 36 x 600 inches. “The One Who Checks & The One Who Balances” (2018), ceramic, riot gear, afghan, wool surplus industrial felt, beadwork by Kathy Elkwoman Whitman; 6-1/2 feet x 12 inches x 8 inches (each, approximate). Image © Cannupa Hanska Luger, courtesy of the Heard Museum, Craig Smith
      Marie Watt “Companion Species (Radiant)” (2017), crystal and western maple base, 8 x 27 x 16 inches. Image © Marie Watt and Kevin McConnell. Made in collaboration with Jeff Mack, Glassblower, and Corning Museum of Glass Hot Glass Team in Partnership with the Rockwell Museum, Corning, New York
      Cannupa Hanska Luger “Mirror Shield Project” (2016), drone operation/performance organization by Rory Wakemup., at Oceti Sakowin camp, Standing Rock, North Dakota

      #animals
      #collaborative
      #found objects
      #installation
      #portraits
      #sculpture

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      New Articulate Cardboard Sculptures by Greg Olijnyk Populate Miniature Worlds of Fantasy and Science Fiction

      by

      
      Art
      Craft

      #cardboard
      #insects
      #light
      #robots
      #science fiction
      #sculpture

      May 20, 2021
      Grace Ebert

      “DvG 2.0.” All images by Griffin Simm, © Greg Olijnyk, shared with permission
      An eerie pair of buildings, a jet-powered dragonfly, and a sci-fi-inspired retelling of David and Goliath complete with an oversized robot and samurai comprise the latest cardboard sculptures by Greg Olijnyk (previously). Fully articulate and outfitted with LED lights and glass where necessary, the extraordinarily detailed works are futuristic, slightly dystopic, and part of larger world-building narratives. The architectural constructions, for example, are “the start of a series of pieces exploring the fear, fascination, and curiosity aroused by the stranger in our midst. The weird presence out of place. The building of unknown purpose with no windows and with lights flickering at night,” he says. “What’s going on in there?”
      Olijnyk is based in Melbourne and shares works-in-progress and more photos of the machine-like sculptures shown here on his Instagram.

      “DvG 2.0”
      Detail of “DvG 2.0”
      “Dragonfly Bot”
      “The New Neighbours,” 80 x 75 x 30 centimeters
      “The New Neighbours,” 80 x 75 x 30 centimeters
      Detail of “The New Neighbours,” 80 x 75 x 30 centimeters
      Detail of “Dragonfly Bot”
      “Dragonfly Bot”

      #cardboard
      #insects
      #light
      #robots
      #science fiction
      #sculpture

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      Capricious Characters Express Emotional Ambivalence in Yoshitoshi Kanemaki’s Glitched Sculptures

      by

      
      Art

      #emotions
      #portraits
      #sculpture
      #wood

      May 19, 2021
      Grace Ebert

      “Fleeting Moment Caprice.” All images @ Yoshitoshi Kanemaki, courtesy of FUMA Contemporary Tokyo, shared with permission
      Japanese artist Yoshitoshi Kanemaki (previously) carves fickle, ambivalent, and even contradictory sentiments in his figurative sculptures that embody a range of emotions. The wooden characters are surreal in form with multiple limbs, duplicate features, and recurring faces that wind entirely around their bodies. Whether conveyed through kaleidoscopic or blurred techniques, each portrait “expresses the dignity of life as a human being, the hate and harassment that people experience, and the importance of environmental awareness,” the artist says, explaining:
      It’s the hesitation, contradiction, two-sidedness, or multi-sidedness, double standard. These are the problems that all people have, and I express them as sculptures under the concept of “ambivalence.” I want to portrait a modern person, who visualizes the “ambivalent” state that everyone has.
      Kanemaki is based in Nagareyama City and is currently altering one of his older works titled “Memento Mori” to deepen its sentiments and add more complexity. Explore an archive of his glitched figures at Fuma Contemporary Tokyo.

      “Singing in Rounds Geometry”
      “All Day Believing”
      “Singing in Rounds Geometry”
      “Swing Caprice”
      “Swing Caprice”
      “Repetition Geometry”

      #emotions
      #portraits
      #sculpture
      #wood

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      Nimble Pugs and Other Cheery Canines Are Chiseled into Stocky Wooden Sculptures by Misato Sano

      by

      
      Art

      #dogs
      #sculpture
      #self-portrait
      #wood

      May 17, 2021
      Grace Ebert

      All images © Misato Sano, shared with permission
      Studies show that people are inclined to adopt canine companions that resemble themselves or family members, a psychological impulse that Misato Sano (previously) flips on its head. Rather than carve a pack of doggy doubles, the artist creates textured wooden sculptures of curly-haired poodles and acrobatic pugs imbued with different aspects of her own personality. Encompassing multiple breeds, expressions, and physical traits, each work is a self-portrait. She explains to Colossal:
      For me, using the form of dogs is the most appropriate, highest-resolution method to materialize what I think of my inner self. Materializing myself in various states is about having an honest, direct dialogue with myself. In facing myself, I would like to be passionate, free, and loving, like a dog. My works are also about myself looking at myself. In that sense, I might have been making an existence that is sometimes beside myself, a little distance in other times, watching over myself.
      Sano is based in the Tohoku region of the Miyagi prefecture and spends her summers creating the lively creatures with fur chiseled in visible gouges. As the weather turns cold, she shifts her practice to embroidery and conveys the adorable faces in plush tufts of thread.
      If you’re in Portland, you can see Sano’s carved characters as part of a group exhibition running August 14 to 29 at Gallery Nucleus. Otherwise, check out her Instagram for glimpses into her process and to see some of the real-life pups that inspire her works.

      #dogs
      #sculpture
      #self-portrait
      #wood

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      Digital Renderings Collage 3D Objects into Futuristic Self-Portraits by Artist Omar Aqil

      by

      
      Art

      #collage
      #digital
      #sculpture
      #self-portrait
      #technology

      May 13, 2021
      Grace Ebert

      All images © Omar Aqil, shared with permission
      Lahore, Pakistan-based artist Omar Aqil (previously) digitally assembles technology, 3D objects, and textured masses into figurative collages for his series Self-Portraits 2050. The futuristic characters all sport a pair of glasses but are otherwise distinct, sometimes conveyed through sleek geometric shapes stacked into facial features and others sprouting whimsical florals and various organic elements. Experimentation and play are at the heart of this new series—which Aqil refers to as “profile pictures”—and his practice overall, resulting in an eclectic collection of self-portraits rooted in the current digital era.
      Find more of the artist’s sculptural renderings, which include a variety of abstracted figures and colorful assemblages, on Behance and Instagram.

      #collage
      #digital
      #sculpture
      #self-portrait
      #technology

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