sculpture

Subterms

    More stories

    • 163 Shares149 Views

      in Art

      Inflatable Heads, Fantastical Paintings, and Bulbous Sculptures Comprise a Surreal Dreamland by OSGEMEOS

      by

      
      Art

      #installation
      #light
      #painting
      #sculpture

      August 6, 2020
      Grace Ebert

      All images courtesy of Hyundai Card, Hyundai Capital News Room, shared with permission
      Wedged between two buildings in Itaewon, Seoul, is a huge, inflatable head marking the entrance to OSGEMEOS’s latest exhibition. With a shaggy mohawk and thin mustache, the yellow character resembles a band of glowing figures that populate the inside Brazilian twins Gustavo and Otavio Pandolfo’s immersive installation.
      Comprised of lit sculptures, large-scale paintings, and collages in the same cartoonish style as their previous projects, OSGEMEOS: You Are My Guest is a surreal dreamland. It asks visitors to swerve around a series of bulbous sculptures that jut upward from the floor. A lime green wall houses an eclectic display of framed portraits, repurposed door frames, and sculptural figures, while a patchwork of worn album covers hangs from another. The title of the exhibition is derived from a 2016 painting (shown below) that channels the geometric shapes and bright colors traditional in Brazilian culture, in addition to more modern, energetic artforms like hip-hop and breakdance, two of the artists’ primary forms of inspiration.
      Simultaneously arresting and hypnotic, OSGEMEOS: You Are My Guest is the brothers’ first solo show in Seoul and will be on view at Hyundai Card through October 11, 2020. Those unable to see the exhibition in person should head to Instagram, where the duo shares the latest on their multi-media projects. (via Juxtapoz)

      “You Are My Guest” (2016), 126 x 206 inches

      Courtesy the artists and Lehmann Maupin, New York, Hong Kong, and Seoul

      #installation
      #light
      #painting
      #sculpture

      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, apply for our annual grant, and get exclusive access to interviews, partner discounts, and event tickets.

       
      Share this story
        More

    • 200 Shares129 Views

      in Art

      The Coral Greenhouse: Jason deCaires Taylor’s Latest Installation is an Underwater Sanctuary for Vulnerable Sea Creatures

      by

      
      Art

      #climate change
      #coral
      #fish
      #greenhouses
      #installation
      #ocean
      #sculpture
      #underwater

      August 5, 2020
      Grace Ebert

      All images © Jason deCaires Taylor, shared with permission
      About 50 miles from Townsville, Australia, an unassuming structure created by Jason deCaires Taylor (previously) rests on the sandy floor the John Brewer Reef. Currently, “The Coral Greenhouse” is in pristine condition with little algae or tiny organisms stuck to its sides. Over time, though, the sculptural work is designed to amass vibrant clusters of the sea creatures as they colonize the submerged form.
      Constructed with corrosion-resistant stainless steel and pH-neutral substances, the biomorphic frame is modeled after nature’s patterns. The materials help inspire coral growth and are designed to be absorbed into the oceanic environment as the colonies sprawl across it. Workbenches line its sides and are adorned with simple patterns that create small enclaves for ocean life to hide from predators or rest. To keep divers away from the fragile ecosystems, Taylor tends to install his marine projects in less vulnerable areas.
      Weighing 165 tons, the sanctuary is the Museum of Underwater Art’s largest installation to date. The A-frame structure is comprised of triangular sections and a massive cement base, which provide stability from waves and adverse weather. Its slatted sides allow divers, filter-feeding organisms, and schools of fish to swim in and out, and floating spires that protrude from the beams’ apex oscillate with the currents.
      Figurative sculptures, which were made from casts of kids around the world, populate the inside to serve as a reminder that the coral needs care. They’re shown cradling planters, peering into microscopes, and watching over the vulnerable environment. “Thus they are tending to their future, building a different relationship with our marine world, one which recognizes it as precious, fragile, and in need of protection. Our children are the guardians of the Great Barrier Reef,” Taylor writes about the piece.
      Dives to tour the site-specific installation will begin in 2021. Until then, get an idea of how some of Taylor’s previous works have transformed after being submerged for more than a dozen years on his Instagram. (via Fast Company)

      #climate change
      #coral
      #fish
      #greenhouses
      #installation
      #ocean
      #sculpture
      #underwater

      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, apply for our annual grant, and get exclusive access to interviews, partner discounts, and event tickets.

       
      Share this story
        More

    • 150 Shares159 Views

      in Art

      Bizarre Porcelain Sculptures by Artist Morel Doucet Tangle Limbs, Seashells, and Coral

      by

      
      Art

      #climate change
      #coral
      #flowers
      #installation
      #plants
      #porcelain
      #sculpture
      #sea
      #shells
      #surreal

      August 4, 2020
      Grace Ebert

      “White Noise, Let the choir sing a magnified silence (25 Affirmation)” (2017), slip-cast porcelain and hand-built and altered forms, 5 x 5 feet. All images by David Gary Lloyd and Pedro Wazzan and © Morel Doucet, shared with permission
      Based in Miami, artist Morel Doucet imbues his surreal artworks with a reminder that the natural world is ripe with entanglements. Often monochromatic, the slip-cast and hand-built porcelain pieces merge flora and fauna into dense amalgamations: a series of naked figures sit with coral, safety pins, and starfish as heads, while other assemblages feature a singular arm or pair of legs jutting out from a mass of sea creatures.
      Doucet not only considers how humans are damaging the environment but also who is most likely to suffer in the process. In the series White Noise: When Raindrop Whispers and Moonlight Screams in Silence, he responds to the impacts of the climate crisis and ecological disaster on communities of color in the Miami area. “The beaches are eroding into the sea, coral reefs are turning bleach white, and residents wait tentatively for seawater rise. Everywhere you look Miami is undergoing drastic infrastructure changes trying to gear up for a losing battle against land and sea,” he shares with Colossal. “I believe these communities will experience the greatest climate exodus within our modern times.”
      Doucet’s recent endeavors include an upcoming series called Water grieves in the six shades of death that will respond to climate-gentrification and its impact on communities with lower incomes.  Follow the artist’s sculptural considerations on Instagram. (via The Jealous Curator)

      “Jaded Moonlight (Gardenia)”
      “White Noise, Let the choir sing a magnified silence (25 Affirmation)” (2017), slip-cast porcelain and hand-built and altered forms, 5 x 5 feet
      “Black Madonna & Venus”
      “Regal Black Madonna (black is black, black is motherhood)” (2019), porcelain ceramic with cast altered forms, 22 to 24 inches in diameter
      “When all the gold fell from the sun (Fall from Grace)” (2019), slip-cast porcelain ceramics
      “The black on my back dances in a room full of to many silence part 2” (2019), slip-cast porcelain ceramic and hand altered forms, 6.5 x 10 x 5.5 inches

      #climate change
      #coral
      #flowers
      #installation
      #plants
      #porcelain
      #sculpture
      #sea
      #shells
      #surreal

      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, apply for our annual grant, and get exclusive access to interviews, partner discounts, and event tickets.

       
      Share this story
        More

    • 163 Shares159 Views

      in Art

      Myriad Layers of Intricately Cut Paper Construct Architectural Sculptures by Artist Michael Velliquette

      by

      
      Art
      Craft

      #architecture
      #paper
      #sculpture

      July 30, 2020
      Grace Ebert

      “My looking ripens things and they come toward me, to meet and be met” (2020), paper sculpture, 12 x 12 x 6 inches. All images © Michael Velliquette by Jim Escalante, shared with permission
      Despite being built with a pliable, degradable material, Michael Velliquette’s paper sculptures exude strength and durability. Densley layered walls fortify the borders of his architectural works, and three-dimensional elements evoke mechanical gadgets like gears and other hardware. The incredibly intricate structures also have more delicate features, like the tiny dots and curved flourishes decorating the small pieces.
      Based in Madison, Wisconsin, the artist hand-cuts each shape with straight-edge scissors or an Exacto knife, utilizing templates, mechanical punches, rulers, and compasses. Requiring between 300 and 500 hours to complete, each monochromatic sculpture begins at the center, and Velliquette expands outward. He shares with Colossal that he “aspire(s) for balance and symmetry in the overall design, but they are not perfectly symmetrical.” Acid-free PVA glue and hot adhesives hold the layers together.
      Velliquette first started utilizing the accessible material as a way to model larger installations before it quickly became central to his practice. “Paper comes in endless forms. It can be used in multiple dimensions. It is easy to handle and manipulate, and it is available anywhere. It is inherently ephemeral, but given the right conditions, it can last for centuries,” he says.
      The work I am now creating is non-pictorial, non-objective, and non-representational in nature. The perspective of these pieces is left intentionally ambiguous: they can be read hung on the wall like bas-relief sculptures or mounted horizontally like architectural studies. There are new issues around engineering and construction that I have had to tackle as my work has evolved in this direction. The broad aim of this investigation is to use three-dimensional structure and intricate detailing to push the boundaries of paper art literally into a new dimension.
      The artist’s work will be on view at David Shelton Gallery in Houston this fall, and he is a 2021 resident at the Houston Center for Contemporary Craft. Until then, follow Velliquette on Instagram for glimpses into his process and studio and to follow his upcoming projects. (via Dovetail)

      “The love that would soak down into the center of being” (2020), paper sculpture, 20 x 20 x 8 inches
      “Let your hand rest on the rim of heaven” (2019), paper sculpture, 20 x 20 x 6 inches
      Left: “Our newly awakened powers cry out for unlimited fulfillment” (2020), paper sculpture, 30 x 8 x 8 inches. Right: “All seeming things shine with the light of pure knowledge” (2019), paper sculpture, 18 x 8 x 8 inches
      “Let your hand rest on the rim of heaven” (2019), paper sculpture, 20 x 20 x 6 inches
      Left: “Then the knowing comes: I can open to another life that’s wide and timeless” (2017), paper sculpture25 x 25 x 5 inches. Right: “Then in one vast thousandfold thought I could think you up to where thinking ends” (2017), paper sculpture, 20 x 20 x 6 inches
      “My looking ripens things and they come toward me, to meet and be met” (2020), paper sculpture, 12 x 12 x 6 inches
      “When awareness encounters eternity it creates time” (2018), paper sculpture, 12 x 12 x 6 inches

      #architecture
      #paper
      #sculpture

      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, apply for our annual grant, and get exclusive access to interviews, partner discounts, and event tickets.

       
      Share this story
        More

    • 163 Shares179 Views

      in Art

      Paper Wildlife Sculptures by Artist Diana Beltrán Herrera Document Nature’s Most Striking Details

      by

      
      Art
      Design
      Illustration

      #birds
      #butterflies
      #paper
      #sculpture

      July 28, 2020
      Grace Ebert

      All images © Diana Beltrán Herrera, shared with permission
      In 2012, Bristol-based artist Diana Beltrán Herrera (previously) began sculpting impeccably layered paper birds and other wildlife as a way to record her surroundings. Her lifelike pieces continuously have captured nature’s finely detailed and minuscule elements, like the fibrous texture of feathers and the veins running through leaves.
      Today, the artist has expanded the practice to include exotic species and environments she’s never seen up close, developing her paper techniques to express the more nuanced details of the shapes and textures she studies in biology books. Now focusing on the structural elements of fungi, fruit, and florals, Beltrán Herrera shares with Colossal:
      Paper as a medium for documentation allows me to register and create notions and ideas of subjects that I have not experienced in real life but that I can experience when a sculpture is completed. I like this approach because it is not harmful, and through my work, I can show and tell my viewers about the things I have been learning, of the importance of nature just by researching and making it myself.
      Much of her work centers on conservation efforts and environmental justice. For example, a recent commission by Greenpeace UK bolstered the organization’s Plastic Free Rivers campaign. ” I am constantly looking for more subjects that are relevant to the times we are living in, so that through my work I can communicate important information that can educate or just make things more visible. The approach is very (graphic) and visual, which helps to deliver a message,” she says.
      Beltrán Herrera’s upcoming projects include a commission for a coral sculpture, in addition to plans to launch a studio with her brother by the end of 2020. Her hope is to merge graphic and digital design with her paper pieces, potentially adding in animation, as well. Ultimately, her goal is to dive into larger projects. “I don’t see my work as something I want to know how to make and stay safe, but as a challenge, that will always allow me to wonder how to execute and create things that were never made with paper,” she says.
      To see more of Beltrán Herrera’s creative process and follow her future pieces, head to Behance and Instagram.

      #birds
      #butterflies
      #paper
      #sculpture

      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, apply for our annual grant, and get exclusive access to interviews, partner discounts, and event tickets.

       
      Share this story
        More

    • 163 Shares179 Views

      in Art

      Biologically Accurate Sculptures of Animals by Fanni Sandor Are Smaller Than a Fingernail

      by

      
      Art
      Craft

      #birds
      #clay
      #mice
      #miniature
      #nature
      #nests
      #sculpture

      July 20, 2020
      Grace Ebert

      All images © Fanni Sandor, shared with permission
      Fanni Sandor has been fascinated by miniatures since childhood, constructing her first sculpture from toothpicks, candle wax, paper, and glue at six years old. “In my country, there (are) no traditions of the 1:12 scale miniature making. In my twenties, I met the first professional miniaturist’s work through the internet. I was completely fascinated,” she tells Colossal.
      Today, the Hungary-based biologist and artist fashions minuscule baby bluejays clamoring for food, a mouse peeking out from a bit of bread, and a waddling family of mallards. Inspired by her background in biology, the miniatures feature incredibly accurate details, and most fit easily on the tip of a finger.
      Sandor will spend anywhere from two days to two weeks on a single piece, noting that the robin’s nest alone took three days. Her process is multifaceted and begins with collecting photographs of the species before sketching a prototype. Forgoing molds, the artist employs embossing and pin-ending tools to sculpt the animal figures from polymer clay and wire. After baking, she chisels a few more details, paints, and attaches the fur and feathers where necessary.
      In 2016, Sandor become a fellow at The International Guild of Miniature Artisans. To follow her upcoming projects, head to Instagram.

      #birds
      #clay
      #mice
      #miniature
      #nature
      #nests
      #sculpture

      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, apply for our annual grant, and get exclusive access to interviews, partner discounts, and event tickets.

       
      Share this story
        More

    • 175 Shares189 Views

      in Art

      Lush Florals and Ripe Fruit Sprout from Lustrous Glass Trees by Artist Debora Moore

      by

      
      Art

      #flowers
      #glass
      #sculpture
      #trees

      July 17, 2020
      Grace Ebert

      All images © Debora Moore, shared with permission
      Combining traditional glassblowing techniques and sculpting methods, Debora Moore forms lustrous glass sculptures that resemble mossy branches, fleshy petals, and entire trees. The St. Louis-born artist began by creating orchids with bulbous centers before expanding her practice to larger, organic forms. In her recent collection, Arboria, Moore sculpted delicate magnolias, plump plums, and the lavender tendrils of the wisteria.
      The fragile artworks create a tension between the delicate material, the fleeting lives of flowers, and the strength and durability of nature. Moore likens her process to that of painting, where glass is used similarly to produce depth. “The material’s inherent ability to transmit and reflect light, as well as its variations from transparency to opacity, lends itself perfectly to achieve desired textures and surfaces,” she says in a statement.
      To dive further into Moore’s process and see her studio, check out this interview and her site.

      Left: “Purple Lady Slipper,” blown and sculpted glass, 35 x 21 x 8 inches. Right: “Paphiopedilum Epiphyte,” blown and sculpted glass, 35 x 9 x 9 inches
      “Magnolia” from Arboria (2018), blown and sculpted glass, 104 x 112 x 30 inches
      “Winter Plum” from Arboria (2018), blown and sculpted glass, 72 x 101 x 23 inches
      “Winter Plum” from Arboria (2018), blown and sculpted glass, 72 x 101 x 23 inches
      “Blue Lady Slippers” from Gigantica, blown and sculpted glass, 19 x 20 x 11 inches
      “Wisteria” from Arboria (2018), blown and sculpted glass, 93 x 86 x 36 inches
      “Wisteria” from Arboria (2018), blown and sculpted glass, 93 x 86 x 36 inches
      Left: “Blue Orchid Tree,” blown and sculpted glass, 42 x 35 x 10 inches. Right: “Pink Lady Slipper,” blown and sculpted glass, 62 x 43 x 8 inches
      “Blue Epiphyte,” blown and sculpted glass, 22 x 9.5 x 7.5 inches
      “Magnolia” from Arboria (2018), blown and sculpted glass, 104 x 112 x 30 inches
      “Blush Epidendrum,” blown and sculpted glass, 23 x 17 x 9 inches

      #flowers
      #glass
      #sculpture
      #trees

      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, apply for our annual grant, and get exclusive access to interviews, partner discounts, and event tickets.

       
      Share this story
        More

    • 138 Shares199 Views

      in Art

      Swaths of Colorful Fringe Disguise Animalistic Sculptures by Artist Troy Emery

      by

      
      Art
      Craft

      #animals
      #sculpture
      #thread

      July 13, 2020
      Grace Ebert

      “small sweet pink lump” (2020), polyester, polyurethane, pins, and adhesive, 40 x 44 x 39 centimeters. All images © Troy Emery, shared with permission
      Many pet owners are quick to name their dog or cat’s breed, but those bringing home one of Troy Emery’s colorful sculptures might need to figure out what species they’ve adopted first. The Melbourne-based artist creates amorphous artworks that resemble a range of four-legged friends, although their figures are enveloped with swaths of long, flowing fringe rather than distinct characteristics.
      In a note to Colossal, Emery shares that his tassel-covered sculptures consider how both fine arts and craft are portrayed broadly, in addition to the unique position non-human creatures hold as “tokens of ecological ruination… Along with the theme of animals within decorative arts, my practice plays with both scientific and cultural categorization of the ‘natural’ world, creating ‘fake taxidermy’ that falls between reality and fantasy as exotic hybrid creatures,” he says.
      Emery’s indeterminate sculptures are currently on view through an online exhibition with Martin Browne Contemporary, and more of his textile-based projects can be found on Instagram. (via The Jealous Curator)

      “Bird Catcher” (2017), rayon fringing, polyurethane, glue, and pins
      “ingot eater” (2019), polyester, polyurethane, pins, and adhesive, 78 x 98 x 54 centimeters
      “pink peony” (2020), polyester, polyurethane, pins, and adhesive, 39 x 68 x 22 centimeters
      “shadow” (2019), polyester, polyurethane, pins, and adhesive, 51 x 50 x 45 centimeters
      “savage” (2020), polyester, polyurethane, wire, fiberglass, pins, and adhesive, 32 x 90 x 40 centimeters

      #animals
      #sculpture
      #thread

      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, apply for our annual grant, and get exclusive access to interviews, partner discounts, and event tickets.

       
      Share this story
        More