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      Two Fabric Homes by Artist Do Ho Suh Float Above an Atrium in Incheon International Airport

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      Art

      #architecture
      #fabric
      #installation
      #sculpture

      October 13, 2020
      Grace Ebert

      “Home within Home” (2019), polyester fabric, stainless steel, 292.91 x 325.59 x 316.93 inches. Images © Do Ho Suh, courtesy of Lehmann Maupin, shared with permission
      Living and working in London, Korean artist Do Ho Suh (previously) is concerned with “home, physical space, displacement, memory, individuality, and collectivity,” ideas he evokes in his life-sized fabric sculptures and installations. His 2019 piece “Home within Home,” which is suspended from an atrium in Incheon International Airport in Seoul, positions two structures vertically, with the larger polyester and steel construction on top. This newer work evokes a similar piece from 2013, titled “Home Within Home Within Home Within Home Within Home,” which placed replicas of Suh’s former living spaces within one another, from his first house in South Korea to an apartment building in Rhode Island.
      Often using his own experiences as source material, Suh’s multi-media practice explores both the physical and metaphorical understandings of home as he considers the ways people occupy structures in specific times, locations, forms, and histories. “The spaces we inhabit also contain psychological energy, and in his work, he makes visible those markers of memories, personal experiences, and a sense of security, regardless of geographic location,” a statement about his practice says.
      Suh is represented by Lehmann Maupin, and you can explore more of the artist’s architectural sculptures, installations, and smaller works on the international gallery’s site.

      “Home within Home” (2019), polyester fabric, stainless steel, 292.91 x 325.59 x 316.93 inches
      “Home within Home” (2019), polyester fabric, stainless steel, 292.91 x 325.59 x 316.93 inches
      “Home within Home” (2019), polyester fabric, stainless steel, 292.91 x 325.59 x 316.93 inches
      “Passage/s” (2017)
      “Passage/s” (2017)

      #architecture
      #fabric
      #installation
      #sculpture

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      Using Shattered Ceramics, Artist Bouke de Vries Revitalizes Found Porcelain in New Sculptures

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      Art

      #ceramics
      #porcelain
      #sculpture

      October 7, 2020
      Grace Ebert

      All images © Bouke de Vries, shared with permission
      Bouke de Vries (previously) refers to some of his porcelain sculptures as “three-dimensional still lifes.” The artist, who was born in the Netherlands and now lives in London, creates sprawling assemblages that resemble a classic bowl of fruit or table setting frequently found in Dutch art. “I compose these pieces as, after the painter has finished with them, the ceramics get broken and decayed, and I breathe new life into them. The butterfly in still life is a symbol for the resurrection in (the) way I see what I do through my work,” he tells Colossal. In de Vries’s works, though, the seemingly mundane scenes are fractured with bursting ceramics, encroaching insects, and decaying fruit.
      The artist began working with porcelain as a restorer for 15 years before embarking on his own practice, which begins with a search for broken pottery and glass shards. He never breaks an undamaged piece but rather revitalizes those that are damaged already by creating new figures that celebrate the beauty of their previous forms. With a penchant for Kintsugi, he often utilizes gold lacquer to highlight the repaired cracks.
      Alongside sculptural still lifes, the figure of Guan Yin, the Buddhist goddess of compassion, mercy, and kindness, recurs in de Vries’s work. Often surrounded by cracked shards and recomposed garments, she conveys an ability for understanding and repair.
      In recent weeks, de Vries has been working on commissions and new pieces, in addition to a large-scale project that spans the entrance of one of Sotheby’s Bond Street galleries, which you can see on Instagram. To find out more about the artist’s vision behind that piece, watch this interview. (via Cross Connect Magazine)

      #ceramics
      #porcelain
      #sculpture

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      A Plant Overruns an Incredibly Intricate Cardboard Universe for Robots by Greg Olijnyk

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      Art
      Craft

      #cardboard
      #light
      #plants
      #robots
      #science fiction
      #sculpture

      September 18, 2020
      Grace Ebert

      All images © Greg Olijnyk, by Griffin Simm, shared with permission
      Until now, Greg Olijnyk’s cardboard robots have been poised for adventure, whether perched on a speed bike or sailing an undulating sea. His meticulously crafted universe, though, has taken an eerie and slightly dystopic turn. The Melbourne-based artist presents fully articulate robots lying on an operating table and attempting to wrangle an aloe plant bound to a cage. Complete with LED lights and glass where necessary, the latest iteration even features an illustrated danger sign, warning that the plant will soon breach its enclosure.
      To follow the latest sculptures in Olijnyk’s science-fiction inspired reality, head to Instagram, where he shares process shots and videos of the robots in action.

      #cardboard
      #light
      #plants
      #robots
      #science fiction
      #sculpture

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      Precious Gems Form the Unsightly Rot of Artist Kathleen Ryan’s Decomposing Fruit

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      Art
      Food

      #fruit
      #gemstones
      #mold
      #sculpture

      September 15, 2020
      Grace Ebert

      “Bad Grapes” (2020), amethyst, aventurine, agate, garnet, pyrite, ruby in zoisite, tektite, tigereye, turquoise, serpentine, obsidian, blackstone, Indian unakite, labradorite, Sierra agate, red agate, black agate, serpentine, quartz, marble, amazonite, rhyolite, calcite, dalmation jasper, glass, steel and stainless steel pins, copper tube, and copper fittings, polystyrene. 59.5 x 90 x 54 inches. Image courtesy of Kathleen Ryan and François Ghebaly, Los Angeles, by Marten Elder
      New York-based artist Kathleen Ryan harvests inspiration for her oversized sculptures from natural sources: cherry orchards, vineyards, and mineral mines below the earth’s crust. She’s known for her fruit pieces that appear to be covered in mold, whether in the form of a deflated bunch of grapes or a pair of cherries spotted with fungi.
      Ryan portrays the moldy substances through precious and semi-precious gemstones like amethyst, quartz, and marble. The materials’ durability and longevity directly contrast the decay they represent. Whereas the most valuable and lustrous stones cover parts of the fruit, Ryan uses simple glass beads to create the still supple portions, forming the bright red flesh of the cherry or the pockets of yellow rind on the lemon.
      A virtual exhibition of the artist’s rotting sculptures, which sometimes span as many as 90 inches wide, is available for viewing from Karma. Follow Ryan on Instagram to see more of her work that explores the beautiful and the unsightly.

      “Bad Cherries (BFF)” (2020), agate, amazonite, aquamarine, aventurine, amethyst, angelite, brecciaded jasper, garnet, jasper, labradorite, magnesite, moonstone, quartz, red aventurine, rhyolite, serpentine, snow quartz, smoky quartz, spotted quartz, unakite, tiger eye, freshwater pearls, glass, steel pins on coated polystyrene, fishing poles, 26 × 12 × 39 inches. Image courtesy of Kathleen Ryan and Karma, New York
      “Bad Grapes” (2020), amethyst, aventurine, agate, garnet, pyrite, ruby in zoisite, tektite, tigereye, turquoise, serpentine, obsidian, blackstone, Indian unakite, labradorite, Sierra agate, red agate, black agate, serpentine, quartz, marble, amazonite, rhyolite, calcite, dalmation jasper, glass, steel and stainless steel pins, copper tube, and copper fittings, polystyrene. 59.5 x 90 x 54 inches. Image courtesy of Kathleen Ryan and François Ghebaly, Los Angeles, by Marten Elder
      “Bad Cherries (BFF)” (2020), agate, amazonite, aquamarine, aventurine, amethyst, angelite, brecciaded jasper, garnet, jasper, labradorite, magnesite, moonstone, quartz, red aventurine, rhyolite, serpentine, snow quartz, smoky quartz, spotted quartz, unakite, tiger eye, freshwater pearls, glass, steel pins on coated polystyrene, fishing poles, 26 × 12 × 39 inches. Image courtesy of Kathleen Ryan and Karma, New York
      “Pleasures Known” (2019), various semi-precious stones, shells, beads, wood, steel, plastic, hardware, coated polystyrene, iron trailer. Image courtesy of Kathleen Ryan and François Ghebaly, Los Angeles, by Marten Elder
      “Bad Grapes” (2020), amethyst, aventurine, agate, garnet, pyrite, ruby in zoisite, tektite, tigereye, turquoise, serpentine, obsidian, blackstone, Indian unakite, labradorite, Sierra agate, red agate, black agate, serpentine, quartz, marble, amazonite, rhyolite, calcite, dalmation jasper, glass, steel and stainless steel pins, copper tube, and copper fittings, polystyrene. 59.5 x 90 x 54 inches. Image courtesy of Kathleen Ryan and François Ghebaly, Los Angeles, by Marten Elder
      “Bad Cherries (BFF)” (2020), agate, amazonite, aquamarine, aventurine, amethyst, angelite, brecciaded jasper, garnet, jasper, labradorite, magnesite, moonstone, quartz, red aventurine, rhyolite, serpentine, snow quartz, smoky quartz, spotted quartz, unakite, tiger eye, freshwater pearls, glass, steel pins on coated polystyrene, fishing poles, 26 × 12 × 39 inches. Image courtesy of Kathleen Ryan and Karma, New York
      “Pleasures Known” (2019), various semi-precious stones, shells, beads, wood, steel, plastic, hardware, coated polystyrene, iron trailer. Image courtesy of Kathleen Ryan and François Ghebaly, Los Angeles, by Marten Elder
      “Pleasures Known” (2019), various semi-precious stones, shells, beads, wood, steel, plastic, hardware, coated polystyrene, iron trailer. Image courtesy of Kathleen Ryan and François Ghebaly, Los Angeles, by Marten Elder
      “Bad Lemon (Persephone)” (2020), Turquoise, serpentine, agate, smokey quartz, labradorite, tiger eye, tektite, zebra jasper, carnelian, garnet, pyrite, black stone, magnesite, Ching Hai jade, aventurine, Italian onyx, mahogany obsidian, vanadinite, glass, steel pins on coated polystyrene, 19.5 × 28.5 × 18 inches. Image courtesy of Kathleen Ryan and Karma, New York
      “Bad Lemon (Tart)” (2020), Citrine, amber, agate, turquoise, fluorite, prehnite, magnesite, Ching Hai jade, quartz, amethyst, garnet, labradorite, white lip shell, serpentine, sesame jasper, zebra jasper, grey feldspar, marble, glass, steel pins on coated polystyrene, 19 × 16 × 17 inches. Image courtesy of Kathleen Ryan and Karma, New York

      #fruit
      #gemstones
      #mold
      #sculpture

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      Insatiable Mouths and Fingers Rouse a Delicate Tea Set by Artist Ronit Baranga

      by

      
      Art
      Food

      #anatomy
      #cake
      #ceramics
      #pie
      #sculpture
      #surreal

      September 14, 2020
      Grace Ebert

      All images © Ronit Baranga, shared with permission
      Israeli artist Ronit Baranga (previously) embodies voracious appetites by merging anatomical parts, desserts, and serving ware in an evocative ceramic series titled All Things Sweet and Painful. Dextrous fingers balance a plate and manage to swipe a bit of frosting from a cupcake. Whether implanted in a fruity pie or a teacup, gaping mouths clamor for a taste of the pastries and stick their tongues out for a taste.
      In a statement, Baranga explains that the surreal series is focused on luxurious foods. “The mixed emotions of need and the insatiable hunger for more – more sugar, more attention, more love. There is a constant push against the boundaries of rational consumption, craving the sugar rush, forever tempted to go overboard,” she says.
      Baranga has a number of ongoing and upcoming exhibitions scheduled, including at Munich’s størpunkt through October 31 and the Eretz Israel Museum in Tel-Aviv through 2021. The sumptuous artworks shown here will be on view at Beinart Gallery in Melbourne starting mid-October, and you can browse more of Baranga’s sculptures on Instagram.

      [embedded content]

      #anatomy
      #cake
      #ceramics
      #pie
      #sculpture
      #surreal

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      Using Naturally Dyed Cotton, Artist Sipho Mabona Explores Transformation through Origami

      by

      
      Art

      #origami
      #sculpture

      September 9, 2020
      Grace Ebert

      “A Unicorn’s Lower Jaw & Right Front Leg” (2020), indigo, old fustic, weld and iron on cotton and paper. All images © Sipho Mabona, shared with permission
      Sipho Mabona (previously) folds, crimps, and puckers sheets of cotton to form geometric artworks. The artist dyes the porous material with natural substances like indigo and Maclura tinctoria (mulberry), which creates organic gradients and alters its texture. He then utilizes Origami creases to transform the cotton’s structure and shape, sometimes working in response to current affairs. For example, the red pieces (shown below) are a response to Black Lives Matter and “also of biographical significance to me having a father that was a politcal activist and refugee from South Africa.” he shares with Colossal.
      While my earlier works have smooth monochromatic surfaces in my latest body of work I felt an urge to introduce a painterly gesture and an element of chance to counterbalance the stringent geometrical appearance of the crease-patterns… Both Origami and natural dyeing are techniques that have rarely been harnessed in fine arts that unlock an intriguing field of unexplored narratives.
      Head to Instagram to dive further into Mabona’s folded cotton works.

      “The Dragonflies’ Third Leg” (2019), Maclura tinctoria, on folded cotton and paper, 40 x 50 centimeters
      Left: “Untitled” (2018), natural aizome, acrylic and molding paste on folded cotton, 132 x 108 centimeters. Right: “Untitled” (2018), natural aizome, acrylic and molding paste on folded cotton, 132 x 108 centimeters
      “We Bled, We Are Bleeding, We Will Bleed”
      “The Doves’ Wing” (2019), indigo and old fustic, on folded cotton and paper, 40 x 50 centimeters
      Left: “The Cicadas’ Abdomen & Thorax” (2019), Madder on folded cotton. Right: “The Dove’s Wing & Shoulder (I1)” (2020), indigo-dyed, cotton, paper, Tyvek, wood, and nylon
      “We Bled, We Are Bleeding, We Will Bleed”
      Right: “Untitled” (2018), natural aizome, acrylic and molding paste on folded cotton, 132 x 108 centimeters
      “We Bled, We Are Bleeding, We Will Bleed”
      “Untitled” (2018), natural aizome on folded cotton and paper

      #origami
      #sculpture

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      A Staggering Sculptural Rug by Artist Faig Ahmed Pours into an Amorphous Puddle

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      Known for his sculptural textiles, Faig Ahmed fuses contemporary glitches and distortions with traditional weaving techniques. A recent artwork, titled “Doubts,” is one of his larger pieces that while conventionally shaped and patterned on top, appears to ooze out into a massive puddle. A stunning piece, the ornate motif blurs into swirls of color and an amorphous shape on the floor.
      The Baku, Azerbaijan-based artist (previously) said in a statement that he began “Doubts” about one month prior to widespread lockdowns due to COVID-19. More More

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      Limp Balloons Slump Over Each Other in Pastel Sculptures by Artist Joe Davidson

      by

      
      Art

      #balloons
      #plaster
      #sculpture

      September 3, 2020
      Grace Ebert

      “Untitled” (2020), cast tinted hydrocal, 9 x 9 x 4 inches. All images © Joe Davidson, shared with permission
      In varying states of deflation, Joe Davidson’s pastel balloons sag, slump, and flop in every direction. The limp, elongated forms are stacked on top of one another in seemingly precarious piles and resemble latex tubes filled with days-old air. While the sculptures are playful in both color and form, the Los Angeles-based artist notes that they also hold earnest themes of masculinity and aging, two concepts he’s thinking about often.
      Davidson prefers to explore new materials and those beyond the bronze, stone, and wood typically used in this medium. “I was in a period about ten years ago where I was working exclusively in Scotch tape,” he shares. His more recent interest has been in plaster, which he uses to make the balloons. “There’s something about the malleability, chalkiness, and its history that is always appealing,” he says.
      Adding color has been a recent evolution and one Davidson is adjusting to still. “My work historically tends to be monochromatic, as I have usually decided to let the nature of the materials speak for themselves. However, there’s something tantalizing about the color pastel scheme (I hate pastel!). It’s awkward and pretty, enticing to touch and sarcastic at the same time,” he says.
      For this particular series, the artist cites myriad references, including Jeff Koons’s balloon animals and Louise Bourgeois’s use of anthropomorphism. Overall, though, he often returns to the Dadaists and Italian Arte Povera, who “were always welcoming chance and randomness in their work,” he says.

      They came from totally different viewpoints (Dada embracing the absurdity of existence post WWI and Arte Povera looking for the poetic in the mundane), but their processes really resonate with me. A critical part of the process is setting up certain parameters and letting the art fix and finish itself.  I exercise a lot of control in creating the framework for a work, but I always listen to what the material is telling me it wants to do.

      To follow Davidson’s playful sculptures and get a peek into his studio, head to Instagram. (via swissmiss)

      “Pig Pile” (2020), cast tinted hydrocal, 20 x 20 x 20 inches
      “Pile On” (2020), cast tinted hydrocal, 17 x 8 x 9 inches
      “Pretender” (2017), cast tinted hydrocal, rope, screws, 77 x 42 x 10 inches
      Left: “Untitled” (2020), cast tinted hydrocal, 8 x 8 x 6 inches. Right: “Untitled” (2020), cast tinted hydrocal, 7 x 6 x 6 inches
      “Pile On” (2020), cast tinted hydrocal, 17 x 8 x 9 inches
      Left: “Untitled” (2020), cast tinted hydrocal, 7 x 6 x 5 inches. Right: “Untitled (Poufs)” (2020), cast tinted hydrocal, 14 x 8 x 8 inches
      “Pretender” (2017), cast tinted hydrocal, rope, screws, 77 x 42 x 10 inches

      #balloons
      #plaster
      #sculpture

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