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    Assembled Sculptures by Artist Willie Cole Cluster High Heels into Expressive Masks

    
    Art

    #found objects
    #masks
    #sculpture
    #shoes

    May 5, 2021
    Grace Ebert

    “Street Dragon I” (2018), shoes, wire, and screws on a metal stand, 64.5 x 16 x 15.5 inches. Photo by Joerg Lohse. All images © Willie Cole, courtesy of Alexander and Bonin, New York
    New Jersey-based artist Willie Cole juxtaposes readymade footwear and African tradition in his series of sculptural masks. The figurative assemblages stack women’s heels into clusters that are expressive and distinctly unique, an effect Cole derives from the shoes’ material, color, and pattern rather than a preconceived plan or sketch. Depicting exaggerated toothy grins, pointed brows, and outstretched tongues, the sculptures span more than a decade of the artist’s career and influence a new collaboration with Comme des Garçons that’s comprised of headpieces made with black pumps.
    Each piece is layered with cultural and societal markers, including those that comment on mass consumerism, fashion trends, and notions of femininity. This context is situated in time and place, which Cole describes as “a subtle catalyst for perception. I have discovered that high heels purchased in New York are very different than high heels purchased in Georgia,” he says. Cole explains:
    I guess you could call the high heel both an anxious object and a readymade aid. ‘Anxious’ because as a symbol, it is fully loaded with history and a story all its own even as just a shoe. ‘Readymade aid’ because that history adds so much to your interpretation and/or reaction to these pieces. As for fashion, these pieces speak about the abundance of discarded high heels in the world as well as the various styles and trends.
    The artist is involved in a variety of projects at the moment, including a commission for Kansas City International Airport that’s an homage to Charlie Parker and a series of sculptures made with 75 acoustic Yamaha guitars that’ll raise money for music education. His work is currently on view at Alexander and Bonin in New York City and Beta Pictoris Gallery in Birmingham. This summer, he’s participating in a show at Hauser and Wirth and is involved in an installation celebrating a former Black neighborhood that’s opening at the Metropolitan Museum of Art this fall. See more from his expansive body of work that largely explores Black identities on his site and Instagram.

    “Sole Brother 1” (2007), shoes, wire, washers, and screws, 18 x 18 x 19 inches. Photo by Jason Mandella
    “Ashley Bickerton” (2016), shoes, wire, and screws on a metal stand, 63.5 x 16 x 15.5 inches. Photo by Joerg Lohse
    “Street Dragon II” (2018), shoes, wire, and screws, 19.5 x 15.5 x 10.25 inches. Photo by Joerg Lohse
    “Shine” (2007), shoes, wire, washers, screws, and shelf 16 x 15 x 16 inches. Photo by Jason Mandella
    “Fly Girl” (2016), shoes, wire, and screws on a metal stand, 65.5 x 15.5 x 15.5 inches. Photo by Joerg Lohse
    “Sole Brother 2” (2007), shoes, wire, washers, and screws, 19.5 x 16.75 x 18 inches. Photo by Jason Mandella

    #found objects
    #masks
    #sculpture
    #shoes

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    Everyday Objects Are Sliced and Re-Assembled into Distorted Sculptures by Fabian Oefner

    
    Art

    #cameras
    #electronics
    #sculpture
    #shoes

    April 16, 2021
    Grace Ebert

    “Heisenberg Object V – Cortez” (2021), leather, foam, and resin, 30 x 18 x 15 centimeters. All images © Fabian Oefner, shared with permission
    In Heisenberg Objects, Fabian Oefner (previously) translates quantum mechanic’s uncertainty principle into a sculptural series of segmented objects. The Connecticut-based artist uses resin to solidify the everyday items, which include sneakers, a Leica M6, a tape recorder, a Seiko clock, and flight recorder, before slicing them into countless individual pieces. He then aggregates those fragmented parts into dissected sculptures that resemble the original object through a distorted view of the inner and outer mechanisms.
    Drawing its name from German physicist Werner Heisenberg, the series is rooted in the basics of the uncertainty principle, which states that no two particles can be measured accurately at exactly the same time. “You can either determine one parameter and ignore the other or vice versa, but you can never know everything at once,” the artist writes about Heisenberg’s idea. The two opposing views—i.e. the inner and outer layers of the common items—converge in Oefner’s sculptures and visualize the principle through skewed perceptions. “As an observer, you are never able to observe the object as a whole and its inner workings simultaneously. The more accurately we see one view, the less clearly we see the other,” he says.
    Check out Oefner’s Instagram for more views of the re-interpreted objects, along with videos documenting the slicing process.

    “Heisenberg Object III – Leica M6” (2021), aluminum, glass, and resin, 20 x 15 x 5 centimeters
    “Heisenberg Object I – Seiko Clock” (2021), plastics, metal, and resin, 20 x 15 x 10 centimeters
    “Heisenberg Object II – Tape Recorder” (2021), plastics, metal, resin, 30 x 20 x 8 centimeters
    “Heisenberg Object VI – Cortez” (2021), leather, foam, and resin, 30 x 18 x 15 centimeters
    “Heisenberg Object VI – Cortez” (2021), leather, foam, and resin, 30 x 18 x 15 centimeters
    Detail of “Heisenberg Object IV – Flight Recorder” (2021), plastics, metal, resin, 50 x 50 x 40 centimeters
    “Heisenberg Object IV – Flight Recorder” (2021), plastics, metal, resin, 50 x 50 x 40 centimeters

    #cameras
    #electronics
    #sculpture
    #shoes

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