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    Lush Growths and Classical Architecture Converge in Eva Jospin’s Meticulous Sculptures

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    “Forêt” (2024), wood, cardboard, 94 1/2 x 133 7/8 x 19 3/4 inches. All images courtesy of Mariane Ibrahim, shared with permission

    Lush Growths and Classical Architecture Converge in Eva Jospin’s Meticulous Sculptures

    November 16, 2024

    ArtNature

    Grace Ebert

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    Rather than position herself as an observer of landscapes, Eva Jospin imagines humans and their environments as one. The Parisian artist carves intricate forests and stately architecture subsumed by vines and craggy cliffs all from humble cardboard, accentuating the corrugated textures to add depth and intrigue.

    In her Chicago debut at Mariane Ibrahim, Jospin presents a series of freestanding sculptures and wall works that invite the viewer to venture into her large-scale, yet incredibly intricate worlds. Titled Vanishing Points, the exhibition gestures toward perspective and the ways subtle details and contemplation can shift how we see.

    “Forêt troglodyte” (2024), wood, cardboard, and mixed media, 72 1/2 x 59 x 31 1/2 inches

    As with earlier bodies of work, Jospin’s paper sculptures and vivid, silk tapestries draw on classical styles and the 18th-century tradition of follies, architectural structures designed for decoration. These often ornate buildings could be found in many Baroque gardens, which took human mastery over nature as an imperative.

    The artist’s works instead depict a convergence between the manufactured and the organic. In the six-foot tall “Forêt troglodyte,” for example, vines crawl down from a ceiling embedded with shells and sea sponges. The exquisite vault stands parallel to a similarly shaped cavern, occupied by trees rising from a rugged bluff.

    Jospin walks viewers through her process and studio in the video below. If you’re in Chicago, see Vanishing Points before January 25.

    Detail of “Forêt troglodyte” (2024), wood, cardboard, and mixed media, 72 1/2 x 59 x 31 1/2 inches

    “Capriccio” (2024), wood, cardboard, and mixed media, 76 3/8 x 41 3/8 x 21 5/8 inches

    Detail of “Capriccio” (2024), wood, cardboard, and mixed media, 76 3/8 x 41 3/8 x 21 5/8 inches

    “Jardin Constantine” (2024), silk thread, silk canvas, wood and cardboard frame,46 x 96 7/8 x 4 inches

    “Jardin Constantine” (2024), silk thread, silk canvas, wood and cardboard frame,46 x 96 7/8 x 4 inches

    “Petit Bois” (2024), wood, cardboard, 28 x 34 1/2 x 9 1/4 inches

    “Treille” (2024), silk thread, silk canvas, wood and cardboard frame, 100 3/4 x 69 1/4 x 4 inches

    Detail of “Forêt” (2024), wood, cardboard, 94 1/2 x 133 7/8 x 19 3/4 inches

    Detail of “Treille” (2024), silk thread, silk canvas, wood, and cardboard frame, 100 3/4 x 69 1/4 x 4 inches

    “Labyrinthe” (2024), wood, cardboard, and mixed media, 41 x 39 3/8 x 27 1/2 inches

    Detail of “Labyrinthe” (2024), wood, cardboard, and mixed media, 41 x 39 3/8 x 27 1/2 inches

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      in Art

      Vintage Fabrics Encase Ceramic Shards in Zoë Hillyard’s Mended Pottery

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      Art
      Craft
      #ceramics
      #found objects
      #pottery
      #silk
      #textilesDecember 2, 2021Grace Ebert“Spring Vase” (2017), silk, linen, ceramic, and thread, 28 x 17 centimeters. All images © Zoë Hillyard, shared with permissionBirmingham, U.K.-based artist Zoë Hillyard revitalizes shattered vases and bowls by melding traditional craft techniques. She wraps a mishmash of vintage silks and fabrics around individual ceramic shards, binding the broken pieces with tightly stitched thread. Appearing glazed with antique florals and other ornate motifs, the patchwork forms contrast the original shape of the pottery with the newly mended exterior, a reconfigured finish that’s commonly disrupted by missing pieces and jagged edges.Gathering the source materials from ceramicists’ reject piles or by receiving broken family heirlooms for commissions, Hillyard works with the initial shape and purpose in mind. She says:Like archaeological treasures, they display imperfections in the form of holes and irregularity, and all the more interesting for them. Each piece is unique in terms of the combinations of materials used, the pattern of breakage, the impact of colour and print and aesthetic decisions made during reconstruction.Hillyard’s body of work is replete with metaphorical and physical tension and contrast between the old and new. Although the pieces appear delicate and light like the fabrics that envelop their sides, they retain the heftiness and weight of clay and are warmer to the touch than a porcelain vessel, for example. “Most surprisingly, they often have a subtle flex, disconcerting when contrasted with traditional ‘solid’ forms of ceramic repair,” the artist shares. “I enjoy these ambiguities, with the work challenging expectations and conventional definitions.”In addition to her practice, Hillyard teaches textile design at Birmingham City University. She currently has pieces at Contemporary Applied Arts in London and will show new works in June 2022 at The Pool House Gallery in Gloucestershire. Until then, explore more of her process and mended projects on Instagram. (via Women’s Art)“Shard Vase” (2016), silk, ceramic, and thread, 35 x 25 centimetersDetail of “Spring Vase” (2017), silk, linen, ceramic, and thread, 28 x 17 centimeters“Gestalt Vase” (2019), silk, ceramic, and thread“White Patch Vase” (2017), silk, ceramic, and thread, 35 x 21centimeters“Birdseye Vase” (2016), silk, ceramic, and thread, 45 x 27 centimeters“Katharina Klug Kimono Bowl” (2017), 14.5 x 27 centimeters“Stormy Vase” (2017), silk, ceramic, and thread, 25 x 20 centimeters
      #ceramics
      #found objects
      #pottery
      #silk
      #textilesDo 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, help support our interview series, gain access to partner discounts, and much more. Join now! Share this story  More