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    Endless Fields of Detritus Blanket Cássio Vasconcellos’s Aerial Composites

    Detail of “Air Force.” All images courtesy of Cássio Vasconcellos and Nara Roesler Gallery, shared with permission

    Endless Fields of Detritus Blanket Cássio Vasconcellos’s Aerial Composites

    November 12, 2024

    ArtClimatePhotography

    Kate Mothes

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    Where do jets go when they no longer fly? What happens to shipping containers when they aren’t useful anymore for cargo? The answer is invisible to most of us, but for Cássio Vasconcellos, abandoned trains, planes, and automobiles are far from forgotten.

    For more than four decades, the São Paolo-based artist has been fascinated by the relationship between humans and the landscape. Over the years, his work has captured dramatic impressions of sprawling cities around the globe, often from the air, spurring an ongoing series called Collectives that condenses details of urban infrastructure like highways and parking lots into sprawling, all-over compositions.

    “Collective 11: Airplanes”

    Collectives 2, to which these images belong, focuses solely on the mesmerizing—and mind-boggling—quantity of scrapped vehicles and metal indefinitely parked in nondescript places. Vasconcellos draws from tens of thousands of aerial photographs he has made of junkyards, scrap heaps, airplane graveyards, and dumps to create remarkable, large-scale composite images.

    The artist has mapped all of the junkyards around São Paolo, plus numerous more near the Brazilian cities of Cubatão, Santos, and Rio de Janeiro. He has also documented desert landscapes in the U.S. that serve as final resting places for commercial airliners and military jets.

    “Over,” for example, considers numerous associated meanings, like “overview,” “all-over,” “overdose,” or “game over.” The title references not only excess but the overflow of visual information in contemporary society.

    “Seeing an image like this is to make clear that there is no ‘throw away,’” Vasconcellos says in a video about “OVER,” which took him about a year and three months to complete. “This volume of things that are in the work… they are out there,” he adds. “I just put them together.”

    Detail of “Over”

    “These photos may look like post-apocalyptic scenarios, but they could be our future,” the artist says in a statement. “We still have to learn that by throwing things away and taking them out of our sight, we don’t make themdisappear. In fact, they keep existing somewhere else, outliving us mostof the time.”

    Vasconcellos cuts out individual shipping containers, trucks, dumpsters, and piles of detritus in a meticulous and time-consuming digital process. He never repeats an element in a composition, and each piece is scaled and situated so that the shadows align with the directionality of the light. He then adds dust and dirt to the surfaces, simultaneously emphasizing the patina of time and an eerie sense of timelessness.

    Devoid of people, Vasconcellos’s images nevertheless describe the human predilection to produce, consume, and cast aside. “It’s kind of nonsense, because there are some paths, but you don’t really understand how a person or a car can get in there—or get out,” Vasconcellos says. “It is a possible world, but at the same time, an absurd one.”

    Vasconcellos is represented by Nara Roesler Gallery, and you can explore more of his work on his website and Instagram.

    “Collective 12: Boats”

    “Collective 10: Containers”

    “Air Force”

    “Collective 7: Metal Scrap”

    Detail of “Collective 7: Metal Scrap”

    “Collective 9: Scrap Dumpster”

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    Thriving Habitats by Stéphanie Kilgast Emerge from Plastic Bottles and Recycled Objects

    “Fitting In (Decorator Crab)” (2024), mixed media on thrifted jewelry box, 8 x 6.75 x 7 inches. All images courtesy of Arch Enemy Arts, shared with permission

    Thriving Habitats by Stéphanie Kilgast Emerge from Plastic Bottles and Recycled Objects

    October 23, 2024

    ArtClimate

    Kate Mothes

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    From crunched, single-use containers to thrifted boxes and repurposed clocks, Stéphanie Kilgast (previously) devises unique habitats for a wide range of creatures. Fungi takes root along the sides of a green bottle as a beetle crawls over the cap in “Weevil Wander,” for example, and a violet owl alights on the top of a pair of binoculars.

    Kilgast’s solo exhibition, LUSCIOUS LEGACY at Arch Enemy Arts, continues the artist’s interest in highlighting the human impact on the environment and the increasingly grim consequences of the climate crisis. Rather than focusing on the darker reality, she adopts an optimistic view of nature’s resilience.

    “Weevil Wander” (2024), mixed media on plastic bottle, 6 x 5 x 7.75 inches

    “My work touches very contrasting emotions: the joy of color and natural beauty but also the sadness and despair of where we are headed,” Kilgast says. She hopes to aid us in questioning mass consumerism and its resulting trash, which continues to threaten delicate ecosystems worldwide, and adds, “The world is beautiful. It is worth fighting for.”

    LUSCIOUS LEGACY runs through October 27 in Philadelphia. Find more on the artist’s website and Instagram.

    “Chi Va Piano” (2024), mixed media on reclaimed clock, 6 x 3 x 4.25 inches

    Detail of “Chi Va Piano”

    “Stare (Eurasian Eagle Owl)” (2024), mixed media on reclaimed binoculars, 3.5 x 5 x 9.75 inches

    Detail of “Weevil Wanderer”

    “Glacier” (2024), mixed media on plastic bottle, 4 x 4.25 x 8.75 inches

    “Bloom” (2024), mixed media on plastic bottle, 6.75 x 7.75 x 9.75 inches

    “Luscious Legacy” (2024), mixed media on milk carton, 7.75 x 3 x 8.75 inches

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    A Short Documentary Explores the Life of the ‘Artifact Artist’ Who’s Been Excavating New York City’s Trash for Decades

    
    Art
    Documentary
    History

    #found objects
    #new york city
    #trash
    #upcycling
    #video

    April 19, 2021
    Grace Ebert

    Jordan in his home
    Descending into old privies, scouring landfills, and sneaking onto construction sites in the middle of the night are habitual activities for urban archaeologist Scott Jordan. For nearly five decades, he’s been excavating the trash and forgotten artifacts buried deep underneath New York City’s residential areas and fast-growing developments. His findings are diverse and revealing of the area’s past, offering a glimpse into the consumption habits and lifestyles of previous generations that date back to the 18th Century.
    A new documentary produced by Kaleidoscope Pictures chronicles Jordan’s lifelong practice that involves digging and uncovering items that he then transforms into new artworks. Dubbed “The Artifact Artist,” the short film by the same name follows the archaeologist and historian as he pulls glass bottles, Civil War-era garments, and small toys from the earth. While Jordan cleans and restores much of the pottery and well-preserved items, he utilizes the rest to create jewelry and assembled, sculptural works that nestle into shadowboxes, which he then sells at flea markets.
    Watch the full documentary below, and find more information on Jordan’s site, Things Found NYC, which he runs with Belle Costes. Shop the pair’s findings on Etsy. (via Kottke)

    
    Jordan digging in New York City
    Jordan in his home
    A collection of Jordan’s artworks made from items he found
    Jordan in his home
    Items in Jordan’s collection

    #found objects
    #new york city
    #trash
    #upcycling
    #video

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