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    Interlocking Cable Ties Form Undulating Water and Biomorphic Sculptures by Sui Park

    
    Art

    #installation
    #sculpture
    #site-specific
    #waves

    July 28, 2021
    Grace Ebert

    “Undulating Beauty” (2018), black cable ties, 21 x 7.5 x 2.5 fee. All images © Sui Park, shared with permission
    Artist Sui Park (previously) zips together simple nylon cable ties to create sprawling biomorphic sculptures and site-specific installations that resemble heaving nighttime seas, prickly moss, and vibrant amorphous creatures. Park, who was born in Seoul and currently lives in New York, started hand-dying the uniform fasteners a few years ago to deepen the contrast between the mass-produced material and her spiky organic masses. “Each has a subtle difference in shape and angle, and when grouped and connected together to develop into a larger form, the subtlety creates a dynamic and a characteristic of my work,” she says.
    Whether suspended in a gallery or staked into a patch of grass, Park’s abstract pieces are porous, each revealing the surrounding environment through its body. This focus on permeability “opens the inner space of my work and makes the inside visible. At the same time, I think it opens and creates a moment to pause, reflect, and ponder personal imageries surrounding nature. Different shapes and angles of modules provide various perspectives of the inner space,” she shares.
    Park has multiple upcoming exhibitions, including shows running August 11 to November 27 at Cahoon Museum of American Art, September 7 to December 11 at Suwon Museum of Art, September 2021 to August 2023 at the Site-Responsive Art Biennale at I-Park Foundation, and another at Poikilo Museot starting in September. Until then, explore more of her sprawling installations and standalone pieces on Behance and Instagram.

    “Summer Vibe” (2021), hand-dyed cable ties and tent stakes, 
78th Street at Riverside Park, New York
    “Summer Vibe” (2021), hand-dyed cable ties and tent stakes, 
78th Street at Riverside Park, New York
    Detail of “Undulating Beauty” (2018), black cable ties, 21 x 7.5 x 2.5 feet
    “Experiment (Untitled)” (2021), monofilament
    “Experiment (Untitled)” (2021), monofilament
    Detail of “Where the Wind Stays” (2021), cable ties and monofilament
, I-Park Foundation, East Haddam, Connecticut
    “Where the Wind Stays” (2021), cable ties and monofilament
, I-Park Foundation, East Haddam, Connecticut
    Detail of “Moss” (2018), hand-dyed cable ties and tent stakes
    “Moss” (2018), hand-dyed cable ties and tent stakes
    “Where the Wind Stays” (2021), cable ties and monofilament
, I-Park Foundation, East Haddam, Connecticut

    #installation
    #sculpture
    #site-specific
    #waves

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    Nine Massive Waves of Deadwood Surge Across a Forest Floor Near Hamburg

    
    Art
    Photography

    #COVID-19
    #installation
    #land art
    #waves
    #wood

    June 8, 2021
    Grace Ebert

    All images © Jörg Gläscher, shared with permission
    As the fear of a second wave of COVID-19 swept through Germany in the fall of 2020, photographer and artist Jörg Gläscher decided to channel his own worry into a project that felt similarly vast and domineering. “I was working (with the idea of) the pure power of nature, the all-destroying force, which brings one of the richest countries in the world to a completely still stand,” he tells Colossal. “A wave is a periodic oscillation or a unique disturbance the state of a system.”
    Between November 2020 and March 2021, Gläscher spent his days in a secluded location near Hamburg, where he gathered deadwood and constructed nine massive crests—the largest of which spans four meters high and nine meters wide—that overwhelm the forest floor in undulating layers of branches and twigs. Each iteration, which he photographed and then promptly destroyed in order to reuse the materials, overwhelms the existing landscape with pools of the formerly thriving matter.
    Gläscher’s installations are part of a larger diaristic project he began at the beginning of the pandemic. Since then, he published a few magazines to present the works that range from photography to sculpture in one place, which you purchase along with prints in his shop. Find more of his multi-media projects on his site and Instagram. (via This Isn’t Happiness)

    #COVID-19
    #installation
    #land art
    #waves
    #wood

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    A Tiled Wave Ripples Across Olafur Eliasson’s New Installation in Downtown Chicago

    
    Art

    #Chicago
    #installation
    #pattern
    #public art
    #street art
    #waves

    January 19, 2021
    Grace Ebert

    “Atmospheric wave wall” (2021), 30 x 60 feet. All images courtesy of CNL Projects, shared with permission
    Last week, artist Olafur Eliasson (previously) unveiled a massive, wave-like artwork that mimics the rippled surfaces of the Chicago River and Lake Michigan. Comprised of 1,963 curved tiles, “Atmospheric wave wall” sits between the two bodies of water at Willis Tower and shifts in appearance based on the sunlight, time of year, and position of the viewer. It’s the Danish-Icelandic artist’s first public project, which was curated by CNL Projects and commissioned by EQ Office, in Chicago.
    Speckled with orange pieces, the blue-and-green motif is constructed with powder-coated steel and based on Penrose tiling, a design with fivefold symmetry, which fills the undulating border. At night, a light shines through the street-side work, emitting a glow through the tile seams and further altering the appearance of the textured facade. Eliasson says about the work:
    Inspired by the unpredictable weather that I witnessed stirring up the surface of Lake Michigan, ‘Atmospheric wave wall’ appears to change according to your position and to the time of day and year. What we see depends on our point of view: understanding this is an important step toward realizing that we can change reality.
    Follow Eliasson’s latest projects on his studio’s site and Instagram.

    

    #Chicago
    #installation
    #pattern
    #public art
    #street art
    #waves

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    Multi-Layered Ceramics by Artist Heesoo Lee Express the Movements of Land and Sea

    
    Art
    Craft

    #ceramics
    #landscapes
    #leaves
    #nature
    #oceans
    #trees
    #vessels
    #water
    #waves

    July 9, 2020
    Grace Ebert

    All images © Heesoo Lee, shared with permission
    Heesoo Lee has spent years carefully layering blades of grass, pine trees, and cherry blossoms to construct botanic entanglements that crawl across ceramic mugs and bowls. Inspired by seasonal woodlands and aspen forests, the Montana-based artist recreates bright pockets of landscapes that capture small motions, like falling fronds or rustling branches. “There is movement in trees, but it is slow and subtle, a leaf in wind, the slow growth of new leaves in spring,” she says.
    While Lee has continued this tradition with many of her recent pieces, she’s expanded her source material to the ocean. For seven years, the artist lived in Maui, where she often surveyed the water. “I could sit on a beach all day and watch the waves, observe them, and feel calmed by them but also respectful of their energy and force,” she says. The memory has inspired a textured piece that swells upward to form a cavernous bowl. “Even in a small object, the waves are powerful and convey so much. For me, the waves connote freedom, the freedom to express myself and take risks,” the artist writes.
    Diverging from land posed new challenges in Lee’s process. For landscapes, the artist repeats elements in layers to create a fully formed piece, but the same technique didn’t translate to water. “The first time I tried to make waves I failed. I failed over and over and over after that. There were cracks, pieces broke off,” she says. “I realized the feeling of making a wave is so much different from making a landscape.” Instead, Lee retrained her hands to follow the movement of the water, using slip casting, carving, and a series of manual techniques to capture its energy and force. Her color palette changed from amalgamations that evoked seasons to a precise set of blues.
    Despite her forays into aquatic forms, Lee maintains an affinity for grassy fields and windswept boughs, which she explains:
    My seasonal work, landscapes that focus on all four seasons, are still a mainstay of my practice. The memories that fuel the images are so powerful for me, and it gives me great pleasure to share my interpretation of those memories with people… I have heard from people that drinking from a cup I made helped them channel their own memories of the outdoors and the seasons, even during a time when they are stuck inside.
    To purchase one of the artist’s organic works, follow her on Instagram, where she often shares shop updates, in addition to early looks into her process.

    #ceramics
    #landscapes
    #leaves
    #nature
    #oceans
    #trees
    #vessels
    #water
    #waves

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    A Massive Wave Crashes in a Seoul Aquarium as Part of the World’s Largest Anamorphic Illusion

     An enormous aquarium with perpetually crashing waves has popped up amidst an urban landscape in South Korea, but don’t expect to hear the water sloshing around if you walk by. Designed by District, the elevated tank is actually a massive anamorphic illusion. The digital media company created the public project utilizing the world’s largest […] More