An artist’s medium is as varied as imagination allows and you’ll find hundreds, maybe even thousands of them here on Colossal. But occasionally a medium itself is altered to create an artwork, as is the case with Seattle artist Diem Chau (previously here and here) who works within the narrow confines of graphite pencil leads and colored crayons to carve her delicate sculptures of animals and people. A native of Vietnam, Chau and her family came to America as refugees in 1986 and would later receive a BFA from Cornish College of the Arts after which she began exhibiting her works in New York, Miami, Seattle and Los Angeles.
Luckily we’ll finally get a glimpse of Chau’s miniature carvings here in Chicago at Packer Schopf Gallery opening this Friday. Almost everything you see here will be on view and the artist will be giving a talk at 1pm the following day on April 6th, 2013. See more of her new A-Z series on Flickr and on her blog.
Irving Harper: Works In Paper is a new book from Skira Rizzoli that collects the paper works of industrial designer Irving Harper. Harper worked as the director of design at George Nelson Associates during the 1960s and is known for designing the Marshmallow Sofa for Herman Miller (as well as the firms’ iconic logo) and the ball and sunburst clocks for Howard Miller. Privately the designer was also an artist and created numerous paper sculptures depicting animals, masks, and other figures. Via Rizzoli:
Encompassing influences as diverse as Picasso, Egyptian hieroglyphs, the art of Oceana and Africa, the architecture of Paris, and the American beech tree that shades the Rye, New York home he has lived in for over 50 years, the artist’s private meditations reveal an informed aesthetic consciousness expressing itself as pure joy. Harper’s private work delivers on the promise of modernism: humble materials elevated by brilliant design and craftsmanship, and integrating the natural world to create objects in a universally understood language.
London-based artist Louise McNaught creates mixed-media paintings of animals and insects using a wide variety of paint, pencil, ink, and backdrops that vary from traditional canvas to celestial star charts. Via her artist statement:
McNaught primarily uses a neon colour palette to depict the presence of nature in her work, where the animals are God-like, sublime and ethereal in their luminescence. Not wishing to limit herself or her subject matter, McNaught has a mixed-media approach which usually manifests in painted-drawings on traditional and sometimes unusual supports, such as celestial maps. […] By drawing the viewers attention to the animals presence and energy, McNaught is hoping to share with the viewer the awe that the natural world inspires within her.
Artist Vik Muniz (previously here and here) has three new works made from gold scrap metal that will be on view as digital prints at the Armory Show in New York starting March 7th, 2013 through Rena Bransten Gallery. Muniz is known for creating images using multitudes of discarded objects and trash, and you may have seen his work in the 2010 documentary Waste Land.
Side note: for the first time ever the Armory Show has partnered with Artsy to offer a gorgeous full-blown preview of the fair featuring hundreds of works in beautiful high-definition. For those of us who can’t make it to many of the art fairs, more like this please? (via hyperallergic)
The folks over at the Vienna-based mostlikelyShop have a great collection of DIY foldable paper lampshade kits. Each lampshade template arrives rolled in a tube and includes info on how to fold, glue and assemble the light, however you’ll have to supply your own stand/bulb socket/glue. Once you’ve assembled a few lamps maybe it’s time to tackle the epic $20k Basilisk paper sculpture? Check ‘em out.
Montreal-based artist Maskull Lasserre (previously) recently completed a new body of work for an exhibition titled Fable at Centre Space gallery in Toronto that ran through January 19th. Lasserre is known for his incredible ability to carve anatomical forms of animals, people, insects and other forms out of inanimate objects such as doors, tables, pianos, and even instruments. In a two part interview with Liana Voia (part 1, part 2) the artist discusses the intent behind his work:
When the remnants of life are imposed on an object, and that’s true especially with the carving work that I do, it infers a past history or a previous life that had been lived, so again where people see my work as macabre, I often see it as hopeful, as the remnants of a life. Despite the fact that the life has ended, at least that life had a beginning and middle as well, so often by imparting these bodily elements to inanimate objects it reclaims or reanimates them in a virtual way.