anthropomorphic

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with anthropomorphic



Art

New Stoneware Animals Fraught With Human Emotion by Beth Cavener

November 9, 2017

Kate Sierzputowski

Through an Empty Place (The Fox Emerging from Shadow), 2017. Stoneware, paint, wood. 47h x 67w x 12d in

Through an Empty Place, detail

Beth Cavener (previously here and here) creates large animals that each appear to wrestle against their implied captivity. The works can be viewed as animals in the throes of domestication, however beneath the surface lies a peek into our own human psychology. Cavener projects these emotions onto her sculpted clay figures, showcasing the primitive animal instincts that lie beneath our own exteriors.

“Both human and animal interactions show patterns of intricate, subliminal gestures that betray intent and motivation,” said Cavener in an artist statement. “The things we leave unsaid are far more important than the words spoken out-loud to one another. I have learned to read meaning in the subtler signs; a look, the way one holds one’s hands, the incline of the head, and the slightest unconscious gesture. I rely on animal body language in my work as a metaphor for these underlying patterns, transforming the animal subjects into human psychological portraits.

Cavener’s solo exhibition The Other opens on November 15th at Jason Jacques Gallery in NYC, and runs through December 5, 2017. You can view more of the artist’s work on her website.

Kept (Variation in Cream and Grey), 2017. Resin-infused refractory material, paint, rope, wooden base. 12h x 24w x 28d in

Beloved (Rearing Deer), 2017. Stoneware, paint, bone, rope, steel. 112h x 36w x 48d in

They (Hare on Fur Pillow), 2017. Stoneware, paint, rabbit fur, foam. 34h x 73w x 30d in

Tribute (Wolf and Monkey), 2017. Stoneware, paint, hand-forged steel collars and chain. 46h x 58w x 31d in

Commitment (Two Goat Heads), 2015. Stoneware, paint, leather, steel chain, mixed media. 28h x 78w x 26d in

Commitment, detail

Limerence, 2017. Stoneware, mixed media. 22h x 44w x 16d in

 

 



Art

Artist Shows That Putting Googly Eyes on Inanimate Objects Never Gets Old

June 1, 2017

Christopher Jobson

Ah yes, eyebombing, the street art equivalent of drawing a funny mustache on Mona Lisa. So ubiquitous it’s impossible to credit anyone for inventing it… and yet for some reason it never quite stops being hilarious? Or maybe it’s just me. Probably just me. Vanyu Krastev of Eyebombing Bulgaria helps keep it alive. (via Tastefully Offensive, Quipsologies)

Update: Did you know there’s a Googly Eyes Foundation? Supposedly they will even send you free googly eyes.

 

 



Photography

Masked Figures Found in Macro Insect Photography by Pascal Goet

July 14, 2016

Kate Sierzputowski

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Using subtle changes in light and shadow, French photographer Pascal Goet subtly manipulates the details of a variety of insects, highlighting their anthropomorphic appearance. Goet does not alter any of the colors associated with the brilliantly hued bugs, but instead focuses on letting areas of the body fade away or become more pronounced. Through this process faces emerge, a human reflection in an otherwise unrelatable species. This aspect is especially pronounced when printed quite large for exhibitions, where the audience has their own face come into contact with an imitation of one.

“An authenticity is vital for my involvement in this work,” said Goet to Colossal. “The large size prints create a genuine encounter between the viewer and these amazing personages, people of a parallel world.”

Goet has been shooting macro photography for the past 26 years. He had a solo exhibition of this work earlier this year at Paris-based Blin Plus Blin simply titled “Mask.” You can see more images of this series on his website. (via Colossal Submissions)

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Art Illustration

The Black and White Anthropomorphic Illustrations of David Álvarez

January 28, 2016

Kate Sierzputowski

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All images courtesy of David Álvarez. This image was made in collaboration with Julia D

David Álvarez produces soft illustrations that seem to glow despite their often limited color palette of black and white. The graphite scenes depict animals either interacting with or as humans, often donning elaborate garments while engaged in activities such as dancing or reading books.

“I always found it amazing how artists worked in the earlier days, I think of the technological limitations and how it took talent, skill, and patience to develop works of great complexity,” Álvarez told Colossal. “That was one reason why, since I was a student, I felt interest in figurative drawing for handling light and shadow. At school I discovered graphite and its possibilities. When I started working on my own I noticed that my personality and my way of working suited that particular technique.”

Mesoamerica is one of the illustrator’s favorite subjects to produce works around. Recently he created a book surrounding Mesoamerican myth titled Ancient Night that follows a rabbit and opossum’s adventures with pulque, a fermented prehispanic beverage.

Seen here are a number of collaborations with illustrator Julia Diaz. You can explore more of Álvarez’s illustrations on his Instagram and blog.

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David Álvarez in collaboration with Julia D

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Art Photography

New Portraits of Fashionably Dressed Wildlife and Floral Bouquets by Miguel Vallinas

January 18, 2016

Christopher Jobson

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In his long-running portrait series Second Skins, artist Miguel Vallinas (previously) uses photographic portraits of wildlife as a starting point to construct fictional wardrobes that he imagines each animal might wear if it were dressed as a human. Vallinas has an uncanny ability to select the perfect colors and textures for each outfit he photographs, bestowing the animals with a clear sense of character and an unusual authenticity.

On the surface, Second Skins is a humorous series of portraits guaranteed for a smile, but dig a bit deeper and Vallinas suggests the images reveal a more about human nature than the animal kingdom. Specifically, how we perceive people based on appearance and how we create narratives in our mind based wholly on what we see. Vallinas says he is also examining elements of self-perception, specifically “what we believe we are, what others think we are, what we really are, and what we would like to be.”

For his latest body of work titled Roots, Vallinas again explores identity through similarly dressed boquets of flowers or plants matched with remarkably fitting attire. You can see much more on his website.

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Art

Extremes of Human Nature Explored through Hand-Built Stoneware Animals by Beth Cavener

February 12, 2015

Christopher Jobson

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Obariyon. 2013. Stoneware, antique hooks, glaze. 17 x 46 x 30″

Washington-based artist Beth Cavener sculpts human-sized animals from clay and other materials in both dramatically overt and subtly ambiguous displays of emotion. Hung from ropes or pinned to walls, the anthropomorphic sculptures are infused with juxtapositions that depict the extremes of both human emotion and animalistic behavior: predator and prey, love and hate, fear and peace. “On the surface,” shares Cavener, “these figures are simply feral animals suspended in a moment of tension. Beneath the surface, they embody the consequences of human fear, apathy, aggression, and misunderstanding.”

Cavener collaborates with a variety of artists in her work, including Alessandro Gallo, who designed and painted the ornate Japanese tattoos on the nineteen-foot long anaconda snake depicted in Tangled Up in You seen below. There’s much more to see over on her website and several studio views on Hi-Fructose. All images courtesy the artist.

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Obariyon, detail.

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Obariyon, detail.

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Tangled Up in You. 2014. Stoneware, mixed media. Tattoos designed and painted by Alessandro Gallo.

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Tangled Up in You, detail.

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Tangled Up in You, detail.

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Tangled Up in You, detail.

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The Sentimental Question. 2012. Stoneware.

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L’Amante. 2012. Stoneware, painted tattoos. 45 x 60 x 44″

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L’Amante, detail.

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The Question That Devours. 2012. Stoneware.

 

 



Art

Living Clay: Artist Johnson Tsang Brings Ceramic Bowls and Cups to Life

December 30, 2013

Christopher Jobson

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With an adept understanding of ceramics and anatomy, Hong-Kong based artist Johnson Tsang (previously here and here) creates strange and unexpected anthropomorphic sculptures where human forms seem to splash effortlessly through functional objects like bowls, plates, and cups. While the works shown here are mostly innocent and comical in nature the artist is unafraid of veering into more macabre subject matter in other artworks that grapple with war and violence.

Tsang recently opened a solo show, Living Clay, at the Yingge Ceramics Museum in Taiwan that runs through January 19, 2014. You can see many more pieces from the exhibition over on his blog where you can also catch a glimpse of works in progress.