Organic chair. Maple wood, 68 x 64 x 72 in.
Through his sculptural practice, artist Pontus Willfors says that he seeks to examine “aspects of nature that are viewed by our society as product, nuisance or waste.” One of his frequently recurring motifs is the form of tree branches and root systems that sprout from from everyday objects as seen in this collection of furniture pieces that remind us explicitly of the material’s origins.
Willfors was born in Sweden and now lives and works in LA. These sculptures and several other artworks were on view as part of his exhibition titled Homeland at Edward Cella Art+Architecture in 2015. (via iGNANT)
Organic chair. Maple wood, 68 x 64 x 72 in.
Table with four chairs, 2015. White oak and honey locust wood, 146 x 160 x 168 in.
Turkish ceramic artist Aylin Bilgiç created this stunning series of ceramic bowls that look like a splash of liquid frozen in time. Each bowl is made of porcelain and is finished by dipping the rim in gold to add an elegant accent. You can see more from the series on Behance.
Ann Carrington produces sculpture that elevate objects used in the everyday, recontextualizing items as common as the household utensil. In her series Bouquets and Butterflies, Carrington gathers hundreds of spoons, knives, and forks both shiny and tarnished to create elegant bouquets. Clumping spoons together she is able to recreate the shapes of roses and tulips, some appearing so realistic you wonder if they are organic flowers dipped in a layer of silver.
The sculptures were included in Carrington’s solo exhibition Pop goes the Weasel! last summer at the Royal College of Art in London in addition to her ships formed from strings of pearls. You can see more of Carrington’s work on her Facebook and Instagram.
Since 2011, Oregon-artist Darryl Cox (previously) has been making “Fusion Frames,” sculptural hybrids of picture frames and segments of tree roots. Each piece begins with a search to find a frame that closely matches the reclaimed roots he obtains from manzanita, juniper, and aspen trees, or even from grapevines. The pieces require extensive amounts of woodworking and painting to seamlessly fuse the two objects together, meaning Cox can only produce around 25 or so pieces each year.
Cox will have work on view later this year at the The Art Museum of Greater Lafayette, and he’s now reperesented by the Vickers Collection. You can see more of his recent work on Facebook.
David Mesguich (previously) is a street artist who focuses on placing large-scale geometric sculptures in public spaces around Belgium, France and Poland. Recently, his work has focused on the difficult journey of refugees in Europe. His series STATELESS includes two carved portraits of refugees made of colorful plastic that were placed in the suburbs of Paris in late 2015. For the urban art festival Mister Freeze in Toulouse during the same year he constructed the piece SANTA EUROPA, a feminine portrait of Europe and its many contradictions towards those trying to relocate within its borders.
His latest sculpture LUCIE was built in Poznan, Poland and focuses on his 4-year-old daughter. The 32-foot sculpture is a way for the artist to honor his daughter while also providing inspirations to children and adults alike. You can see more of Mesguich’s public works on his Behance and Facebook.
Japanese artist Ayumi Shibata uses traditional methods of Japanese paper cutting to create miniature cities within vessels of glass. Her chosen materials reference the delicate relationship humans have with our environment and natural forces of our world, while also relating to the Japanese translation of “paper.” In Japanese, the word for “paper” is “Kami,” which can also mean “god,” “divinity,” or “spirit.” Kami are omnipresent in the Shinto religion, and reside in the sky, ground, trees, and rocks.
“Kami move freely beyond time, universe and places, appearing during events, as well as in our houses and our bodies,” said Shibata on her website. “These spirits also dwell in paper. In the religion of Shinto, white paper is considered a sacred material.”
Using this charged material, Shibata attempts to construct a sculptural dialogue about how we relate and respond to our natural world. Some of Shibata’s work is included in the three-person exhibition Passion Paper at Galerie Atalier Du Genie in Paris through March 27, 2017. (thnx Laura!)