Dallas-based artist Dan Lam organizes her gloopy sculptural works into three categories that perfectly capture the form factor of her general aesthetic: Squishes, Drips, and of course Blobs. The pieces appear to ooze from where they rest, growing stalactite-like appendages that drip from the edges of shelves. The pieces are made primarily from polyurethane foam and acrylic paint and are often adorned with spiky appendages. Some of her latest works have begun to incorporate layers of crystals and color-changing thermal paints that further bring the alien works to life.
“My work has always elicited pretty raw reactions from people, my favorite being the desire to touch the object, to make sense of it with another sense because just seeing it doesn’t satiate the curiosity,” Lam shares with Blackbook Gallery. “I like the tension that is created in that moment.”
Lam most recently had works on view with Black Book Gallery and Guy Hepner. You can see more of her behind-the-scenes process and studio experiments on Instagram.
Artist Ronit Baranga (previously) creates ceramic sculptural works she describes as existing on the “border between living and still life”—objects guaranteed to either tickle your funny bone or haunt your worst nightmares, depending on your perspective. Baranga depicts dishware as sprouting human fingers and gaping mouths as the objects traipse across tabletops or physically cling to one another in a permanent embrace. The pieces are both silly and sinister as they come to life as if from a cartoon. A quick scroll through her Instagram reveals even darker works that give us the bonafide heebie-jeebies.
Ronit most recently had work on view at the Gross Anatomies show at the Akron Art Museum, and is also a contruting artist to the Small Works 2017 with beinArt Gallery through August. (via My Amp Goes to 11)
Artist duo Ann Wood and Dean Lucker (aka Woodlucker) forged a partnership in 1987 shortly after graduating from Minneapolis College of Art and Design. Together they pursue a variety of both collaborative and personal projects from Lucker’s kinetic sculptures to Wood’s illustrated papercraft. Wood refers to her process as “drawing with scissors,” and merges aspects of both paper cutting and traditional illustration with ink. After forming the moths, butterflies, feathers, and flowers, the pieces are then carefully arranged within collection boxes designed by Dean. You can follow more of their work on Instagram and on their portfolio site. (thnx, Diana!)
Chicago-based artist duo Edwige Massart and Xavier Wynn (previously) sculpt cross-sections of human heads that are organized into compartments of tiny objects. The series began several years ago as an intersection of sorts involving Massart’s personal collection of found objects that she began at the age of four, and Wynn’s childhood discovery of “split body” models at Chicago’s Field Museum that inspired a lingering fascination with human anatomy. Each sculpture is given only a number (ie. Head 14) leaving the viewer to examine the compartments of objects and draw their own parallels and conclusions. You can see more recent work from the Heads series on their website. (via Colossal Submissions)
Reflecting its surroundings with a splintered and imperfect view is Jordan Griska‘s 2016 sculpture Wreck, a non-functional model of a Mercedes Benz S550 made entirely from reflective stainless steel. The piece, which is composed of nearly 12,000 individual parts, is meant to highlight both luxury and mortality from a removed perspective. While researching the work Griska referenced Andy Warhol’s series of car crash prints, connecting the sterility of his work’s stainless steel to that of a lithoprint.
“The sculpture mirrors the peak of today’s automobile industry by using digital technology and meticulous handcraft to subvert both utopian dreams and reality,” explains Philadelphia Contemporary in a statement about the piece. “Spectacular and haunting, Wreck captures the dual nature of American culture by contrasting wealth, freedom, and individuality with decadence, debauchery, and tailspin, as flip sides of the same coin.”
The sculpture was premiered last year at Philadelphia’s Pier 9 with Philadelphia Contemporary. You can see more of the New York-based artist’s works (including this completely reflective punching bag) on his website and Instagram. (via Visual Fodder)
Misako Shirasu. 7″h x 3″w x .75″d · Oil on Carved Paintbrush · 2017.
Drawing inspiration from across centuries, mediums, and cultures, artist Rebecca Szeto (previously) identifies both anonymous and historically significant women to depict atop the carved handles of old used paint brushes. From the first woman to graduate with a degree in architecture from MIT to a Chibok schoolgirl kidnapped by Boko Haram in 2014, or an anonymous face lifted from a 17th century Baroque painting, each portrait presents the face of a woman who has come in and out of focus throughout history.
“I am interested in things that fall between the cracks of place and language,” says Szeto in her artist statement. “Rust, dead bees, beaten up paintbrushes and scrap materials from my immediate surroundings all become a starting point. Play and chance are integral parts of my process; they’re a way for me to detach from preconceived ideas about the materials so I can freely explore their inherent qualities and investigate their deeper implications.”
You can explore the individual stories of all the women featured in the works seen here on Szeto’s website, and she’ll have work on view at Root Division in San Francisco as part of an exhibition titled Bizarre Bizarre curated by Michael Arcega starting in July.
Musical Notation. 7.25″h x 2.5″w x .1″d · Oil, Plaster on Carved Paintbrush · 2016.
Marion Mahony. 8″h x 3″w x 1″d · Oil on Carved Paintbrush · 2015.
Angela Isadora Duncan. 6″h x 2″w x .5″d · Oil on Carved Paintbrush · 2015.
Chibok Girl: Salamatu Bulama Usman. 5.5″h x 3″w x .5″d · Oil on Carved Paintbrush · 2017.
Violet Jessep. 5.25″h x 2.5″w x .5″d · Oil on Carved Paintbrush · 2015.
Emilie du Chatelet (2 for Squared). 8″h x 4″w x .5″d · Oil on Carved Paintbrush · 2015.
Margaret Roper (1500). 7″h x 3.5″w x .5″d · Oil on Carved Paintbrush · 2015.