Immersed Birds, 2017. Ash and watercolor.
Mexican designer Moisés Hernández brings his distinct flair for minimalism to this new series of avian sculptures titled Immersed Birds. Each piece is a continuous wooden object milled with CNC technology which is then dipped into a carefully considered sequence of watercolors. The overlaying hues mimic the plumage of a toucan, hummingbird, and Mexican quetzal. You can see more of Hernández’s work on Instagram. (via Booooooom)
Spanish street artist Pejac‘s work (previously) is known for its subtle interaction with urban environments, small interruptions to everyday buildings like bird-shaped cracks created in an abandoned power plant’s windows, or trompe l’oeil paintings scattered through the streets of the district of Uskudar.
Pejac’s newest series brings an urban resource into the studio rather than having the artist travel out. Utilizing pressed wood as a pseduo-canvas, Pejac draws with black ink and pencil to produce soft deer, birds, and flowers in the works’ foregrounds. These natural elements showcase the wooden medium’s origin, highlighting how natural environments are continuously being chopped down and constructed over.
“The beauty of the pressed wood seems to hide the arrogance of man in its relation with nature,” said Pejac. “These panels have some sort of aesthetic warmth but at the same time a sense of devastation, making it very contradictory, which directly refers to my way of understanding art. Expressing myself on thousands of small pieces of wood feels like ‘tattooing’ on the stripped skins of trees. Each drawing in this Redemption series are tribute to nature. Any other subject would have been frivolous.”
You can see Pejac’s other series posted on his website. (via Juxtapoz)
In a clash of digital and analogue, artist Hsu Tung Han carves figurative sculptures from wood that appear to be dissolving into fields of pixels. The Taiwanese artist views the carved figures of men and women as puzzles, planning for each configuration through a series of drawings and clay models. Han then produces the final work from segments of walnut, teak, or African wax wood, carving cubed pieces from the sculptures to give the illusion of suspended levitation or a paused transformation. You can see more of Han’s pixelated wood works on his Flickr. (via Fubiz)
Dutch multidisciplinary artist Vera van Wolferen (previously) produces miniature balsa wood sculptures, architectural objects that are either incorporated into animations or left motionless to tell their own stories. Her static works are often displayed beneath glass bell jars, leaving the audience to imagine that the tiny tree houses, cottages, and campers are neatly contained within their own universes. Van Wolferen also uses simple craft materials like cotton to enhance her sets, making it appear as if her sculpted homes are resting amongst the clouds.
You can view more of van Wolferen’s wood sculptures and sets, as well as some of her cut paper illustrations, on her Instagram, Facebook and Behance.
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.
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.