Tag Archives: wood

Intersections: An Ornately Carved Wood Cube Projects Shadows onto Gallery Walls

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Intersections, 2013. 6.5′ Cube, projected Shadows: 35′ x 32′.

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Intersections, 2013. 6.5′ Cube, projected Shadows: 35′ x 32′.

Created by mixed media artist Anila Quayyum Agha, this elaborately carved cube with an embedded light source projects a dazzling pattern of shadows onto the surrounding gallery walls. Titled Intersections, the installation is made from large panels of laser-cut wood meant to emulate the geometrical patters found in Islamic sacred spaces. Agha shares:

The Intersections project takes the seminal experience of exclusion as a woman from a space of community and creativity such as a Mosque and translates the complex expressions of both wonder and exclusion that have been my experience while growing up in Pakistan. The wooden frieze emulates a pattern from the Alhambra, which was poised at the intersection of history, culture and art and was a place where Islamic and Western discourses, met and co-existed in harmony and served as a testament to the symbiosis of difference. I have given substance to this mutualism with the installation project exploring the binaries of public and private, light and shadow, and static and dynamic. This installation project relies on the purity and inner symmetry of geometric design, the interpretation of the cast shadows and the viewer’s presence with in a public space.

Intersections is currently a finalist in the 3rd Annual See.Me: Year in Review Competition, and you can learn more about it here. (via Twisted Sifter, Hi-Fructose)

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Found Wood Assembled Into Bas-Relief Sculptures by Ron van der Ende

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Veneer Theory, 2014. Bas-relief in salvaged wood, 60″ x 61″ x 6″.

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Watershed (Yosemite), 2013. Bas-relief in salvaged wood, 71″ x 79″ x 5″.

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Cross-Section I, 2012. Bas-relief in salvaged wood, 74″ x 44″ x 5″.

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Cross-Section I, detail.

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Airstream R.V., 2012. Bas-relief in salvaged wood, 120″ x 53″ x 5″.

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Airstream R.V., detail.

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Phoenix: Rise! (Pontiac Firebird Trans-Am), 2011. Bas-relief in salvaged wood, 102″ x 37″ x 7″.

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Phoenix: Rise! (Pontiac Firebird Trans-Am), detail.

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Axonometric Array, 2008. Bas-relief in reclaimed timbers, size variable.

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Cold Storage, 2013. Bas-relief in salvaged wood, 76″ x 52″ x 6″.

Working with stacks of found wood, Dutch artist Ron van der Ende assembles gigantic bas-relief sculptures inspired by space, nature, industry, as well as retro technology and vehicles. The original color and texture of each wood fragment is left intact, making each sculpture into a mosaic containing both a new image and the history of its materials. Van der Ende has so finely honed his technique that one might first assume when viewing a sculpture that they are instead paintings. Because of the artworks strong sense of perspective, some viewers have reported feeling dizzy when first encountering one of his sculptures.

You can see much more of the artist’s work on his website and he’ll also be showing work through Ambach & Rice in April at the Dallas Art Fair.

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Realistic Stacks of Old Newspapers, Cash, and Comic Books Carved from a Single Piece of Wood by Randall Rosenthal

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Cuban Cigar Box, 2013

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Hush Money 22, 2013

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The subject of Randall Rosenthal’s artwork at times seem inconsequential. Stacks of old newspapers and magazines, a comic book collection in a cardboard box, envelopes stuffed with various stacks of currency. And then you discover that you’re really looking at only two things: a single piece of Vermont white pine and skillfully applied acrylic paint. These are the only materials Rosenthal requires to mimic the look and feel of flimsy newsprint, worn trading cards, translucent pieces of tape and deteriorating cardboard boxes. What’s all the more amazing is that he doesn’t work from a photograph or model, but instead creates each object as he goes, using only an image in his mind as a guide.

After graduating from the Carnegie Institute of Technology in the late 1960s Rosenthal opened his first exhibition of surrealist paintings, a direction he pursued until the late 80s. His focus then shifted to architectural design and next into the realist sculptures he creates today. You can read more about his process and inspiration in this recent interview in rh+artmagazine.

See much more of Rosenthal’s work over at Bernarducci.Meisel.Gallery, and he’s been updating this message board thread at Sawmill Creek since 2011 to show some of his ongoing progress with different projects.

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Sculptor Zheng Chunhui Spent 4 Years Carving the World’s Longest Wooden Sculpture

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Photo by Lv Ming

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Photo by Lv Ming

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Photo by Lv Ming

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Photo by Lv Ming

Chinese artist Zheng Chunhui recently unveiled this exceptionally large wooden sculpture that measures some 40 feet (12.286) meters long. Four years in the making, the tree carving is based on a famous painting called “Along the River During the Qingming Festival,” which is a historical holiday reserved to celebrate past ancestors that falls on the 104th day after the winter solstice. On November 14th the Guinness World Records arrived in Fuzhou, Fujian Province where the piece is currently on display to declare it the longest continuous wooden sculpture in the world. You can see many more photos over on China News. (via Shanghaist)

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A Vertical Loop Picnic Table by Michael Beitz

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Currently on view on the roof of the Madison Museum of Contemporary Art in Wisconsin, ‘Picnic‘ is a new functional sculpture by arist Michael Beitz (previously here and here). The roller coaster meets picnic table is made out of plywood and took the artist nearly a year to build using a special jig the artist says was reminiscent of a medieval torture device. Beitz is known for transforming pieces of wood furniture like sofas, chairs, and tables into twisting and undulating sculptures, many more of which you can see on his website. All photos courtesy Michael Beitz.

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The New American: An Abstract Stop Motion Animation Laser Cut onto 800 Blocks of Wood by Nando Costa

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Created by designer Nando Costa (previously) The New American is a painstakingly crafted motion graphics animation that was laser cut into a series of 800 individual maple blocks, a process that took nearly two years. Of the work Costa says:

The abstract storyline showcased in this piece is a concoction of a variety of ideas and can perhaps be described as a union between concepts and experiments born during the Situationist movement and real life events experienced during the last few years in American society. Particularly the duality between the economic downturn and the shift in values and beliefs of many citizens.

Several frames from the animation are currently available over on Etsy. (via Vimeo Staff Picks)

Artist Morgan Herrin Transforms Construction Grade Lumber into Surreal Classical Sculptures

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Untitled (2008), dimensional lumber (2×4’s), 82″ x 18″ x 12″

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Untitled (2008), dimensional lumber (2×4’s), 82″ x 18″ x 12″

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Copper Gate (2011), wood, 32″ x 19″ x 12″

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Copper Gate (2011), wood, 32″ x 19″ x 12″

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Untitled (Knight)

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Untitled (Knight)

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“Globe” 2010, Pine 2×4’s, Figure is life-size.

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“Globe” 2010, Pine 2×4’s, Figure is life-size.

Based in Richmond, Virginia artist Morgan Herrin transforms the most humble material—laminated construction grade 2x4s—into spectacularly detailed figurative sculptures. His choice of imagery is surreal: a noble 15th century knight melts into a network of dripping stalagmites or a classical marble bust that is overgrown with parasitic sea creatures. The resulting works are a fascinating juxtaposition of material and subject matter that require up to a year of labor to produce. Of the untitled knight piece Herrin says:

Untitled (Knight) is the product of the combination of two subjects: 15th century plate armor, and geological cave structure. Studied separately, these two subjects are completely unrelated. The manmade geometric precision of plate armor is formally opposite of the flowing, organic stalactites and stalagmites. Seen together, these two parts present a striking contrast in form and create a theme of time and the effects of nature. The pose of the figure and the general composition are references to the classical sculpture “The Dying Gaul” of ancient Roman antiquity. Rendered entirely in laminated construction-grade 2 by 4s, the material itself irreverently contradicts this classical allusion, and at the same time draws attention to our own culture’s reliance on the fast, cheap, and impermanent.

You can learn more about Herrin’s work at ADA Gallery, and Mulherin + Pollard. All images courtesy ADA Gallery. (via My Modern Met)

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