Shawn Smith (previously) has a number of new pixelated animal sculptures on display at Craighead Green Gallery in Dallas, Texas. Smith works primarily with balsa and bass wood that he meticulously cuts, dyes, and assembles to create these beautiful animals. Smith via the gallery:
For the past few years, I have been creating a series of “Re-things.” These whimsical sculptures represent pixelated animals and objects of nature. I am specifically interested in subjects that I have never seen in real life. I find images of my subjects online and then create three-dimensional sculptural representations of these two-dimensional images. I build my “Re-things” pixel by pixel to understand how each pixel plays a crucial role in the identity of an object. Through the process of pixelation, color is distilled, some bits of information are lost, and the form is abstracted. Making the intangible tangible, I view my building process as an experiment in alchemy, using man-made composite and recycled materials to represent natural forms.
Permian Gate is the latest work by Russian sculptor Nikolay Polissky, erected in Perm, Russia earlier this year to much fanfare. The entire object is built from hundreds of spruce logs measuring roughly 12 meters square and is shaped like the Russian letter for “P” (as in Perm) which is “П” (Пермь). (photos via finn, t-radya)
Hi-Fructose has a brief interview with artist Gehard Demetz as well as several exquisite photos of new work. Demetz carves almost lifelike wood sculptures of children that appear riddled with gaps and are often impacted with objects. The artist currently has work at the Venice Biennale through December 8th.
Dutch artist Marjan Teeuwen eviscerates the walls of abandoned buildings, conjoining rooms with massive holes, and uses leftover fragments to create densely textured walls and surfaces. In the last photo, a project entited Destroyed House, Teeuwen removed the walls from a post-war apartment block in Amsterdam and sawed the building’s doors into hundreds of fragments, using them in turn to construct layered partitions. Walls made from doors. In other works she uses countless objects crammed into small rooms, creating claustrophobic spaces that appear on the verge of collapse, putting any contemporary hoarder to shame. If you want to learn more you can catch this 44 minute documentary of the artist at work. Photos courtesy Happy Famous Artists.
In Nunderwater Nort Lab, Washburn has devised a site and context specific installation that juxtaposes two seemingly unrelated activities – art and lunch. Lunch is a daily activity, often overlooked, that occasionally infiltrates the gallery art viewing experience. In this installation, visitors will smell lunch as well as observe it being made and eaten inside the installation. The main structure, composed of blocks of scrap wood that have been repurposed and then ordered from previous installations, contains observational ‘worm holes’ that extend into the structure from which visitors can glean, in addition to hear and smell, bits of the activities occurring inside. In Washburn’s work, everyday objects and activities are reinterpreted to create appreciation for process and experience.
For the past decade, I’ve randomly stopped by Las Monos Gallery in Andersonville to check out the wonderful and surprising artists shown there. Early this summer I had the opportunity to meet and chat with the gallery’s owner, Michelle Peterson-Albandoz. Michelle salvages discarded wood from construction sites and uses small, component pieces cut with a table saw to create these brilliant patterns and textures. Inspired by the rainforest of Puerto Rico where she spent her childhood, she uses her creative process to confront humankind’s ecological assault, viewing her art as a sort of reversal of discard and waste. Last week she opened her second solo show at LongView Gallery in Washington D.C., and you can see much more of her work here.
The Treeless Treehouse is a cantilevered, inverted octagonal cone treehouse designed by Roderick Romero and constructed in less than two weeks with the help of Ian Weedman, and Jeff Casper. Via email Jeff writes:
The “treeless treehouse” was built high on a hillside site in Bel Air, California. The location lacked trees mature enough to support a structure of this magnitude, so this cantilevered, inverted octagonal cone of wood was anchored into a deep, cubical-shaped concrete foundation. A twisting tornado of Forest Stewardship Council (F.S.C.) certified mixed-species reclaimed Brazilian hardwoods were milled, pre-drilled & mounted around a burly framework of reclaimed vintage Douglas Fir beams. The entrance to this elevated observatory is accessed through a hidden opening in the west facing side of this chaotic, angularly wrapped nest.
I grew up in the Texas hill country amongst similar treehouse-challenged terrain and would have killed to have such an incredible structure. Here’s a video of some additional construction shots. If you liked this also check out the Knit Fort. Thanks to John Casper for the photos! (via core77)
I admit, I don’t know the story behind this one. It popped up on suplove (warning, music) a few hours ago and is entitled simply “Blitzstein Exhibit” and is dated 1994 on the bottom. Edvard Munch approved.
Update: Via email Nathan Bowers says: “The Blitzstein Exhibit is on Fairfax in L.A. Across the street from Canter’s Deli. The piece you linked is in the storefront window. I can’t tell if the place is a gallery or a studio because I’ve never seen anyone inside and none of the pieces have seemed to move since at least 1996. Mysterious!” It looks like this is a piece by Harry Blitzstein, and here he is jumping rope on a trampoline. Thanks Nathan!