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The Movement of Waves and Currents Illustrated in Glass by Shayna Leib

December 21, 2019

Andrew LaSane

Flux (2012), 16 x 30 x 8 inches. All photos by Eric Tadsen Artist Shayna Leib (previously) finds inspiration in wind and water for her intricate and delicate glass sculptures. Thousands of hand-pulled canes are affixed into improvised compositions that mimic sea life swept by natural forces. Custom hues accentuate the soft appearance of the sculptures while contrasting the nature of the material and the caneworking process. As Leib explains on her website, cane pulling involves layering colorants between gathers of molten glass and stretching it into rods. Two of the artist’s latest compositions, “Grotto” and “Harmattan,” get their deep…

 

 



Art

Realistic Ceramic Sculptures of Decadent Desserts Examine Our Culturally Complex Relationship With Food

June 15, 2019

Andrew LaSane

…as dessert or gets as tied up in our issues of guilt, longing, abstinence, and turn,” said Leib in a press release for the exhibition. “We celebrate birthdays with it. Grandparents spoil children with it. It’s the first to get cut from a diet and the first some turn to for comfort.” Céramiques Gourmandes opens on June 21 and runs through March 28, 2020. To learn more about the exhibition and the featured artists, visit the Fondation Bernardaud website. Charlotte Coquen Jessica Stoller Jessica Stoller Kaori Kurihara Kaori Kurihara Susan Nemeth Susan Nemeth Jae Yong Kim Shayna Leib Shayna Leib

 

 



Art Food

Decadent Pastries Formed From Porcelain and Glass by Shayna Leib

October 12, 2017

Kate Sierzputowski

All photos by Eric Tadsen Glass artist Shayna Leib (previously), like anyone, is deeply attracted to the seductive pull of decadent desserts. Unlike most however, Leib is unable to indulge. Her body reacts to several aspects of puffed pastries and chocolate mouses, causing her to have many severe dietary restrictions. It was this void that pulled her towards the desire to work with the unattainable, to recreate the objects she couldn’t eat. “This body of work started as a therapeutic exercise in deconstruction and a re-training of the mind to look at dessert as form rather than food,” says Leib

 

 

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