Temporarily seen hovering above small European towns or balancing on a river in floating canoes are elaborate bridges designed to be constructed and demolished in a matter of days. The ongoing work of Olivier Grossetête, the cardboard-and-tape pieces are entirely hand-built by the French artist and local residents. Each ephemeral installation, which Grossetête refers to as “utopian building(s), temporary and useless,” appears for only a day or two before it’s taken down and the public is asked to stomp on and destroy the cardboard. “This is an integral part of the project,” the artist says in a statement. “This symbolic moment is fun.” While they’re on display, the architectural works are often tethered between hot air balloons and existing buildings, which makes them appear dream-like as they float above the urban landscape.
Grossetête has been utilizing the cheap, flexible material for more than ten years because it’s easy to manipulate, allowing the installations to spring up and be removed relatively quickly. “Despite its appearance, it has quite extraordinary capacities and is very light. It doesn’t scare anyone, and it allows me to open my practice to the greatest number of people,” he says, explaining that it’s also emblematic of cultural signifiers. “It is the symbol of the false and of the appearance! I like to make this parallel between architecture, an instrument of power, and the false, the appearance.”
Currently living in Jausiers in the Alpes de Hautes Provences, Grossetête is headed to 23 Milhas in , Portugal for his next installation, which will be up from July 31 to August 1. You can explore more than a decade of his works on his site.
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Chicago-based artist Jacqueline Surdell sutures lengths of rope, fabric, and silky ribbons into sprawling abstract tapestries that hang from walls and standalone armatures in textured, colorful masses. Swelling clusters of knots and ties, loose weaves, braided tunnels, and dangling strands compose her three-dimensional compositions that are disrupted by sporadically used items like steel chains, volleyballs, and polyester shower curtains. Because of the scale of the pieces and the hefty materials, the artist often uses her body as a shuttle to weave the brightly colored fibers together on massive hand-built looms.
Surdell embeds parts of her Chicago upbringing in her wall sculptures, especially childhood memories of her grandmother’s landscape paintings and her grandfather’s job in South Side steel mills. These two experiences converge in her textured works by evoking vast terrains and the city’s industrial history through her use of commercial materials. Each piece offers further reflections on today’s world, with energetic and chaotic pieces like “We Will Win: Our Banner in the Sky” (shown above) responding to the fraught political landscape in the U.S. and destructive events like wildfires and loss of coral reefs sparked by the climate crisis.
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A Colorful Macro Photo of Beach Sand Reveals Infinitesimal Fragments of Coral, Quartz, Shells, and Plastic
A stunning macro image by Ole Bielfeldt lays out the individual elements that comprise a dusting of sand from a Mallorca beach, revealing a piece of microplastic embedded within the colorful composition. “Although to the naked eye this looks like very clean natural sand, pieces of microplastic, as seen in the last image, can be found when viewed under the microscope,” says the Cologne-based photographer, who works as Macrofying. The prevalence of the tiny pollutants is especially high on Mediterranean coasts, meaning seemingly pristine beaches comprised of quartz, seashells, and coral debris are often riddled with the manufactured material.
Bielfeldt is known for zooming in on the otherwise unseen details of common goods and natural substances, which he shares in an extensive archive on Instagram and YouTube. “My work has definitely shaped my view on everyday objects. After exploring so many different samples, you get a new feeling for your environment and start to understand how some things work. There’s a complete and amazing little universe hidden right before our eyes,” he says. (via Twisted Sifter)
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Twisting into subtle backbends or hunching into a cross-legged crouch, the faceless women that find themselves at the center of Hanna Lee Joshi’s practice all personify an aspect of the artist herself. Conveyed through vibrant gradients in gouache and colored pencil, the figures shown here are companions to those the Korean-Canadian artist created last year, although they plunge deeper into themes of loss, acceptance, and inclusivity. “The magic and mystery of life can seem very fleeting when you’re in the pits of depression. I wanted to reconnect with that spark of fire within,” she says, explaining:
I’m working on pieces that explore finding my identity and the nature of the self. Reconnecting with my Korean heritage and accepting all the things that make up who I am. In the end, I am just a piece of this earth having an experience of the self, and I’m trying to make a visual representation of some of it.
The introspective subjects have signature features like elongated torsos and limbs, dark, glossy locks, and large hands gesturing yogic mudras that further visualize emotion and feeling. The women are subversive in color and form, deviating from the skin tones and body shapes typically associated with nude figures.
Joshi, who’s based in Vancouver, is preparing for upcoming exhibitions at Spoke Art SF on August 7, at Thinkspace Projects in October, and later in fall at Hashimoto Contemporary. Prints are available in her shop, and you can see a few works-in-progress on Instagram.
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Sometimes help comes from unexpected sources, especially when you need it most. That’s the central message behind a heartfelt stop-motion short written, directed, and animated by Dunedin, New Zealand-based Claire Campbell. “Winter’s Blight” follows an elderly man named Bill, who struggles to heat his home during a harsh cold spell. After he runs out of wood entirely, he’s forced to chop down the lone evergreen still standing in his yard, only to encounter an enthusiastic pine cone that begs him to stop.
Produced by Jon Wilson of Shine on Films with music by Hanan Townshend, the animation took more than five years to complete and is replete with meticulously crafted details, like Bill’s hand-knit sweaters and an elaborate set built true to scale. Watch this making-of video and check out Campbell’s Instagram for a behind-the-scenes look at how it came together.
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Artist Sui Park (previously) zips together simple nylon cable ties to create sprawling biomorphic sculptures and site-specific installations that resemble heaving nighttime seas, prickly moss, and vibrant amorphous creatures. Park, who was born in Seoul and currently lives in New York, started hand-dying the uniform fasteners a few years ago to deepen the contrast between the mass-produced material and her spiky organic masses. “Each has a subtle difference in shape and angle, and when grouped and connected together to develop into a larger form, the subtlety creates a dynamic and a characteristic of my work,” she says.
Whether suspended in a gallery or staked into a patch of grass, Park’s abstract pieces are porous, each revealing the surrounding environment through its body. This focus on permeability “opens the inner space of my work and makes the inside visible. At the same time, I think it opens and creates a moment to pause, reflect, and ponder personal imageries surrounding nature. Different shapes and angles of modules provide various perspectives of the inner space,” she shares.
Park has multiple upcoming exhibitions, including shows running August 11 to November 27 at Cahoon Museum of American Art, September 7 to December 11 at Suwon Museum of Art, September 2021 to August 2023 at the Site-Responsive Art Biennale at I-Park Foundation, and another at Poikilo Museot starting in September. Until then, explore more of her sprawling installations and standalone pieces on Behance and Instagram.
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