Canning the Sunset: Hundreds of Jars of Dyed Sand Preserve the Swirling Colors of a Skyline Before Dusk
There’s a human impulse to preserve life’s blissful moments—a quick scroll through your camera roll will probably give you plenty of evidence—one Carly Glovinski gives into by bottling up the rich, swirling gradients the cloak the sky at day’s end. Her ongoing Canning the Sunset project, which the New Hampshire-born artist began in March of 2020, layers hand-colored sand in reused glass jars to capture the last hours of light before they descend into dusk.
Now stored in hundreds of vessels in various shapes and sizes, the grainy compositions range from subtle pastel palettes to vibrant oranges and yellows, rationing the short-lived hues “for times of scarcity,” Glovinski says. “The sunset marks the sky with color in a fleeting moment each day, slipping down behind the horizon like grains of sand through an hourglass. To try and capture it, contain it, or possess it is a futile, and impossible gesture. ”
Canning the Sunset is on view through December 4 at Untitled Art Fair Miami with Morgan Lehman Gallery, and Glovinski shares more of her paintings, sculptures, and other projects on Instagram. You also might enjoy these calming sunrises by Sho Shibuya.
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Birmingham, U.K.-based artist Zoë Hillyard revitalizes shattered vases and bowls by melding traditional craft techniques. She wraps a mishmash of vintage silks and fabrics around individual ceramic shards, binding the broken pieces with tightly stitched thread. Appearing glazed with antique florals and other ornate motifs, the patchwork forms contrast the original shape of the pottery with the newly mended exterior, a reconfigured finish that’s commonly disrupted by missing pieces and jagged edges.
Gathering the source materials from ceramicists’ reject piles or by receiving broken family heirlooms for commissions, Hillyard works with the initial shape and purpose in mind. She says:
Like archaeological treasures, they display imperfections in the form of holes and irregularity, and all the more interesting for them. Each piece is unique in terms of the combinations of materials used, the pattern of breakage, the impact of colour and print and aesthetic decisions made during reconstruction.
Hillyard’s body of work is replete with metaphorical and physical tension and contrast between the old and new. Although the pieces appear delicate and light like the fabrics that envelop their sides, they retain the heftiness and weight of clay and are warmer to the touch than a porcelain vessel, for example. “Most surprisingly, they often have a subtle flex, disconcerting when contrasted with traditional ‘solid’ forms of ceramic repair,” the artist shares. “I enjoy these ambiguities, with the work challenging expectations and conventional definitions.”
In addition to her practice, Hillyard teaches textile design at Birmingham City University. She currently has pieces at Contemporary Applied Arts in London and will show new works in June 2022 at The Pool House Gallery in Gloucestershire. Until then, explore more of her process and mended projects on Instagram. (via Women’s Art)
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Meticulous Sculptures by Artist Carol Long Highlight the Curved Lines and Colorful Embellishments Found in Nature
Honoring the humble shape of the vessel is at the center of Carol Long’s practice. From her studio in rural Kansas, the artist throws simple ceramic cylinders that she contorts into supple butterfly wings, curved chrysalises, or vases with embellished handles.“When it comes off the potter’s wheel, that’s just the beginning,” she tells Colossal. “I usually sit for a second and look at the piece and see which way I can push it out or in.”
The resulting forms are evocative of both flora and fauna and traditional pottery, although Long’s sculptures emphasize smooth, sinuous walls and squiggly bases rather than angled edges. She uses slip trailing to add tactile decorative elements to the piece like small spheres, handles, or raised linework. “The relationship between the glazes that are inside the vectors, the shapes made by the slip trailing, are really important in how they’re divided and how they sit next to each other,” she says, noting that the process is particularly meticulous because it involves applying the material to each intricate, ribbed pattern and delicate outline.
Whether a vase or wide-mouthed jar, the whimsical sculptures are brimming with color and textured details. “I love the flowing lines, and I love the idea of framing a picture on my pots. A lot of times I have a focal point like an animal or insect and then I’ve framed it with other designs,” the artist says.
Long is hosting an annual open house at her studio next month and will show a body of work at Charlie Cummings Gallery in July of 2022. Until then, shop available pieces on Etsy—she also has an update slated for mid-December—and follow her latest pieces on Instagram. (via Women’s Art)
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In Anu-Laura Tuttelberg’s stop-motion short “Winter In The Rainforest,” time passes at an unusual pace. The Estonian writer, director, and animator (previously) sets a cast of fragile, porcelain puppets within the lush rainforests of Chiapas, Mexico, and the Peruvian Amazon, a contrast of real and manufactured that grounds the surreal story. Throughout the film, carnivorous flowers trap their prey, an articulate grasshopper climbs a tree, and a miniature girl wakes from a stupor at a clip that’s wildly different from their timelapsed surroundings, which are evident through leaves shaking in the wind and shadows rolling across the landscape at a quickened tempo.
Shot with 16-millimeter film, the grainy short is years in the making—Tuttelberg details the process on her site—and blurs the boundaries between the imagined and real in both material and narrative. Rather than create an illusion of the characters occupying the tropical ecosystem in a lifelike manner, each element progresses at its own speed. She explains:
While moving the puppets frame by frame, I let the light and the nature in the background move naturally. In this way, the puppets are moving smoothly in their own pace and the nature around them is changing rapidly. This creates a new obscure reality of time and space in the film. It keeps the viewer aware of the stop motion technique in the film. I don’t want to hide the animation technique behind the scene but rather to bring it out and observe the new strange reality it creates.
“Winter In The Rainforest” has already won numerous festival awards, and Tuttelberg tells Colossal she’s working on a sequel titled “On Weary Wings Go By,” which brings the same cast to the frigid beaches of Estonia and Norway. You can keep an eye out for that project, and watch the animator’s previous works, on Vimeo.
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From her workshop in Shipley, West Yorkshire, artist Samantha Yates crafts long-stemmed botanicals in colorful stained glass. She draws on her background in horticulture to shape the curved metallic borders and gleaming petals and leaves. “I love the limits with the copper foil technique (no painting, no fusing), the challenge of trying to recreate 3D with 2D, (and) asking myself what are the essential qualities of that plant, that flower, that leaf? Is it color, shape, the stem outline?” she explains.
Casting vibrant shadows, the stylized pieces are based on florals the artist picks from her garden or around her home—see examples on Instagram—and are paired to evoke moods similar to those of fresh bouquets, “I love light, the transparency of glass, the paper-thin quality of petals, light through leaves,” she says.
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A decade into her weaving practice, Australian artist Tammy Kanat (previously) continues to explore the possibilities of fiber, texture, and knots. Her giant wall hangings rely on patches of tufted wool, concentric circles in linen, and fringed, silk motifs suspended in lopsided brass rings to evoke organic forms and naturally occurring patterns.
Focusing on energy and movement, each abstract piece contrasts high piles and flatweaves comprised of thousands of knots that Kanat composes without a preconceived plan. “I often think of my weavings as a novel, as I work on a piece it is one chapter at a time until I finish it. Not knowing what the end will be keeps me driven and engaged. I have been creating more intricate woven shapes, inspired by my surroundings in nature,” the artist says. “I have become more engaged and curious about the slow detailed process of weaving, experimenting with one knot at a time.”
In her most recent body of work A Woven Metaphor, Kanat utilizes more angled frames with vibrant gradients radiating outward. The wall hangings are “about the shapes and colors gently pulling you into the piece. A dark center which evolves gradually to a lightness on the outside providing relief,” she shares. “The works are a juxtaposition of complexity and simplicity.”
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Editor's Picks: Craft
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