Photography

Screeching Roosters Make Their Most Aggressive and Passionate Moves in Heji Shin's Photographs

January 6, 2021

Grace Ebert

All images © Heji Shin, courtesy of Reena Spaulings, shared with permission

Heji Shin has ruffled more than a few feathers in her career through provocative and, at times, controversial photographs of infamous celebrities, crowning babies, and explicit scenes that display the rawness and vitality of her subjects. Born in South Korea, the German photographer recently turned her lens on a particularly antagonistic bunch of roosters in her series Big Cocks. Shot in her distinctly discomfiting and emphatic style, the photographs are strikingly masculine and aggressive, documenting the birds as they screech, splay their claws, and do karate-style leaps into the air.

In a recent interview, Shin writes that while the portraits exude passion, they stray from the more systemic and militaristic views of violence we often see. “The short-lived outbursts of angry cock energy look Hellenistic and virile,” she says.

The photographer is represented by Reena Spaulings in New York, where Big Cocks was recently on display, and you can view a larger collection of her work on the gallery’s site and her Instagram. (via Contemporary Art Daily)

 

 

 



Art Craft

Meticulously Sculpted and Tarnished Dandelions Preserve the Herb’s Ephemeral Nature in Metal

January 6, 2021

Grace Ebert

All images © Shota Suzuki, shared with permission

Staining friend’s hands with dandelion heads and blowing their wispy seeds are a common childhood pastime and a simple joy that Shota Suzuki channels in his delicately constructed sculptures. The Kyoto-based artist painstakingly carves copper, brass, and silver into barbed leaves and feathery seeds to recreate the ubiquitous herbs in each state of bloom and decay.

To tarnish the textured metals and alter their colors, Suzuki uses combinations of vinegar, copper sulfate, and acetic acid to create purples and blues. For the black components, he oxidizes pieces in dissolved sulfur. Suzuki’s coloring techniques are rooted in traditional Japanese patina methods including niiro, which historically used daikon juices to alter the metal, and are the most demanding part of his process. “The chemical modification is very sensitive and is affected by everything from the weather conditions to the dirt on my hands. It’s hard to make the same color every time,” he says in an interview with Kyoto Journal.

Each dandelion is the product of hours of research, which begins while Suzuki walks around his neighborhood and spots weeds in sidewalk cracks or garden flowers. He then works from memory and occasional glimpses of photos of the chosen plant, forgoing sketches and models to create pieces that merge scientific accuracy with the artist’s vision, which he explains:

I’ve never practiced the art of ikebana, but there is an element of it that comes through. My work does not portray a plant as it would be in its natural environment. Rather I manipulate it in a way that I find to be beautiful. I think the composition especially, like the placement and length of the flowers and stems of the plant, is really important. So in that respect, it is rather similar to ikebana.

See more of Suzuki’s botanic sculptures, which include violets, cherry blossoms, and seaside daisies, on Artsy, and follow his latest works and updates to his shop on Instagram.

 

 

 



Photography

Tides and Tempests: Photographs from the English Coastline Document the Rhythms of a Tumultuous Sea

January 5, 2021

Grace Ebert

“Clearing Fog.” All images © Rachael Talibart, shared with permission

To introduce her new body of work, Rachael Talibart writes that “the rhythm of the tides, tethered to the waxing and waning of the moon, shapes our very sense of time.” The U.K.-based photographer captures the ebb and flow of the English coastline through photographs that frame both erupting waves and the days surrounding violent storms. An extension of her previous collection that framed what appears to be otherworldly creatures jumping from the water, Talibart’s recent work has culminated in a book titled Tides and Tempests.

While her subject matter is similar, she shares with Colossal that limiting herself to southern coastlines has been fruitful. “I think that what at first may seem like a restriction has actually made me more creative—it has forced me to dig deeper and look for images where I might perhaps not have found them if I was more of a generalist,” she says.

While Tides and Tempests at times displays the mythical qualities and creatures of the water, it also includes the quieter moments. Talibart writes that this broader focus has taught her patience and to find as much interest and delight in the slow sunsets and discarded shells as the frenzied storms. She expands on how the lengthy and varied story of the ocean has shifted her view of time:

The tidal cycle, the sound of waves, the shapes carved by wind and water on the shore, the call of sea birds, the curl of seafoam around a pebble, the shape of a shell, these all have a rhythm or pattern that I find both energizing and soothing. But they don’t always reveal themselves to you straight away—you have to be willing to invest time.

If you’re in the U.K., Talibart teaches photography workshops that focus on various aspects of her coastal subject matter. Otherwise, pick up a copy of Tides and Tempests, which features more than 120 images, from Kozu Books, and follow Talibart on Instagram.

 

“Apollo”

“Etain”

“Jade”

“Makara”

“Fringe II”

“The Lost World”

“Surf Study”

“Touch”

 

 



Art Dance

Bronze Figures Explore Movement in Sculptures by Coderch & Malavia

January 5, 2021

Grace Ebert

“Clio’s Dream” (2020), bronze and blue patina. All images © Coderch & Malavia, shared with permission

At the center of Coderch & Malavia’s artistic practice is the beauty of the human figure and its various expressions. The Valencia-based duo works collaboratively to cast bronze sculptures that explore the nuances of the body through dance-like movements and distinct gestures. Natural details like golden branches and feathered wings embellish many of the heavily patinaed works, Coderch & Malavia share, to evoke themes from classic literature, theater, photography, cinema, and ballet. “The human being is three-dimensional,” they say. “Probably that is the main reason why we are attracted to sculpture. It is the closest artistic representation of ourselves.”

After a discussion on intentions for a new project, the pair generally works with a live model to help the sculpture take shape. “The complicated part is organizing and sharing the physical creation of the work itself because you need double discipline,” they say. “You must learn to trust your partner and be able to share your ideas and your work with him, and, above all, you must put your ego aside in order to stay equal to commit to the final result.”

Get a glimpse into Coderch & Malavia’s process on their site and Instagram, where you can also follow their upcoming exhibitions.

 

Detail of “Clio’s Dream” (2020), bronze and blue patina

Detail of “Haiku” (2019), bronze

Detail of “Haiku” (2019), bronze

“Moonlight Shadow” (2019), bronze, 80 centimeters

“Odette” (2018), bronze, 68 centimeters

Detail of “Moonlight Shadow” (2019), bronze, 80 centimeters

Detail of “Odette” (2018), bronze, 68 centimeters

“Haiku” (2019), bronze

 

 



Art

Bold Brushstrokes Energize Abstract, Pixelated Landscapes by Artist Jason Anderson

January 4, 2021

Grace Ebert

“Uprising” (2020). All images © Jason Anderson, shared with permission

Jason Anderson visualizes city skylines, swooping highway exchanges, and a range of urban landscapes through prismatic, impasto strokes of oil paint. The U.K.-based artist begins each painting with a black-and-white sketch before turning to the linen canvas and translating the lively works. In recent months, he’s incorporated more curved lines and saturated tones alongside the pastels he’s used previously, resulting in abstract scenes of horizons and city centers rendered through a mosaic of color.

“I relish the often frantic nature of mixing and arranging the paint in thick impressionistic daubs and submitting to a process that creates its own detail and form,” the artist says in a statement. “This forces me to be bold and decisive; it also produces a kaleidoscope of shape and tone (reminiscent of stained-glass) which portrays the ever-present movement and energy found in nature.”

Although all of Anderson’s works are currently sold out, you can follow updates on his commissions and new pieces on his site and view his finished paintings and sketches on Instagram.

 

“Terminus” (2019)

“Sheer” (2020)

“Mistral” (2020)

“Centrifuge” (2020)

“Plaid” (2020)

“Pulse” (2020)

“Branch” (2020)

“Hearth” (2020)

 

 



SVA’s Spring 2021 Continuing Education Courses Begin January 25

January 4, 2021

Colossal

Artwork by Clarisse Provido, SVACE Student

Whether it’s to advance your career or try something new, SVACE offers more than 170 online courses to choose from. Visit sva.edu/ce to view all course offerings.

Online courses are available in:

Free Virtual Events & Information Sessions

Registration Details

Course Advice
If you need advice or have questions please email [email protected] to connect with one of our course advisors.

About the School of Visual Arts

School of Visual Arts has been a leader in the education of artists, designers and creative professionals for seven decades. With a faculty of distinguished working professionals, a dynamic curriculum and an emphasis on critical thinking, SVA is a catalyst for innovation and social responsibility. Comprising 6,000 students at its Manhattan campus and 35,000 alumni in 100 countries, SVA also represents one of the most influential artistic communities in the world. For information about the College please visit sva.edu.

School of VISUAL ARTS
Division of Continuing Education
sva.edu/ce
E-mail: [email protected]