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Art Craft

Intricate Paper Animals Spring from Textured Sculptures by Artist Calvin Nicholls

March 1, 2021

Anna Marks

All images © Calvin Nicholls, shared with permission

In Calvin Nicholls’s sculptural forms, feathered and furry creatures are meticulously crafted from small pieces of white paper. When viewed up-close, their texture resembles the fullness of a wintery landscape, but in full form, the Canadian artist’s animals are so vivid that they appear as though they could leap, fly, and spring out of the canvas. Nicholls (previously) seamlessly examines and sculpts every detail of an animal’s body, from the difference in plume texture in doves to the strained muscles of a giraffe to the intoxicating stare of a tiger stalking its prey.  

Every work is crafted from archival cotton paper that prevents yellowing and fading. Nicholls uses minuscule amounts of glue to secure the individual pieces, employing knives and texturing tools to precisely sculpt each delicate part. For the artist, crafting fur and feathers are equally challenging, and how long a piece will take is difficult to predict. He shares:

The largest sculptures I’ve done require several hundreds of hours while the more modest pieces keep me busy for two or more weeks. Familiarity with the subject is a big factor as well. My love of birds often propels me through pieces much faster than when sculpting subjects with (an) emphasis on musculature and structure.

Nicholls’s fascination with paper as a medium stems from graphic design classes in college, in addition to later collaborations with a colleague. These experiences further forged his interest in experimenting with various materials and papers that he had become familiar with through the graphics trade.

Follow additions to Nicholls’s monochromatic menagerie on Behance and Instagram, and see the originals and prints he has available in his shop.

 

 

 



Art

Clothesline Farm Animals Graze the Countryside in Playful Illusions by Helga Stentzel

February 23, 2021

Grace Ebert

“Pegasus.” All images © Helga Stentzel, shared with permission

Instead of tossing an old pair of pants or T-shirt, Helga Stentzel puts her tired garments out to pasture. So far, the London-based artist has added Pegasus and Smoothie, a pair of clothesline equine and bovine, to her herd of playful interventions hung in bucolic landscapes. Stenzel’s practice, which she terms “household surrealism,” is derived from her childhood in Siberia, where she spent hours surveying her grandmother’s carpet, birch logs, and random objects for recognizable forms, including “a stack of buckets resembling the tower of Pisa,” she tells Colossal.

Prints of the laundry creatures are available in Stentzel’s shop, and you can follow additions to the drove—the artist currently is creating a few more farm animals while braving the -32 degree weather in Russia—on Instagram, where you’ll also find a variety of quirky food-based characters. (via Laughing Squid)

 

“Smoothie”

 

 



Illustration

Otherworldly Ecosystems Populate Dense, Cross-Hatched Illustrations by Song Kang

February 16, 2021

Grace Ebert

“Evolution of Plants,” pen and ink, 30 x 20. All images © Song Kang, shared with permission

Packed with texture and depth, Song Kang’s ink-based drawings begin with “I wonder…I wonder how this will look compared to that, or I wonder if I can mix this and that,” she says. The Atlanta-based illustrator renders rich labyrinths populated by elements from land and sea that are depicted in an otherworldly manner: candy-colored liquid drips from a bonsai, fish and butterflies coexist in the same dense ecosystem, and a maze of M.C. Escher-style lizards sprawls across the page.

Each illustration is infused with ideas of evolution and the connection inherent in nature, themes that present themselves in both subject matter and Kang’s process. Often prompted by a loose idea, she starts with a sketch and works organically, drawing the intricate and minute details from one corner to the next. Her process is intuitive, which she explains:

In one moment, I feel like I’m building a distinct environment one crosshatched pebble at a time. The next moment, I’m clueless with only an impulse and a gut feeling to add something somewhere. One of these spontaneous decisions was choosing to add color. I was always using black ink, avoiding bright colors out of habit and uncertainty. But during quarantine, I found several colorful ink pens and became curious to see how it would look in my texture-heavy, fine-tuned crosshatched style.

Kang’s work is currently part of Wow x Wow’s Mindweave, a virtual group show that runs through February 26, and originals, prints, and smaller items are available in her shop. To see more of her meticulous process, watch this recent tutorial with Art Prof and head to Instagram.

 

“Butterfly Fish,” pen, ink, and acrylic paint, 17 x 17

Left: “Greenhouse,” pen, ink, acrylic paint, 10 x 17 inches. Right: “Fall Leaves,” pen, 9 x 13

“Bonsai Drip,” pen and markers, 9 x 6

“Henry’s Garden,” pen, ink, and acrylic paint, 23 x 23

“Escher’s Lizards,” pen, ink, and acrylic paint, 11 x 13

“Swamp Thing,” pen and ink, 8 x 11

“Venus Flytrap Squid,” pen and markers, 9 x 12

“Coral: Exploding Skulls,” pen, 9 x 12

 

 



Photography

A Stunning Shot of Sharks Cruising Under a French Polynesian Sunset Wins the 2021 Underwater Photographer of the Year

February 10, 2021

Grace Ebert

Category Winner. Underwater Photographer of the Year 2021 © Renee Capozzola (U.S.) /UPY2021. All images courtesy of UPY 2021, shared with permission

An exquisite shot of blacktip reef sharks circling underneath a jewel-toned sky in French Polynesia tops this year’s Underwater Photographer of the Year contest (previously). Captured by California-based Renee Capozzola, the winning entry frames a pair of the white-bellied fish and airborne seagulls, forming a serendipitous composition that combines air, land, and sea. “I dedicated several evenings to photographing in the shallows at sunset, and I was finally rewarded with this scene: glass-calm water, a rich sunset, sharks, and even birds,” she said.

This year’s competition received more than 4,500 entries from photographers in 68 countries, including images of wrecked barges, frogs peering out from a muddy pond, and two ornery blenny mid-tussle. Capozzola is the first woman to ever win the U.K.-based contest since its inception in 1965.

We’ve gathered some of our favorites below, but you can see all of the winning shots and watch interviews with the photographers on the contest’s site. (via This Isn’t Happiness)

 

Winner. British Waters Wide Angle, My Backyard © Mark Kirkland (U.K.)/UPY2021

Third Place. Up & Coming Underwater Photographer of the Year 2021. © Danny Lee (Australia)/UPY2021

Runner Up. Behavior. © Jing Gong Zhang (China)/UPY2021

Left: Winner. Portrait. © Ryohei Ito (Japan)/UPY202. Right: Runner Up. Portrait. © Keigo Kawamura (Japan)/UPY2021

Winner. Wrecks © Tobias Friedrich (Germany)/UPY2021

Runner Up. Macro © Steven Kovacs (U.S.)/UPY2021

Third Place. Underwater Photographer of the Year 2021 © Oleg Gaponyuk (Russian Federation)/UPY2021

Runner Up. Wide Angle © Martin Broen (U.S.)/UPY2021

Third Place. British Waters Wide Angle © Kirsty Andrews (U.K.)/UPY2021

 

 



Illustration

Animals of the Lunar New Year Beautifully Illustrated by Felicia Chiao in an Ongoing Series

February 10, 2021

Grace Ebert

“Year of the Ox” (2021). All images © Felicia Chiao, shared with permission

We’re ushering in the Year of the Ox later this week, an occasion Felicia Chiao (previously) kicks off with an illustrated homage to the horned bovine. Rendered with gilded details and Chiao’s signature aesthetic, the drawing is the latest in the California-based illustrator’s collection of works marking the Lunar New Year. Each of the five pieces, which she creates with Copic marker and gel pens, relies heavily on red, a traditional sign of luck and prosperity for the upcoming year, along with layers of flowers, tassels, and a fantastic depiction of the animal.

Chiao tells Colossal that she’s celebrated the Lunar New Year with her family since childhood, which informed her first drawing, “Year of the Rooster,” back in 2017.

My family is Taiwanese, and so the Lunar/Chinese New Year is a big deal. I am very Asian American so I can’t say I’m the most traditional, but I grew up hearing all the zodiac animal stories and superstitions, and I wanted to make a drawing of my animal year back in 2017. It was a fun way to nod to my cultural background.

Prints from each year are available on Society6, along with a massive collection of Chiao’s fantastic illustrations. Head to Instagram to see more of her drawings featuring imagined worlds and emotional characters.

 

“Year of the Rooster” (2017)

“Year of the Pig” (2019)

“Year of the Rat” (2020)

“Year of the Dog” (2018)

 

 



Art

Art and Activism Collide Throughout Montréal in Playful Street Interventions by Roadsworth

February 9, 2021

Grace Ebert

All images © Roadsworth, shared with permission

Crosswalks become perches and bike lanes morph into a monkey’s ropes in Roadsworth’s lively street interventions. For decades, the Montréal-based artist (previously) has been altering sidewalks, alleyways, and other public spots with largely nature-based projects that are informed by social issues and environmental crises. Whether a trippy koi pond or a simple yellow spider, the additions transform otherwise drab streets into unexpected commentary.

In recent years, Roadsworth has created large-scale projects for a variety of organizations, including revitalizing a basketball court for a social housing complex and another for Amnesty International that comments on the horrors of the refugee crisis. Beyond commissions, he continues guerilla street art tactics, installing oversized birds, insects, and other animals that often are overlooked.

The artist tells Colossal that these works reflect his “philosophy in regards to public art/street art which implies a questioning of urban space in general and an entreaty to rethink a city that is more conducive to walking/cycling and less dominated by cars, etc. The depiction of various animals is a playful way of reinventing the notion of urban space.”

Follow Roadsworth on Instagram to keep up with his site-specific works that merge art and activism.

 

“Refugee Crisis” (2016)

“Darling Foundry Koi Pond” (2020)

Right: “Tree Lace” (2019)

Detail of “Refugee Crisis” (2016)

“Nurture vs Nature” (2018)

 

 

A Colossal

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