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Art Science

Bees Wrap Ava Roth’s Intricately Beaded and Embroidered Motifs in Golden Honeycomb

July 27, 2022

Grace Ebert

“Beaded Circle,” encaustic, Japanese paper, glass beads, thread, natural honeycomb, local Ontario maple frame, 17.5 x 17.5 inches. All images © Ava Roth, shared with permission

Seasons and the natural rhythms of bees determine much of Ava Roth’s practice, which hinges on collaborating with the fuzzy pollinators. The Ontario-based artist (previously) stitches elaborate embroideries with beads and intricate thread-based motifs that, once her contribution is complete, she turns over to her insect counterparts. The critters then finish the mixed-media pieces by embedding them in golden, hexagonal honeycomb.

Because the bees Roth works with only produce the waxy substance during the heat of the summer, the time available for inter-species cooperation is limited. In a note to Colossal, the artist describes recent shifts in her practice that more deeply embody the shared process:

The collaged portion of this season’s pieces, which are made largely of encaustic and stitch work, are designed to match the intricacy of the comb in a fair exchange of labour. I had in mind “a stitch for every cell.” I have also introduced more sophisticated shapes, and multiple shapes, into the comb, and the results have been very exciting.

In addition to the pieces shown here, Roth has also been developing a collection of larger encaustic paintings on photographs that she works on when her collaborators are dormant. “Using the beeswax in these different ways feels very holistic,” she says, “and having the intimate connection to the bees in the summer makes working with wax as a material during the winter months deeply satisfying.”

Explore an archive of the artist’s organically formed works on her site and Instagram.

 

“Hardwood Lake with Flower Embroidery,” encaustic, oil stick, photography on bamboo paper, embroidery floss, natural honeycomb, in custom local Ontario maple frame, 17.5 x 17.5 inches

“Honeycomb Quilt,” encaustic, birch bark, paper, gold leaf, embroidery floss, glass beads, and natural honeycomb, in custom local Ontario maple frame, 17.5 x 17.5 inches

Detail of “Honeycomb Quilt,” encaustic, birch bark, paper, gold leaf, embroidery floss, glass beads and natural honeycomb, in custom local Ontario maple frame, 17.5 x 17.5 inches

“Honeybee Collaboration, Lunaria Leaves,” beeswax, Hemlock cones, porcupine quills, Lunaria leaves, photography, oil stick, embroidery floss and glass beads on seeded paper with honeycomb, in custom maple frame, 17.5 x 17.5 inches

 

 

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Art

Invoking Black Masking Traditions, Artist Demond Melancon Beads Elaborate, Celebratory Portraits

March 31, 2022

Grace Ebert

“Say Her Name” (2021), glass beads and rhinestones on canvas. All images © Demond Melancon, courtesy of Arthur Roger Gallery, shared with permission

Through intricately woven displays of minuscule glass beads and rhinestones, Big Chief Demond Melancon continues a legacy. He belongs to the tribe of the Young Seminole Hunters in New Orleans, where he was born and raised, and is a leader in the tradition of creating Mardi Gras suits. The “wearable sculptures” are elaborate and celebratory, and Melancon’s works are known for their immense nature and for exhibiting his deft technical skill. Extremely labor-intensive, the garments tend to envelop their wearer in multiple layers and contain more than one million glass beads precisely stitched into evocative narratives of American history.

For nearly three decades, Melancon has also developed a unique visual language that is both entrenched in the 250-year tradition and working to expand the scope of the practice. “The elders, the Indians, and the Black maskers that masked before me, they never saw this as a contemporary art form in the way that I do,” he tells Colossal. “To me, the elders are watching me, and I think what they taught me is different from what I’ve evolved it into.”

Often encircled by feathers, many of Melancon’s suits revolve around portraits of reggae icons, people who were enslaved and subsequently led revolts, and Mardi Gras Indian Big Chiefs who came before him. He’s also started to separate these figurative elements from their more comprehensive counterparts in recent years and has produced an extensive series of standalone portraits. The ongoing collection includes people who have been influential in his life and who have broad cultural relevance, including artists like Basquiat and Frida Khalo, ancient Egyptian queen Nefertari, and Breonna Taylor, a 26-year-old Black woman killed by police in 2020. “I like to teach with my work, and I want to make something that’s very meaningful,” he says. “It’s going to tell you something. It’s going to hit you in your heart.”

 

“Most Kings Get Their Heads Cut Off” (2021), glass beads and rhinestones on canvas

Sometimes years in the making, Melancon’s portraits exemplify his commitment to transforming the small, tactile materials into compositions evocative of painting. He references artists like Kerry James Marshall (previously) and Kehinde Wiley (previously) as inspiration and is equally drawn to those working today as he is to the art historical canon. His style emerged “through studying Botticelli and Caravaggio. I like the light in the old-school paintings, in the Florentine art, in the art from the 1700s.”

Beginning with a black-and-white sketch, Melancon always completes his subjects’ eyes first to “try to bring people back to the living stage with the portraits… so they can live, and they can look at me while I’m beading the rest of the piece.” For the artist, this spirited energy and sense of vitality are directly derived from his bold color palettes that compose a floral blouse or radiant, crown-like headdress.

Although Melancon didn’t mask for this year’s Mardi Gras—instead, he helped garner grants for those participating in the festival through his work on the New Orleans Tourism and Cultural Fund board—he’s currently in progress on a suit titled “Amistad,” in reference to the historic 1839 revolt on the slave ship by the same name. He also plans to continue his portrait series and will see “Say Her Name,” the striking rendering of Taylor acquired by the International African American Museum, on view at the institution when it opens this fall in South Carolina. It’s one of many works that Melancon sees as part of his duty to pass down stories to future generations and teach them about those who’ve profoundly shaped the world today. “That’s another piece that I think in this time very important,” he shares.  “People should remember her situation, and that’s why I bead.”

To explore Melancon’s full portfolio, visit his site and Instagram.

 

“The Deans” (2021), glass beads and rhinestones on canvas

“Wolf Defender” (2021), glass beads and rhinestones on canvas

“The Rennaisance” (2019), glass beads and rhinestones on canvas

“When She Speaks You Listen” (2021), glass beads and rhinestones on canvas

“Nefertari Meritmut” (2019), glass beads and rhinestones on canvas

“Frida Kahlo” (2019), glass beads and rhinestones on canvas

Portrait of the artist in his studio. Photo by Giles Clement

 

 



Art

Intricate Beaded Motifs Add Colorful Dimension to Jan Huling’s Animal Sculptures

February 4, 2022

Grace Ebert

“Hero” (2019), 27 x 22 x 8 inches. All images © Jan Huling, shared with permission

A former product designer turned bead artist, Jan Huling begins each sculpture with a blank form in the shape of a miniature horse, giant praying mantis, and eager monkey perched on a box. She then glues small glass pieces in meandering lines, concentric circles, and other elaborately constructed motifs. “I don’t sketch out designs beforehand,” she tells Colossal. “Rather I let my designs grow organically and let the work itself inspire me.”

Each embellishment is a study of color, texture, and form, with some patterns structuring facial features like the radiant eyes of the nine-foot “Das Bug” and others adding hypnotic ornaments like the intersecting patches that span the length of the tail in “KoKo.” Although Huling shares that she doesn’t translate any specific motifs, she’s drawn to Huichol traditions and the fantastical alebrije sculptures of Mexico, in addition to Indian artists, Nick Cave (previously), and Tim Burton.

Huling, who’s based in Jersey City Heights, will have sculptures on view at Art Market San Francisco this April through Duane Reed Gallery, and her billowing dress titled “The Gown” is headed to the Museum of Beadwork this summer. Explore a collection of her intricate creations on her site and Instagram. (via Women’s Art)

 

“Hero” (2019), 27 x 22 x 8 inches

Detail of “Das Bug” (2015), 61 x 69 x 110 inches

“Das Bug” (2015), 61 x 69 x 110 inches

Detail of “Das Bug” (2015), 61 x 69 x 110 inches

“KoKo” (2011), 48 x 15 x 24 inches

Detail of “KoKo” (2011), 48 x 15 x 24 inches

 

 



Art

Evoking Mythology and Urban Culture, Beaded Masks Brim with Geometric Motifs and Embellishments

September 20, 2021

Grace Ebert

All images © Fefe Talavera, shared with permission

From small shells and Amazonian beads, Brazilian-Mexican artist Fefe Talavera strings together elaborate masks that fuse ancient mythologies and contemporary urban culture. The mixed-media works are part of an ongoing series—Talavera shares more on her site and Instagram, along with vibrant silhouettes painted in acrylic and her large-scale murals—that embellish expressive faces with stripes, symmetries, and various geometric patterns. Sometimes spanning upwards of ten feet or featuring a long tuft of straw, the masks are an amalgam of color, motif, and material that blur cultural boundaries and the tenuous distinction between humanity and nature.

The São Paulo-based artist tells Colossal that the series “developed when my government opened the doors to cattle ranchers, when forest fires began, putting an end to Indigenous tribes, exotic animals, and trees,” and initial iterations used açaí seeds, shells, and mirrors to explore birth and death through a mystical lens. “When we looked at our reflection in the work, we would be seeing ourselves with respect and love, and it is this look that we should have with the Amazonia,” she says.

Currently, Talavera is working on a larger-scale piece using 20,000 beads, and she has a solo show planned for May 2022 at Paris’s Bandy Bandy Gallery.

 

 

 



Craft

Anatomical Embroideries Use Precise Stitches and Beads to Portray Muscles, Organs, and Bodily Systems

August 2, 2021

Grace Ebert

All images courtesy of Ambroidering

A single skeletal muscle contains hundreds of thousands of individual fibers stretched in long rows, an anatomical fact that the textile artist behind Ambroidering recreates in an unusually fitting manner. Based in Shropshire, England, the artist stitches precise embroideries of the human body, defining circular systems with sinuous threads, conveying the distinct layers of skin with sparkling beads, and translating the brain’s spongy matter into thick, puffy pockets. You can find many of the biologically focused pieces shown here on Etsy, and for similarly scientific works, check out Amber Griffith’s punch-needle pieces and Emmi Khan’s bodily systems.

 

 

 



Art

A Monumental Bas-Relief Sculpture by Nick Cave Connects Senegalese and U.S. Cultures in a Web of Beadwork

March 22, 2021

Grace Ebert

All images © Nick Cave, by Michael JN Bowles, shared with permission

Innumerable pony beads, pipe cleaners, sequins, and objects gathered from two continents overlay a web of rainbow mesh that’s suspended in the U.S. Embassy atrium in Dakar. Installed in 2012, the expansive work by Chicago-based artist Nick Cave (previously) is composed of amorphous swells and circular patches of multicolor netting that stretch 20 x 25 feet. Physically connecting pieces of both U.S. and Senegalese culture, the webbed, bas-relief sculpture symbolically stands as “a unifier that brings people together,” Cave says in an interview.

Virginia Shore and Robert Soppelsa curated the project for Art in Embassies, a program led by the U.S. Department of State that fosters cross-cultural exchange through visual arts and spans more than 200 venues in 189 countries. “When you think about Art in Embassies and cultural diplomacy, what is interesting for me, as an artist, is, how can I facilitate that within the work that is developed? Yes, I will create the piece for the embassy, but I was also interested in ways to integrate the artists that live and work here,” he says.

Cave developed the structural portion of the work in his Chicago studio, and after meeting Sengalese artists, scholars, and students, he utilized pieces from three locals—Seni M’Baye, Loman Pawlitschek, and Daouda N’Diaye—once on site. The resulting installation, which weighs nearly 500 pounds, took Cave and ten assistants more than three months to complete.

Watch the interview below for more on the process behind the monumental project, and follow Cave’s work on Instagram.