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Art

An Eccentric Cast of Hybrid Creatures Mirrors the Diversity and Humor of Human Experience

November 24, 2020

Grace Ebert

Right: “Eagle Pose” (Yoga Parakeet) (2016), stoneware and mixed media, 12 x 6 x 13 inches. All images of Alessandro Gallo, shared with permission

From a dowdy California quail to an incendiary horned lizard, Alessandro Gallo’s peculiar menagerie of animal-human hybrids is teeming with personality. The colorful characters reflect the breadth of interactions occurring every day throughout public spaces as folks encounter others unlike themselves, like a parakeet contorted into a yoga pose or a suit-wearing hooded merganser.

Based in Helena, Montana, the Italian artist likens the animalistic features to a mask or caricature. “I combine it with the silent language of our body and the cultural codes of what we wear in order to portray not only a specific individual, but also the larger groups and subcultures they belong to and, ultimately, the common habitat we all share,” he says.

Generally spanning one to two feet tall, the anthropomorphic sculptures are modeled after a meticulously rendered reference image complete with distinct choices on posture, clothing, and facial expression. Gallo creates an armature from plumber’s piping before hand-building the clay figures. As they dry, he carves in minute details and adds color with acrylic paints.

Gallo’s creatures are included in Intersect Chicago 2020, which runs through December 5. Based in Helena, he’s currently an Archie Bray Foundation resident, and you can find details about his process and works-in-progress on Instagram.

 

“Evening empire” (2019), ceramics and mixed media, 15 x 15 x 12 inches

Detail of “I will not burn bridges” (2020), stoneware and mixed media, 23 x 10 x 10 inches

“Jack of Spades” (2019)

“I Don’t Want to Grow Up” (Jonathan bearded dragon)(2016), stoneware and mixed media, 18 x 6 x 6 inches

“I will not burn bridges” (2020), stoneware and mixed media, 23 x 10 x 10 inches

“Lost in Thought” (2017) in collaboration with Beth Cavener

“We Are Not Who We Seem” (2016) in collaboration with Beth Cavener

 

 



Photography

BLACK SUN: Amorphous Flocks of Starlings Swell Above the Danish Marshlands

November 12, 2020

Grace Ebert

All images © Søren Solkær, shared with permission

Captured in the marshlands of southern Denmark, Søren Solkær’s ongoing project documents one of nature’s most mesmerizing phenomena. BLACK SUN focuses on the quiet landscapes of the Danish photographer’s childhood where nearly one million starlings congregate during the vernal and autumnal seasons. Set at dusk, the photographs frame the migratory birds as they take to the sky in murmurations, amorphous groups that transform the individual creatures into a unified entity.

The fluctuating flight patterns swell above the horizon as the birds move from tree to tree or sometimes, in response to an impending threat. “Now and then, by the added drama of attacking birds of prey, the flock will unfold a breathtaking and veritable ballet of life or death,” Solkær says, further comparing their airborne appearance to inky sketches or calligraphy. He expands on the starlings’ adaptability:

At times the flock seems to possess the cohesive power of super fluids, changing shape in an endless flux: From geometric to organic, from solid to fluid, from matter to ethereal, from reality to dream—an exchange in which real-time ceases to exist and mythical time pervades. This is the moment I have attempted to capture—a fragment of eternity.

BLACK SUN culminates in a forthcoming book by the same name, which will be released November 16 and is available for pre-order in Solkær’s shop, along with prints and some of his other works. Follow the photographer on Instagram to keep up with his phenomenological projects.

 

 

 



Art

Metaphorical Scenes Examine Mystery in Dreamy Paintings by Artist Duy Huynh

November 9, 2020

Grace Ebert

“ReciprociTea,” acrylic on canvas, 40 x 30 x 2.5 inches. All images © Duy Huynh, shared with permission

Vietnamese artist Duy Huynh (previously) examines balance through nuanced scenes replete with ethereal, surreal elements: individual flowers ascend from a teapot, a chain winds around an artichoke heart, and figures float mid-air. Rendered in muted hues, the acrylic paintings are metaphorical and narrative-based, visualizing stories by connecting unusual symbols or positioning disparate objects together. The North Carolina-based artist gives the works witty names— “Thyme to Turnip the Beet” and “ReciprociTea,” for example—adding to their playful and whimsical natures.

In a statement, Huynh writes that the core of his practice involves drawing connections “between two or more mysteries,” which he explains further:

My characters often float (literally) somewhere between science and spirituality, memory and mythology, structure and spontaneity, ephemeral and eternal, humorous and profound, connectivity and non-attachment. The intent isn’t necessarily to provide enlightenment but to celebrate the quest itself.

Huynh co-owns Lark & Key, where his elegant paintings are part of a group show that’s on view through November 28. Limited-edition prints and greeting cards of his works are available through the gallery, as well.

 

“No More Clouded Hearts,” acrylic on canvas, 24 x 24 x 2.5 inches

Left: “Thyme to Turnip the Beet,” acrylic on wood, 12 x 12 x 1.75 inches. Right: “Wisdom Keepers,” acrylic on wood, paper on piano reads “press any key to continue,” 30 x 40 x 2.5 inches

“Heart of Gold,” acrylic on wood, 12 x 12 x 2 inches

Left: “A Matter of Pace, Space and Equanimitea,” acrylic on wood, 16 x 16 x 2.5 inches.  Right: “A Life More Aliferous,” acrylic on canvas, 36 x 36 x 2.5 inches

“New Dawn Rising,” acrylic on canvas, 34 x 34 x 2 inches

 

 



Illustration

Painted on Vintage Postcards, Flora and Fauna Celebrate Farming Traditions and Wildlife of the Midwest

November 4, 2020

Grace Ebert

All images © Diana Sudyka, shared with permission

Twenty-seven years ago while studying at the University of Illinois, illustrator Diana Sudyka (previously) retrieved a bundle of postcards from a dumpster. The ephemeral correspondence revealed a relationship between farmers and workers from the Harvard area and a man named John Dwyer, either their accountant or investor who lived throughout Chicago, Cicero, and Berwyn. Dated from 1939 to 1942, the short letters generally contained information about livestock sales and farm expenses.

Now based in the Chicago area, Sudyka repurposes the envelopes as canvases for her watercolor and gouache paintings of flora and fauna native to the Midwest. “I have a strong attachment to the envelopes for various reasons, not least of which is that I was born and raised in Illinois, and spent a good deal of time in rural areas of the state,” she shares with Colossal. The penmanship, patina, and markings on the paper all inform her decisions to reflect a particular shrub or beetle duo amongst the remaining postmark and stamp. “I am drawn to the beauty of the handwriting on the envelopes, and the variation in the inks used,” she says, also noting her affinity for the assembled artworks of late artist Joseph Cornell.

Through delicate depictions of squirrels and long-legged herons, the illustrator connects her own experience enjoying the region’s bucolic settings with the decades-old content of the letters. “I often think about the wildlife that I saw as a child in those rural areas, unaware at the time of how much agriculture had already altered the land. And now as an adult, so much of both wildlife and those family farms are gone. The envelope paintings are my homage to both,” she says.

Prints of Sudyka’s postcard illustrations, which you can follow on Instagram, are available on her site.

 

Flying squirrel

Heron

Grey tree frog

Barn owl

Left: Milkweed. Right: Pawpaw tree

Blue salamander

Underwing moth

 

 



Art

A Socially Anxious Character Disguises Itself As Owls, Pigeons, and Other Birds in Textured Sculptures by Calvin Ma

November 4, 2020

Grace Ebert

“Comfort Zone,” ceramic with glaze, 12.5 x 7 x 7 inches. All images © Calvin Ma, courtesy of Foster/White Gallery, shared with permission

In his ongoing series titled Blend In: Making Home, artist Calvin Ma (previously) conveys an incessant need to belong through a quirky character camouflaging itself as different birds. From owls to pigeons to Mandarin ducks, the precisely hued costumes envelop the figure in a mass of feathers and scaled footwear. The artist textures the ceramic sculptures by hand, etching countless lines into every plume.

Each species represents an emotion or experience tied to social anxiety, which Ma bolsters with corresponding environments, like a birch cage or flower-lined nest. “Being shy, timid, and a bit socially awkward is something that will always be a part of me. The goal is to come to terms with it and grow from it,” the artist says of his own experience.

If you’re in Seattle, head to Foster/White Gallery where Ma’s anthropomorphic pieces are on view through November 21. To see the works-in-progress, check out the artist’s Instagram.

 

“In The Wind,” ceramic with glaze, 13 x 11 x 8 inches

“Break Free,” ceramic with glaze, 13 x 9 x 9 inches

Left: “Making Home,” ceramic with glaze, 17 x 12 x 9 inches. Right: “Out of the Woods,” ceramic with glaze, 11 x 6 x 6 inches

“First Step,” ceramic with glaze, 14 x 7 x 6 inches

“Hover,” ceramic with glaze, 14 x 10 x 8 inches

Left: “Nesting,” ceramic with glaze, 10 x 7 x 6 inches. Right: “Time And Again,” ceramic with glaze, 12 x 11 x 8 inches

“Fleeting,” ceramic with glaze, 16 x 29 x 8 inches

 

 



Design History Photography

Watch the Birdie: A Restored Brass Gadget Dating Back 140 Years Reveals a Historic Photography Trick

October 29, 2020

Grace Ebert

Prior to asking subjects to grin and “say cheese,” photographers would entreat those awaiting a portrait to “watch the birdie.” Now generally out of use, the phrase dates back to 1879 and references a technique to capture both kids’ and adults’ attention at just the right moment: Photographers would attach a little brass bird to the top of their lens—the 1950s film Watch the Birdie erroneously positions a songbird on the main character’s hat rather than his camera—and squeeze a pneumatic bulb, making the creature chirp and flap its wings as they snapped an image.

Austria-based Markus Hofstätter recently restored one of the historic gadgets, a process he demonstrates in a new video. He begins by degreasing the 140-year-old pieces, 3D printing a new base, and finally attaching the water-filled device to his wet plate camera. After removing the lens cap and blowing into a tube, he reveals the bird’s whistles.

For more tutorials and explorations into historic photography techniques, check out Hofstätter’s  YouTube and Instagram. You also might enjoy these similarly chirping antique boxes that feature singing bird automata. (via PetaPixel)