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Art

Coral and Plant Life Consume Discarded Objects in Post-Apocalyptic Sculptures by Stéphanie Kilgast

September 2, 2021

Grace Ebert

“Coral Royal” (2019), epoxy clay, acrylics on tin can, 14 x 15 x 11 centimeters. All images © Stéphanie Kilgast, shared with permission

Artist Stéphanie Kilgast (previously) envisions a vibrant, post-apocalyptic world overgrown with coral, fungi, and lush moss. Using cheap devices and disposable containers that tend to outlast their original function as her base, Kilgast creates painted-clay assemblages that are teeming with fantastical colors and texture: mushrooms sprout from an empty paint tube, sea creatures envelop a crushed can, and plant life cloaks a pair of headphones with whimsical botanicals.

Each of the works contrasts the enduring manufactured object with natural growth, imagining a universe that’s simultaneously devoid of humanity and still marred by its rampant consumption habits. “In that sense my work is joyous. I remove the root of the problem, us, and let all the other species just grow over our mistakes,” she shares. “Nature itself is full of bright colors. It’s inherently beautiful, and my work is an ode to all the living and existing species, (except) for us. Hope dies last, so I still hope my work opens up discussion, thinking, and eventually change.”

Currently based in Vannes, France, Kilgast has exhibitions at Comoedia in Brest, France, Modern Eden in San Francisco, and three at Melbourne’s Beinart Gallery slated for 2022. She also shares much of her process on YouTube and Instagram.

 

“Quinacridone Magenta” (2021), cold porcelain, epoxy clay, acrylics, wire on empty paint tube, 10 x 7 x 13 centimeters

“Cyltonic” (2018), polymer clay, acrylics, wire, thrifted can of cleaning agent, 17 x 9 x 19 centimeters

Top left: “Blue Boletus” (2020), polymer clay, acrylics, wire on tin can, 25 x 14 x 10 centimeters. Top right: “Serene” (2020), epoxy clay, polymer clay, acrylics, wire on empty acrylic plastic bottle, 25 x 12 x 17 centimeters. Bottom left: “Yellow Exploration (Octopus)” (2020), epoxy clay, polymer clay, acrylics on empty acrylic plastic bottle, 32 x 16 x 15 centimeters and “Blue Bottle (Coral Reef)” (2020), epoxy clay, polymer clay, acrylics on empty acrylic plastic bottle, 35 x 15 x 11 centimeters. Bottom right: “Mojito” (2019), poxy clay, polymer clay, acrylics on tin can, 17 x 17 x 7 centimeters

“Losing My Song Culture” (2021), epoxy clay, air-dry clay, cold porcelain, paper, watercolor, acrylics, on broken headphones, 28 x 18 x 17 centimeters

Detail of “Blue Bottle (Coral Reef)” (2020), epoxy clay, polymer clay, acrylics on empty acrylic plastic bottle, 35 x 15 x 11 centimeters

“Mother (Elephants)” (2019), epoxy clay, polymer clay, acrylics, wire, thrifted plastic canteen, 17 x 14 x 26 centimeters

 

 



Art Craft

Wrinkled Drapery and Speckled Orbs Disguise the Figures of Jessica Calderwood's Peculiar Sculptures

August 24, 2021

Grace Ebert

“Digging Heels,” copper, enamel, blown glass, porcelain, glass pins, and milk paint, 4 x 6 x 12 inches. All images © Jessica Calderwood, courtesy of Momentum Gallery, shared with permission

Indiana-based artist Jessica Calderwood imbues her whimsically camouflaged figures with questions about the female psyche. Whether covered by a polka-dotted orb or stuck in a ruffled tube of fabric, her nondescript women are temporarily trapped by their environments, their only defining features the sleek black pumps or striped kneesocks that stick out from their disguise. This concealment, Calderwood says, serves as “a negation, a censoring or denial of what lies beneath. These anthropomorphic beings are at once, powerful and powerless, beautiful and absurd, inflated, and amputated.”

Deftly melding historical techniques with contemporary themes of identity, each of the works is rooted in traditional craftsmanship. A focus on mixed media is at the center of Calderwood’s broad body of work, which spans metalsmithing, jewelry, and wall-based ceramics, and many of her projects blend materials like enamel, porcelain, polymer clay, and felted wool to further evoke craft forms.

Many of the pieces shown here are all on view at Asheville’s Momentum Gallery through September 7, and you can find more of Calderwood’s peculiar sculptures on her site and Instagram.

 

“Plop,” copper, enamel, porcelain, glass micro-beads, milk paint, and gold luster, 6 x 8 x 6 inches

“Ivory Tower,” copper, brass, polymer, blown glass, vintage plastic buttons, glass pinheads, porcelain, milk paint, and enamel, 5 x 10 x 10 inches

“Stacked,” aluminum, powder coating, cast bronze, brass, blown glass, ceramic decals, porcelain, and milk paint, 15 x 6 x 6 inches

“Shortcake” (2019), copper, enamel, porcelain, rayon flocking, glass head pins, and milk paint

Left: “Succulent” (2014), slip-cast vitreous china, brass, stainless steel, polymer clay, milk paint, 5 x 4 x 4 inches. Right: “Shade” (2017), slip-cast vitreous china, felted wool, head pins, milk paint, stainless steel, and sterling silver, 6 x 4 x 4 inches

“Public and Private,” copper, electroplated enamel, porcelain, milk paint, and steel, 7 x 13 x 4 inches

“Spout,” copper, enamel, glass microbeads, porcelain, pearls, sterling silver, and milk paint, 9 x 5 x 4 inches

“Twist,” copper, enamel, glass seed beads, powder coating, porcelain, milk paint, and brass, 9 x 9 x 5 inches

 

 



Art Craft

Precise Replicas Cast Wildlife and Plants as Delightfully Tiny Sculptures

July 14, 2021

Grace Ebert

All images © Fanni Sandor, shared with permission

Fanni Sandor (previously) melds her background in biology with a decades-long enthusiasm for miniatures by creating an adorable menagerie of minuscule wildlife. Based in Hungary, she sculpts 1:12 scale models of leaping squirrels and multicolor tree frogs from clay and soft fibers and more recently has ventured into larger ecosystems populated by speckled mushrooms, ferns, and the tiniest tulips. Sandor’s biologically accurate models are sold out on Etsy right now, but keep an eye on shop updates by following her on Instagram.

 

 

 



Art Craft

Innumerable Pieces of Dyed Clay Envelop Meditative Sculptures in Subtle Patterns and Gradients

June 7, 2021

Grace Ebert

“Clements Shade” (2020), porcelain ,29.5 x 16 x 43 centimetres. Photo by Mark Robson. All images © Alice Walton, shared with permission

Thin ribbons of porcelain ripple across the surfaces of Alice Walton’s abstract sculptures. Gently sloped domes and pillars are covered in countless individual strips, which vary in thickness and length and add irregular texture and depth to the finished pieces. “Every mark I make, whether this be a tool mark or a fingerprint, are preserved in the firing and are not covered or coated or inhibited by a glaze,” the artist writes. “I want the viewer to be able to look at my sculptures from afar and to have one perception of the surface (and) then want to explore closer. On a nearer inspection, the surface decoration reveals layers of multiple colours and time spent through process.”

Focusing on the meditative qualities of repetition, Walton combines pastels and vibrant Earth tones to evoke the sights of her surrounding environment and travels. “The vividly painted sun-bleached street walls and the monsoon-drenched temples, to me, instantly resembled the dry powdery palette of coloured clays,” she shares about a visit to Rajasthan, India. Her choices in pigment still revolve around what she sees on a daily basis—these range from old maps to the seasonal landscapes nearby her studio in Somerset, U.K.—that result in undulating stripes or bold gradients composed with more than 40 colors in “Clements Shade.”

At the 2019 British Ceramics Biennial, Walton was awarded a residency with Wedgwood, where she’s currently working on a new series of sculptural vessels made from the English company’s traditional Jasper clay. Those pieces will be shown at the 2021 biennial in September. She’ll also have work at London’s Chelsea Design Centre from June 22 to 29 and at MAKE Hauser & Wirth Somerset in November. Until then, explore more of her sculptures on her site and Instagram. (via Seth Rogan)

 

“Clements Shade” (2020), porcelain, 29.5 x 16 x 43 centimeters. Photo by Mark Robson

Detail of “Avonvale Mapping” (2020), colored porcelain. Photo by Alice Walton

“Avon Ribbons” (2020), colored porcelain, 30.5 x 28 x 28 centimeters. Photo by Alice Walton

Detail of “Janta Grove.” Photo by Sylvain Deleu

“Vale Ribbons” (2020), colored porcelain, 18.5 x 10.5 x 22 centimeters. Photo by Alice Walton

“Ley Line Pair” (2021), porcelain, 14 x 14 x 31 centimeters and 14 x 14 x 31 centimeters. Photo by Mark Robson

Detail of “Avonvale Mapping” (2020), colored porcelain. Photo by Alice Walton

“Avon Strata,” wall-mountable colored porcelain, 48.5 x 48.5 x 1.5 centimeters. Photo by Alice Walton

 

 



Art

Innumerable Spines Cover Amorphous Sea Creatures Sculpted in Clay by Marguerita Hagan

April 15, 2021

Grace Ebert

“Blushing,” hand-built ceramic, 3.25 x 5 x 2.5 inches. All images © Marguerita Hagan, by Richard W. Gretzinger, shared with permission

Prior to sculpting the prickly lifeforms that comprise her Marine Abstracts series, Marguerita Hagan plunged into the waters surrounding the Cayman Islands to get a glimpse of the coral and sponges inhabiting the region. “My research is important to my work, whether from seeing firsthand like diving, which manifested the sponge and coral-inspired Marine Abstracts, or visiting labs and working with my scientist friends,” the Philadelphia-based artist says. “I am passionate about learning, and I immerse myself into the life of each piece/species.”

Mimicking the porous bodies of the aquatic creatures, the resulting works are amorphous in shape and hand-built in sweeping gestures from low-fire clay. Hagan subjects the ceramic forms to anywhere between three and eight rounds of firing in the kiln before they’re airbrushed with pastel glazes. Pocked with holes and covered in tiny bristles arranged with meticulous precision, each piece can take months to complete.

 

“Swept,” hand-built ceramic, 6.5 x 8.25 x 6.5 inches

When presented in a gallery space, Hagan contextualizes many of her works by pairing them with animated projections, creating holistic installations that situate individual sculptures within a larger ecosystem. It’s a way to generate conversation about interdependence and the need to protect these fragile forms, the artist says, explaining the concept further:

Microscopic marine organisms form the basis of all life on our planet and connect in exquisite systems or colonies. These one-cell plankton gems, our primary producers provide over 50% of the oxygen for the planet with light from the sun. Rich diversity and reciprocal sharing power thriving communities and environments. This light-giving flow has enabled all life to thrive for eons…We are in a time of epic shifts and are responsible for the changes needed now. The work intends to uplift spirits, awareness, renewable action and timely sustainable investments for all life.

You can see many of the abstracted pieces shown here, alongside dozens of Hagan’s sculptures, as part of Biospheres, which is on view both in-person and virtually at HOT•BED in Philadelphia through May 8. For a larger collection of the artist’s works, check out her site and Instagram.

 

“Swept,” hand-built ceramic, 6.5 x 8.25 x 6.5 inches

Detail of “Aquamarine Whisper,” hand-built ceramic, 6.75 x 4 x 5 inches

“Aquamarine Whisper,” hand-built ceramic, 6.75 x 4 x 5 inches

“Cayman Crush,” hand-built ceramic, 6.5 x 8.25 x 6.5 inches

“Cayman Crush,” hand-built ceramic, 6.5 x 8.25 x 6.5 inches

“Blushing,” hand-built ceramic, 3.25 x 5 x 2.5 inches

 

 



Art

Figures Experience Constraint and Confinement in Bronze Sculptures by Khaled DAWWA

April 12, 2021

Grace Ebert

“Sans titre” (2020), bronze, 35 x 14 x 13 centimeters. All images © Khaled DAWWA, shared with permission

Whether folded into a box, bound by cords, or fragmented and stacked, the nondescript figures that Paris-based artist Khaled DAWWA sculpts experience some form of confinement. Their bodies are contorted into cages or squeezed into each other’s arms, and each looks down or away, a position that makes them appear to lack the power and agency to be free. Cast in dense blocks, the introspective sculptures reflect the artist’s preference for terracotta and bronze. “All that we received from the old history is by these two materials,” he says.

Most of the pieces shown here are part of the Compressed series, which were born out of the artist’s own experiences. He tells Colossal:

This project was inspired by my having lived in different places during a short period: detention and compulsory military service in Damascus for four months, then Lebanon for one year and finally arriving to France. Upon arrival in France, at first, I felt liberated from it all. Then I realized that the French live their lives in a complex system that turns them into “compressed people” and that we had this in common. This is the first series in which I look at people beyond Syria.

If you’re in Paris, you can see Khaled DAWWA’s artwork at numerous spots around the city: his piece titled “Les Passants” will be installed in a public spot in Clamart in May 2021, and he’s also participating in Beautify Paris in June of this year. Currently, he is part of Répare, Reprise at the International City of Arts, a group show that’s up through July 10, and is in the process of making a film about the artworks on display. Explore more of the artist’s compacted sculptures on Instagram.

 

“Compressé” (2016), bronze, 13 x 11 x 8 centimeters

“Liberté” (2019), terracotta, 35 x 16 x 13 centimeters

“Siége” (2019), bronze, 35 x 14 x 13 centimeters

Left: “Les mille et une nuit” (2016), terracotta and wood, 20 x 30 centimeters. Right: “Et nous resterons amis pour toujours …,” bronze, 110 x 59 x 36 centimeters

“Une cellule individuelle” (2016), terracotta and wood, 15 x 15 x 5 centimeters