feathers

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Photography

In Flight: Dramatic Photographs by Mark Harvey Capture Acrobatic Birds Mid-Air

All images © Mark Harvey, shared with permission

Throughout lockdown in the United Kingdom, Mark Harvey, who is known for his striking equine and canine photography, shifted his focus to the avian creatures gliding above his home in the Norfolk Broads. Now part of a series titled In Flight, the exquisitely detailed shots frame common birds —including magpies, blue tits, starlings, goldfinches, great tits, coal tits, long-tailed tits, and green finches—in otherwise unseen poses: some splay out an entire wingspan, while others wrap their feathers around the front of their torsos.

Hearkening back to the methods of famed birdwatcher Victor Hasselblad, Harvey employed similar techniques to capture the dramatic shots. He used a slow, medium format with the same camera Hasselblad manufactured for the outdoor endeavor, taking just one image at a time.

Harvey just released limited edition prints of the In Flight series, which are available in a run of 15 per subject in his shop, and shares more of his striking horse and pup portraits on Instagram. (via Creative Boom)

Art

10,000 Pigeon Feathers Cascade from a Bookcase in Kate MccGwire's Latest Installation

“Discharge” (2020), mixed media installation with pigeon feathers, approximately 480 x 70 x 370 centimeters. All images by Jonty Wilde, © Kate MccGwire, shared with permission

Based in west London, artist Kate MccGwire is known for her serpentine feather sculptures and discomfiting artworks that coil and ooze in every direction. A recent installation follows in that tradition as it pours down like a massive gush of water from a built-in bookcase. Composed of approximately 10,000 pigeon feathers, “Discharge” stands nearly five meters tall and cascades to the floor in feathered ripples. While the plumes lining the main chute are in shades of gray, those at the bottom are lighter, evoking the ways water appears white when it crashes.

The delicate feathers are sourced ethically from pigeon racers who collect the plumes in August and October when the birds molt. MccGwire sorts the materials in her studio, separating the ones that curve left from those that bend to the right, before arranging them in captivating, color-specific patterns. “When visitors see the piece for the first time they are drawn to the phenomenal scale, rhythmic patterning, movement, and perfection of the piece,” she says of the mixed-media installation. “But are often perturbed and revolted when they understand what the material is,” which is exactly her intention. By juxtaposing the raw materials with the finished artwork, she asks viewers to consider the everyday beauty that’s often overlooked.

“Discharge” has been exhibited in an evolution of configurations in South Korea, Berlin, Paris, and now, Harewood House in West Yorkshire until August 14. Take a video tour of the current exhibition—which also includes a massive feather rug and encased sculptures—and find more of MccGwire’s voluptuous projects on Instagram.

Update: The exhibition at Harewood House has been extended through October 25.

Art

Intricate Beadwork Adorns Handmade Mardi Gras Suits by Demond Melancon

For the past three decades, Louisiana-based artist Demond Melancon has created highly detailed Mardi Gras Indian suits using millions of hand-sewn small glass beads. Each suit takes several months to create and features custom patches that tell stories about African and American history.

Images of Nyabinghi warriors, Haile Selassie, African nature scenes, and slavery are strung together bead by bead to form decorative costumes that weigh up to 150 pounds and are worn from 9am to 6pm on Mardi Gras. Frills and feathers frame the complex beadwork and sequins to complete the one-of-a-kind single purpose suits.

Melancon tells Colossal that in junior high school his friends “masked Indian” and that he followed them into the craft. He was chosen by the elders to learn sewing techniques as well as the history of Black Masking Culture in New Orleans when he was 14 years old. After masking as a Spy Boy for 15 years with the Seminole Hunters, Melancon earned the distinction of becoming Big Chief to his own tribe. In addition to leading his community and passing on traditions to the next generation, the honor is expressed through the size and intricacy of his suits, which can take over 4,000 hours to complete and are only worn once.

“I study our history and historical narratives to create my pieces [with] many different references,” Big Chief Demond Melancon of the Young Seminole Hunters explained. He added that as a “bead master,” his style involves using the smallest beads available to pack in as much detail as possible.

Melancon’s work has been exhibited in galleries around the world. A new documentary short about his life and art titled “All on a Mardi Gras Day” (dir. Michal Pietrzyk) was the Documentary: Grand Jury Prize Winner at Seattle International Film Festival and has been shown at other festivals across America, Germany, and Denmark. For a list of upcoming screenings and to see more of the Big Chief’s suits, visit his website and Instagram.

Art Illustration

Meticulous Portraits of Young Women by Ozabu Are Eerily Fused with Plants and Feathers

Mysterious women are delicately rendered in surreal graphite portraits by Japanese artist Ozabu. Working on warm-toned paper, Ozabu uses a combination of meticulous linework and astoundingly smooth blending to create images that are simultaneously dramatic and soft. Young female subjects seem to fuse with ravens, chrysanthemums, and bonsai trees, blurring the boundaries between human and nature. The self-taught artist refrains from speaking about or explaining her work, instead allowing each ineffable drawing to spark the viewer’s imagination. Ozabu is currently working on an upcoming solo show and regularly posts in-progress and completed pieces on Instagram.

 

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Art

Feathered Skulls by Laurence Le Constant Serve as Objects of Memory Dedicated to Departed Loved Ones

Laurence Le Constant started working with feathers in the early 2000’s while employed as a sequins designer in haute couture workshops throughout Paris. Inquisitive about the meticulous art, she would ask embroiderers and feather workers to teach her the trade during breaks or her lunch hour. After her grandmother passed in 2010 she created her first skull as a memorial, spending hundreds of hours of works selecting and gluing feathers to a resin base. Since this first skull, her other pieces have also served as tools for memory, honoring prominent women in her family and beyond.

“With the series ‘My Lovely Bones,’ I became the Huesera, or the ‘bone lady,'” Le Constant told Colossal. “Like this mythical creature from the Mexican folk tales, which roams the desert to collect bones and bring back life through its singing, I bring the magnified skulls of women back from the afterlife, giving them a new life and a new voice.”

The artist sources feathers from animals farmed for the food industry in Europe and never uses feathers from protected or endangered birds. You can see more of her feather sculptures on her website and Instagram. (via Colossal Submissions)

Art

Serpentine Coiled Sculptures of Found British Bird Feathers by Kate MccGwire

Turmoil, 2016. Mixed media with pheasant feathers in antique dome. 58 x 43 x 60 cm. All photos by JP Bland

Kate MccGwire‘s roiling feather sculptures juxtapose the beautiful, delicate material with discomfiting shapes. Whereas her earlier work tended toward sprawling installations that oozed and slid toward the viewer, MccGwire’s more recent pieces are tightly wound and displayed within the confines of frames, cabinets, and bell jars.

Although at first glance the feathers’ incredible colors and patterns seem exotic, the British MccGwire sources all of her materials from dropped feathers provided by farmers, gamekeepers, and pigeon racers. She was originally inspired to begin working with feathers after discovering a local pigeon colony that dropped feathers near her rural art studio. Magpie and mallard feathers gleam an iridescent inky blue, and pheasant feathers sport detailed patterns.

In an interview with Artnews, MccGwire describes her work: “I’m thinking of it as being like an umbilical cord. I want to seduce by what I do—but revolt in equal measure. It’s really important to me that you’ve got that rejection of things you think you know for sure.”

MccGwire is represented by La Galerie Particuliere and Mark Sanders Art Consultancy and exhibits widely; she currently has works in three shows. The artist also shares updates on Facebook and Instagram.

Spill, 2016. Mixed media with magpie feathers. 53 x 93 x 9.5 cm

Spill (detail), 2016. Mixed media with magpie feathers. 53 x 93 x 9.5 cm

Sentient, 2016. Mixed media with goose feathers in bespoke cabinet. 56.5 x 40 x 40 cm

Spate, 2015. Mixed media with pheasant feathers. 127 x 155 x 10 cm

Conundrum, 2017. Mixed media with rooster feathers in bespoke brass vitrine. 100 x 60 x 30 cm

Swathe, 2014. Pigeon tail feathers on archival board. 69 x 69 x 17 cm

Swathe (detail), 2014. Pigeon tail feathers on archival board. 69 x 69 x 17 cm

Sissure: Breach, 2016. Mixed media with goose down and pigeon quills. 55 x 29 x 6 cm