found objects

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Art Craft

Bizarre Animals Challenge the Bounds of Recognizability in Hybrid Assemblages by Debra Broz

October 25, 2019

Laura Staugaitis

“Winged Elephant” 6 x 7 x 7 inches

Winged elephants, multi-eared rabbits, and carrot-legged babies ready to be dipped in hummus: recent sculptures by Debra Broz (previously) continue to expand her collection of odd mashups formed from found ceramics. By carefully sourcing, separating, and re-fusing juxtaposed components of otherwise unremarkable ceramic knick-knacks, Broz forms entirely new creatures that are equal parts bizarre and humorous. The Los Angeles-based artist tells Colossal that she finds inspiration in absurdity:

I think a lot of us are frequently telling ourselves that the world is this very serious place, and that our lives as adults require careful consideration—and to a degree that’s true—but we also need to take time to realize that the world is also wildly full of nonsense, and that aspects of our lives are incredibly ridiculous. And I think it’s completely fair for us to recognize that, and laugh about it.

“Carrot Babies” 5.5 x 10 x 5 inches each

Broz also sees surprise as an important element in her work. Creating the opportunity for viewers’ expectations to be upended and their planned narrative disrupted makes her small sculptures uniquely memorable. She tells Colossal that acquiring a prank wooden outhouse built by her grandfather (not life-size) that explodes when a quarter is dropped in helped her articulate the importance of the unexpected in her practice. “For me, that object—the exploding outhouse—is weirdly inspirational in the way it takes something unassuming and makes it into something that surprises or bewilders people,” Broz explains. “It’s funny how that theme is so prevalent in my sculpture, but I had never thought about it in the context of my grandpa’s exploding outhouse until recently.”

In addition to adding to her ceramic-centric body of work, Broz has been experimenting recently with stuffed animals and balloons. The malleable materials make it easier to stretch her imagination and try out new ideas. She’s also been working in multiples, creating different variations on the same animal: the two white rabbits shown here were a part of that series. “It was a really interesting process to see how many ideas I could think of to alter that one particular form. That also got me interested in the idea of how much you can change a form before it stops being what it was and becomes something else,” Broz explains.

On November 16, 2019, you can see some of Broz’s iterative rabbits at the Track 16 Gallery Anniversary Show, and will have a piece up for auction in a fundraiser supporting Monte Vista Projects, an artist space and curatorial collective of which Broz is a part. Follow along with the artist’s latest creative endeavors on Instagram.

“Safari Turkey” 6 x 4 x 3 inches

“White Rabbit #24” 6 x 2 x 3 inches

“Duckling Ball” 6 x 6 x 5 inches

“Dancing Dolphin II” 5.5 x 8 x 3.5 inches

“Royal Canine” 6.5 x 12 x 8 inches

“White Rabbit #20” 5 x 3.5 x 2 inches

 

 



Art Craft History

Discarded Ceramic Shards Are Celebrated in Multi-Part Assemblages by Conservator and Artist Bouke de Vries

October 18, 2019

Laura Staugaitis

Bouke de Vries works with ceramic assemblage to reinterpret historical pottery in multi-part sculptures. The Dutch artist studied at the prestigious Central St. Martin’s in London and worked in high fashion before pivoting to ceramics conservation and restoration in the early 1990’s, which he learned at West Dean College. Confronting the moral dilemmas around valuation of imperfect artifacts in his vocational practice, de Vries challenges the value of imperfection, damage, and cultural history in his exploded artworks.

Broken blue willow plates amalgamate into a map of China, a shattered turquoise vase finds a new function as the contents of a clear glass vessel, and small shards of porcelain become the thorns on a blossoming rose. In a statement on his website, the artist explains:

Instead of hiding the evidence of this most dramatic episode in the life of a ceramic object, he emphasizes their new status, instilling new virtues, new values, and moving their stories forward… Where even an almost invisible hairline crack, a tiny rim chip or a broken finger render a once-valuable object practically worthless, literally not worth the cost of restoring. There’s something incongruous about the fact that such an object, although still imbued with all the skills it took to make it – be it first-period Worcester, Kang-xi or Sevres – can so easily be consigned to the dustbin of history.

De Vries’s work has clearly struck a chord with viewers: he exhibits widely and in 2019 alone has shown work at Hillwood House in Washington, Mesher Gallery in Instanbul, The Museum of Fine Art in Montgomery, Alabama, the Kuntsi Museum in Vaasa, Finland, the Museum of Royal Worcester, and at the Taiwan Ceramics Biennale in Yingge, Taiwan. The artist is represented by galleries in The Netherlands, U.S., and U.K. Explore more of de Vries’s work and stay up-to-date on his latest exhibitions via Instagram. (via The Jealous Curator)

 

 



Art

Enormous Panels of Patchworked Fabric Give Colorful Temporary Makeovers to Public Buildings

September 13, 2019

Laura Staugaitis

Textile artist Amanda Browder collaborates with the communities she’s working in to built site-specific architectural interventions. Using hundreds of yards of donated fabric with bright colors and patterns, Browder and her volunteer teams stitch together enormous panels that resemble crazy quilts. The panels wrap around bell towers, sheath elevated walkways, and drape from gables and eaves to give passersby a new experience of familiar buildings. In a statement on her website, Browder describes her work:

A state of betweenness – ‘twixt soft sculpture /’tween orchestrated public object installation with a studio affinity for abstraction and minimalism”. I am in love with the transformative nature of materials, and how the combination of the familiar creates abstract relationships about place. This relational objectivity generates an open-ended narrative, ambiguous situations defined by the choice of materials and work ethic. Central to the psychedelic experience, I am drawn to reinventing Pop-Art colors by exploring shifts in scale and sculptural perceptions.

The Montana-born artist received a B.A. in studio arts as well as two master’s degrees in sculpture and installation art. Browder is now based in Brooklyn and frequently travels to create new work. She was recently awarded an opportunity with the prestigious ArtPrize organization in Grand Rapids, Michigan. The multi-part work, titled Kaleidoscopic, is currently on view at locations around Grand Rapids. Keep up with Browder’s projects on Instagram, and watch the video below for a time-lapse of a previous installation in Las Vegas and an interview with the artist.

Photo: Bryan Esler

Photo: Bryan Esler

 

 



Art

Old Books Become Craggy Mountains and Waterway Channels in Otoniel Borda Garzon’s Mixed Media Sculptures

September 12, 2019

Laura Staugaitis

Colombian artist Otoniel Borda Garzon (previously) manipulates outdated volumes of maps, reference texts, and newspapers to form abstract sculptures. The multi-part artworks juxtapose the paper pages, carved into topographical shapes that allude to cliffs and mountains, with geometric wooden trusses and smooth, water-like glass channels. You can explore more of Garzon’s wide-ranging art projects, which often incorporate reclaimed materials, on his Behance portfolio.

 

 



Art Documentary

Repurposing the World’s Plastic Waste: An Interview With Assemblage Sculptor Thomas Deininger

August 28, 2019

Kate Sierzputowski

Every year more than eight million tons of plastic are dumped into our oceans. This anxiety, coupled with fears of a dramatic decline in insect populations and a global climate crisis, fuel the assemblage-based works of Thomas Deininger (previously). In a new short film by gnarly bay, clips of Deininger in his studio are supercut with footage showing the many ways that plastic has laid damage to our world’s sea creatures and environment. It is these bits of mindlessly discarded plastic that the Bristol, Rhode Island-based artist uses to create his sculptural optical illusions—which are often of the exact same animals and insects that the plastic threatens. You can see more of Deininger’s three-dimensional works built from found objects on Instagram.

 

 



Art Craft

Found Leaves with Delicate Crochet Embellishments by Susanna Bauer

June 13, 2019

Kate Sierzputowski

“Everything That Surrounds Us”, all photographs by Art Photographers

In her series of sewn together and crocheted leaves and twigs, Susanna Bauer (previously) considers the fragility of nature and humans’ inextricable tie to its survival. The Cornwall, England-based artist combines the found elements with fine cotton thread to produce unique objects steeped in the history of craft. Intimate marks add detail to small patches or the complete outline of browned leaves, drawing our attention the natural growth patterns found in their interiors. A selection of her free-standing and framed sculptures are currently on view with Le Salon Vert at VOLTA Basel in Switzerland through June 15, 2019. You can view more of Bauer’s works formed from leaves, thread, and twigs on her website and Instagram.

“Moon XXXII”

“Path IV”

“Hope”

“Realignment”

“Repose”

“Restoration V”

“Suspended”

“Trans-Plant No. 21”

 

 



Art

Insects Sculpted Out of Repurposed Automotive Parts by Edouard Martinet

June 1, 2019

Andrew LaSane

Guepe Vase (Wasp), 38 x 20 x 75cm

French artist Edouard Martinet (previously) sources junk metal and automotive parts from garage sales and flea markets to create detailed sculptures of various creatures including models of ants, wasps, and other common insects. The found objects are held together with screws instead of welded joints, and the completed works measure between 30 centimeters and 2 meters long.

Martinet’s fascination with insects began when he was 8 years old. He went on to study design at l’École Supérieure des Arts Graphiques in Paris and to work as a graphic designer before starting to experiment with sculptures made of repurposed parts. Each work begins with an extensive sketching phase, followed by a look through Martinet’s large cache of collected “junk.” The sculptor rarely modifies pieces to fit a certain application, and will instead wait several months or years if necessary to find the perfect component. He turns bicycle badges into chrome fish scales, chains into antennae, and other miscellaneous scraps into anatomical facsimiles that seem manufactured specifically for his art.

An exhibition of Edouard Martinet’s work opens on June 1 at Bettina von Armin Gallery in Paris, and you can also follow the artist on Instagram for more looks at his studio process and completed sculptures.

Guepe (Wasp), 51 x 36 x 35cm

Guepe (Wasp), 51 x 36 x 35cm. Photos: Xavier Scheinkmann

Fourmis (Ant), 56 x 37 x 34cm

Poisson Lorette (Fish), 66 x 12 x 29cm

Poisson Lorette (Fish), 66 x 12 x 29cm

Sauterelle (Grasshopper), 70 x 29 x 45cm

Sauterelle (Grasshopper), 70 x 29 x 45cm

Scarabe Bleu (Blue Beetle), 52 x 44 x 12cm

Libellule (Dragonfly), 105 x 50 x 80 cm

Libellule (Dragonfly), 105 x 50 x 80 cm