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Art Craft

Meticulously Sculpted and Tarnished Dandelions Preserve the Herb’s Ephemeral Nature in Metal

January 6, 2021

Grace Ebert

All images © Shota Suzuki, shared with permission

Staining friend’s hands with dandelion heads and blowing their wispy seeds are a common childhood pastime and a simple joy that Shota Suzuki channels in his delicately constructed sculptures. The Kyoto-based artist painstakingly carves copper, brass, and silver into barbed leaves and feathery seeds to recreate the ubiquitous herbs in each state of bloom and decay.

To tarnish the textured metals and alter their colors, Suzuki uses combinations of vinegar, copper sulfate, and acetic acid to create purples and blues. For the black components, he oxidizes pieces in dissolved sulfur. Suzuki’s coloring techniques are rooted in traditional Japanese patina methods including niiro, which historically used daikon juices to alter the metal, and are the most demanding part of his process. “The chemical modification is very sensitive and is affected by everything from the weather conditions to the dirt on my hands. It’s hard to make the same color every time,” he says in an interview with Kyoto Journal.

Each dandelion is the product of hours of research, which begins while Suzuki walks around his neighborhood and spots weeds in sidewalk cracks or garden flowers. He then works from memory and occasional glimpses of photos of the chosen plant, forgoing sketches and models to create pieces that merge scientific accuracy with the artist’s vision, which he explains:

I’ve never practiced the art of ikebana, but there is an element of it that comes through. My work does not portray a plant as it would be in its natural environment. Rather I manipulate it in a way that I find to be beautiful. I think the composition especially, like the placement and length of the flowers and stems of the plant, is really important. So in that respect, it is rather similar to ikebana.

See more of Suzuki’s botanic sculptures, which include violets, cherry blossoms, and seaside daisies, on Artsy, and follow his latest works and updates to his shop on Instagram.

 

 

 



Art

Illuminated Figures Consider the Relationship Between the Body and Soul

November 17, 2020

Grace Ebert

“Vessel of the Universe (Sisidlan ng Kalawakan)” (2020), soldered metal, glass, LED strips, and electrical fittings, 64.5 x 47 x 12 inches. All images © Joshua Limon Palisoc, shared with permission

Joshua Limon Palisoc draws on the tenets of Filipino Psychology to inform his life-sized figures that radiate from the inside. Using mesh-like forms of soldered metal, the artist conveys the idea that the physical body is simply a vessel for the soul. LED lights nestled within the anatomical sculptures emit a warm glow through the seams, blurring the boundary between inner and outer selves.

The illuminated forms shown here are part of Ephemeral Vessels, Palisoc’s first solo show on view through November 29 at Pinto Art Museum in Antipolo, Philippines. Composed of upright and seated figures, the collection focuses on personality and conscience (loob), the body (labas), and reason (lalim), ideas that the artist gleans from the particular branch of psychology originally helmed by Virgilio Enriquez.

Palisco, who shares insight into his techniques on Instagram, describes his process as ritualistic, noting that each artwork he solders together holds a part of himself that asks viewers to avoid “existing in this world passively.” Instead, he writes, “we should stir and affect others through our own genuine ways.”

 

“Vessel of the Universe (Sisidlan ng Kalawakan)” (2020), soldered metal, glass, LED strips, and electrical fittings, 64.5 x 47 x 12 inches

“Conversations with the Flame (Pakikipagtalastasan sa Ningas)” (2020), soldered metal, LED bulb, and electrical fittings, 64.5 x 60 x 14 inches

“Conversations with the Flame (Pakikipagtalastasan sa Ningas)” (2020), soldered metal, LED bulb, and electrical fittings, 64.5 x 60 x 14 inches

“Whisper from a Spark (Bulong ng Alipato)” (2020), soldered metal, LED bulb and electrical fitting, 64.5 x 33 x 10 inches

“Accepting Transcendence (Pagtanggap sa Lagablab)” (2020), soldered metal, LED bulb, and electrical fittings, 60.5 x 46 x 19 inches

“The Soul’s Journey (Paglalayag ng Kalooban)” (2020), soldered metal and glass, 71 x 64 x 72 inches

 

 



Art

Symmetrical Typewriter Sculptures by Artist Jeremy Mayer Merge the Organic and Manufactured

November 16, 2020

Grace Ebert

“Untitled II” (2020), typewriter parts and aluminum, 65 x 65 x 12 inches

“There’s nothing unnatural about mechanical components,” Jeremy Mayer says. For decades, the artist has harbored a fascination with the repetitive, complex patterns of single-cell organisms and the delicately rendered illustrations of Ernst Haeckel, an attraction that manifests in his latest sculptures.

Spanning up to 65 inches, Mayer’s metal artworks are comprised of old typewriter parts mounted around a laser-cut aluminum frame with only the original screws, nuts, pins, and springs holding the mirrorlike pieces together. Formed around a central, circular element, the multi-unit assemblages splay outward. Each of the six points—which evoke starfish, despite having one extra arm—often resemble trilobites, pincers, and other creatures and organic elements, merging the manufactured and natural.

“The form and function are based upon our knowledge of the living world around us. I’m interested in making the machine look like a living thing, drawing inspiration from the relationships that the early designers of the typewriter had with nature,” he says.

 

“Untitled I” (2020), typewriter parts and aluminum, 60 x 60 x10 inches

Mayer purchases between 10 and 15 typewriters each year, which he sources from repair shops, thrift stores, and yard sales around the San Francisco Bay Area. “The more broken the better,” he writes. In the past, he’s gravitated toward the smaller components of the metal machines to assemble birds, skulls, and other figurative sculptures. After transporting the bulky leftovers from studio to studio for years, he gathered enough duplicate parts to construct the symmetrical sculptures.

The ongoing series was born out of a residency at Mumbai-based manufacturer Godrej & Boyce, during which Mayer was asked to create works from leftover typewriters. During his six months, he built mandala-like sculptures and a 13-foot-tall kinetic lotus that explored the connections between industry and biological forms.

Mayer finished the first sculpture of this most recent series at the beginning of the COVID-19 lockdowns and almost has completed five since. He has plans for ten in total, and you can follow their progress on Instagram.

 

“Untitled III” (2020), typewriter parts and aluminum, 60 x 60 x 14 inches

“Untitled III” (2020) (detail), typewriter parts and aluminum, 60 x 60 x 14 inches

“Untitled I” (2020) (detail), typewriter parts and aluminum, 60 x 60 x10 inches

“Untitled II” (detail) with Cleo Mayer

Studio with “Untitled IV” in progress

 

 



Art

Stainless Steel Roots Sprawl Into Figurative Sculptures by Artist Sun-Hyuk Kim

November 10, 2020

Grace Ebert

All images © Sun-Hyuk Kim, shared with permission

Just like a tree, the spindly branches that shape Sun-Hyuk Kim’s sculptures extend from a larger, sturdy limb—or in the South Korean artist’s case, neck or spine, too. Kim (previously) creates sprawling artworks that merge human anatomy and the root systems that crawl underneath the earth’s surface. Sometimes painted in neutral tones and others plated in gold, the sculptures are composed of stainless steel that trails out into figurative forms.

Imbued with metaphor, the intricate works consider our existence and their inherent incompleteness, Kim says. The “pandemic in 2020 clearly shows how weak the existence of a human being is,” he writes. “The human force encountered in this era, which has achieved many civilizations and cutting-edge science, reminds us of the collapse of the Tower of Babel, which was built to become like God.”

To follow Kim’s latest projects that explore the connection between people and the natural world, head to Instagram.

 

 

 



Art

Recycled Scraps and Discarded Objects Are Fashioned Into an Eccentric Menagerie of Metal Animals

October 27, 2020

Grace Ebert

All images © Barbara Franc, shared with permisison

London-based artist Barbara Franc (previously) upcycles materials that otherwise would be tossed into the recycling bin to create a quirky menagerie of metal creatures. Composed with scraps and copper wire, the lively sculptures generally are indicative of movement: owls lift a talon mid-waddle, two cats peer over their shoulders with surprised expressions, and a squirrel appears ready to scurry off.

The diversity of Franc’s creatures mimic the breadth of materials utilized. She often begins by creating a wire-netting form before attaching the found objects—which include a combination of windscreen wipers, dog leads, keys, cupboard handles, cutlery, biscuit tins, old spanners, metal clips, costume jewelry, and clock and watch pieces—that she sources from yard sales, thrift shops, builder’s dumpsters, and along the roadside as she walks. When attached to the body, logo-printed scraps form a bushy tail and chess pieces create ruffled chest feathers.

Franc notes that she creates to celebrate other species rather than out of sentimentality. “It is more about a very positive feeling of respect for the huge diversity of life on our wonderful planet and the knowledge that Life itself will always be there. Animals just symbolize that for me in an uncomplicated and direct approach as there is no human element to confuse the issue,” she says.

Purchase one of Franc’s animalistic sculptures from her shop, and follow her latest recycled pieces on Instagram.

 

 

 



Art

Welded Stainless Steel Creatures by Georgie Seccull Twist and Unfurl in Eternal Motion

August 27, 2020

Christopher Jobson

Zenith & Nadir, 2020. All images by Andrew J Bourke, © Georgie Seccull, shared with permission.

Australian sculptor and installation artist Georgie Seccull creates large-scale stainless steel sculptures of animals and other creatures seemingly locked in motion. Comprised of numerous pieces cut from metal sheets, the materials lend themselves to organic forms like feathers, scales, wings, or the armaments of crustaceans. Seccull’s work scales up dramatically in her installation practice where she’s filled entire rooms and atriums with suspended pieces.

“We are born out of chaos in darkness and come into the light—my process is much the same: I begin with a thousand pieces scattered on the ground, then working almost like a jigsaw puzzle, I pick them up one by one and allow each piece to come together organically and dictate the outcome,” the artist shares in a statement.

One of Seccull’s most recent sculptures has been nominated for a Beautiful Bizarre People’s Choice art prize, and she has an upcoming solo show at the Gasworks Art Park near Melbourne. You can see more of her work on Instagram.

 

The Beyond

Cancer Rising

Dancing in the Dark

The Gatekeepers, detail

Through the Dark

Resistance, 2019

Return to the Source

Artist Georgie Seccull in her studio.