mixed media

Posts tagged
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Art

Unnatural Fusions of Animal and Plant Life Form New Elaborate Sculptures by Ellen Jewett

May 6, 2019

Laura Staugaitis

Canadian artist Ellen Jewett (previously) is known for her elaborately decorated polymer sculptures that combine wildlife with flowers, plants, and trees. Jewett, whose educational background is in animal science and behavior, uses her deep understanding of how creatures move through the world to inform her fantastical artworks. In one sculpture, ferns unfurl from the tail of a peacock, while a marsh of cattails grows from the abdomen of a dragonfly in another.

With her most recent sculptures from winter 2018 and spring 2019, Jewett shares with Colossal that she is starting to explore the use of unnatural colors. In doing so, Jewett seeks “to more deeply probe the emotional dimensions of my subjects. I want the emotional presence of the animal to be clearly present even if the precise interpretation remains indiscernible.”

The artist’s work will be shown in a show opening May 11, 2019 at the Urban Nation Museum of Contemporary Art in Berlin, as well as at the MESA Contemporary Arts Museum in Arizona and the Beinart Gallery in Melbourne in September and November, respectively.

 

 



Art

Mixed Media Sculptures by Michael Alm Convey the Sinuous Nature of Animal Muscles

January 4, 2019

Kate Sierzputowski

"Jack Rabbit (Lepus Californicus)", 2014, wood and glass eyes, 20 x 23 x 7 inches

“Jack Rabbit (Lepus Californicus)”, 2014, wood and glass eyes, 20 x 23 x 7 inches

Seattle-based sculptor Michael Alm forms lifelike animal sculptures from carved and shaved wood, often adding realistic features such as glass eyes to complete the anatomical studies. The works imitate the natural gestures of the animals he sculpts, such as “Jack Rabbit (Lepus Californicus),” which captures the animal mid-stride.

By presenting the animal in movement we are better able to see the tension explored through thin wood strips that gracefully cross over and under each other like muscular fibers. “The gaps in the veneer accentuate the tension in the form while lightening the visual weight of the creature,” he tells Colossal. “In this piece (Jack Rabbit), I’ve highlighted the elements which contribute directly to the animal’s movement and eliminated any excess. As a result, the form looks both strong and delicate much like the animal itself.”

Alm is also a furniture maker by trade, and the byproducts of this work serves as the bulk of the material for his sculptures. After milling wood he has plentiful strips to reuse in his sculptures. “These strips are extremely flexible and when layered up they remind me of muscle and sinew,” he continues. “The more I played with this material, the more I realized the amazing number of ways it could be used.”

You can view more of his work on his website and Instagram and get a behind-the-scenes look at how he constructs his sculptures on Youtube.

"Jack Rabbit (Lepus Californicus)"

“Jack Rabbit (Lepus Californicus)”

"Jack Rabbit (Lepus Californicus)"

“Jack Rabbit (Lepus Californicus)”

 

Creation of "Jack Rabbit (Lepus Californicus)"

Creation of “Jack Rabbit (Lepus Californicus)”

Creation of "Jack Rabbit (Lepus Californicus)"

Creation of “Jack Rabbit (Lepus Californicus)”

“Anatomical Bird Wing”, 2014, wood, 16 x 6 x 2 inches

“Burrow”, 2016, wood, 20 x 24 x 9 inches

 

 



Art

Mixed Media Works by Gregory Euclide Expose the Destructive Materials Used to Replicate Landscapes

September 6, 2018

Kate Sierzputowski

"Birch," all images provided by Hashimoto Contemporary

“Birch,” all images provided by Hashimoto Contemporary

The textured paintings and assemblages of artist Gregory Euclide (previously) combine organic and man-made materials to present the rapid changes happening to the landscapes around us. In his upcoming solo exhibition Preservation Paradox at Hashimoto Contemporary the Minneapolis-based artist examines the contradictions found in our simultaneous desire to protect some areas of nature while destroying others. The exhibition includes pieces from his most recent series Scrapes. The abstracted landscapes include some of the toxic materials used to create common artworks, such as paint and styrofoam.

“Acrylic paint, a petroleum product, is used to generate the illusion of land or water when in a pile or scraped across the surface, as well as thinned out and used to generate the illusion of landscape,” the artist explains in a press release for his exhibition.

His pieces include large swaths of paint set on top more traditionally painted landscapes, exploring both the landscape and the material that was used to replicate it. Preservation Paradox opens on September 8 and runs through September 29, 2018 at Hashimoto Contemporary in San Fransisco. You can explore more of Euclide’s recent work on Instagram and Behance.

"Bridge"

“Bridge”

"Scrape 12"

“Scrape 12”

"Scrape 1"

“Scrape 1”

"Scrape 5"

“Scrape 5”

"Scrape 11"

“Scrape 11”

"Yard"

“Yard”

 

 



Art

Towering New Mixed Media Portraits by Andrew Salgado

July 10, 2017

Kate Sierzputowski

'Sunset (Good Morning Beautiful, I Waited All Night Long)' Oil, oil pastel, spray, and hand-dyed and hand stitched linen on Canvas, 245 x 215 cm

‘Sunset (Good Morning Beautiful, I Waited All Night Long)’ Oil, oil pastel, spray, and hand-dyed and hand stitched linen on Canvas, 245 x 215 cm

Canadian-born artist Andrew Salgado (previously here and here) presents a new body of work composed of towering portraits that span over eight-feet-tall. The mixed media works incorporate materials as diverse as paperback books and miniature cacti—objects that bring even more texture to the cross-hatched oil and pastel faces portrayed on each canvas. The works are included in his solo exhibition A Room With a View of the Ocean which runs through August 20 at Lauba House in Zagreb, Croatia. You can see more of Salgado’s mixed media works on his Facebook and Instagram.

(Detail) 'Soft Cage' Oil, oil pastel, paperback novels, and found objects on Canvas, 225 x 205 cm

(Detail) ‘Soft Cage’ Oil, oil pastel, paperback novels, and found objects on Canvas, 225 x 205 cm

'Soft Cage' Oil, oil pastel, paperback novels, and found objects on Canvas, 225 x 205 cm

‘Soft Cage’ Oil, oil pastel, paperback novels, and found objects on Canvas, 225 x 205 cm

'Ocean (Pretty Boys with Tears Like Grapes)' Oil, oil pastel, spray, collage, mixed-media and hand-dyed and hand stitched linen and paperback copies of The Outsider, A Season in Hell, and Tropic of Cancer on Canvas, 245 x 245 cm

‘Ocean (Pretty Boys with Tears Like Grapes)’ Oil, oil pastel, spray, collage, mixed-media and hand-dyed and hand stitched linen and paperback copies of The Outsider, A Season in Hell, and Tropic of Cancer on Canvas, 245 x 245 cm

'Seven Suns' Oil, oil pastel, spray, and hand-dyed and hand stitched linen, cacti, and paperback copy of The Outsider on Canvas, 245 x 215 cm

‘Seven Suns’ Oil, oil pastel, spray, and hand-dyed and hand stitched linen, cacti, and paperback copy of The Outsider on Canvas, 245 x 215 cm

(Detail) 'Seven Suns' Oil, oil pastel, spray, and hand-dyed and hand stitched linen, cacti, and paperback copy of The Outsider on Canvas, 245 x 215 cm

(Detail) ‘Seven Suns’ Oil, oil pastel, spray, and hand-dyed and hand stitched linen, cacti, and paperback copy of The Outsider on Canvas, 245 x 215 cm

'Morning (Bacchus in Chains)' Oil, oil pastel, collage, ceramic items, thread, wood, mixed media collage, Virgin Mary statues, found book, found objects, postcard, and ocean noises on paper and wallpaper, 106 x 106cm

‘Morning (Bacchus in Chains)’ Oil, oil pastel, collage, ceramic items, thread, wood, mixed media collage, Virgin Mary statues, found book, found objects, postcard, and ocean noises on paper and wallpaper, 106 x 106 cm

'Forever (Yesterday, Today, Tomorrow)' Oil, oil pastel, spray, collage, mixed-media and hand-dyed and hand stitched linen and paperback copy of Slaughterhouse V on Canvas, 245 x 235 cm

‘Forever (Yesterday, Today, Tomorrow)’ Oil, oil pastel, spray, collage, mixed-media and hand-dyed and hand stitched linen and paperback copy of Slaughterhouse V on Canvas, 245 x 235 cm

"A LESSON IN PATIENCE WE ARE THROW HEAD FIRST INTO HELL I CRY HIS FIGERS THRU A SMALL HOLE IN A BRICK WALL BRINGS ME BACK BUT I LEARNED ABOUT HIM ME THE DEPTHS OF MY SOUL AND MY STRENGTH IN THIS UNCATEGORIC JOURNEY A LONG WALK TOWARDS HELL” Oil, oil pastel, collage, plastic skulls, wood, collage, found collages and evil glances on paper and screenprint, 106 x 106 cm

“A LESSON IN PATIENCE WE ARE THROW HEAD FIRST INTO HELL I CRY HIS FIGERS THRU A SMALL HOLE IN A BRICK WALL BRINGS ME BACK BUT I LEARNED ABOUT HIM ME THE DEPTHS OF MY SOUL AND MY STRENGTH IN THIS UNCATEGORIC JOURNEY A LONG WALK TOWARDS HELL” Oil, oil pastel, collage, plastic skulls, wood, collage, found collages and evil glances on paper and screenprint, 106 x 106 cm

Install shot of 'A Room with a View of the Ocean'

Install shot of ‘A Room with a View of the Ocean’

 

 



Art Craft

Three-Dimensional Hoop Embroidery Accented With Clay by Justyna Wołodkiewicz

June 20, 2017

Kate Sierzputowski

Artist Justyna Wołodkiewicz mixes embroidery with abstract clay forms in order to produce three-dimensional works that spring from traditional hoops. The pieces weave together bold threads with equally bright polymer clay shapes, creating multi-textured surfaces from the diverse materials.

The artist typically starts with a miniature sketch before embarking on molding the clay structures she wishes to include in each piece, stitching the final clay works into the surface of the embroidered hoop. Wołodkiewicz sells her works on her Etsy shop “Nibyniebo” which means “just like the sky.” You can see more of her sculptural embroidery on her Instagram and Facebook. (via Colossal Submissions)

 

 



Art Photography

New Mixed Media Landscapes and Still Lifes That Merge Photography and Impressionism by Stev’nn Hall

March 23, 2017

Kate Sierzputowski

Stev’nn Hall (previously) blends photography and painting together in an impressionistic style, often focusing his works on the rural landscapes of his Canadian home, or images of flowers he takes in his studio. The pieces are built from images shot with a 35mm camera, and feature gestures on the surface in the mediums of acrylic, ink, and pastel. These markings serve as both complements to the landscapes and abstract bits of scrawl, simultaneously pushing the underlying photograph to appear more like a painting, and Hall’s painted additions to seem like photographic errors. You can see more of his mixed media works on Tumblr and Instagram.

Image by Alejandro Collados Nunez

 

 



Art

Traveling Landscapes: Miniature Ecosystems Tucked Inside Vintage Suitcases by Kathleen Vance

March 13, 2017

Christopher Jobson

As part of her ongoing series titled Traveling Landscapes, New York-based artist Kathleen Vance constructs entire landscapes inside of old steamer trunks and repurposed luggage. Many of the pieces incorporate real running water, soil, and living plant life to form encapsulated environments, though others are constructed from common model making materials and resin. The pieces are intended to speak to the fragility of drinking water reservoirs and issues of water rights. She shares in her artist statement:

Materials that are commonly defined as natural and artificial are combined in the creation of these works, isolating aspects that are indicative of the ‘natural’ (while sometimes are considered unnatural). The landscapes created are transformative in their illusion of a nature scene; they are contained in traveling cases to magnify the displacement of a seemingly natural landscape in an unusual framework. These pieces extenuate the desire for ‘untouched’ natural environments, and the claim and proprietorship that are placed on plots of land, which carries over to water rights.

Vance recently unveiled a larger site-specific installation titled Traveling Landscape: Precious Cargo with ROCKELMANN & at VOLTA NY 2017. (via Art Ruby, Inhabitat)