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Art Photography
Moments of Isolation and Belonging Explored in Surreal Composite Photographs by May Parlar

All images © May Parlar, shared with permission of the artist
Photographer May Parlar punctuates open landscapes with colorful elements like masses of balloons and accessories separated from human wearers. Her work reflects on themes of belonging and alienation, Parlar tells Colossal, and she seeks to “explore the human condition through a feminist perspective.”
To build her fanciful scenes, Parlar explains that she layers frames to build composite images rather than manipulating the content itself. “I work across different mediums such as photography, film, performance art, sculpture, installation, and landscape art; and all of which gets merged in the end and put together with a glue that for me is the camera”. The artist first was first drawn to photography and filmmaking during her architecture and design schooling in the U.K.
Parlar describes herself as a global nomad, and is currently based in Berlin. See more of her imaginative images on Instagram, and purchase limited edition prints on Saatchi Art. (via Tu Recepcja)
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Art Craft
Magnificently Detailed Porcelain Vessels by Hitomi Hosono Are Blossoming with Hundreds of Flowers, Leaves, and Branches

“Commission of A Large Dancing Hawthorn Vase” (2019), moulded, carved and hand-built porcelain, 15 3/8 x 17 3/4 inches
Stunning new decorative vessels by Hitomi Hosono layer delicate porcelain flowers and leaves into dimensional forms that appear almost alive. The lavishly embellished bowls and vases feature clusters of finely detailed blossoms, ferns, and stylized tree branches in an aesthetic somewhere between realistic and stylized. In a statement on her gallery’s website, the Japan-born, London-based artist explains that she is inspired by walks in her neighborhood. She closely examines each botanical specimen to create models and moulds, and then hand-carves additional details on each pressed sprig.
Since we last covered Hosono’s work, she has been an Artist in Residence at Wedgwood—the video below takes a look inside the artist’s practice during that time. The London-based artist exhibits widely, and most recently had work on view in “A Natural Selection” at The Scottish Gallery in Edinburgh. Explore much more of Hosono’s work on the Adrian Sasson website, and peek inside her studio practice by following her on Instagram.

“A Nadeshiko and Mangrove Bowl” (2019), moulded, carved and hand-built porcelain, 6 1/8 x 11 3/8 inches

“A Nadeshiko and Mangrove Bowl” detail

“A Very Large Pine Tree Pool” (2019), moulded, carved and hand-built porcelain, 3 1/8 x 16 7/8 inches

“A Very Large Pine Tree Pool” detail

“A Dancing Pine Tree Tower” (2018), Moulded, carved and hand-built porcelain, (L:) 9 7/8 x 8 1/8 inches; (R:) 9 5/8 x 5 3/4 inches

“A Tsubaki and Leaves Bowl” (2018), moulded, carved and hand-built porcelain, 4 1/2 x 13 5/8 inches

“A Small Dancing Sakura and Michikusa Bowl”(2019), moulded, carved and hand-built porcelain, 3 1/8 x 7 5/8 inches

“A Very Large Zenmai Bowl” (2018), moulded, carved and hand-built porcelain with yellow gold leaf interior, 11 x 13 inches
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Art Design
100,000 Hand-Arranged Stamps Form Complex Mosaics by Elisabetta Di Maggio
In “Greetings from Venice, Italian artist Elisabetta Di Maggio used thousands of stamps to create colorful mosaics on the floor of the Fondaco dei Tedeschi. Di Maggio created repeating geometric patterns with the varied designs, shapes, and color palettes of each miniature government-commissioned artwork. The paper mosaics were placed below a transparent floating floor, allowing visitors to walk over the artwork, located on the fourth floor of the historic building, which has been repurposed as a contemporary shopping destination.
To create the elaborate repeated patterns, Di Maggio studied St. Mark’s Basilica’s floor and Venetian palazzi and sorted 100,000 stamps by color to prepare the designs. The artist then worked with a team of high school students to arrange the stamps in complex patterns. “Greetings from Venice” was on view in autumn 2018.
Take a behind-the-scenes look at the process for “Greetings from Venice” on Irenebrination’s blog and explore more of Di Maggio’s other projects on her website.

Research and process documents via Irenebrination
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Art Craft History
Discarded Ceramic Shards Are Celebrated in Multi-Part Assemblages by Conservator and Artist Bouke de Vries
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)
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Art
15,000 Black Paper Butterflies Swarm the Fondazione Adolfo Pini for Carlos Amorales’s Latest Installation of ‘Black Cloud’

Photographs: Andrea Rossetti
Hordes of black butterflies of various sizes and species cover the grand staircase, mirrors, walls, and doors of the Milan-based Fondazione Adolfo Pini. The dark and vast swarm is a part of the more than 10-year series Black Cloud by Mexican artist Carlos Amorales (previously) as a part of his solo exhibition THE ACCURSED HOUR. The butterflies surround an installation of paper cut-outs from his series Life in the folds, a project of gray-toned human and tree silhouettes which address the nature of human violence against other humans. The exhibition opened April 2 and continues through July 8, 2019. You can see more of Amorales’s projects on his website and Instagram. (via designboom)
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Art
Sculptural “Agreggations” by Kwang Young Chun Comprised of Thousands of Individually Wrapped Paper Parcels
South Korean artist Kwang Young Chun wraps tiny geometric packages in paper and combines them into massive wall-mounted and freestanding assemblages. Each composition is composed of thousands of individual mulberry paper parcels, carefully toned with tea and pigment and including the abstracted characters that allude to the paper’s origins as old documents. The works, which Chun refers to as ‘agreggations’, feature gradations in color and smooth craters within their highly textured surfaces.
Chun drew inspiration for his signature style from his illness-ridden childhood in Korea and the way that medicine was commonly packaged in triangular paper parcels of mulberry paper, or hanji. The artist was raised in Korea, lived in the United States in the 1960s while completed his M.F.A. at Philadelphia College of Art, and returned to his native country in adulthood.
In an artist statement on his website, Chun describes the disorientation he felt while a graduate student in America, tension and discord between the ways of his upbringing and the cultural modes of the U.S. This experience heightened his drive to express himself as a Korean artist, and in 1995 Chun landed on his current mode of making.
Six of the artist’s agreggations are on view in a solo exhibition at the Brooklyn Museum, through July 28, 2019. You can see more of his body of work on his website.
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