pastel

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Art Craft

Minimalist Ceramics by Amy Victoria Marsh Exude Positivity and Playfulness

February 10, 2020

Grace Ebert

“Happy Poo,” stoneware clay, underglaze, and transparent glaze, extra large 7 x 7 centimeters, large 5 x 5, regular 4 x 3.5, small 3 x 3. All images © Amy Victoria Marsh

Relying on a simple color palette, Amy Victoria Marsh crafts minimalist ceramics meant to inspire positivity and humor. The Manchester-based artist creates playful pieces ranging from supine women reading to others wrapped up on a sushi bed to her “Happy Poo” collection. Her pastel fortune cookie even comes in an illustrated package with an uplifting saying stuffed inside.

Marsh tells It’s Nice That that much of her lighthearted work has been inspired by a 2016 visit to Japan. “From the typography found everywhere, to the personification of most objects, the Japanese have a unique take on design, which I find hugely inspiring,” she said. Her love for all things tiny, though, began during her childhood. “I was madly into toys such as Polly Pocket and Sylvanian Families and loved looking at illustrated stamps,” she said. “Looking back at my childhood it’s no wonder I’m making some of the work I am today!”

Pick up one of the artist’s cute miniatures in her plastic-free shop, and head to Instagram to see what she creates next.

“Book Worm Chill Ornament,” stoneware clay, underglaze, ceramic pencil, and transparent glaze, 10 x 7 x 7 centimeters

“Love Ceramic Fortune Cookie,” stoneware clay, underglaze, transparent glaze, and paper, 5 x 3 centimeters

“Tamago Feelings,” regular 3.5 x 4.5 x 3 centimeters, small 4 x 2 x 2

“Sake set,” stoneware clay, food and drink safe

“Pink Fluffy Jumper Ornament,” stoneware clay, underglazes, ceramic pencil, and transparent glaze, approximately 11 x 7 x 7 centimeters

“*Seconds* Sushi Lady Ornament,” stoneware glaze, underglazes, and transparent glaze, approximately 6 x 2.5 x 3 centimeters

“Happy Small Cup,” stoneware clay, glaze, ceramic pencil, all cups are food safe

 

 



Art

Minimalist Paintings by Prudence Flint Emphasize the ‘Emotional Weight’ of Womanhood

January 14, 2020

Grace Ebert

“The Visit” (2016), oil on linen, 122 x 102 cm. All images © Prudence Flint

Focusing heavily on the female figure, painter Prudence Flint combines pastels and flat, geometric shapes in her minimalistic works. Rarely showing their faces directly, Flint’s oil paintings often portray women lying down, sitting, or performing daily tasks like showering while they look straight ahead, adding to the pieces’ pensive atmospheres.

In a recent interview with Juxtapoz, the painter expounded on why she mostly centers on women, saying she wants them “to be all things, whole, boundless, perverse, and representative of humanity. I want to give voice to this experience of being alive, now, in this culture, as a woman.” The ways Flint constructs female bodies exemplifies these ideas of womanhood, as she often paints small heads on top of broad torsos and long limbs.

As a woman, I feel constantly up against the idea of what is meant to be happening to me versus what is actually happening to me … I think I have found a solution by distorting the bodies, which becomes representative of what experience does to you. It marks you and creates emotional weight.

Flint’s self-portrait “The Wish” is on view from January 16 to 30 at High Line Nine in New York as part of ME, an exhibition that considers the relationship between identity and the face. If you can’t see the Melbourne-based artist’s paintings in person, head to Instagram where she shares much of her work.

“Double” (2018), oil on linen, 142 x 109 cm

Left: “Queen Anne Mirror” (2012), oil on linen, 122 x 102 cm. Right: “Shower #2” (2015), oil on linen, 122 x 102 cm

“The Fitting” (2019), oil on linen, 130 x 107 cm

“The Stand” (2019), oil on linen, 122 x 102 cm

“The Wake” (2018), oil on linen, 122 x 102 cm

Left: “Bedsit” (2016), oil on linen, 122 x 102 cm. Right: “Sewing Machine” (2012), oil on linen, 122 x 102 cm

“The Yard” (2019), oil on linen, 135 x 107 cm

 

 



Art

Dramatic Pastel Drawings of Shifting Glacial Landscapes by Zaria Forman

October 2, 2019

Laura Staugaitis

“Lincoln Sea, Greenland” (2019), soft pastel on paper, 68 x 108 inches

Pastel artist Zaria Forman’s subject of choice is the glacier. The natural phenomenon that occurs around the globe is a critical element of cold-weather ecosystems, as well as a barometer of global climate health. The Brooklyn-based artist travels worldwide, often accompanying scientific expeditions, to experience and document glaciers firsthand, taking thousands of reference photographs to inform her enormous pastel drawings.

In translating her real-world travels on to paper, Forman shares that she draws from memory as well as from her reference photographs. “Occasionally I will re-shape the ice a little, or simplify a busy background to create a balanced composition, but 90% of the time I am depicting the exact scene that I witnessed, because I want to stay true to the landscape that existed at that point in time.”

Forman shares with Colossal that her passion for remote landscapes was sparked in childhood, when she traveled the world with her family—including her fine art photographer mother. As an adult she has channeled this fascination with our planet’s vast and varied landscapes into her art practice.

Climate change is arguably the largest crisis we face as a global society. I feel a responsibility as an artist to address this in my work, especially since I’ve had the rare opportunity to travel to remote places at the forefront of the crisis. Psychology tells us that humans take action and make decisions based on emotion above all else. Studies have shown that art impacts our emotions. I convey the beauty as opposed to the devastation of threatened places in my work. If people can experience the sublimity of these landscapes, perhaps they will be inspired to protect and preserve them.

“Jakobshavn Glacier, Greenland” (2018), soft pastel on paper, 68 x 102 inches

Many of the works shown here feature Greenland’s glaciers. Last winter, Forman also re-visited Antactica and Patagonia’s southern ice fields, and she has just started working on a series around Perito Moreno Glacier in Argentina. “Impressively, Perito Moreno glacier is the third largest reserve of fresh water on the planet, surpassed only by the Antarctic and Greenland Ice sheets,” Forman explains to Colossal. “It also happens to be the only glacier in the southern ice fields that is not retreating. But it’s not advancing, either. I am excited to dive into its details and textures in these new compositions.”

Next summer, Forman’s solo show will be on view at Winston Wächter Fine Art in Seattle. The artist is also curating an exhibition for the National Geographic Endurance, a polar expedition ship, which will be installed in February, 2020. Follow along with Forman’s work and travels on Instagram.

“Charcot Fjord, Greenland” (2018), soft pastel on paper, 90 x 60 inches

“Hiawatha Basin, Greenland”, soft pastel on paper

“Weddell Sea Southeast off the tip of the Antarctic Peninsula” (2018), soft pastel on paper, 60 x 90 inches

“Arctic Ocean Northwest off the coast of Ellesmere Island, Canada” (2018), 40 x 60 inches

“Supraglacial Lake (between Hiawatha and Humboldt Glaciers), Greenland, July 19 2017” (2018), soft pastel on paper, 60 x 81 7/8 inches

“Getz Ice Shelf, Antarctica” (2018), soft pastel on paper, 40 x 60 inches

“Jakobshavn Glacier, Greenland, 69° 4’51.58N 49°28’24.41W, April 29th, 2017” (2018), soft pastel on paper, 108 3/8 x 68 inches

 

 



Art Illustration

Drawings by WanJin Gim Capture the Nuanced Energy of Seemingly Simple Gestures

June 19, 2019

Laura Staugaitis

“Potter’s Hand No. 1” (2019)

WanJin Gim (previously) continues to amaze with his detailed drawings that show the nuanced colors and textures of bare skin. Most often working on kraft paper, Gim uses cross hatching—a technique most commonly associated with ink drawings or prints—with an array of colors to capture hands, arms, feet, and the occasional cat. Though simple in subject, Gim’s drawings pulsate with the gestural energy that informs the postures of each carefully rendered limb. You can see more of the Seoul-based artist’s work on Instagram, and find prints of his drawings on Gim’s online store.

“2 Cycles” (2018)

“Phenomenon No.2”, detail (2018)

L: “A Man Standing Up” (2018), R: detail

“A Pure Hand” (2018)

“Potter’s Hand No. 2” (2019)

“A Patient Cat” (2018)

“A Patient Cat”, detail

L: “Said and Done” (2018), R: detail

“Resting in Daylight” (2018)

 

 



Art

Monumental Pastel Drawings of Endangered Icebergs by Zaria Forman

September 1, 2017

Kate Sierzputowski

"Whale Bay, Antarctica no.4" (In progress), Soft Pastel on paper, 84" x 144", 2016

“Whale Bay, Antarctica no.4″ (In progress), Soft Pastel on paper, 84″ x 144”, 2016

Zaria Forman (previously here and here) creates incredibly realistic drawings of Antarctica’s icebergs, producing large pastel works that capture the sculptural beauty of the quickly shrinking forms. This past winter, the artist had the opportunity to be side-by-side with the the towering ice shelfs, observing their magnitude aboard the National Geographic Explorer during a four week art residency.

The residency gave her the opportunity to further embody the natural formations, providing a new perspective to create her large-scale drawings.

“Many of us are intellectually aware that climate change is our greatest global challenge, and yet the problem may feel abstract, the imperiled landscapes remote,” says Forman. “I hope my drawings make Antarctica’s fragility visceral to the viewer, emulating the overpowering experience of being beside a glacier.”

Forman has a solo exhibition of her work titled Antarctica opening at Winston Wächter gallery in Seattle on September 9 and running through November 4, 2017. You can watch a timelapse of Forman completing her drawing Whale Bay, Antarctica no.4  in the video below. (via Juxtapoz)

"Whale Bay, Antarctica no. 2," Soft pastel on paper, 50" x 75", 2016

“Whale Bay, Antarctica no. 2,” Soft pastel on paper, 50″ x 75″, 2016

"Whale Bay, Antarctica no. 1," Soft pastel on paper, 60" x 90", 2016

“Whale Bay, Antarctica no. 1,” Soft pastel on paper, 60″ x 90″, 2016

"Cierva Cove, Antarctica no. 1," Soft Pastel on paper, 60" x 90", 2017

“Cierva Cove, Antarctica no. 1,” Soft Pastel on paper, 60″ x 90″, 2017

"Risting Glacier, South Georgia no. 1," Soft pastel on paper, 84" x 144", 2016

“Risting Glacier, South Georgia no. 1,” Soft pastel on paper, 84″ x 144″, 2016

“Lemaire Channel, Antarctica,” Soft pastel on paper, 44″ x 60″, 2015

"B-15Y Iceberg, Antarctica no. 1, Soft Pastel on paper," 72" x 72", 2017

“B-15Y Iceberg, Antarctica no. 1, Soft Pastel on paper,” 72″ x 72″, 2017

"B-15Y Iceberg, Antarctica no.2" (In progress), Soft pastel on paper, 60" x 90", 2017

“B-15Y Iceberg, Antarctica no.2″ (In progress), Soft pastel on paper, 60″ x 90”, 2017

 

 



Art Documentary

Perspective: Artist Zaria Forman Shares the Inspiration behind Her Large-Scale Pastel Waves and Icebergs

September 3, 2014

Christopher Jobson

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As part of his ongoing Making Art series, filmmaker Jesse Brass sits down with artist Zaria Forman (previously) who discusses the inspiration and intent behind her giant pastel drawings of icebergs and ocean waves.

 

 



Art

Impermanent Animal Murals Drawn with Chalk and Oil Pastel by Philippe Baudelocque

April 16, 2014

Christopher Jobson

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French artist Philippe Baudelocque is known for his street murals of animals created with impermenant mediums like chalk or white oil pastels. Each animal is created with a mosaic of delicate line work in the form of organic and geometric patterns that merge to form each piece. Baudelocque most recently participated in the ongoing BergeStreet art event along the banks of the Seine in Paris where he drew the rhinocerous pieces above. You can see much more over on his website. (via Arrested Motion)