In varying states of deflation, Joe Davidson’s pastel balloons sag, slump, and flop in every direction. The limp, elongated forms are stacked on top of one another in seemingly precarious piles and resemble latex tubes filled with days-old air. While the sculptures are playful in both color and form, the Los Angeles-based artist notes that they also hold earnest themes of masculinity and aging, two concepts he’s thinking about often.
Davidson prefers to explore new materials and those beyond the bronze, stone, and wood typically used in this medium. “I was in a period about ten years ago where I was working exclusively in Scotch tape,” he shares. His more recent interest has been in plaster, which he uses to make the balloons. “There’s something about the malleability, chalkiness, and its history that is always appealing,” he says.
Adding color has been a recent evolution and one Davidson is adjusting to still. “My work historically tends to be monochromatic, as I have usually decided to let the nature of the materials speak for themselves. However, there’s something tantalizing about the color pastel scheme (I hate pastel!). It’s awkward and pretty, enticing to touch and sarcastic at the same time,” he says.
For this particular series, the artist cites myriad references, including Jeff Koons’s balloon animals and Louise Bourgeois’s use of anthropomorphism. Overall, though, he often returns to the Dadaists and Italian Arte Povera, who “were always welcoming chance and randomness in their work,” he says.
They came from totally different viewpoints (Dada embracing the absurdity of existence post WWI and Arte Povera looking for the poetic in the mundane), but their processes really resonate with me. A critical part of the process is setting up certain parameters and letting the art fix and finish itself. I exercise a lot of control in creating the framework for a work, but I always listen to what the material is telling me it wants to do.
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Rachel Dein (previously) chooses to immortalize plants that might otherwise wither away shortly after their appearance in the spring. Dein places theses flowers, vegetables, and foliage in arrangements within clay, making an impression of the plants before applying a layer of plaster. Once hardened, the initial clay is peeled way to reveal a relief formed by the delicate leaves and buds. A silicon rubber mold is then used to cast each tile in plaster using the shades of light white, green, or blue.
Dein sells her botanical work on her Etsy shop, a selection of which will be included in the Chelsea Flower Show this May, and in her first solo exhibition at Hampton Court this July. You can see more of her plant-based tiles on her Instagram.
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London-based artist Rachel Dein has spent the last few years perfecting the art of plaster casting, an admittedly straightforward process of pressing objects into clay and then filling the voids with combinations of plaster and concrete. However Dein’s time spent as a prop making apprentice for the English National Opera, The Globe Theatre, and The Royal Opera House, has greatly influenced her techniques, elevating a simple craft process into something else entirely.
Dein’s plaster cast tiles can be quite large, measuring nearly 16″ square (40 x 40cm) and are composed of unusual plant life including iberis, Welsh poppies, lilac, dicentra, hellebore and others. Each cast can only be used once, so every object is one-of-a-kind. “I enjoy the magic of plaster casting to create fossils from everyday life, whether it’s a shell found on holiday, your grandmother’s treasured lace, a Christening gown, or the flowers from your wedding,” she says.
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