sculpture

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Design

A Grove of Petal-Like Sculptures by Snøhetta Shade the New Grounds of Blanton Art Museum

The home of Ellsworth Kelly’s iconic modernist chapel titled “Austin,” the Blanton Museum of Art has expanded its outdoor art environment with a sculptural installation by Snøhetta. The architecture and design firm (previously) began the project in 2018 with the ambitious task of reinterpreting an area of 200,000 square feet, containing two large buildings that are part of The University of Texas at Austin’s campus. Its downtown location provided an incredible opportunity to revitalize the space for public gatherings, civic events, and art installations, linking the university campus and city center and creating an architectural dialogue between interior and exterior.

A copse of Snøhetta’s “Petals” rise from the Blanton’s Moody Patio, which forms a gateway connecting Congress Avenue to the pedestrian spine of the university campus. The sculptures create an elegant arch, providing shade and dappling the pavement and surrounding buildings with specks of light that filter through perforated patterns. On not-so-sunny days, rain that falls into the petals is funneled into an underground collection system. The firm sought a design that “unifies the museum campus with the city’s prominent avenue through a choreography of planting, geometry, and art.”

The museum hosts an outdoor party in the courtyard patio every second Saturday of the month. Find more on Snøhetta’s website.

 

 

Art

Resting with Ancients: Nichola Theakston Invokes Animal Spirits in Her Contemplative Bronze Sculptures

As far back as 5,000 years ago, ancient Egyptians worshipped the goddess Bastet, who took the form of a lioness, a fierce warrior deity associated with the sun. She was seen as a protector during pregnancy and childbirth and a defender against evil spirits and diseases. Over time, her likeness adopted the characteristics of a domestic cat, which in later dynasties assumed cult-like status, and the animals were revered and bred for protection and sacrifice. Along with mythological beings such as Sekhmet, another lion-faced, solar goddess of medicine, the deities comprise an integral part of sculptor Nichola Theakston’s soulful exploration into the history, lore, and spirits of animals.

Working in ceramics and bronze, Theakston’s practice (previously) centers on meditative depictions of mammals, drawing on ancient sources to connect viewers with contemporary concerns and timeless perceptions.In her continuing series of primate portraits, the subjects appear calm, meditative, or lost in thought and emphasize her interest in our “commonality and shared consciousness.” With a focus on faces, she often leaves the bodies unfinished, hinting at shoulders or limbs while highlighting the details of jawlines, ears, and brows.

 

Informed by her work with ceramics, Theakston is constantly evolving her approach to the nuances of texture and color. Each piece, first sculpted by hand before being cast in bronze, bears an organic, expressive approach that spotlights the presence of the artist’s hand. The surfaces feature subtle score marks, nudges, and notches, which draw attention to elegant silhouettes and the supple folds of ears and eyelids. A range of patination techniques, which the artist is consistently experimenting with and developing, create subtle shifts in contrast and hue so no two are exactly alike.

“I have been working recently on canine and feline subjects with reference to ancient Egyptian forebears and sculptural representations,” Theakston tells Colossal. In “Pariah,” the artist’s beloved Mediterranean podenco named Nola mirrors the sleek features of Anubis, the dog-headed Egyptian god of funerary rights and usher to the underworld. “Nola at times seems to very much embody her ancient ancestry and our interwoven human connection with both,” she says.

“Resting with Ancients” will be on view with Sladmore Gallery as part of London Art Week from June 30 to July 7, and if you’re in The Netherlands, you can find her work at Art Laren fair with De KunstSalon, which runs June 16 to 18. Theakston is currently casting a new macaque study at Castle Fine Arts Foundry in Powys, Wales. See more on her website and Instagram.

 

Art

In ‘Ocean Sentinels,’ Jason deCaires Taylor Installs Eight Hybrid Sculptures as Coral Guards

A new cast of hybrid characters continues Jason deCaires Taylor’s effort to revitalize the Great Barrier Reef. Recently installed off the coast of Townsville, Australia, as part of the Museum of Underwater Art, Ocean Sentinels is comprised of eight figurative sculptures that meld the textures of marine life with the likeness of influential conservationists.

Similar to “The Coral Greenhouse,” which was embedded in the aquatic landscape in 2020, these works are made of pH-neutral, low-carbon concrete and stainless steel and are created with the intention that sea creatures use them as homes. “It is hoped that in years to come a variety of endemic species such as corals, sponges, and hydroids will change the sculptures’ appearance in vibrant and unpredictable ways. Like the Great Barrier Reef itself, they will become a living and evolving part of the ecosystem, emphasising both its fragility and its endurance,” Taylor says.

Due to warming waters caused by the climate crisis, much of the reef is experiencing coral bleaching, a stress-induced reaction that causes the sea creatures to expel algae in their tissues and drain themselves of their characteristically vibrant colors. Taylor’s works are designed to help spur new growth, offer a sanctuary for the endangered lifeforms, and lure away curious divers from more vulnerable areas.

Ocean Sentinels include stylized renditions of Indigenous leader Jayme Marshall, marine scientist and “godfather of coral” John Veron, and nine-year-old Molly Steer, who led an initiative to stop the proliferation of single-use straws, among others. See more of Taylor’s underwater sculptures before and after sea-creature colonization on his site and Instagram.

 

Art

Guadalupe Maravilla Transforms a School Bus into an Immersive Installation for Sound-Based Healing

Chrome plating, fringe made of humble kitchen cutlery, illuminated chandeliers, and symbolic sculptures of flora and fauna adorn a school bus parked at the ICA Watershed in the Boston Harbor Shipyard. The elaborately retrofitted vehicle is the largest project to-date by Guadalupe Maravilla and the latest addition to his Disease Thrower series.

Born out of the artist’s traumatic experience immigrating as an unaccompanied minor and suffering from colon cancer as an adult, the ongoing body of work evinces the healing power of sound and vibration. Titled “Mariposa Relámpago,” or lightning butterfly, the new work has had several lives before making its way to Boston: the bus was first used for transporting students in the U.S., then sent to the artist’s native El Salvador, and finally ended up in his studio where it underwent its current transformation.

 

Fastened to the vehicle’s body are several objects Maravilla found while retracing the 3,000-mile route he traveled as an eight-year-old to reunite with his parents, who had fled the country’s civil war. Included are references to Mayan cosmology and indigenous practices, spiritual emblems, and more contemporary imagery of disease and medicine, including a model of human anatomy resting atop the hood. Gongs and other tonal objects suspend from the sides, which Maravilla rings during his ritualistic sound baths. These sessions, which he’s hosted specifically for undocumented immigrants and those dealing with cancer, are known to reduce stress, anxiety, and tension that can worsen the pain of illness and injury.

Also in the exhibition at the Watershed are smaller paintings, scale models, and Disease Thrower sculptures made of mixed natural and synthetic materials that similarly reflect the artist’s exploration of displacement and recovery. Immersive and totemic, the works are part of the artist’s effort “to confront trauma in order to heal.”

Guadalupe Maravilla: Mariposa Relámpago is on view through September 4, with two sound baths scheduled for June 10 and August 13.

 

Art Colossal Craft Photography

‘At the Precipice’ Emphasizes the Role of Emotion, Tactility, and the Senses in Understanding the Climate Crisis

How does it feel to inhabit an irreversibly damaged planet? An exhibition opening at the Design Museum of Chicago this summer brings together works by ten artists and collectives that answer this question through data, color, tactility, and material.

Curated by Colossal, At the Precipice: Responses to the Climate Crisis considers physical and emotional reactions in the era of environmental disaster and emphasizes how art can offer an accessible entry point into such an overwhelming and dire emergency. Varying in medium and methodology, the works included explore several of the most urgent issues affecting the world today.

The Tempestry Project returns to the early Common Era to visualize how rapidly our climate has changed in the last few centuries alone, while Luftwerk and Zaria Forman consider the impacts of a warming world on glaciers and arctic regions. Morel Doucet, Nathalie Miebach, and Migwa Nthiga are concerned with the increasing intensity of weather events and subsequent forced migration, and Jean Shin and Chris Pappan look to shifts in rivers and access to water sources. Selva Aparicio questions loss, remains, and acts of remembrance, while Redemptive Plastics offers a localized and scalable solution to waste.

At the Precipice runs from July 14 to October 30.  We’ll be announcing talks, workshops, and other programming in the coming weeks, so stay tuned for details.

 

Help Us Knit a Century of Chicago Weather!

As part of the exhibition, the Design Museum of Chicago has generously kickstarted a Chicago Tempestry Collection, which will use twelve knitted works to highlight changes in the local weather patterns during the last 120 years. Anyone interested in creating a tempestry—a tapestry depicting daily temperatures—to be added to the collection and displayed at the museum can purchase a kit on the project’s site.

 

 

Art

Spikes, Interlocked Rings, and Bold Bulges Sprout from Megan Bogonovich’s Otherworldly Ceramic Botanicals

“There is a tree on my road that has been cut very strangely to accommodate a power line, and I think about that tree a lot,” says Megan Bogonovich, who envisions the otherworldly potential of human touch on the environment through playful, botanical sculptures.

Based in Norwich, Vermont, Bogonovich recognizes nature’s immense capability for adaptation and strength in seemingly inhospitable spaces. “The whole dandelion growing out of a pavement crack thing,” she says. Her works embody transformation and abundant growth, and unusual colors, shapes, and textures arise in surreal combinations. With bulbous bases, spiked protrusions, and interlocked petals, the works imagine “the batty possibilities of what could be growing in the universe or what might be the first thing to sprout up after an environmental disaster.”

Rooted in play and the “ceaseless goofiness” of reproduction, the sculptures evolve throughout a lengthy process. Bogonovich begins by hand-building small geometric and organic forms like cones, tubes, ovoids, and textured patches made with drilled holes, cuts, and everyday objects like buttons, which she then casts in plaster to make a mold. “If I cast 30 molds one day, by the next day I have a set of slip-cast tinkertoy-type parts that I can alter and bend or duplicate. It’s a lot of labored build-up to get to a point where I can work spontaneously and impulsively with a material that would otherwise want planning,” she says. 

 

These malleable forms are then fired and readied for glazing, a slow, meticulous process that involves several layers and bouts in the kiln at varying temperatures. “The sculptures are matte white when they first come out of the kiln. I let a lot of pieces build up before I start glazing,” Bogonovich says. “I get used to being surrounded by ghost flowers, so when the tide changes to color it feels like a big shift in the studio.” Like nature, glazing is unpredictable, and the pastel pinks, bold oranges, and mottled hues add a whimsical, playful element to the works. “I live in the woods in Vermont, and at this time of year, there is so much green. It’s nice to imagine bright yellow tree trunks or hot pink maple leaves,” she says. 

Bogonovich works with Kishka Gallery & Library, where she recently held a solo show, and has sculptures on view through May 20 at SPRING/BREAK Art Show in New York. Find more of her pieces on her site and Instagram.