Max Hooper Schneider‘s formal training in marine biology and landscape architecture is apparent in his recent installation titled “Hammer Projects.” Schneider’s work features rich landscapes overflowing with colorful natural elements that are interspersed with human objects, like a container of cheese balls, a rusting rifle, and strings of beaded necklaces.
The Hammer Museum describes the Los Angeles-based artist’s work as an attempt to decenter the human experience and challenge assumptions about how and why we classify objects. Through his installations, Schneider explores dichotomous relationships—like the human and nonhuman, construction and destruction, and the political and the personal—that traditionally have informed daily life.
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The Japanese visual artist Atsushi Adachi creates miniature replicas of objects from the past using old newspaper clippings and articles sourced from the same period. Artifacts from history like battleships and Neil Armstrong’s space suit come alive in what Adachi describes as a meditation on memories of our collective memory.
Adachi chooses to work with newspaper because be believes that the medium embodies society’s values of that certain period. Like time, our values are fluid and ever-changing, influenced by events of the world that we often find ourselves swallowed up by.
By working with newspaper clippings from certain periods, Adachi gains an understanding of what was going through the minds of designers and creators of that time as they tirelessly worked on creating machines of science, adventure and sometimes war.
If you’re in New York, Adachi’s work is part of an exhibition titled “Emerging Tokyo” that’s on view in East Harlem from December 3 – December 7, 2019. The address is 213 East 121st Street. You can also keep up with Adachi’s work on Instagram. (Syndicated from Spoon & Tamago)
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Sci-Fi Inspired Cardboard Sculptures by Greg Olijnyk Feature Fully Articulated Limbs and Working Motors
To balance out his working life as a graphic designer focused on 2-D digital projects, Greg Olijnyk creates cardboard sculptures in his free time. The remarkably refined artworks are made with packaging-grade cardboard and tracing paper, and finishing touches added with LED lighting and glass accessories.
Cardboard’s affordability and malleability, as well as its surprisingly pleasing surface texture and color, have made it the medium of choice for Olijnyk. The designer tells Colossal that each piece comes together organically, and he draws inspiration from sci-fi books and things he finds on Pinterest as he evolves each concept. “Every piece has the limitations and advantages of the cardboard material in mind, how it bends, how strong it will be, etc.,” Olijnyk explains. “The sailing boat sculpture started with the desire to use a pleated, folding effect to simulate water and the rest of the form evolved over the course of a few months.”
As part of his engineering efforts, Olijnyk incorporates movement and articulation. His robot limbs are movable, and wheels rotate. In some of his works, the designer even incorporates solar panels and small motors to activate various components. “Even if, once behind glass, they remain frozen in a pose, I like to know that the capacity is there to bring them to life,” Olijnyk tells Colossal.
Olijnyk notes that he admires fellow Melbourne-based sculptor Daniel Agdag, who creates similarly fanciful worlds using precisely manipulated cardboard. See more from Olijnyk’s studio as he starts new projects and shares the process on Instagram.
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The sweet and the sinister commingle in Rebecca Stevenson‘s wax sculptures that depict humans and animals bursting open to reveal flowers and fruits. Classical busts and seemingly deceased animals are surrounded by ribboning cascades of plants. To create her sculptures, Stevenson starts by modeling the animal or figure in clay, and then moulds and casts the model with layered resin and wax. Stevenson then cuts open and reworks the sculpture, a process both surgical and artistic, as she decides which elements to dis- or re-figure, and which to leave alone. “These actions supplant or corrupt the object’s original meaning…a desire both to reveal and to mask the inside of things derives from my student experiences of drawing from cadavers and dissections,” the artist explains.
“Creating ‘wounds’ or openings in the work undoes the sense of a clear boundary between object and viewer,” says Stevenson. “The viewer may be invited to gaze deep inside the object, a ‘non-sculptural’, intimate experience of looking.” This experience subverts the traditional narrative of sculpture as a vessel for heroism, crafted from the hard media of stone and metal and meant to be admired from afar.
Stevenson tells Colossal that she began working in wax as a student, fascinated by its translucence and its ability to closely mimic other materials and textures. “Over time, its material properties of fluidity and mutability, as well as its historical associations, have become intrinsically linked to the meaning of my work,” she says.
“Wax is traditionally associated with the creation of doubles or stand-ins for the human body,” the artist explains. “Whether used to create votive objects, funeral effigies or life size simulacra of contemporary celebrities, wax is so explicitly visceral that it not simply represents flesh: it is transubstantial.” Stevenson cites the anatomical wax figures of La Specola, Florence’s zoology and natural history museum, as a particular influence on her early practice.
As her work progressed, Stevenson also began to draw inspiration from Baroque sculpture and Dutch still life painting. “While remaining fascinated by the interplay between interior and surface, I also began to explore the visual experience and the meaning of excess, of sensual overload, of ornament and detail as a means to attract and repel the viewer.” The initially alluring decorations become somewhat sickly upon closer examination, sparking reflections on transformation, generation and decay.
If you’re in Berlin, catch her work through October 31, 2019 as part of a group exhibition at the Wunderkammer Olbricht. The artist also has work on display at Kunstmuseum Villa Zanders as part of the 50 Years of the Kraft Collection, and in So Beautiful it Hurts at James Freeman Gallery in London. Explore more of Stevenson’s sculptures on her website and Instagram.
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Birthday presents, apparel decoration, hair-do accessories: this is what comes to mind when most people think of ribbons. But for Japanese duo Baku Maeda and Toru Yoshikawa of Ribbonesia, the ubiquitous material is fodder for multi-part sculptures. Ranging from colorful cactus gardens and floral landscapes to freestanding foxes and ceremonial dragons, Ribbonesia’s creations blur the lines between art and craft. In their artist statement, the duo explains their approach to the unusual material: “Just as a painter would use hundreds of brush strokes, ribbon forms can also be made from a variety of twists, bends and folds. They become paintings as much as they are sculptures.”
Working in tandem since 2010 as Ribbonesia, Maeda is the artist of the pair, and Yoshikawa the creative director developing the theme and concept. You can explore more of their in-progress and completed projects on Instagram and Facebook.
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South African artist Chris Soal combines concrete and other industrial materials with found objects such as toothpicks and bottle caps to create conceptual sculptures. Often set in contrasting textural elements, thousands of single-use objects take on a new identity and aesthetic as part of a collective. The works are a commentary on the destructive relationship humans have with nature while also reflecting notions of value and perception.
Birch wood toothpicks are held in place using polyurethane sealants on ripstop fabric and board. The toothpicks, some raw and others burnt, fill spaces in concrete slabs and appear to form soft dripping patterns as they snake down to the floor. The artist tells Colossal that his use of these “mundane everyday objects” began after he snapped a photo of some in a jar while having dinner. After initially dismissing the toothpicks as “stupid and worthless,” experimenting with them a couple years later changed how Soal perceived the material. “I was immediately amazed by how they transcend their appearance as hard and sharp objects to appearing soft and luscious when arranged in mass,” he says. “I then began to question the fact that I dismissed them upon first encounter, and the work led me to interrogate notions of value and perceptions through the works.”
Soal says that growing up in Johannesburg has had an impact on his work. “It is a city in tension, and I think my work is often about locating oneself within that space, both as a response and a critique.” He doesn’t, however, see himself as the only force that determines how the three-dimensional sculptures are realized. “I am merely a facilitator of possibility for the works,” he explains. “I created the conditions for existence, and the material then morphs and develops as gravity and other forces move it to. As laborious, time-consuming pieces the process is also very contemplative and meditative, very much about a connection between my body and the object and how the shaping of form is related to touch.”
Alongside artist Michele Mathison, Chris Soal will be showing a new body of work at the Artissima art fair in Italy with WHATIFTHEWORLD Gallery from October 31 through November 3, 2019. He is also preparing for a large project in Brussels in the near future. For a closer look at Soal’s sculptures, follow the artist on Instagram. (thx, Anna!)
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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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