sculpture

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Art

A Diverse Array of Textures Cloak Abstract and Figurative Ceramics by Artist Carlos Cabo

More than form or color, texture is what preoccupies Carlos Cabo as he sculpts. The Spanish artist, who lives and works in Salinas, is drawn to the tactile qualities of clay and the possibilities inherent in its malleability. Texture “is what gives (a work) personality, what individualizes it, and essentially differentiates it from other similar pieces,” he says. “I would dare to say that the texture is more than the skin of the piece. It is the representation of its genetic code.”

From masses of the natural material sourced from the countryside, he shapes tall, slender figures wearing pocked gowns, abstract pieces that twist upward, and minimal owl-like creatures, some with sleek feathers and others with rough, bumpy plumage. Each ceramic piece is carefully molded, fired, and covered in terra sigillata, the lustrous clay slip coating that functions similarly to a glaze while not masking the texture of the sculpture’s surface.

In a note to Colossal, Cabo shares that his desire to vary the tactile parts of his practice stems from his childhood. He explains:

I grew up in a rural environment, in which we children spent a lot of time outdoors, in permanent contact with endless objects that served to accumulate a lot of tactile experiences in my memory. On the other hand, in my town, there was no electricity during the day. This came to the houses when it got dark and, sometimes, well into the night, which forced us to wander around it using our sense of feeling and touch… I came to know all the imperfections of the walls, the geometry of the doors, and the location of things.

To explore more of Cabo’s body of work, visit his site and Instagram.

 

Art

Gears and Architectural Structures Emerge from Michael Velliquette’s Meditative Paper Sculptures

One look at Michael Velliquette’s paper sculptures, and you may find yourself lost in the majesty of the construction—feeling the intricate gears, fanning geometric arches, and echoing layers churning inside of you.

A circle is more than it appears in his works as it spirals into a chamber of other shapes. Each interpretation expands its form from the structural foundation to the tip of an accentual cut. As Velliquette (previously) describes: “I start out cutting small concentric shapes and layering them. That becomes the center. I then build more elaborate components that respond to the previous ones and then build out from there. I call it ‘slow-motion’ improvisation.”

Velliquette’s paper sculptures are not all about shape, though. The works’ bronze and metallic colors absorb the viewer’s attention as seen in “My soul is alight with your infinitude of stars,” As Velliquette shares, “color [a]ffects mood,” and since he arrives at the final structure of the piece methodically and organically, hue also guides the meditative experience of his work, imbuing each sculpture with its special character.

 

Velliquette spends 300 to 500 hours on each sculpture using mainly basic straight-edge scissors and X-Acto knives. He says:

​​For me, there is a difference between ‘patience’ and ‘concentration’. Patience arises when there is something unpleasant I have to endure, which is rarely the case when it comes to making my work. However, most artists I know develop good concentration skills, which is the ability to sit in a focused state for a long period of time. So, yes, my work has helped me gain an ability to concentrate, and it isn’t uncommon for me to work for six to eight hours straight on a piece without feeling too stressed or fatigued.

There is a parallel in something like paper, a material that exists somewhere between strength and fragility, and the kind of play that triggers concentration. Both are vulnerable: paper in its duality and concentration in that it massages the subconscious in its meditative state. All energy is channeled into working on the task at hand, and at the same time, especially with art, something deeper on the inside is being stretched, worked out, and unbuttoned. Where nothing (or very little) is happening, so is everything.

For example, in “The fullness of experience in the emptiness of awareness,” the eye-level view is an astounding accomplishment. Its structure evokes mythical qualities, and it tugs at the imagination. However, it’s the aerial view—the inner workings—that evoke trance and wonder, the vastness of concentration and deep observation, the reminder that bodies will breathe all on their own. When all is said and done, something beautifully intricate will come of our simple and everyday efforts.

Find more of Velliquette’s work on his site and Instagram.

 

Art Craft

Hundreds of Oblongs and Discs Undulate Across Marianne Huotari’s Ceramic Sculptures

Dating back to the Vikings, ryijy is a distinctly Finnish textile tradition that produces thick, high-pile tapestries and rugs. The heavily patterned works, which have shifted from functional to decorative, are made by hand-knotting wool and layering the yarn into lush, textured motifs.

Drawing on her background in textile design, Finnish artist Marianne Huotari translates this technique into ceramics, creating densely delicate reliefs that evoke the depth and dimension of fiber. Huotari begins every work with a color palette and surface, whether in the form of a wall-based piece or a freestanding sculpture. She then rolls and pinches clay into oblongs and small discs imprinted by her fingertips for added texture, each pierced to create a small hole for a bit of metal thread. Once glazed and fired, the individual components are sewn into undulating topographies layered lush with color and rippling shapes. Huotari shares with Colossal:

The process is super slow but very meditative thanks to its repetitive nature. Throughout the process, I attempt to take control of the material by dismantling and reassembling the parts, which is not very common when talking about ceramic art. That provides me the freedom to make changes on the go. The technique provides countless possibilities… In the near future, I’ll be focusing on developing the sculptural expression and searching for the limits of dimensions.

The Helsinki-based artist was recently named a finalist for this year’s Loewe Foundation Craft Prize, which is hosting an exhibition at Seoul Museum of Art through July 31. She also has pieces on view through August 19 at HB381 Gallery in New York and through the end of August at Guldagergaard International Ceramic Research Center in Denmark, where she will be a resident this fall. Watch the video below and head to Instagram for a glimpse into Huotari’s process, and browse available pieces at Officine Saffi. (via Journal du Design)

 

Art

Thread Grids by Laura Fischer Encase Stones in Exquisitely Knotted Webs

Precision is at the core of Laura Fischer’s practice. Using cotton and linen threads in neutral tones, the Bellingham, Washington-based artist sheaths smooth stones in impeccably exacting grids. She forms the tiny squares and rectangles with a series of knots, mimicking the loom weaving process but working directly on the natural material. Paired together, the sculptures are finished with a twisting rope wrapped around the circumferences and suspended in staggered positions.

A few of Fischer’s pieces are available on her site. Keep an eye on Instagram for shop updates. (via swissmiss)

 

Art Craft

Beguiling Sculptures by Lana Crooks Fabricate Anatomical Parts from Wool and Silk

Portland, Oregon-based artist Lana Crooks (previously) juxtaposes the softness of wool and silk with the solid, unyielding surfaces of bones. She stitches hand-dyed textiles into anatomical sculptures adorned with colorful florals or feathers that are both elegant and eerie. Often encased in glass domes, Crooks’s recent skeletal works include a hand wrapped in a loose bouquet, an ouroboros entwined with a blossoming vine, and a human ribcage suspended in an ornately carved wooden box.

Crooks has a few pieces available in her shop, in addition to Stranger Factory, where her work will be included in a few upcoming group shows. Explore a larger archive of her spectral sculptures on her site and Instagram.

 

Art

The Cardboard Sculptures of Artist Warren King Are an Homage to His Chinese Heritage

Artist Warren King (previously) finds much of his inspiration by wandering through Chinatown in New York City, where he encounters “street musicians, chess players in Columbus Park, vegetable sellers, knockoff handbag vendors on Canal Street, lion dancers during Chinese New Year celebrations,” he tells Colossal. “I’ve been fascinated during my weekly grocery shopping trips by the vibrant, diverse community there, which is so different from the relatively homogenous suburbs where I grew up.”

These passersby become the initial inspiration for the artist’s figurative cardboard sculptures, which consider his Chinese heritage, his parent’s immigration, and what it means to hold a diasporic identity. Ribbed with subtle corrugation and coated in dark neutral tones, the works vary in scale, although many are life-sized and large enough to occupy public benches and galleries. Each piece is an homage both to those he observes and to the richness of the Chinese community.

 

In addition to his ongoing Chinatown series, King’s recent works also include a few pieces of more personal relevance, including “Xuanzang.” The stoic character is based on the 7th Century monk by the same name who trekked 10,000 miles into India to recover Buddhist texts and inspired the classic novel, Journey to the West. “I used to be an avid backpacker and made a few life-defining treks myself,” the artist shares. “And I’m a book nerd too, so Xuanzang is naturally kind of an idol for me.”

The elaborately armored piece titled “The Wu Dan Answers the Call” similarly contextualizes King’s background within a broader history. “I wanted to tell the story of my feisty grandmother, who as a young woman tried to enlist in the bloody fight against the Japanese. But the piece is a mashup of a character from Chinese opera and Donatello’s famous sculpture of David, which reflects the two lenses through which I view the story,” he says.

King is currently working on an installation centered on the idea of preserving narratives and family legacies. That work is slated for February 2023 at Pearl River Mart in Soho, and you can follow its progress on Instagram.