Ceramic artist Heesoo Lee brings the textural depth of aspen forest canopies to her sculptural bowls and vases. Lee painstakingly places each and every leaf by hand, building unique, organic trees that seem to come to life with their shimmering, colorful leaves. While the vibrant glazes add a lifelike layer, the pieces are equally stunning in their unglazed form. The Montana-based artist shares many progress shots and videos on her Instagram, and works are available for purchase on Etsy. (via Lustik)
An unglazed work in progress
Photo © Dag Peak. San Martin, Buenos Aires.
Crown shyness is a naturally occurring phenomenon in some tree species where the upper most branches in a forest canopy avoid touching one another. The visual effect is striking as it creates clearly defined borders akin to cracks or rivers in the sky when viewed from below. Although the phenomenon was first observed in the 1920s, scientists have yet to reach a consensus on what causes it. According to Wikipedia it might simply be caused by the trees rubbing against one another, although signs also point to more active causes such as a preventative measure against shading (optimizing light exposure for photosynthesis) or even as a deterrent for the spread of harmful insects. (via Kottke, Robert Macfarlane)
Artist Janaina Mello Landini (previously) continues to produce dizzyingly complex installations and canvas-based sculptural works comprised of unbraided ropes that branch out like tree roots. The fractal-like artworks have developed over a period of six years as part of her “Ciclotrama” series, a word she coined that combines the root word “cycle” and the Latin word “trama” meaning warp, weaving, or cobweb. Via Zipper Galeria:
Janaina Mello Landini aggregates her knowledge of architecture, physics and mathematics and her perception on time to develop pieces that travel through different scales. The labyrinthine architecture has been the central axis of her research in the “Ciclotramas” series, made with ropes that break down into minimal threading, and “Labirintos Rizomáticos”, works in satin that result in the construction of multifocal perspectives, nullifying the traditional construction.
Landini has created numerous pieces for several shows and installations over the past year, most notably for an exhibition at Galleria Macca last June. You can see more of her recent work on Artsy and Zipper Galeria. (via Visual Fodder)
Schrodinger’s Wood. Ash tree trunk, chain hoist, gantry. 156 x 16 x 15 inches
If you had to summarize an all-encompassing theme to describe Maskull Lasserre’s artistic practice, the word would probably be tension. From the balance of life and death to the opposing forces of war and peace, the Candian artist explores tension not only metaphorically but physically as well. Case in point, his latest piece titled Schrodinger’s Wood carved from the trunk of an Ash tree that relies on the tree’s inner core to serve as a tangled mass of rope in the process of fraying from the weight of itself. The work appears to share a kindred spirit to his sliced piano artwork, Improbable Worlds. You can see more views on his website.
Artist Dan Rawlings merges subject matter that would seem to be in direct contrast to its medium: trees cut into an old silo or ferns that sprout from rusty street signage. A collision of urban and rural. “I try to create images that remind people of the moments when everything seems possible and free,” says Rawlings, “times when climbing a tree, or sitting admiring the way its branches twist and curl means nothing, but means everything.”
One of his most ambitious pieces, titled Nature Delivers, depicts the shell of a forest cut into the walls of an old delivery truck that was commissioned by Kendal Calling and Walk the Plank for the Lost Eden festival. Unfortunately, somebody set fire to the work earlier this year. You can see more of Rawling’s work on Instagram and in his online gallery.
Organic chair. Maple wood, 68 x 64 x 72 in.
Through his sculptural practice, artist Pontus Willfors says that he seeks to examine “aspects of nature that are viewed by our society as product, nuisance or waste.” One of his frequently recurring motifs is the form of tree branches and root systems that sprout from from everyday objects as seen in this collection of furniture pieces that remind us explicitly of the material’s origins.
Willfors was born in Sweden and now lives and works in LA. These sculptures and several other artworks were on view as part of his exhibition titled Homeland at Edward Cella Art+Architecture in 2015. (via iGNANT)
Organic chair. Maple wood, 68 x 64 x 72 in.
Table with four chairs, 2015. White oak and honey locust wood, 146 x 160 x 168 in.