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Art
Blackened Plywood Shards Rupture Inside Yorkshire Sculpture Park’s Chapel in Leonardo Drew’s New Installation

“Number 360” (2023) installation view at Yorkshire Sculpture Park. Photos by Jonty Wilde, images courtesy of the artist, Goodman Gallery, and Galerie Lelong & Co., shared with permission
In the cavernous 18th-century chapel at Yorkshire Sculpture Park, a new installation by artist Leonardo Drew (previously) explodes toward the ceiling in a massive plume, scatting shards, dust, and tiny fragments of material around the space. Titled “Number 360,” the work is comprised of blackened and painted plywood that brings chaos and destruction to the otherwise stark, quiet sanctuary. The central surge of the installation reaches five meters tall to fill the entirety of the chapel’s nave, while small paths are left clear to move through the immersive rupture.
Born in Tallahassee but raised in Connecticut’s notorious Bridgeport Housing Project, Drew spent much of his childhood scrounging waste materials and repurposing them into what were his earliest artworks. This commitment to regenerate what’s been left to decay remains central to his practice today, and many of his pieces reuse materials from earlier projects. “Number 360,” for example, utilizes the same fractured plywood as that of “Number 341,” which the artist made in 2022 for Art Basel: Unlimited in Switzerland.
To achieve the rough, grainy texture of the individual components, Drew mixed sand into acrylic paints, a choice that stems from several visits to porcelain studios in Jingdezhen, China, where he witnessed the ceramic works exploding in the kiln, leaving earthen particles and shards in their wake. The artist also evokes the high-pressure nature of that process, conveying a tense and violent energy in an otherwise calm space.
“Number 360” is on view through October 29. Find more from Drew on his site and Instagram.

“Number 82S” (2021), at the Wadsworth Atheneum Museum of Art, Hartford, Connecticut. Photo courtesy of Wadsworth Atheneum Museum of Art

“Number 341” (2022), Art Basel: Unlimited, Switzerland. Image © the artist and Jon Cancro, courtesy of Goodman Gallery, Galerie Lelong & Co., and Anthony Meier Fine Arts

The artist Leonardo Drew, with “Number 341” (2022), Art Basel: Unlimited, Switzerland. Image © the artist and Jon Cancro, courtesy of Goodman Gallery, Galerie Lelong & Co., and Anthony Meier Fine Arts
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Animation Craft Design
An Adorable Hand-Crafted Totoro Collection Celebrates the Studio Ghibli Icon

All images courtesy of Nakagawa Masashichi Shoten
The iconic round-bellied Totoro of Studio Ghibli’s (previously) My Neighbor Totoro stars as part of a broad array of new collectible ephemera paying homage to the anime icon. Created by teams of craftspeople connected to Nakagawa Masashichi Shoten, the series translates the fluffy, two-dimensional character into adorable wooden sculptures made of camphor, the tree Totoro occupies in the film. Paired with textiles, ceramic works, and paper boxes all featuring the character, the collection follows the highly anticipated opening of Ghibli Park late last year, giving fans of Hayao Miyazaki another opportunity to enjoy his beloved animations.
The Totoro objects will be available through a lottery opening on March 1—find details on how to join on the Nakagawa Masashichi Shoten site. Watch the video below and visit Spoon & Tamago for more insight into the process behind the collection and an upcoming opportunity to view a live demonstration.
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Art
Ornate Picture Frames Sprout Twisted Roots in Organic Sculptures by Darryl Cox

“Winter.” All images © Darryl Cox, shared with permission
In Darryl Cox’s organic sculptures, gnarled tree roots or branches merge with the ornate grooves, patterns, and gilding of picture frames. The Bend, Oregon-based sculptor (previously) continues to explore the material possibilities of wood and its relationship to domestic interiors and the natural environment in the series Fusion Frames.
Cox begins each work by connecting pieces of reclaimed wood to the found decorative objects. “Typically—but not always—I begin the sculpting process at the point of fusion, and move in either direction from there, depending on the piece,” he tells Colossal. “Carving and modeling is a protracted process, so once I have a rudimentary joint, I work on segments at will.” To make formerly disparate pieces of wood appear as though they extend organically from one another, he spends hours meticulously carving, sanding, painting, and staining each piece. The artist retains some of the mosses or lichens that grew on the roots in the wild, further emphasizing the contrast between the finely hewn surfaces of the frames and the rough textures of the raw timber.
This summer, Cox will exhibit his sculptures at Cherry Creek Arts Festival in Denver in July and Oregon’s Art in the High Desert fair in August. Find more of his work on his website.

“Flynn”

Detail and overview of “Lacey”

“Bond”

Detail of “Bond”

Overview and detail of “Jasper”

“Maestro”

“Jacques”

Left: “Titan.” Right: “Joplin”

Detail of “Jacques”
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Illustration
Whimsical Woodland Creatures and Sea Life Carved by Zoe Feast Inhabit Raw Wood Rounds

All images © Zoe Feast, shared with permission
Designer Zoe Feast has an affinity for patterns, and her practice revolves around motifs of flora, fauna, and organic forms that she creates for a variety of personal projects and commissions. After a visit to her local library and an encounter with its laser engraver, Feast decided to translate her whimsical illustrations to a three-dimensional surface. She sourced slabs of wood from a nearby habitat restoration project and carved seals in whispy waves, hedgehogs lounging among flowers and foliage, and a family of wide-eyed owls perched on branches. Nestled within the gnarled, bark-laden edges, the woodland creatures add a playful texture and motif to the raw material.
See more of the collection on Feast’s site, and pick up prints and other goods featuring her designs in her shop and on Society6.
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Design
Elegant Glass ‘Elytra’ Wings Cleverly Unfurl from Radhika Dhumal’s Expandable Wooden Table

All images © Radhika Dhumal, shared with permission. Photographs by Arun Rameshan
“This winged table marked the beginning of my flight as a furniture designer,” says Radhika Dhumal, whose playful coffee table titled “Elytra” features insectoid layers that extend outward from its center. Winning a 2019 ELLE DECO International Design Award and the A Design International Silver Award 2021, the clever construction emphasizes natural woodgrain, slender legs, and two swiveling, glass wings.
The final composition for the table emerged from initial sketches that focused on the concept of Russian nesting dolls in which larger pieces opened to reveal smaller components. “None of the forms clicked with me, and I randomly scribbled to go beyond the imaginary box that I was restrained to,” she tells Colossal. “It was almost like a ‘Eureka!’ moment for me, as I could see a hidden form of wings opening up.” As she dug deeper into her research, she was particularly fascinated by the anatomy of beetles and the presence of hardened forewings known as elytra that protect the more delicate set of hindwings. The eponymous design ties together notions of strength, adaptability, and elegance.
From the earliest drawings to its final form, the table took about six weeks to complete. The designer recently produced a range of accent furniture sponsored by Ek Design and currently collaborates with Furlenco with an emphasis on sustainability. Find more of her work on Instagram.
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Art
Through Whimsical Wooden Sculptures, Christian Verginer Explores Childhood Curiosity and Connection

Detail of “The Tree in Me.” All images © Christian Verginer, shared with permission
From large pieces of basswood, artist Christian Verginer carves figurative sculptures that meld the play and wonder of adolescence with the vitality of the natural world. Leafy branches grow like pigtails, a bird perches on the zipper of a hoodie, and two young boys sit on ladders that lead to treetops and clouds. Textured by small gouges, the works contrast realistic renditions of children with fantastical elements, the latter of which the artist tends to paint in a single color like vibrant green, slate gray, or beige.
Verginer is broadly interested in the ways humans and nature intersect, which he conveys through a sense of curiosity and embodied connection between the two. Some sculptures foster such relationships through three-dimensional forms, like the deceased bird the girl pinches between her fingers as in “Different Stories.” Others reference shadows, including “Two Stories” and “Different Time,” which overlay silhouettes of trees and flowers atop the young figures’ bodies.
Based in the Alto Adige region of northern Italy, Verginer works in a studio he shares with his father Willy Verginer (previously) and brother Matt Verginer. Each maintains a distinct practice, although the artist shares that the environment is well-suited for feedback and critique. All three will show together this May at a gallery in Nürnberg, although you can see Christian Verginer’s work this month with Kirk Gallery at Art Herning. Otherwise, find more of his sculptures on his site and Instagram.

“Too far too close” (2023), plinth, limewood, iron wire, and acrylic, 140 x 40 centimeters

“The Tree in Me”

“Different stories” (2021), limewood and acrylics, 135 x 41 centimeters

“Different times” (2022)

“Two stories” (2022), limewood and aluminum acrylics, 68 centimeters
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Editor's Picks: Animation
Highlights below. For the full collection click here.