Swedish artist Cajsa von Zeipel (1983) works with large format sculptures that carry references to both fashion and teen culture, the Renaissance masters and the classical tradition of sculpture. They are modelled in polystyrene and the final form covered with a layer of plaster. The white surface, the unclothed figures and the realistic depiction of the tall and thin characters have an aesthetic that is simultaneously appealing and scary. Her figures seamlessly move from the attractive to the repulsive, grotesque and studied.
In 2000 Belgian artist Berlinde de Bruyckere made “Flanders Fields”, a poignant commentary on World War I, for the Flanders Fields Museum. This work consists of five life-sized horse casts covered in horse skin displayed in vulnerable poses.
For the 54th Venice Art Biennale (2011), Swiss artist Urs Fischer created a full-size wax replica of Giambologna’s 16th-century sculpture ‘The Rape of the Sabine Women’ in front of a viewer. Both served as a giant candles, gradually disintegrating during the months-long show.
‘Falling’, a series of sculptures and drawings, visualises Clara Lieu’s personal experience with depression and anxiety. Unable to “release” herself from these episodes, she waited for the physical limitations of her body to end them.
Slovenian artist Franc Grom creates amazingly beautiful and delicate eggshell art. A painstaking process, drilling one hole at time, a single egg will typically contain around 3,000 holes. In some the remaining connecting bits of eggshell are little more than a millimeter wide. Inspired by traditional Slovenian designs, his work ranges from asymmetrical botanical motifs to cut-outs that glow brilliantly when illuminated from the inside. Happy Easter!
Nobuhiro Nakanishi’s Layered Drawings contain scenes that are repeatedly photographed, capturing change and the subtle passage of time. Laser printed and mounted onto acrylic they are layered into sculpture installations.
“The theme of my work is: the physical that permeates into the art piece. In a foggy landscape, we no longer see what we are usually able to see – the distance to the traffic light, the silhouette of the trees, the slope of the ground. By capturing spatial change and the infinite flow of time, I strive to produce art that creates movement between the artwork itself and the viewer’s experience of the artwork.”
In her series Conflict (2011), Melinda Le Guay furthers her investigation into the repetitiveness of ‘women’s work’ through the process of knitting – often considered a nurturing activity associated with femininity. Delicate sculptures made from wire instead of the soft material expected introduce a conflict between protection and exposure in the form of seemingly simply beautiful dresses. Source: Brenda May Gallery
Brendan Hesmondhalgh is a Yorkshire based animal sculptor who works primarily in clay, wax and bronze. Capturing the dynamic nature of animals, and focusing upon structure, movement and character, Hesmondhalgh creates works that encapsulate and embody a creature’s spirit in inimitable style.
Chinese artist Cao Hui‘s sculptures manage to intrigue as well as turn stomachs. His (mostly) inanimate objects contain organs and raw meat that are either made visible through the surface or upon disassembling the sculpture. Through juxtaposing inside and outside, he seemingly gives life to dead objects.
London-based artist Jonty Hurwitz creates anamorphic sculptures which only reveal themselves once facing a reflective cylinder.
“For the anamorphic pieces its an algorithmic thing, distorting the original sculptures in 3D space using 2πr or πr3 (cubed). Much of it is mathematical, relying on processing power. There is also a lot of hand manipulation to make it all work properly too as spacial transformation have a subtle sweet spot which can only be found by eye. Generally I will 3D scan my subject in a lab and then work the model using Mathematica or a range of 3D software tools. I think the π factor is really important in these pieces. We all know about this irrational number but the anamorphic pieces really are a distortion of a “normal” sculpture onto an imaginary sphere with its centre at the heart of the cylinder.”
On view at the upcoming Kinetica Art Fair starting February 28th, 2013.
Beth Cavener Stichter is full-time professional studio artist residing in the U.S. state of Washington. Stichter focuses her sculpture on human psychology, stripped of context and rationalisation, and articulated through animal forms. “On the surface,” says Stichter, “these figures are simply feral animals suspended in a moment of tension. Beneath the surface, they embody the consequences of human fear, apathy, aggression, and misunderstanding”. In making these painstakingly modeled works Stichter has learned to read meaning in the subtler signs; “rely[ing] on animal body language in [her] work as a metaphor for these underlying patterns, transforming the animal subjects into human psychological portraits. Something conscious and knowing is captured in their gestures and expressions, both an invitation and a rebuke.
Bruno Walpoth is an Italian sculpture who brings to life wood flawlessly capturing complex (facial) expressions.
Nikola Nikolov’s sculptural re-created items make use of materials at hand.
The Bells, a steel frame of cold forged iron bells was inspired by old Bulgarian warning systems implemented by farmers. Rattling the frame would alert neighbours to any impending doom. Other work includes The White (Jack) Rabbit, a hare made out of pieces of baby cribs and chairs that represents an alternative character from Alice in Wonderland. And Alice is an open storage castle made from discarded furniture.
Junior Fritz Jacquet sculpts amazingly expressive masks out of toilet-paper rolls by hand, which he then coats with shellac and different pigments.
Fascinated by paper from a very young age, he explored and experimented with folding and crumpling techniques, which are heavily inspired by the traditional art of origami, using only one sheet of paper.
Educated in South Korea and the United States, Myeongbeom Kim produces otherworldly installations and sculpture works that juxtapose man-made elements with nature to create surreal dream spaces. Utilising suspension as a common motif, his works are constantly poised in a state of ambiguous wonderment.
“I try to examine how my surroundings are perceived and remembered. To do this, I listen to a whisper from the objects within my surroundings. I attempt to have an intimate, private dialogue with the world, trying to concretely present the way things approach me, by using other mediums.
To ask what an objects means to me is like asking what being I am. I have consistently experienced my surrounding objects from the perspective of life, growth, and decline, which lends vitality to my work.”