Wooden Pixels Dissipate from Han Hsu-Tung’s Fragmented Figurative Sculptures

“Hussar” (2022), mixed wood, 71 x 81 x 26 centimeters. All images © Han Hsu-Tung, shared with permission

Digital and analog realms collide in the dynamic sculptures of Taiwanese artist Han Hsu-Tung (previously). Using soft western redcedar or Laotian fir, Han carves wooden animals and figures that are whisked into pixels, which appear to dissolve and float away from the central form. One of his most recent works, the stately warrior-like “Shaolin,” also features a kinetic component that shifts the blocks in jarring, horizontal movements. Taking approximately three to four months to complete, each work blends a computerized vision with the traditional medium as it draws attention to the scattered nature of the virtual world and how individual elements are essential to the whole.

Explore more of Han’s fragmented sculptures on his site and Instagram.

 

“Sunset Clouds” (2022), mixed wood, 57 x 43 x 14 centimeters

“Shaolin” (2020), western redcedar, 130 x 78 x 40 centimeters

Detail of “Hussar” (2022), mixed wood, 71 x 81 x 26 centimeters

“The Dawn” (2021), western redcedar, 101 x 77 x 40 centimeters

Detail of “The Dawn” (2021), western redcedar, 101 x 77 x 40 centimeters

“The Pacific” (2020), western redcedar and Laotian fir, 180 x 150 x 84 centimeters

Detail of “Sunset Clouds” (2022), mixed wood, 57 x 43 x 14 centimeters

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Balloons Puff and Twist into an Elaborate Inflatable Ensemble by Masayoshi Matsumoto

All images © Masayoshi Matsumoto, shared with permission

Armed with colorful balloons and plenty of air, Masayoshi Matsumoto (previously) twists and ties a playfully quirky menagerie of inflatable creatures. A chemical engineer by day, the artist spends his off hours stretching the malleable material into a sticky-fingered tree frog or plump squirrel, elevating the creations typically associated with children’s birthday parties or carnivals into elaborate sculptural works.

Matsumoto is loyal to the bendable material and forgoes paints, glues, and other fasteners, and many of the animals accentuate the shape of the balloons themselves: deflated tips resemble claws and puffed oblongs hang like shaggy fur or splay upward like a rooster’s crest.

Find more of the latex animals on the artist’s Instagram and Tumblr, and head to YouTube for tutorials on creating your own characters, as well.

 

 

 

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Delicate Slivers of Air-Dry Clay Form Breezy, Idyllic Landscapes by Alisa Lariushkina

All images © Alisa Lariushkina, shared with permission

One can almost feel the breeze as it swishes through grasslands and ripples streams in the swirling textures of artist Alisa Lariushkina’s bucolic landscapes. Based in Vilnius, the artist draws inspiration from earlier works or from photographs that people share with her. Composed from delicate slivers of air-dry clay, she assembles pieces that subtly shift in size and hue to reflect the sun at different times of day, meadows and flowers that sway in the wind, and the atmosphere of distant mountains. You can follow Lariushkina’s work on Instagram.

 

 

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Molded from Mycelium, a Sustainable Pendant Lamp is Shaped Like a Mushroom Cap

All images © Myceen, shared with permission

Fungi isn’t usually something we welcome indoors, but Estonian studio Myceen sees home decoration a bit differently. Focusing on furniture and interior design products, the team has found an enlightening application for mycelium, the fibrous root-like system produced by fungus that spreads below the Earth’s surface and gathers nutrients. “B-Wise” is a sustainably-grown pendant lamp (you read that right!) that combines one of nature’s most resilient materials with recycled byproducts into a light fixture that looks like it was just plucked from the soil.

The production of each piece begins with combining organic waste materials like sawdust and straw into a mold along with the mycelium, giving the organism five weeks’ worth of food to promote expansion. After that, the lampshade is removed from the mold and dehydrated to prevent any further growth.

You can see more work from Myceen on its website and on Instagram. (via Yanko Design)

 

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Diverse Ecosystems Merge in Hyperrealistic Paintings of Flora and Fauna by Lisa Ericson

“High Tide” (2022), acrylic on panel. All images © Lisa Ericson, shared with permission

Ecosystems intermingle and mammals find themselves immersed in an increasingly watery world in Lisa Ericson’s hyperrealistic acrylic paintings. A hare and a mountain goat, which would typically be found in dry climates or high elevations, stand atop a small island of cacti or rock in an ongoing series of works that view the climate crisis—especially the impending rise of sea levels—through a lens of magical realism.

Drawing on the artistic legacy of chiaroscuro, or contrast between the bright figures and deep background, Ericson’s compositions appear as if a spotlight has been directed on the scene to highlight unusual interactions, such as a fox ferrying bluebirds across a waterway or a mountain goat stranded on a submerged rocky peak. Furthering the notion that environmental change cannot be ignored, the titles speak to witnessing immense change, experiencing a sense of foreboding, and heeding warnings.

You can see some of Ericson’s recent works on view at Antler Gallery in Portland, Oregon, through November 20, and find more on her website and Instagram.

 

“Risky Business” (2022), acrylic on panel

“Late Warning” (2022), acrylic on panel

“Ain’t No Mountain High Enough” (2022), acrylic on panel

“Shelter in Place” (2022), acrylic on panel

“Wake Me When It’s Over” (2020), acrylic on panel

“Treading Water” (2022), acrylic on panel

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Interview: Jessica Oreck of the Office of Collecting & Design On Her Enormous Museum of Miniatures

All images © Jessica Oreck, shared with permission

In Las Vegas, the Office of Collecting & Design is a haven for the minute, the small objects that have been broken, separated from their partners, or grown obsolete and somehow found their way into the hands of Jessica Oreck. Today, the museum of miniatures houses countless objects from handmade sushi smaller than a pushpin and a teeny-tiny tube of Colgate to stone marbles and limbs detached from toy figures.

I see each object as being stitched together with the fabric of both its creator and all its previous caretakers. I try to preserve that connection while still keeping the object accessible for new interactions, new connections, even if that means the physicality of the object may degrade. The collections aren’t frozen behind glass. They are very much still a part of a living, breathing existence.—Jessica Oreck

Oreck speaks in this interview about the origin of the ever-expanding collection of miniatures, how respect and intuition ground her approach to the objects, and the mysterious story behind one of the strangest items she’s encountered.

Read the interview and see the collection.

 

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More Than 500,000 Black LEGO Structure Ekow Nimako’s Vast Afrofuturistic Cityscapes

All images © Ekow Nimako, shared with permission

Through vast environments constructed with hundreds of thousands of black LEGO, Ghanaian-Canadian artist Ekow Nimako envisions an Afrofuturistic landscape brimming with strength, power, and liberation. Sprawling metropolises nest small buildings, regal towers, and fantastical details like the unhinged jaw of an enormous snake in their midst, structuring the architectural realms around legacies of myth and optimism.

Nimako’s current project, Building Black Civilizations: Journey of 2000 Ships, encapsulates this Afrofuturistic vision and invokes the mysterious story of Mansa Abu Bakr II, Mali’s ruler who’s said to have sailed from the coast of Africa in the 14th Century and never returned. The Atlantic voyage is one possible example of pre-Columbian contact and the founding narrative behind the artist’s latest sculptures.

Part of the ongoing Building Black series, this new collection comprises upwards of 500,000 sleek, black LEGO built into speculative cityscapes and figures. Nimako, who is currently based in Toronto, collaborated with studio assistants Janeesa Lewis-Nimako, Karen Osagie, and Keisha Agyemang to construct the utopian works, which are on view now at Dunlop Art Gallery, a community center in North East Scarborough.

Requiring more than 600 hours of build time, each topography contains an Adinkra, a symbol that traditionally represents an aphoristic concept. Nimako shares that the emblems “are meant to connect the successive medieval empires of Ghana, Mali, and Songhai across the centuries to the present, while providing a proverbial and moral centre for each sculptural narrative.”

Visit Dunlop Art Gallery before January 10, 2023, to see the incredible detail of Journey of 2000 Ships up close, and find more from Nimako on Instagram.

 

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