Thursday, November 10, 2022

Tau Lewis’s Monumental Textile Masks Envision a Mythical Post-Apocalyptic Transformation

A photo of a large textile mask sculpture

“Saint Mozelle” (2022). All images © Tau Lewis, courtesy of the artist and 52 Walker, New York, shared with permission

Translating to “the voice of the people is the voice of god,” Vox Populi, Vox Dei is artist Tau Lewis’s reimagining of historic systems and principles. The Latin phrase is often associated with the British Whig party and the establishment of secular democracies throughout Europe, although Lewis hones in on the saying’s lingering religious reference as she envisions enormous characters who’ve emerged from an apocalypse.

Six sculptural masks populate the gallery at 52 Walker for the artist’s ongoing solo show, which explores what she describes as “the incapacity of humankind to create structures of law, principles of morality, or hierarchies of government without a reliance on the imaginary.” The monumental works, the largest of which stands upwards of 13 feet, meld classical myths, contemporary science fiction, and the dramatic performances associated with Yoruban masking traditions. Focused on the idea of transformation following destruction, the collection engenders a joyful, hopeful outlook.

Born in Toronto and now based in New York, Lewis’s world-building is unique and particularly expansive as it connects myriad bodies of work: each character within Vox Populi, Vox Dei contains fragments of the artist’s earlier projects, engendering what she terms a “material DNA” that courses throughout her oeuvre. In a similar vein, the sculptures pay homage to the legacies of the fabrics themselves. The artist stitches salvaged textile scraps, donated leather, and remnants from a Long Island furrier into patchwork eyes and lips, tousled hair-like fringe, and vibrant floral tendrils that dangle and pool on the floor. Otherworldly and imposing, the works are totems for an imagined future.

If you’re in New York, you can see Vox Populi, Vox Dei through January 7, 2023, and Lewis’s work is also included in Black Atlantic, which is up at Brooklyn Bridge Park through November 22. Explore more of her genealogical archive on her site and Instagram.

 

A photo of a large textile mask sculpture

“Ivory Gate” (2022)

A detailed photo of floral textiles

Detail of “Saint Mozelle” (2022)

A photo of a large textile mask sculpture

“Trident” (2022)

A detailed side view photo of a large textile mask sculpture

Detail of “Ivory Gate” (2022)

A photo of a large textile mask sculpture

“Mater Dei” (2022)

A photo of three large textile mask sculptures in a gallery

Installation view

A photo of a large textile mask sculpture

“Homonia” (2022)

A photo of three large textile mask sculptures in a gallery

Installation view

A photo of a large textile mask sculpture

“Resurrector” (2022)

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Color-Blocked Wall Hangings Stitch Graphic Design Principles into Quilts by Emily Van Hoff

A photo of multiple colorful quilted wall hangings

All images © Emily Van Hoff, shared with permission

Emily Van Hoff merges her background in graphic design with the practical crafting skills she picked up as a child in her vibrant wall hangings. From her home studio in Chicago, Van Hoff pays homage to women crafters of generations past as she stitches geometric quilts in bold color palettes of bubblegum pink, lavender, and cobalt. Thick stripes, bisected circles, and clean rows of stitches comprise many of the curved pieces, which the artist describes as a translation of “my digital design into a beautiful tactile object.”

Van Hoff’s vivid works sell out quickly, so keep an eye on her site and Instagram for future shop updates.

 

A photo of a colorful quilted wall hanging

A detail photo of a colorful quilted wall hanging

A photo of a colorful quilted wall hanging

A photo of a colorful quilted wall hanging

A photo of a colorful quilted wall hanging

A detail photo of a colorful quilted wall hanging

A detail photo of a colorful quilted wall hanging

A photo of a colorful quilted wall hanging

Do stories and artists like this matter to you? Become a Colossal Member today and support independent arts publishing for as little as $5 per month. The article Color-Blocked Wall Hangings Stitch Graphic Design Principles into Quilts by Emily Van Hoff appeared first on Colossal.



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Wednesday, November 9, 2022

Metamorphosis and History Merge in Meticulously Carved Sculptures by Andreas Senoner

A sculpture by Andreas Senoner of two figures covered in white feathers.

“Origins,” walnut and feathers. All images © Andreas Senoner, shared with permission

Seemingly transfixed in time during a mysterious process of transformation, Andreas Senoner’s mixed-media sculptures capture expressive details in human figures and gestures. “I focus my research on a series of main themes, including metamorphosis, heritage, and stratification,” he tells Colossal. The Florence-based artist explores layers of history by working with materials that are rich in cultural significance, incorporating textures like thorns or spikes, insect-bored timber, or saturated paint that induces tension.

Senoner carefully forms the contours of muscles and limbs in response to the natural grain of each piece of wood, and works can take several weeks to complete. “The essence of the wood also has a strong influence; a walnut sculpture, for example, takes twice as long as one made of lime wood,” he explains. Intricately detailed, life-like body parts sprout thorns, mimic a felled tree, or appear from beneath a cocoon-like cloak of organic material. Many reference figures from classical art history in another nod to the passing of time.

“Feathers have a very strong symbolism, and they are an integral part of rituals and celebrations in many cultures, where they represent lightness and freedom,” he tells Colossal. The feathers create layers, “like an intangible and delicate skin or shell that still is able to confine and shield the represented individual from the outside world.” Contrasting textures and associations of materials like ancient walnut, beeswax, or lichen parallels his interest in the dualities of interior and exterior experiences.

Senoner is currently working toward exhibitions in early 2023 in Italy and Belgium, and you can find more on his website and Instagram.

 

A sculpture by Andreas Senoner of a hand with thorns coming out of the fingers.

“Fear,” walnut

A sculpture by Andreas Senoner of a foot with thorns coming out of it.

“Fragment,” walnut

A sculpture by Andreas Senoner of a figure covered in white and yellow feathers.

“Mask (moulting),” walnut and feathers

A sculpture by Andreas Senoner of a bust with insect-bored wood.

“Nature doesn’t care,” ancient walnut

A sculpture by Andreas Senoner of a bust with insect-bored wood.

“Nature doesn’t care”

Two images of sculptures by Andreas Senoner featuring two arms connected in a U-shape with feathers, and two figures with red legs wearing white feathers.

:eft: “Shapeshifter,” walnut and feathers. Right: Rear view of “Origins”

A torso and lower legs on its side made out of wood by Andreas Senoner.

“Regrowth,” painted walnut

A sculpture by Andreas Senoner of two figures whose legs are sticking out of a covering made of green lichen.

“Origins,” wood and lichen

Do stories and artists like this matter to you? Become a Colossal Member today and support independent arts publishing for as little as $5 per month. The article Metamorphosis and History Merge in Meticulously Carved Sculptures by Andreas Senoner appeared first on Colossal.



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Tuesday, November 8, 2022

Mysterious Creatures Emerge from Recycled Materials in Sculptures by Spencer Hansen

Two sculptures by Spencer Hansen in the snowy mountains near Aspen, Colorado.

“BADU” and “FINCH” in collaboration with Jason Siegel. All images © Spencer Hansen, shared with permission

Long-legged creatures don otherwordly masks in sculptures by Bali-based artist Spencer Hansen, whose work explores identity and connection through a cast of uncanny characters. Using primarily natural, found, and recycled materials like wood, metal, bone, plant fibers, and ceramic, he draws inspiration from surrounding environment and frequent travels. Originally from Idaho, he relocated to Bali where he built a workshop that houses studios and live-work space for a team of skilled artisans who help to bring the pieces to life.

Alongside business partner Shayne Maratea, with whom he founded independent clothing and art company BLAMO, Hansen often collaborates with artists and photographers to merge sculpture and performance. Intended to inspire curiosity and play, the characters are carved and assembled in a variety of scales, from toy-like figurines to life-size suits, with mysterious faces that resemble shamanic masks.

Hansen has a solo exhibition opening in December at Spencer Lynne Galleries in Dallas, and you can find more of his work on his website and Instagram.

 

A sculpture by Spencer Hansen of a bat-like mask.

“BOBA”

A sculpture by Spencer Hansen of a fuzzy suit with a metallic, faceless mask.

“Eternal Embrace” collaboration with Naomi Samara. Suit worn by Aleph Geddis. Hands: Naomi Samara, Chantal Ka, and Shayne Maratea

Two sculptural figures by Spencer Hansen.

Left: “EQUUS.” Right: “Tikus”

A group of wooden, abstracted, figurative sculptures by Spencer Hansen.

Two mask sculptures by Spencer Hansen.

Left: Head of “LELA.” Right: “M11 Topeng Barat”

Artist Spencer Hansen standing next to a life-size sculpture with a bat-like mask, all in white.

“LELA”

Three wooden mask-like sculptures by Spencer Hansen.

A group of ceramic sculptures by Spencer Hansen in progress with carving materials.

Do stories and artists like this matter to you? Become a Colossal Member today and support independent arts publishing for as little as $5 per month. The article Mysterious Creatures Emerge from Recycled Materials in Sculptures by Spencer Hansen appeared first on Colossal.



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Delicate Crocheted Patterns Splice and Embellish Susanna Bauer’s Dried Leaf Sculptures

A photo of a stitched leaf

“Sum of the Parts” (2022), magnolia, oak, cottonwood, eucalyptus, plane tree, beech leaves, 38 x 34 centimeters. All images by Art Photographers, © Susanna Bauer, shared with permission

Vintage lace and the intricate innards of cells influence the thread components of Susanna Bauer’s crocheted works. The German artist, who lives in the U.K., stitches leaves she’s found, washed, and dried, a painstaking process made more laborious by the inherent fragility of the material. “Taking time beneath trees, gathering leaves, contemplating their shapes, imperfections, and details lies at the basis of my process. Along with this quiet gathering, stories form, dialogues between leaves emerge, reflections on time and change and interpersonal connections,” Bauer shares.

Many of the artist’s recent works are on view as part of her solo show Gathering Stories, which translates those conversations and themes into three-dimensional pieces. Similar to her earlier series, this new collection is diverse in species and crocheted patterns. In “Sum of Parts,” various segments from six different trees are spliced with natural cotton thread, while “Blossom” surrounds a single magnolia leaf with fibrous filigree.

Gathering Stories is on view through January 14, 2023, at Le Salon Vert in Carouge, Geneva. You can find more of her work on her site and Instagram.

 

A photo of four leaves with a crocheted border

“Emergence l” (2022), magnolia leaves, cotton thread, 50 x 50 x 5 centimeters

A photo of a leaf with a crocheted border

“Blossom” (2022), magnolia leaf, cotton thread, 30 x 30 centimeters

A photo of three leaves with a crocheted border

“Haven” (2022), magnolia leaves, cotton thread, 42 x 47 centimeters

A photo of a leaf with a crocheted border

“Time (Spring 22)” (2022), oak leaf cotton thread, 30 x 30 centimeters

A photo of two leaves with a crocheted border

“Sharing Dreams” (2022), magnolia leaves, cotton thread, 30 x 30 centimeters

A photo of a leaf with a crocheted border

“Emergence l” (2022), magnolia leaves, cotton thread, 50 x 50 x 5 centimeters

Four photo of leaves with a crocheted details

Top left: “Thrive lll” (2022), magnolia leaf, cotton thread, 30 x 22 centimeters. Top right: “Breathing lll” (2022), magnolia leaf, cotton thread, 38 x 28 centimeters. Bottom left: “Symmetry” (2022), magnolia leaf, cotton thread, 38 x 38 centimeters. Bottom right: “Calibration,” (2022), magnolia leaf, cotton thread, 52 x 42 inches

A photo of a leaf with a crocheted center

“Ginkgo Circle lll” (2022), ginkgo leaf, cotton thread, 21 x 17 centimeters

Do stories and artists like this matter to you? Become a Colossal Member today and support independent arts publishing for as little as $5 per month. The article Delicate Crocheted Patterns Splice and Embellish Susanna Bauer’s Dried Leaf Sculptures appeared first on Colossal.



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Join Us on Mastodon for Daily Art and Culture Updates

Colossal is now on Mastodon! We joined this growing social network as an alternative to Twitter, where we’ll remain for at least a while longer, but we hope you’ll join us on this new platform, too. We like Mastodon because it has a lot of similar features, but unlike Twitter, which is privately owned, Mastodon is open-source and ad-free. You can find us at mastodon.art/@colossal, and remember, you can always follow the latest on Colossal through Pinterest, Tumblr, and our email newsletters.

 

 

Do stories and artists like this matter to you? Become a Colossal Member today and support independent arts publishing for as little as $5 per month. The article Join Us on Mastodon for Daily Art and Culture Updates appeared first on Colossal.



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

A photo of a pixelated wooden sculpture of a man on a horse

“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.

 

A photo of a pixelated wooden sculpture of a man

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

A photo of a pixelated wooden sculpture of a man

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

A photo of a pixelated wooden sculpture of a man on a horse

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

A photo of a pixelated wooden sculpture of a rooster

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

A photo of a pixelated wooden sculpture of a rooster

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

A photo of a pixelated wooden sculpture of a man

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

A photo of a pixelated wooden sculpture of a man

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

.

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A Knotted Octopus Carved Directly into Two Pianos Entwines Maskull Lasserre’s New Musical Sculpture

“The Third Octave” (2023). All images © Maskull Lasserre, shared with permission Behind the hammers and pins of most upright pianos is a ...