Embroidered Snacks and Mass-Produced Food by Alicja Kozlowska Chew On Consumerist Culture

All images © Alicja Kozłowska, shared with permission

In the ongoing series Embroidered Ordinaries, Alicja Kozlowska translates the mass production of Pop Art into tightly stitched sculptures. The Polish artist sews packages of Oreos and half-eaten cookies, rusted cans with peeled-back tops, and 12-packs of Coca-Cola at full scale, recreating the recognizable logos and designs of ubiquitous snacks and goods. Each work begins with a felted structure the artist covers in myriad knots and stitches, which produces textured iterations that reflect on consumerism and the lasting impacts of over-consumption.

Find more of the Embroidered Ordinaries sculptures on Kozlowska’s site, and keep an eye on her Instagram for upcoming additions.

 

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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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Leaves, Insects, and Human Anatomy Converge in Delicate Pencil Drawings by Amahi Mori

“Papilio ulysses,” pencil, colored pencil, and watercolor on paper, 22.7 x 22.7 centimeters. All images © Amahi Mori, shared with permission

Through veins and hybridized beings, Japanese artist Amahi Mori connects life across the plant and animal kingdoms. Various circulatory systems blend together in seamless compositions with leafy greens emerging from a blue morpho or cloaking an elongated human hand. Rendered in graphite, colored pencil, and watercolor, Amahi’s delicate works center on the vibrancy of life conveyed through brilliantly patterned wings and supple leaves. Many of the drawings are also tinged with the otherworldly and surreal, particularly as human skin stretches to account for a growing stem.

Amahi has a solo exhibition slated for this May at Ginza Getsukoso Gallery. Until then, find an archive of her fused creatures on her site and Instagram.

 

“Daydream,” pencil and acrylic gouache on paper, 33.3 x 24.2 centimeters

“Papilio xuthus,” pencil, colored pencil, and watercolor on paper, 15.8 x 22.7 centimeters

“Sasakia charonda,” pencil, colored pencil, watercolor, and acrylic gouache on paper, 22 x 27.3 centimeters

“Metamorphose into leaf veins,” pencil, watercolor, and acrylic gouache on paper, 22 x 27.3 centimeters

“Papilio machaon,” pencil and watercolor on paper, 14 x 18 centimeters

“Shining,” pencil, watercolor, and acrylic gouache on paper, 27.3 x 22 centimeters

“Hello, see you,” pencil, watercolor, and acrylic gouache on paper, 27.3 x 22 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 Leaves, Insects, and Human Anatomy Converge in Delicate Pencil Drawings by Amahi Mori appeared first on Colossal.

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New York City Ballet Art Series Presents DRIFT’s ‘Shylight’

DRIFT’s “Shylight” (development 2006–2014), aluminum, polished stainless steel, silk, LEDs, robotics. On view at three special NYC Ballet Art Series performances in January and February 2023. All photos by Ossip van Duivenbode

Dutch artists Lonneke Gordijn and Ralph Nauta are DRIFT, a multidisciplinary group that creates experiential sculptures, installations, and performances, uniting audiences with moments that inspire a reconnection to our planet.

For New York City Ballet’s Art Series 2023, the duo curates their “Shylight” installation into a site-specific, performative sculpture, merging the movement of industrial motors with silk, multi-layered chalice-like structures. The pieces move with the grace of a dancer into a natural choreography, manifesting live emotion and personality in an inanimate material. With custom choreography supervised by the artists themselves, the works’ unpredictable, natural-looking movements become an object that feels alive as it descends to blossom in all its glorious beauty, before closing and retreating upward again.

The installation will be on view at three special NYC Ballet Art Series performances on January 27, February 3, and February 9, and all tickets are $38.

Performances are on sale now at nycballet.com/artseries.

 

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Evoking Organic Growth, Toru Kurokawa’s Ceramic Sculptures Stretch and Swell into Abstract Forms

“Visceral vision.” All images © Tour Kurokawa, shared with permission

The natural growth process, which begins with the replication of a single cell and eventually produces bodily systems and lifeforms, informs the practice of artist Toru Kurokawa (previously). Based in Kyoto, Kurokawa transforms amorphous hunks of clay into organic sculptures that bow and bend. The malleable material stretches to reveal pockets of negative space or to generate undulating edges, and once fired, the works appear to freeze those movements. “I would like to create a space that fuses the two things, existence and non-existence,” the artist tells Colossal. “I am conscious of that connection.” Glazed in textured, neutral tones, the resulting forms are abstract and biological, conveying the tension and strength of change.

Kurokawa is currently considering how mathematics and physics can influence the geometries of the works, and you can follow that progress on Instagram.

 

“Earth pot”

“Aggregate β”

“Holosroidea”

“Black garden”

“Threshold”

“Aire”

“Protocell J”

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From Junk Drawers to Phone Books, Artist Bernie Kaminski Captures the Nostalgia of Banal Items Through Paper Mâché

All images © Bernie Kaminski, courtesy of Turn Gallery, shared with permission

A stack of worn phone books, a neatly folded button-up, and a junk draw filled with receipts, batteries, and takeout remnants capture the playful nostalgia of Bernie Kaminski’s paper mâché sculptures. The artist, who began working with the humble craft after his daughter brought home a seahorse she made in school, is driven largely by curiosity and a desire to explore the potential of the material, and he tends to recreate the objects he finds around his home. An orange dutch oven sits atop a shelving unit stocked with pantry items and cookbooks, for example, and books like Wilkie Collins’ The Woman in White and John Berger’s A Painter of Our Time find their place among other classic texts.

Kaminski gravitates toward authentic interpretations of generally banal items, although the subtle ripples and creases of the material remain visible. He generally coats a cardboard and tape base with the wet paper mâché, before letting it dry and painting on logos, signatures, and other details. Imbued with a playful sense of nostalgia, the sculptures “look fake in a way that somehow reflects how I feel about the real thing,” the artist tells It’s Nice That.

Be sure to visit Kaminski’s Instagram for an archive of the lighthearted wares. (via Kottke)

 

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Precise Details and Architectural Contrasts Highlight Layla May Arthur’s Narrative Paper Sculptures

“Where We All Meet” (2022), paper sculpture, 1 x 1 x 1 meter. All images © Layla May Arthur, shared with permission

Wielding the fundamentals of set design, Layla May Arthur assembles elaborate architectural spaces and visual narratives from paper. The Netherlands-based artist focuses on the interplay between light and shadow in intricate, three-dimensional dioramas that emphasize storytelling in window displays, brand identities, and gallery presentations. In pieces ranging from delicate, individual sculptures of staircases to large-scale, immersive installations, she instills a sense that the viewer is a part of the interactions of figures within each scene.

Since graduating from university in 2021, Arthur has focused on projects that emulate the visual drama of theatrical presentations, setting the stage for products in boutique windows and brand collaborations in addition to museum exhibitions. “I really enjoy being able to handcraft artworks to be used in photoshoots or installations where my work reaches an audience who might not ordinarily seek out art in an art space,” she tells Colossal. “I have had incredible clients so far who have given me huge creative freedom in acting as both art director and artist.”

Arthur emphasizes each incision, angle, and pattern of the meticulously cut pieces of white paper by spotlighting or illuminating from within. “I love being able to create an artistic experience which is part of the everyday and highlights the possibilities of craftsmanship,” she says.

Find more of Arthur’s work on her website, Behance, and Instagram, where she often shares videos of her process.

 

“THE STORYTELLER, THE LISTENER, AND OUR STORY” (2021), paper and light Installation

“Where We All Meet” (2022)

Details of “Where We All Meet” (2022)

“Shop Window Set Design for Mary Jane Schoenenboetiek” (2021), paper sculpture

Details of “THE STORYTELLER, THE LISTENER, AND OUR STORY” (2021)

Detail of “THE STORYTELLER, THE LISTENER, AND OUR STORY” (2021)

Detail of “THE STORYTELLER, THE LISTENER, AND OUR STORY” (2021)

Detail of “THE STORYTELLER, THE LISTENER, AND OUR STORY” (2021)

“Forgotten Places – Remembered“ (2022), paper sculptures, 20 x 20 centimeters

Detail of “Shop Window Set Design for Mary Jane Schoenenboetiek” (2021), paper sculpture

“Jersey; My Childhood Home” (2019), paper cutting, circumference 754 centimeters x 200 centimeters

Panels from “Jersey; My Childhood Home”

Installation view of “Jersey; My Childhood Home”

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 Precise Details and Architectural Contrasts Highlight Layla May Arthur’s Narrative Paper Sculptures appeared first on Colossal.

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