A Mysterious Presence in the Forest Grapples with Change in Guldies’s Stop-Motion Animation ‘MITOSIS’

In his latest stop-motion animation, Alexander Unger, who works as Guldies (previously), presents an idiosyncratic tale set in a nighttime forest. “MITOSIS” follows the transformation of a pine cone into an anthropomorphized log, which in turn morphs into timber, crates, and an idyllic cabin in the woods. Yet an eccentric presence lurks amongst the trees that, frustrated by the changes, confronts their new neighbor and inadvertently prompt the entire cycle to begin again.

“MITOSIS” takes inspiration from the biological process by which a cell produces two identical nuclei in preparation for cell division. It took Unger one year to complete the work, which incorporates 4,425 individual photos. Find more of Guldies’s work on Instagram and YouTube.

 

All images © Guldies

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Glitzy Rotting Fruit and Rusted Automobiles by Kathleen Ryan Consider the Tensions of American Consumerism

“Deluxe” (2023), agate, jasper, serpentine, garnet, lapis lazuli, smoky quartz, quartz, labradorite, tektite, aventurine, snowflake obsidian, onyx, tiger eye, turquoise, marble, glass, steel pins on coated polystyrene, wood, Datsun 1200 trunk, 53 x 45 x 73.5 inches. All photos by Lance Brewer, courtesy of the artist and François Ghebaly Gallery, shared with permission

In Beachcomber, artist Kathleen Ryan (previously) continues her inquiries into consumption and the unsightly remnants of American life. The solo exhibition, on view now at François Ghebaly in Los Angeles, brings together Ryan’s latest works that explore the tension between revulsion and delight, all imbued with a quintessentially California ethos.

Skewered fruits, beach umbrellas, and automotive parts exemplify this relationship between the beautiful and the grotesque through the artist’s signature gemstone treatment. Cobwebs of glimmering quartz crystal tether one side of a rusted Dodge trunk to the other, while precious materials like agate, lapis lazuli, and turquoise become the rotting patches of otherwise supple fare. Each of the sculptures references seaside objects and nostalgic coastal travel, whether through fruit garnishes  as in “Deluxe” or the clam-shell folded Volkswagon trunks in “Generator VII.”

Created at life-size or larger, Ryan’s works question the rampant consumerism and a generalized sense of gluttony that pervades much of American sensibilities. She explores kitsch as it relates to class, evoking aspects of suburban life like backyard barbeques and the reverence of cars, road trips, and the wide expanses visible from open highways.

If you’re in Los Angeles, you can see Beachbomber through March 25. Otherwise, find more from Ryan on her site and Instagram.

 

“Generator VIII” (2023), quartz crystal, silver-plated stainless steel cable, silver crimps, steel, automotive paint, Dodge trunks, 38 x 32 x 41.5 inches

Detail of “Screwdriver” (2023), onyx, citrine, rhodonite, garnet, agate, tektite, lava rock, turquoise, aquamarine, serpentine, magnesite, amazonite, black tourmaline, jasper, prehnite, ruby in zoisite, marble, amber, labradorite, smoky quartz, quartz, acrylic, steel pins on coated polystyrene, aluminum umbrella, 68’ AMC Javelin trunk, 77 x 88 x 107 inches

Detail of “Generator VII” (2023), quartz crystal, silver-plated stainless steel cable, silver crimps, steel, Volkswagen trunks, 38 x 33 x 32 inches

“Screwdriver” (2023), onyx, citrine, rhodonite, garnet, agate, tektite, lava rock, turquoise, aquamarine, serpentine, magnesite, amazonite, black tourmaline, jasper, prehnite, ruby in zoisite, marble, amber, labradorite, smoky quartz, quartz, acrylic, steel pins on coated polystyrene, aluminum umbrella, 68’ AMC Javelin trunk, 77 x 88 x 107 inches

“Generator VII” (2023), quartz crystal, silver-plated stainless steel cable, silver crimps, steel, Volkswagen trunks, 38 x 33 x 32 inches

Detail of “Screwdriver” (2023), onyx, citrine, rhodonite, garnet, agate, tektite, lava rock, turquoise, aquamarine, serpentine, magnesite, amazonite, black tourmaline, jasper, prehnite, ruby in zoisite, marble, amber, labradorite, smoky quartz, quartz, acrylic, steel pins on coated polystyrene, aluminum umbrella, 68’ AMC Javelin trunk, 77 x 88 x 107 inches

Detail of “Screwdriver” (2023), onyx, citrine, rhodonite, garnet, agate, tektite, lava rock, turquoise, aquamarine, serpentine, magnesite, amazonite, black tourmaline, jasper, prehnite, ruby in zoisite, marble, amber, labradorite, smoky quartz, quartz, acrylic, steel pins on coated polystyrene, aluminum umbrella, 68’ AMC Javelin trunk, 77 x 88 x 107 inches

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Jeffrey Gibson’s Ecstatically Colorful Sculptures Fuse Modernist Aesthetics and Indigenous Traditions

“My Joy My Joy My Joy” (2021), acrylic felt, polyester fiber fill, pyrite, glass beads, sea glass, vinyl sequins, white abalone shell, metal base, nylon thread, aluminum sculpture wire, and artificial sinew, 16.5 × 13.3 × 22 inches. Installation view of ‘The Body Electric’ at SITE Santa Fe, 2022. Photo by Shayla Blatchford. All images © Jeffrey Gibson, shared with permission courtesy of Sikkema Jenkins & Co., New York; Kavi Gupta Gallery, Chicago; Roberts Projects, Los Angeles; and Stephen Friedman Gallery, London

“The land is always speaking and has memory,” Jeffrey Gibson says, as he describes his work in an audio guide for his solo exhibition The Body Electric at SITE Santa Fe last year. “I am frustrated to see how many people continue to abuse the land, take from it, never thank the land, or care for it. Or allow it to rest. So I ask the question: Are you listening? Are we listening?”

Rooted in the myriad ways narratives are constructed and shared, Gibson’s practice incorporates a vivid palette and a multitude of materials that range from glass beads and artificial sinew to fiber fill and sea glass. Vibrant color and graphic forms outline geometric patchworks that include words of affirmation, mottos, and acknowledgments. Quilt-like compositions mingle intricate patterns with symbols and references to myth, Indigenous knowledge, literature, and queer identities.

 

“I AM A RAINBOW” (2022), found punching bag, glass beads, artificial sinew, and acrylic felt, 50 × 14.25 × 14.25 inches. Photo by Max Yawney

Throughout his childhood, Gibson moved often and spent periods in Germany, Korea, and the United States, travels that prompted him to suffuse his practice with a multicultural perspective and percolate on popular culture, identity politics, and personal experience. A member of the Chocktaw and Cherokee nations, he fuses the visual languages of Modernism and Indigenous American traditions, drawing inspiration from music, storytelling, and performance. He often incorporates song lyrics into his works or presents provocative snippets of text, like in the bead-framed painting “WHAT WE WANT IS FREE” or one of his Punching Bags titled “I AM A RAINBOW.”

In a group of figurative sculptures, some of which are life-size, Gibson blurs the boundaries between regional traditions and historical eras. He was inspired by a series of dolls from the Plains tribe region that depicted a spectrum of genders, which he encountered when he worked as a Native American Graves Protection and Repatriation Act assistant at Chicago’s Field Museum—NAGPRA is a congressional provision established in 1990 for federal agencies and museums to repatriate or transfer items from their collections to lineal descendants and tribes. Gibson uses these works to explore the way dolls represent the aesthetics of peoples around the world and serve as a medium of social instruction. He carefully avoids assigning the sculptures a gender, which he describes as a proposing a “future hybridity” in which identity and cultural associations are fluid.

 

“WHAT WE WANT IS FREE” (2020), acrylic on canvas, glass beads, and artificial sinew inset into wood frame, 59.75 x 69.75 inches

A series of intricately beaded bird pieces based on “whimsies” evoke small beaded objects made by Haudenosaunee peoples around the turn of the 20th century that reflect Victorian motifs like paisley or flowers applied to soft objects like boots or pin cushions. “I think they’re beautiful,” Gibson says:

…but they fell into a category of being kitsch novelty because they weren’t seen as being native enough or Victorian enough for the times they were being made in. They were on the shelf of objects that fell outside of clear, culturally-specific objects, and that’s what drew me to them. I was like, ‘Who made these? What are they?’ and I guess I felt myself reflected in them to some degree.

Central to Gibson’s work is a celebration of what he calls “outsider-ness,” collectivity, cross-pollination, kinship, and respect for each other and for the land. Described as Indigenous futurism, his practice emphasizes optimism and a focus on moving forward as he re-contextualizes versions of history that have long misrepresented or omitted Native American stories.

Find more of the artist’s work on his website, and follow updates on Instagram.

 

“THE SUN WILL BE SHINING” (2022), glass beads, citrine, bone pipe beads, nylon thread, artificial sinew, acrylic felt, fiberfill, and sculpting wire, 19 × 27 × 12 inches

Installation views of ‘The Body Electric’ at SITE Santa Fe, 2022. Photos by Shayla Blatchford. Left: “ALL I EVER WANTED ALL I EVER NEEDED,” (2019), found canvas punching bag, glass beads, plastic beads, artificial sinew, steel studs, acrylic paint, and steel chain, 85 x 20 x 20 inches. Right: “Untitled Figure 1” (2022), plastic bone pipe beads, fringe, glass beads, artificial sinew, tin cones, sea glass, acrylic felt, steel armature, and powder coat varnish, 71 × 31 × 24 inches

“SPEAKING TO THE TREES, KISSING THE GROUND” (2022), acrylic paint on canvas inset in custom frame, acrylic velvet, acrylic felt, glass beads, plastic beads, vintage pinback buttons, turquoise beads, abalone, artificial sinew, nylon thread, cotton canvas, nylon, and cotton rope, 70 x 53 x 4.625 inches. Photo by Max Yawney

“I DON’T BELONG TO YOU – YOU DON’T BELONG TO ME” (2016), glass beads, tin jingles, steel studs, and artificial sinew on acrylic felt, mounted on canvas, over wood panel, 20.5 x 24 inches each; 42 x 24 inches overall. Photo by Pete Mauney

Installation views of ‘The Body Electric’ at SITE Santa Fe, 2022, including THE LAND IS SPEAKING | ARE YOU LISTENING (2022). Photos by Shayla Blatchford

“Large Figure 2” (2022), plastic bone pipe beads, glass beads, plastic beads, artificial sinew, acrylic felt, steel armature, powder coat varnish, 74 × 27 × 15 inches

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Daniel Agdag’s Playful Rollercoaster Takes a Miniature Approach to Monumental Amusement

“Lattice” (2022), cardboard, vellum trace paper, 76.7 x 116 x 24.5 inches. All photos by Etienne Frossard, courtesy of the artist, shared with permission

Although riders aren’t able to board Daniel Agdag’s rollercoaster, the Australian artist (previously) ensures that his recreational design is structurally sound. Agdag recently completed his largest project to date, a nearly ten-foot big dipper with an elaborately cross-hatched base that mimics the rides. Created during a two-year period, “Lattice” is a miniature rendition of the monumental pastime, built from vellum and “897,560 individual hand-cut cardboard members in the truss section alone,” a component that took about eight months to complete.

The intricate sculpture, which was a commission from the New York City Department of Education, references Luna Park, a now-defunct chain that began in Coney Island before expanding to locations worldwide. “In fact, the Melbourne Luna Park still has one of the oldest wooden rollercoasters in the world, and this work was very much inspired by a wooden rollercoaster. I thought that was a nice way to link the work’s origin and its destination,” Agdag shares, noting that the “House of Mirrors” section is an ode to the Peter Wiederer Mirror Company that originally occupied the Staten Island site.

 

Now permanently housed at the Evelyn Lewis Campus—given its location on school property, there’s no public access to view the work—”Lattice” engages with the metaphor of life as a rollercoaster, perpetually moving forward through a series of twists, turns, dips, and peaks. “But this is but one metaphor,” Agdag tells Colossal, explaining that the piece also references a collective spirit. He says:

To me, the representation speaks of systems hidden within the amusement, a considered structure. Constructed of many individual stems and beams, I interpret it as the many people that need to contribute to making society not only function but thrive. The individual structural elements laced together to form a beautiful lattice of strength. Independently they carry little weight, but together they are strengthened and resilient against the forces that try to tear them down.

Agdag shares glimpses into his process and studio on Instagram, where you can follow along with his latest projects.

 

An in-progress photo of “Lattice.” Photo by Daniel Agdag

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The 2022 World Nature Photography Awards Vacillate Between the Humor and Brutality of Life on Earth

Photo © Staffan Widstrand. All images courtesy of World Nature Photography Awards, shared with permission

Moments of coincidental humor, stark cruelty, and surprising inter-species intimacies are on full display in this year’s World Nature Photography Awards. The winners of the 2022 competition encompass a vast array of life across six continents, from an elephant’s endearing attempt at camouflage to a crocodile covered in excessively dry mud spurred by drought. While many of the photos highlight natural occurrences, others spotlight the profound impacts humans have on the environment to particularly disastrous results, including Nicolas Remy’s heartbreaking image that shows an Australian fur seal sliced open by a boat propellor.

Find some of the winning photos below, and explore the entire collection on the contest’s site.

 

Photo © Jens Cullmann, gold winner and grand prize of the World Nature Photographer of the Year

Photo © Norihiro Ikuma

Photo © Julie Kenny

Photo © Nicolas Remy

Photo © Vladislav Tasev

Photo © Tamas Aranyossy

Photo © Dr Artur Stankiewicz

Photo © Takuya Ishiguro

Photo © Thomas Vijayan

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Paper Sculptures by Lyndi Sales Rupture into Vibrant Masses to Explore Life’s Fragility

“Unmapped realm,” 140 x 120 x 3 centimeters. All images © Lyndi Sales, shared with permission

Cape Town-based artist Lyndi Sales translates life’s vulnerability and fleeting nature into colorful sculptures that appear to burst and rupture in vivid forms. Using painted strips of blank paper or fragments of printed maps, Sales layers abstract compositions that splay outward, mimicking the structures of ice crystals or the cell replication process. The tension between the ephemeral and durable and the microscopic and macroscopic manifest in the large-scale works—all the pieces shown here stretch more than 4.5 feet—a relationship the artist teases out as “a way to locate myself in this universe.”

Despite the vibrancy and expansive qualities of Sales’ sculptures, much of her practice centers around dying, a theme that emerged during her childhood and which has been influenced by her father’s death in the Helderberg airplane crash of 1987. She tells Colossal:

The Buddhists believe that if you die peacefully you enter into a tunnel of light whereas if you die in fear you enter into a dark tunnel. Documented near-death experiences,  mortality, and the moment of transition from the physical to the spiritual realm became fascinating subjects for me after my research around the Helderberg plane crash.  Although my recent work is not specifically about the crash anymore, it has evolved from this core interest. I’m intrigued by the ability to see beyond the veil of the everyday into a realm that is a hair’s breath away from the reality we are familiar with, yet often difficult to access.

In addition to showing works this month at Affordable Art Fair in New York, Sales has a solo show slated for October at .M Contemporary in Sydney. You can find an archive of her work on her site, and head to Instagram for a peek inside her studio. (via Hyperallergic)

 

“Snakes Eye View,” 140 x 120 x 3 centimeters

Detail of “Unmapped realm,” 140 x 120 x 3 centimeters

“The serpent is a creative source,” 140 x 120 x 3 centimeters

“Altered State of Space,” 140 x 120 x 3 centimeters

Detail of “Altered State of Space,” 140 x 120 x 3 centimeters

“Feathery Guides,” 140 x 120 x 3 centimeters

“Uncharted realm,” 140 x 120 x 3 centimeters

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Everyday Objects Swirl in the Dizzying Choreography of Alain Biet’s Elaborate Animation

Items you might find on a shelf in the garage or packed away in the basement—like wrenches, your old MP3 player, key fobs, or spare light bulbs—become stars in their own right in Alain Biet’s mesmerizing animation. “Grands Canons,” which translates from French to “Big Guns,” opens with a close-up of the artist drafting a realistic, green pencil in watercolor. Once the rendering is complete, we meet another pencil, and another, as a “visual symphony” of thousands of precise drawings unfolds.

Biet’s intricately detailed illustrations highlight everyday objects we might find in a junk drawer, a closet, or even destined for the trash, emphasizing a variety of styles and how items have evolved over time. His survey of technology and tools stokes a tinge of nostalgia, too. Remember that old Discman, SLR camera, or Nokia brick? The gang’s all here in a dizzyingly choreographed sequence, accompanied by an original score that responds to the rhythms and movements of the drawings as they skitter and whirl across the surface.

Find more of the artist’s work his website and Instagram.

 

All images © Alain Biet

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