Thousands of Meticulously Layered Strips of Metal Bring Selçuk Yılmaz’s Big Cat Sculptures to Life

“Jaguar.” All images © Selçuk Yılmaz, shared with permission

Thousands of thin, intricately placed metal strips form powerful wildlife portraits by Selçuk Yılmaz (previously). Adding new meaning to “big cats,” his recent series explores the legendary power, courage, and resilience of jaguars, lions, and the prehistoric saber-tooth tiger. A painstaking process of hammering, layering and welding individual pieces links realistic representation and the addition of artistic elements, such as the regal adornment on the forehead of the lion, which is titled “King.”

Minimal, abstracted contours delineate the form of Yılmaz’s saber-tooth tiger, a huge cat that roamed what is now North and South America for millennia until they became extinct about 10,000 years ago. Combining a realistic face with a simple outline, the artist draws attention to its snarling expression and the fact that we can only imagine what the early mammals actually looked like. In “Jaguar,” a lifelike portrayal of a muscular feline interacts with the light through layered textures. “Since light and metal have opposite properties, they can create an interesting balance and contrast when they come together,” the artist tells Colossal. “It gives the feeling that light has a soul.”

Find more of Yılmaz’s work on Instagram and Behance.

 

“King”

“Saber-tooth Tiger”

Detail of “Saber-tooth Tiger”

Detail of “Saber-tooth Tiger”

“Jaguar”

The artist with “Jaguar”

“Saber-tooth Tiger” in progress

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 Thousands of Meticulously Layered Strips of Metal Bring Selçuk Yılmaz’s Big Cat Sculptures to Life appeared first on Colossal.

from Colossal https://ift.tt/r3scN02
via IFTTT

An Exquisite Enlightenment-Era Book Catalogs 570 Types of Marble in Vivid Color

All images © Taschen

Six years after the release of a monumental compendium of Dutch birds, the publisher and naturalist Jan Christiaan Sepp (1739-1811) shifted his focus from avians to geology. In 1776, he issued Marmor Soorten, or The Book of Marble, a striking catalog of scientific illustrations and annotations featuring 570 types of the prized stone. This first tome was based on research published by the German engraver Adam Ludwig Wirsing and released in 11 volumes that presented the stunning, crystallized samples in exquisite hues, requiring 100 color plates to print.

A forthcoming release from Taschen reproduces Sepp’s monumental work in its entirety. Based on two first editions of Marmor Soorten held in collections at Dredsen’s State and University Library and the Getty Research Institute, the facsimile offers insight into the vast diversity of the material itself and the Enlightenment-era impulses to share knowledge and information with the public.

The Book of Marble will be available in the U.S. in May, and you can pre-order a copy from Taschen.

 

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 An Exquisite Enlightenment-Era Book Catalogs 570 Types of Marble in Vivid Color appeared first on Colossal.

from Colossal https://ift.tt/5LdB796
via IFTTT

For the ‘Flower Men’ of Saudi Arabia, A Handcrafted Tradition Heralds Beauty and Health

All images © Omar Reda, shared with permission

In the rapidly modernizing ‘Asir Province of southwest Saudi Arabia, the Qhatan tribe preserves an enduring tradition. The men of the group, which is said to descend from Ishmael, son of Abraham, fashion vibrant flower crowns made from marigolds, jasmine, herbs, and other plants, wearing the handcrafted ornaments as symbols of pride and joy. Comprised of dried and fresh materials, the headpieces are donned for celebrations, to ward off sickness, and for their beauty, and the practice spans professions and age.

Omar Reda, a Lebanese photographer currently living and working in Saudi Arabia, traveled to the province in January 2021, where he met some members of the tribe. The country “holds a treasure trove of hidden gems, he says, noting that he’s interested in documenting the vast cultural diversity of the Arab nation. In his photographs of the “flower men,” Reda brings the viewer into direct confrontation with the subjects, documenting their crowns, facial expressions, and garments with close precision. The intimate portraits highlight how the uniqueness of each individual emerges through a shared practice, providing a common point of connection throughout the community.

Reda frequently travels to photograph communities and their cultural practices, and you can find more of his portraiture on Instagram. (via PetaPixel)

 

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 For the ‘Flower Men’ of Saudi Arabia, A Handcrafted Tradition Heralds Beauty and Health appeared first on Colossal.

from Colossal https://ift.tt/uJ0z3bU
via IFTTT

Ceramic ‘Curiosity Clouds’ by Manifesto Celebrate the Natural World in Functional Organic Forms

All images © Katie Rose Johnston, shared with permission

The practice of assembling cabinets of curiosities, or Wunderkammers, may date back to the 16th century, but the human impulse to collect, document, study, and learn from our surroundings goes back millennia. Scottish artist Katie Rose Johnston, who works as Manifesto, celebrates the timeless pastime of collecting in her series Curiosity Clouds. Exploring ceramics at the intersection of art and history, she draws inspiration from natural phenomena and blurring the line between form and function.

Johnston was inspired to create the organic forms after a visit to The Hunterian in Glasgow, where she was fascinated by a vitrine tucked away in the rear of the museum. Displaying bird and insect nests from around the world, it included a cross-section of a termite mound featuring an elaborate network of compartments that the insects use for ventilation. “It was a really compelling form that mimicked a set of printer’s drawers in my mother’s home, which were filled with bits and bobs, mudlarked treasures, and our childhood crafts,” she tells Colossal. “The form of the dissected termite mound was really appealing, like a Wunderkammer from an alternate universe.”

The Curiosity Clouds are made using terracotta crank, a type of textured, groggy clay that is often used to make large, durable pots. Johnston forms each piece intuitively rather than relying on sketches, and she enjoys the way the material mimics the earthy, organic, meandering texture of the termite mounds. Always experimenting with different methods, she recently began incorporating materials found in the wild, like a slip coating made from clay gathered from her favorite beach. “It’s unseived to retain the small pebbles and roots which are elemental to the place they were found, and the clay is mica-rich and has a deep, metallic shimmer to the surface,” she says. “It’s rather magical.”

Johnston announces updates to the Manifesto shop every few months, with the next restock scheduled for August. You can find more of her work on her website, and follow updates or learn more about her process on Instagram.

 

 

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 Ceramic ‘Curiosity Clouds’ by Manifesto Celebrate the Natural World in Functional Organic Forms appeared first on Colossal.

from Colossal https://ift.tt/2QHtiGB
via IFTTT

In ‘Fire / Flood,’ Gideon Mendel Photographs Those Who Remain Amid Climate Disaster

Muhammad Chuttal, Khaipur Nathan Shah, Sindh Province, Pakistan, October 2022, from ‘Drowning World.’ All images © Gideon Mendel, shared with permission

An emergency that’s often explained with abstract data, catastrophic predictions, and threats to the planet and its species, the climate crisis can be difficult to comprehend. For decades, warming temperatures and rising waters were largely connected to plants and animals, with imagery showing the devastation as it relates to polar bears, coral, and other threatened species. There’s been growing interest in recent years, though, in documenting the communities most profoundly affected and highlighting the human impact already underway.

Gideon Mendel, a South African photographer living in the U.K., has been taking this approach in his two companion series, Drowning World and Burning World. On view now at The Photographers’ Gallery as part of Fire / Flood, Mendel’s portraits are deeply personal, showing individuals and families in their homes and neighborhoods that have been destroyed by natural disasters. Taken in 15 countries since 2007, the collection insists on recognizing that although the regularity and intensity of wildfires, hurricanes, and other weather events are increasing, humanity has been feeling the effects of the crisis for decades.

Mendel began Drowning World first after floods overtook Doncaster, a small city in South Yorkshire. He started by photographing people partially submerged in what was left of their homes, a position that he recreated a few weeks later when visiting India. “When I got back, I put these pictures side by side, portraits from floods in the U.K, and India, and I felt like something quite strong was happening—a shared vulnerability, despite the huge differences in wealth, culture, and environment. That was the beginning of the journey for me,” he told LensCulture.

 

João Pereira de Araújo, Taquari District, Rio Branco, Brazil, March 2015, from ‘Drowning World’

Whether captured in Haiti, Brazil, Pakistan, or France, the photos assert that no community is immune to the effects of a changing planet, although some are surely left in worse conditions. Mendel explains in a statement:

My subjects have taken the time—in a situation of great distress—to engage the camera, looking out at us from their inundated homes and devastated surroundings. They are showing the world the calamity that has befallen them. They are not victims in this exchange: the camera records their dignity and resilience. They bear witness to the brutal reality that the poorest people on the planet almost always suffer the most from climate change.

When Burning World followed in 2020, Mendel was able to compare the two types of disasters and find commonalities, most notably how his subjects unanimously found strength and endurance. He photographs each person standing upright, remaining assured amid the ruin and choosing courage over fatalism.

Fire / Flood is on view in London through September 30. You can find more of the series on Mendel’s site and Instagram.

 

Gurjeet Dhanoa, Rock Creek, Superior, Colorado, USA, March 2022, from ‘Burning World’

Florence Abraham, Igbogene, Bayelsa State, Nigeria, November 2012, from ‘Drowning World’

Jenni Bruce, Upper Brogo, New South Wales, Australia, January 15, 2020, from ‘Burning World’

Kevin Goss, Greenville, California, USA, October 2021, from ‘Burning World’

Top left: … Nigeria, November 2022, from ‘Drowning World.’ Top right: Uncle Noel Butler and Trish Butler, Nura Gunyu Indigenous Education Centre, New South Wales, Australia, February 28, 2020, from ‘Burning World.’ Bottom left: Rhonda Rossbach, Derek Briem, and Autumn Briem, Killiney Beach, British Columbia, Canada, October 16, 2021, from ‘Burning World.’ Bottom right: Joy Christian, Dorca Executive Apartments, Otuoke, Ogbia Municipality, Bayelsa State, Nigeria, November 2022, from ‘Drowning World’

Abdul Ghafoor, Mohd Yousof Naich School, Sindh Province, Pakistan, October 2022, from ‘Drowning World’

Amjad Ali Laghari, Goth Bawal Khan village, Sindh Province, Pakistan, September 2022, from ‘Drowning World’

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 In ‘Fire / Flood,’ Gideon Mendel Photographs Those Who Remain Amid Climate Disaster appeared first on Colossal.

from Colossal https://ift.tt/rLvCjPn
via IFTTT

An Insightful Demonstration Recreates Donatello’s Marble Carving Technique

To coincide with the first major U.K. exhibition of works by the Renaissance great Donatello, the Victoria and Albert Museum released the latest addition to its How was it made? series, which explores the process behind some of art history’s most lauded pieces. The short video follows sculptor Simon Smith as he creates a scaled-down iteration of the 15th-century Prato Pulpit, a relief featuring dancing cherubs made for the Cathedral of Prato.

Referring to marble as “the emperor of all stones,” Smith draws a portion of the original work on a small block and explains the unique characteristics of the material as he carves. “It’s all about trapping shadows,” he says. “Carving is all about having deep cuts here and lighter here and the angle here and how the light plays on it. And certainly in relief because relief carving like this. It’s kind of halfway between sculpture and drawing.” While demonstrating how Donatello might have approached his work, Smith offers a compelling glimpse into how two artists’ techniques overlap and converge centuries apart.

Donatello: Sculpting the Renaissance is on view through June 11 in London and includes Smith’s panel, which viewers are encouraged to touch. Find more about the demonstration on YouTube. (via Kottke)

 

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 An Insightful Demonstration Recreates Donatello’s Marble Carving Technique appeared first on Colossal.

from Colossal https://ift.tt/rRCUmFc
via IFTTT

Susannah Carson Evokes the Amorous Tradition of the Lover’s Eye Through Antique Plate Paintings

All images © Susannah Carson, shared with permission

On vintage serving ware and ornately decorated plates, artist Susannah Carson renders fragmented portraits of women who peer out from the center of the vessels. The oil paintings evoke the Georgian tradition of the “lover’s eye,” sentimental miniatures depicting the facial features of a spouse, child, or family member often found on jewelry of the time. These tiny works would also allow the wearer to obscure the exact identity of the subject, making them ambiguous keepsakes for affairs and other clandestine activities.

For Carson, this amorous practice becomes the basis of inquiry as she imagines her lively characters, their stories, and how they connect to the history of such unconventional canvases—an avid antique collector, she’s currently working on an illustrated guide on the process, as well as a series of paintings paired with the antiques they depict. Blending past and present, her pieces highlight the unknown, whether the lineage of the vessel itself or the identity of the subject. She explains:

I’m interested in painting as not just an optical illusion, but as an illusion of life—of otherness, of richness, of engagement, of that delicate connection we have with other beings which allows us to feel, for a moment, not so alone. With compositions highlighting the gaze, these subjects tell us their stories with a single look and ask for us to tell them our stories in return, thereby creating—unlike the alienation of much modern art—a welcoming intimacy.

Carson will soon release a series of works combining coveted Staffordshire dog figurines and painted portraits, which you can watch for on Instagram. Shop originals and prints on her site.

 

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 Susannah Carson Evokes the Amorous Tradition of the Lover’s Eye Through Antique Plate Paintings appeared first on Colossal.

from Colossal https://ift.tt/z5uF4HJ
via IFTTT