Bridges and Walls Defy Gravity in Cornelia Konrads’ Atmospheric Site-Specific Installations

“bridge” (2018), lodgepole pine, weathered barn boards, and steel rope, 20 meters long and 4 meters high, for Blackfoot Pathways: Sculpture in the Wild, Lincoln, Montana. All images © Cornelia Konrads, shared with permission

A bridge in the middle of a Montana forest appears eternally suspended mid-collapse, and a wooden dock curls up out of the water in just a couple of artist Cornelia Konrads’ site-specific interventions (previously). Using found materials like driftwood in the towering “tourbillon” or tapping into the regional vernacular like the ceramic tiles and stone in “refuge,” the artist re-interprets existing spaces by considering the tension between harmony and chaos in nature.

Konrads’ installations feature an interplay between permanence and weightlessness, as structures such as bridges, houses, and walls appear to defy gravity. In “La folie des folies (3 The Match),” for example, existing classical statues of Hippomedes and Atalanta appear to playfully lob marble pots across a lawn at one another. And in her most recent work, “fluchtweg / escape route,” a stone wall curls aside to open a footpath, transforming into an inviting gateway rather than a barrier.

The works often visually remark on a specific location, such as “refuge,” which incorporates “an ancient dry stone wall along an old link road between France and Spain, frequently used by refugees during the past centuries,” while “bridge” suspends local lodgepole pine and weathered barn boards over a forested ravine.

Explore more of Konrads’ land art and installations on her website.

 

Collaboration with Marco Dessardo, “pontoon” (2020), wood, plastic containers, iron, and aluminum, 900 x 120 x 150 centimeters. Site on the bank of the Canal de Bourgogne at the harbour of Migennes, for Tandems—Parcours artistique en plein air, Association Canal Satellite, Migennes, France

“tree house” (2022), bricks, cement, construction wood, wooden tiles, and steel cable, 4 x 4 x 6 meters, in Sologne, France

“refuge” (2019), stones, wood, and roof tiles, approxomately 5 x 2.5 x 1.5 meters, for Murets d’art, Mornans, Val de Drôme, France

“refuge”

“tourbillon” (2018/2021), driftwood, and metal, 600 x 400 x 400 cm, for Fondation Carmignac, Villa Carmignac, Île de Porquerolles, France.

“La folie des folies (3 The Match)” (2019), resin, div. paints and pigments, steel rope, two vases, 0.8 x 0.5 x 0.5 meters each, for the Grand Allée of Domaine de la Garenne-Lemot, Gétigné, France

“La folie des folies (3 The Match)”

“fluchtweg / escape route” (2023), local stones, mortar, wood, and metal, each side approximately 120 x 225 x 40 centimeters and Installation on a terrain of 550 x 100 centimeters. Site: small valley crossing the main hiking trail to Rittisberg, for Land-Art Rittisberg 2023, Ramsau am Dachstein, Austria

“tinkers” (2016), set design for a theatre play of ‘The Only Animal Theatre Society’ at Mt. Elphinstone Provincial Park, Roberts Creek, British Columbia

Detail of “bridge”

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Exquisite Paper Fish and Birds by Lisa Lloyd Twist in Elegant Motion

“Flux.” All images © Lisa Lloyd, shared with permission

An elegant, energetic menagerie continues to emerge from Lisa Lloyd’s Brighton studio. Known for her painstaking precision and deft layering process, the artist (previously) imbues her paper sculptures with an immense amount of life, each creature conveying movement and vigor.

One of Lloyd’s most recent works, “Flux,” centers on a pair of fighting fish with gracefully swishing fins. Made in collaboration with the printer Barnard & Westwood, the bettas sport tiny speckles and stripes on their scales as their bodies curve toward each other. Additional sculptures include the anatomical “Ovule,” which depicts a bird severed to reveal a gold spine and flower in its torso, and her recent Rise series of avian-like forms with long, sweeping tails.

Many of the works shown here will be on view through October 15 at StART Art Fair at Saatchi Gallery in London. Lloyd also generously shares insights into her process on Instagram.

 

Detail of “Flux”

Detail of “Flux”

“Ovule”

“Rise 01”

“Rise 03”

“Rise 02”

The artist works on “Flux”

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Disjointed and Mirrored Figures Break Into Indistinct Selves in Kat Kristof’s Portraits

“She & Her” (2023), oil on canvas, 150 x 150 centimeters. All images courtesy of BEERS London, shared with permission

“Where is the outline of one’s self beyond the physical body?” asks the artist Kat Kristof. “If I stand close to you, am I part of you? If we touch, our beings intersect, where do I start and do you begin? Do we share a single being between us?”

In Her & the Self opening next week at BEERS London, Kristof expounds on what it means to try to define something as mutable, fluid, and fragmented as the self. She paints in neutrals and muted jewel tones, rendering figures that are disjointed, mirrored, entwined, and glitched. In works like “She & Her,” for example, a secondary figure appears to peel itself off the body of the subject, a motif similar to that in “Portrait of Them IV.” Other pieces, like “Portrait of Her IV,” show a single woman looking directly toward the viewer, while another identical form slyly peeks out from her left side with a knowing expression.

A statement about the exhibition poses the theory that each portrait equally depicts the sitter and the artist, further ensnaring several identities and perceptions into each of Kristof’s works. While composed of geometric blocks of subtle color, her stylized figures defy clear delineation, their forms often melding into one another and blurring any boundary between the two. The subjects also retain their anonymity and distance from the viewer, further questioning the limits of what we’re able to glean about each other and ourselves.

Her & the Self runs from October 20 to November 25. Glimpse Kristof’s studio and process on Instagram.

 

“Portrait of Her I” (2023), oil on canvas, 135 x 145 centimeters

“Portrait of Her IV” (2023), oil on canvas, 100 x 100 centimeters

“Portrait of Them II” (2023), oil on canvas, 150 x 150 centimeters

“Portrait of Them IV” (2023), oil on canvas, 145 x 110 centimeters

“Her & Her” (2023), oil on canvas, 185 x 125 centimeters

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Barriers Made of Concrete and Oyster Shells Mitigate Erosion and Offer Alluring New Habitats on Australia’s Coastline

All images © Alex Goad/Reef Design Lab, shared with permission

Stretching across more than 160 miles of Victoria’s central coast, Port Phillip harbors a diverse marine ecosystem. In recent years, though, the Australian bay has experienced widespread development that’s damaged the vegetation protecting the land, leading to mass erosion and habitat destruction. At this rate, some of the current shoreline is predicted to be entirely underwater by 2100.

As a remedy, designer Alex Goad and the team at the Melbourne-based Reef Design Lab have created a series of conical modules that break waves and re-establish healthy ecosystems for aquatic life. Titled Erosion Mitigation Units and installed near the city of Greater Geelong, the two-meter-wide structures are made of concrete and recycled oyster shells layered into molds. Once removed and submerged in the water, the undulating, organic shapes offer small caves, tunnels, and hiding spaces for shellfish, octopus, sponges, coral, and other creatures. Overhangs provide resting spots for stingrays and globefish, and one-centimeter-wide ridges on the surface are designed to attract tube worms, mussels, and oysters. “After six months of being submerged, the modules have already been colonised by several shellfish species, sponges, and cold water corals and are visited by stingrays and local snorkelers,” Goad shares.

Both a buoy to conservation efforts and an alluring addition to the waters, the units serve several purposes, Goad says, explaining further:

Not only does creating more complex geometry lead to better wave attenuation and habitat for marine life, but creating a softer sculptural aesthetic for these types of structures is essentially like underwater gardening. Just like how we design our landscapes and public parks, I think the same sort of effort and respect should be paid when building in the marine environment. I wanted the installation to be enjoyed in a similar way to a public park, but instead of walking, you can swim through the undulating forms, each with its own ecosystem developing. Over time, the installation will be completely overgrown, and the sculptural forms won’t be noticeable, but I think that is part of the magic of the project.

Dezeen recently longlisted the Erosion Migration Units for the sustainability category of its annual design awards, and the lab’s MARS project, comprised of modular structures to restore coral reefs, will be on view at National Gallery Victoria in the coming weeks. The team is also working on several new designs at the moment and collaborating on the U.S. government’s Reefense project. Find more from Reef Design Lab on its site and Instagram.

 

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Shot From the Cockpit of a Boeing 767, Santiago Borja’s Photographs Capture Stunning Storms Around the World

All images © Santiago Borja, shared with permission

Illuminated by lightning or the setting sun, Santiago Borja’s dramatic photographs (previously) capture storms from a unique perspective: right beside them at eye level. As a Boeing 767 pilot, he observes stunning meteorological phenomena on his travels around the globe, spotting towering cumulonimbus clouds and powerful lightning strikes. “As long as we learn about nature and never underestimate its power, we can safely navigate through its features while enjoying the views,” he says.

Prints of some of Borja’s images are available to purchase on his website, and you can follow his ongoing travels and storm sightings on Instagram.

 

 

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Ikebana Connects Creative Traditions in ‘Common Ground,’ a Ceramic Project Tying People Together Through Earthen Materials

“Massachusetts.” Photo by Joshua White. All images courtesy of Inventory Press, shared with permission

“Before there was America the country, or the individual states and the ensuing territorial identities and resulting politics, there was the land that America occupies,” writes artist Adam Silverman about Common Ground. Born in 2019, the ongoing project is ambitious and optimistic, seeking to connect people separated by ideology, geography, and culture through the shared land we occupy.

While its goal is lofty, the premise of Common Ground is simple: Silverman harvests clay, water, and wood ash from all 50 states, Washington, D.C., and the five occupied U.S. territories—Puerto Rico, the U.S. Virgin Islands, Guam, American Samoa, and Northern Mariana Islands—and then blends the materials together so that the substances and their origins are indistinguishable. That mixture is the basis of the artist’s ceramic vessels, which encompass two series of tableware and ceremonial pots. He explains about the latter: “The forms are not subtle, and although they stand on strong feet or foundations, they are battered, scarred, leaning over, showing the processes that got them here. The tops are open, symbolically ready to receive.”

A new book published by Inventory Press celebrates Silverman’s ceremonial pots, which are paired with sweeping arrangements made by ikebana students and teachers. Common Ground: With Sogetsu Ikebana Los Angeles documents the artist’s process and explores the impulse behind the project, particularly as it bridges American and Japanese making traditions. Spreads are full of diagrams explaining differences in materials, images of Silverman collecting and preparing his substances, and photos of the completed collaborative works that show myriad Ikebana creations emerging from the vessels.

Common Ground: With Sogetsu Ikebana Los Angeles is currently available from Bookshop, and you can explore more of the project on its site.

 

“Maryland.” Photo by Joshua White

“Pennsylvania.” Photo by Joshua White

“Louisianna.” Photo by Joshua White

“West Virginia.” Photo by Joshua White

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Cranbrook Academy of Art Announces Public Lecture Series With Artists, Architects, Curators, and Designers

Clockwise from upper left: Ghada Amer, Norman Teague, Risa Puleo, Roberto Lugo, Cannupa Hanska Luger (Photo by Reece Martinez), Yolande Daniels (Photo by Priscilla Mars)

The 2023–2024 public lecture series at Cranbrook Academy of Art brings together an innovative group of artists, architects, curators, and designers to address some of the most urgent issues of our time through performance, object making, curation, and critical writing. Together, they encourage us to think expansively about the role of creativity in building community and in shaping the world around us. Each speaker will spend several days on Cranbrook’s campus in Bloomfield Hills, Michigan, conducting studio visits and sharing insights into their creative practice. 

The visiting artists include:

• October 19, 2023, 6 p.m.
  Risa Puleo, Independent Curator
• November 9, 2023, 6 p.m.
  Norman Teague, Designer and Educator
• November 30, 2023, 6 p.m.
  Hamza Walker, Director of LAXART
• December 14, 2023, 6 p.m.
  Cannupa Hanska Luger, Multidisciplinary Artist
• January 11, 2024, 6 p.m.
  Yolande Daniels, Associate Professor in Architecture at the Massachusetts Institute of Technology and co-founder of studioSUMO 
• February 1, 2024, 6 p.m.
  Ghada Amer, Artist
• February 22, 2024, 6 p.m.
  Andrianna Campbell-LaFleur, Art Critic, Curator, and Historian
• March 21, 2024, 6 p.m.
  Yuri Suzuki, Sound Artist, Designer, Electronic Musician
• April 4, 2024, 6 p.m.
  Roberto Lugo, Artist, Social Activist, Poet, and Educator

All lectures are free and held at Cranbrook Art Museum. Recorded lectures will be available on the Cranbrook Academy of Art deSalle Auditorium YouTube channel. The lecture series is supported by the Gilbert Family Foundation.

Cranbrook Academy of Art is a dynamic community of architects, artists, and designers working together to shape the future of visual art and material culture. Ranked as one of the country’s top graduate-only programs in art, architecture, and design, Cranbrook is a place for students looking to earn their MFA or MArch within a program free from conventional classes and a fixed curriculum. Instead, we offer an unscripted approach to graduate education that centers the questions and interests of artists who choose to study here. The 11 disciplines of study include 2D Design, 3D Design, 4D Design, Architecture, Ceramics, Fiber, Metalsmithing, Painting, Photography, Print Media, and Sculpture.

Applications are now open through February 1, 2024.

Nearly 80 percent of Cranbrook Academy students receive financial aid in the form of gifts and scholarships to assist with the cost of study. This includes up to ten full-tuition Gilbert Fellowships for students from underrepresented racial and ethnic groups, intended to provide resources and pathways to increase equity within graduate education. 

To learn more, visit cranbrookart.edu.

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