SAUVAGE PORCELAIN BY LINDA CORDELL

by Ariadna Zierold

linda cordell, sculpture, sculptures, porcelain, animal, animals, wild, domestic, objects, surreal, humor, upper playground

Socially awkward and full of repressed anger, Linda Cordell anesthetizes herself spending mindless hours carving detailed texture on humorous and/or uncomfortable animal sculptures. Her work reinterprets the figurine enabling animals to break the chains of cuteness and noble savagery. An appreciation of the ridiculous, a love of beauty and skilled craftsmanship, and the belief that domestic objects are social propaganda all contribute to her work.

linda cordell, sculpture, sculptures, porcelain, animal, animals, wild, domestic, objects, surreal, humor, upper playground

Cordell’s meticulously sculpted, lifelike porcelain figures depict animals juxtaposed with everyday domestic objects, raising questions about our need to control or deny nature’s ugly realities. Cordell focuses on animals’ more base tendencies: hunger, aggression and reproduction. Rooted in an aesthetic reminiscent of the grand European porcelain manufacturers reflecting a lifelike realism and classical style, her meticulously sculpted porcelain figures depict animals juxtaposed with everyday domestic objects, with afflictions or in compromised situations.

linda cordell, sculpture, sculptures, porcelain, animal, animals, wild, domestic, objects, surreal, humor, upper playground linda cordell, sculpture, sculptures, porcelain, animal, animals, wild, domestic, objects, surreal, humor, upper playground linda cordell, sculpture, sculptures, porcelain, animal, animals, wild, domestic, objects, surreal, humor, upper playground

UNCANNY EMBROIDERED PORTRAITS BY JESSICA WOHL

by Ariadna Zierold

jessica wohl, domestic, portraits, family, embroidery, embroidered, collage, gothic, upper playground

Particularly drawn to the home and its residents, Sewanee, Tennessee based Jessica Wohl exploits the uncanny while subverting domestic representations of perfection and happiness. She uses obsession, personification and gothic overtones to convey the idea that looks can be deceiving, and she interprets the family, the posed portrait and the suburban tract home as stages where this unsettling dynamic plays out.

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