Chris Bakay is a multidisciplinary visual artist living and working in Houston, TX. His work is informed by past personal experiences as well as commentary on human nature. Born in 1977, in Atlanta, GA, he studied Design at The Creative Circus.
In his series “Retired Jerseys”, he works with hanging sculptures made from cast UV-stable epoxy resin. Some are clear or tinted while others are vintage shirt designs re-imagined as clear or translucent versions of their original selves. Simply put, clear is a metaphor for the intangibility of memory. Some are accentuated with objects from the time period they represent. These include vintage fake Oakley sunglasses, a vintage Drakkar Noir cologne sample, vintage yellow Sony Sports headphones and a vintage pager to name a few.
Cristina Tufiño is a Puerto Rican artist best known for the installations and photography she creates inspired by a social debris. Tufiño gets her inspiration from the social surroundings. Cristina’s expression comes in a form of certain rearranging of cultural products as if they were her very own artistic material.
Chicago based artist Nick Cave is widely acclaimed for his exuberant “Soundsuits”—wearable sculptural forms based on the human body, intricately composed out of a vibrant assortment of second-hand materials.
Simultaneously sculptures, costumes, and musical instruments, the Soundsuits are meant for motion. Cave and other dancers wear them, transforming them into transfixing blurs of color and sound for performances and video works. Contemplated on mannequins, the Soundsuits seem to embody the full range of human emotions. Some, covered with a pelt of dyed twigs with baskets for heads, resonate sadness; others, composed of a crazy array of colorful blankets or thrift-store tchotchkes, burst with joy and humor.
Milan based Alessandro Boezio’s sculptures take on a strange life form all of their own. His work is somewhere between a cross of beautiful, anatomic sculptures and a science experiment gone wrong. Created from clay and fiberglass, the mutated anatomy includes hands with misplaced digits, spidery entities with fingers used for legs, and limbs with mismatched body parts.
The artist has an amazing talent in sculpture as his hands and feet, which he mainly focuses on, are incredibly life-like. At first glance, you may not see the odd mutation of the individual hand. However, the uncanny feeling soon forces you to reckon with its disturbing deformation.
Zim&Zou are two french artists, based in Nancy. The duo is composed of Lucie Thomas and Thibault Zimmermann. They studied graphic design (design, publishing, advertising) during three years. The duo decided to focus on installations using handcrafted objects made out of tangible materials such as paper, wood, thread, etc. rolling away from computer design.
Anchored in craftsmanship, they create all the elements composing their installations by hand, from drawing to cutting and assembling. Their favorite material is the paper they’re manipulating to give rise to intricate and colorful sculptures. Paper inspires them for its versatility, infinite range of colors and unique textures. The flat paper sheets turned into volume are giving an installation the poetry of ephemeral material.
Portland based artist Meredith Dittmar‘s human-animal-plant-energy clay amalgams contain threads of common elements and colors to express deep levels of union across themes of biology, technology, and consciousness. Her characters are frequently involved in quiet expressive moments, or lounge facing their audience so they can share their inner space. Dittmar believes it is this space we recognize in ourselves, and through convening in that space, the interconnectedness of all things is revealed. She sees the act of spontaneous artistic creation as part of a larger practice of being present, and a way to better understand herself and reality.
Paolo Del Toro (previously featured here) is a sculptor and two-dimensional artist based in Lancaster, Pennsylvania. Del Toro’s felt sculptures combine realism with a grotesque cartoon aesthetic, resulting in works that depict bizarre, sometimes nightmarish faces and figures, yet still have a strangely inviting texture.
From far away, his sculptures look like they could just as easily be made with ceramic or stone. The artist has also worked in wood, and it’s really interesting to be able to see the similarities between the two mediums in the artist’s portfolio.
Australian artist Lionel Bawden works in sculpture, performance, installation and painting. Bawden’s core practice exploits hexagonal colored pencils as a sculptural material, reconfigured and carved into amorphous shapes, mining the material’s rich qualities of color, geometry and metaphor.
Bawden explores themes of flux, transformation and repetition as preconditions to our experience of the physical world, essential to the construction of identity. Bawden’s sculptural works harness landscape as a stand-in for the body, personal themes of desire, longing and interconnection become abstracted in a generative process to create form. The result is midway between organic and geometric forms, an interrogation about metamorphoses and mutations.
South African artist Walter Oltmann’s main medium is wire for making sculptural works and he manipulates it in a way that emphasises hand-made process, using the linear quality of wire to create forms and surfaces through techniques that parallel handcrafts.
Using mostly a thin (1mm diameter) aluminium wire, these net-like works are made by layering and stitching together sections of weave to create a form of three-dimensional sculptures. The resulting structures declare their presence through scale and surface texture but often look delicate and at times even insubstantial.
Joel Morrison was born in Seattle, Washington in 1976. He received a BA in English Literature at Central Washington University, and an MFA in sculpture at the Claremont Graduate University in Claremont, CA.
Morrison’s composite sculptures fuse found objects and histories of artistic discourses into a dialogue of polymorphous forms through a variety of cast metals. With their gleaming surfaces in nickel, stainless steel or bronze, Morrison juxtaposes various genres and processes creating a tension on the surface. The purity of form at the intersection between conceptualism and formalism gradually reveals an amalgam of shapes and textures.