Drawn to the material for aesthetic or symbolic reasons, many artists have incorporated glass or dinnerware into their work. Julian Schnabel is probably the most prominent artist who has incorporated dinnerware into his practice. He created his famous “plate paintings” in the 1970s/80s and they became some of his best-known work. Judy Chicago’sThe Dinner Party is another famous instance, but with a feminist theme. Chicago depicted place settings for 39 mythical and historical well-known women. Each setting features symbols relating to a specific woman’s accomplishments. Josiah McElheny creates finely crafted, handmade glass objects that he uses to make museological displays depicting one’s attempts to learn about historical peoples from their household possessions and objects. Molly Hatch is an artist and designer who grew up on a dairy farm in Vermont. She studied ceramics alongside painting, drawing and printmaking and incorporates all of them into her work. Jason Kraus uses glasses and flatware to generate reiterations of the same setup. For instance, for his installation at Redling Fine Art Kraus served a nearly identical meal for the first seven nights of his exhibition. After the meal he would clean the dishes and stack them inside a plywood cabinet, creating remnants of an ephemeral performance. Esther Horchner is an illustrator whose clever teacups depict bathing figures. Cheryl Pope incorporates dinnerware and other objects in unexpected ways. Her Balancing Stacks, for instance, was a performance where a woman stacked dishes on a precariously balanced table. Like the feminization of a ritual like clearing or setting the table, Pope uses her stacks as a symbol for something destined to collapse.
Each of these artists finds symbolic or artistic value in the typically utilitarian objects. Using these almost universally recognizable items for art and performance enables a kind of storytelling or metaphor that is unique to each artist.
Myleen Hollero is a freelance photographer based in San Francisco. Her website boasts a collection of “photographs, mental notes and observations on timing, space, memory, people and some things in between.” Hollero’s photographs portray movement and, just as fluidly and richly, the sounds associated with the particular space; they put your senses to work! Kind of like the link between smell and memory.
“First tree” represents the awareness of our existence, one that sits upon us like the world on our shoulders.
The Blue Tree questions who and what we are.
The Tree of Man, we are all connected.
The erotic art of Sydney Australia based Garth Knight entails a series of six suspended ‘trees’ ( in order: first, blue,heart, man, lost, and red) all which are made out of rocks and ropes. Each individual “tree” is created over one or two naked bodies, often posing in very sensual positions. If the ‘trees’ are observed in order, they create a linear narrative- one that tells, through stunning and innovative imagery, the story of human existence. The artists accompanies his images with text; the words further narrate the story he is trying to tell.
Knights multi-disciplinary practice covers various areas including installation, sculpture, and photo media. As you can acknowledge from the photos shown here, his works often (almost always) include the use of rope bondage, amongst other erotic elements that mesh with ideas of strength, pleasure, and sexuality. You can check out more of his works on here.(via Beautiful.Bizzare Magazine)
Dan Quintana is a Los Angeles-based artist who paints eerie, goddess-like figures immersed in figurative and ethereal worlds. Featured here are works from “Diffused,” a solo exhibition of Quintana’s work that is currently being shown at the Hashimoto Contemporary gallery in San Francisco. These particular paintings take on a dark and macabre tone; female figures with haunted eyes peer at the viewer from a symbolic plane infused with images of death and decay. One painting features a ghost horse plummeting earthward with its demonic, also-rotting human companion. Using overlapping shapes and translucent layers, Quintana strips away flesh from his subjects, revealing grisly anatomies of muscle and bone. With his eclectic style and masterful attention to detail, Quintana channels the otherworldly imagery of Dutch painter Hieronymus Bosch while also blending in modern motifs and geometric patterns.
Color and light play important roles in Quintana’s work. Most of his recent paintings are muted in shades of gray and brown, invoking a look that’s both antique and corpselike. As the word “Diffused” implies, light is distributed in an exploratory fashion in these works. Often the figures’ outlines are obscured and partially dissolved, making it unclear where their forms begin and end; in the artist’s own words, “we see the light in these figures dispersing faintly into the open vast space until it ceases to exist” (Source). For Quintana, light is a symbol of life. Used in fluid but contrasting ways with the shadowy, cadaverous imagery, Quintana’s work seems to explore a symbolic co-relation between the forces of life and the stark realities of death.
Nicholas Max Scarpinato is only 17 years old. Yup, this young photographer is still in high school. The work isn’t fully matured but just think back to what you were up to when you were a teenager and you’ll realize why Nicholas is someone worth keeping an eye on.
Moody, slightly surreal paintings from Swedish artist Markus Åkesson. Åkesson’s works touch on the quiet, interior relationship we have with death. But the artist doesn’t present death as the scary, violent experience that so many make it out to be, but as a peaceful, very natural phenomenon. And his use of animals and children works really nicely to heighten this impression. Åkesson is currently exhibiting work at the VIDA museum in Borgholm. (via)