The art of pencil carving is becoming more and more widespread, intricate, and skilled. Over the past few years we have come to see many incredible things being carved from the humble pencil. Whether it is colored, or plain graphite, a leaden tip can be transformed into many icons, symbols or dioramas. Artist Tom Lynall‘s effort sees him shaping pencil tips into emojis, tiny characters and landscapes. From an artist’s paint palette, to idyllic pastoral views, to Rapunzel in her tower, to the hearts, lightning bolts and happy faces from our smart phones, Lynall is capable of achieving great detail on a minute scale.
A bespoke jeweler by trade, Lynall is no stranger to working at this level, or at the pace required to finish a delicate piece. But only having started his pencil carving hobby last November, he is quickly adapting to his new material. Being malleable and dense, graphite is an ideal material to carve intricate and complicate details into. He says about his new time consuming hobby:
I love art but I have never been able to draw so this is a good way for me to create things with the limitations of my skill. The main tool I use is the scalpel blade shown in the pictures as well as a few pins which I have altered the end of to give me different blades.
This is great fun to do so if you would like to give it a go the best advice I can give is to not get annoyed when they break, they are extremely fragile but once your done they are fantastically satisfying. (Source)
Flock Shop & Spectrumega Media Present…
The Funk Rumble Block Party
Saturday, July 11th, 2009
12 pm – 10 pm
$5 before 4 pm, $8 after
Kids under 10 years old in free
All ages, fenced event
947 N. Broadway, LA 90012
Street & Lot parking available
To suggest that David Adey builds art from recycled materials would be an understatement. He develops intricate patterns from previous design work. Each celebrity limb or fashion savvy lip is delicately cut out, then pinned and pieced together on a foam board, without any digitalized color manipulation; he does, however, use a Google search to locate the parts for his palette and develop an arrangement.
His process, Adey admits, is terribly methodical, time consuming, and detail oriented, however, this is exactly the point. He states, “For me as an artist, it’s a matter of developing or choosing your own constraints. Finding them and embracing them as a tool to make the work.” Echoing a similar sentiment put forth by the father of design himself, Charles Eames, Adey continues: “Without constraints, you don’t have anything. That’s the whole design process — working within constraints.”
Belgian artist Wim Delvoye is rolling out a new installation at the Sperone Westwater this month, composed of his iconic site-specific laser-cut metal towers. Intricate, decorative architectural spirals are made even more fascinating with Delvoye’s sly, humorous metal manipulations. Aided by the seemingly limitless possibilities of computer-aided design tools, he is able to execute mind-blowingly detailed sculptural works. Some pieces are pristine, acting as models for larger sculptural installations made of heavy, untreated steel. Once the actual pieces are created and placed in Delvoye’s chosen site, the sculptures quickly take on a rusted patina—and an instant “aged” look that makes each piece seem like it has existed there for centuries, even though it’s work that could only be made in present day.
His work is on view at the Sperone Westwater In NYC from May 10th – June 28th, 2013.
“Found antique objects and miniature tintype photos form the emotional core of several works, juxtaposing the musty aura of a dusty attic with smooth, delicate ethereal forms, computer rendered yet exquisitely hand-crafted.”
Brooklyn via Russia artist Stanislav Ginzburg‘s Curiophyla is a series of staged photographs of original sculpture placed within specific, relevant mise en scène environs. The sculptures, beautiful references to cellular anatomy that incorporate emotionally charged vintage (and faux-vintage) tintype portraiture, take on a unique appeal when positioned amongst their ethereal settings. The overall aesthetic perfectly captures an elemental, organic feel (moss, insects, blood, etc.), while the photographic elements within the works offer a distinctly human connection. By reducing things to their most basic, cellular level, Ginzburg illustrates a deep connection between past and present. So beautiful.
In reviewing Hilary Brace’s drawings, the New York Times said, “once in a while you come across an art of such refined technique that it seems the product of sorcery more than human craft…” Starting with the smooth surface of polyester film darkened with charcoal, Brace works in a reductive manner by removing charcoal with erasers and other hand made tools. Despite the photographic veracity of her technique, Brace composes her images without premeditation, through an explorative process that allows them to unfold in unanticipated directions. Her subjects are based upon clouds, water, mist and mountains, but she takes these forms to sublime and unimaginable new heights. As Christopher Knight remarked in the Los Angeles Times, her work is “like a Vija Celmins drawing made Baroque, [it] conjures ephemeral poetics of light and space.” For all their vastness and grandeur, Brace’s drawings are relatively small and intimate. As Leah Ollman observed in Art in America, these drawings “put those two realms – the private and the cosmic – within reach of each other.” (via)
Hilarious sculptures from Eugenio Merinos, infused with a large dose of biting political and art-world satire. Think Ron Mueck with a large ax to grind. With appearances at Artefiera 2010 in Bologna, and ARCO 2010 in Madrid, 2010 promises to be a big year for this up and coming Spaniard. More at ADN Galeria.
Lucy McLauchlan of Birmingham, UK has been painting on every imaginable surface for over ten years. She has created everything from large murals to graphics for baby clothes. She usually works in flat black and white, depicting birds, trees, and whatever strikes her fancy. Most recently, she’s put up a lot of public work in East London, celebrating the Olympic Games. McLauchlan’s subdued compositions don’t scream “look at me!” (a message proliferated by many “street” artists), but -instead- “look at this!”. Honest, pure beautification of our public urban space without any ego.