Philadelphia-based artist Mike Tanis produces intricate paper sculptures using a combination of origami and kirigami techniques. If you’re not familiar with what those are, they’re Japanese art forms that fold and cut paper in complex ways without the help of glue. Here, Tanis has used these methods to create abstract structures that appear soft and wavy as well as splintered and fractured. Sometimes, it’s hard to tell that they’re made of paper.
Tanis tells Quanta Magazine that he uses a scalpel to make any cuts and doesn’t use directions or crease patterns. “I start with a folding technique or principle and improvise once I start to feel the 3d form developing,” he explains. The results are dramatic forms that are reminiscent of architecture and nature. His taller, cut-paper structure mimic skyscrapers while his completely-folded pieces conjure images of the beach or a mountainscape.
Encased in white-framed boxes are Crystal Wagner’s intricate cut paper sculptures. Like specimens meant for studying, parts of textured tentacles and honeycomb-esque patterns wrap around themselves as well as non-representational wavy shapes. Wagner’s work is meticulous, and each scalloped edge has its own slightly-curled edge. It’s reminiscent of a dragon or a reptile, but not one that we’ve ever seen before. The vibrant colors feature jewel-toned gradients that push her sculptures from quasi-reality into full-blown fantasy.
These works first made their appearance at the Hashimoto Contemporary gallery in San Francisco in 2014. Her exhibition was titled Synesthesia, and the intention was to explore the psychological realm between the familiar and strange. The gallery writes, “…combining screen printing, cut paper and various dollar store items, Wagner meticulously assembles her sculptures with a sense of organic growth. Allowing her materials to build upon themselves, layer by layer, each structure swells into a mass of movement, as if grown from the soil of another planet.”
From a distance, artist Ye Hongxing’s works on canvas appear like pointillism technique, as if it’s thousands of tiny painted dots occupying a single canvas. But, as you look closer, her images are much more than that. The small spots of color are actually decorative stickers! Cartoonish dogs, cats, fruit with faces, smiling raindrops, and virtually any cutesy design under the sun make up the complex compositions. They’re a collision of subject matter, and you’ll find pop culture icons, animals, flowers, and historical references are just some of the things you’ll find in these swirling works.
The dizzy mosaic are meant to fuse traditional Chinese imagery with contemporary society. Religious statues, for instance, flow into Darth Vader’s mask. This juxtaposition is the artist’s reflection on China and how its culture has been influenced by the West. “Using stickers is a conscious challenge to traditional and conventional mediums,” she writes in an profile for the Lux Art Institute. “A sticker has an enormous amount of information in it, they reflect the time we’re living in and they are fragmented and mosaic, so I can give them a new order in the landscape I’m creating.”
Canadian artist Erin Loree crafts luscious abstract paintings that have an incredible sense of light. The vibrant pictures feature incredible blues, magentas, yellows, and many more spread over a canvas. Loree varies her approach to texture, with some areas of smoothly-applied paint and others with short, thick brush strokes. They work together and form alluring artworks that resemble portraits and at times, landscapes.
Considering the scale of Loree’s strokes, the subjects that she’s painted seem to be captured at a close range. Large, sweeping lines form vague outlines of heads and shoulders, and with names like Energy body, it’s hard not to associate them with that. But, instead of giving us the an idea of what this physical body looks like, Loree uses gesture and intense hues to communicate an inner spirit or feeling. Some of her works appear as if they’re glowing from within - the essence of an intrinsic light that exists inside living beings.
Italian sound designers Fabio Di Salvo and Bernardo Vercelli, together known as Quiet Ensemble, create work that features insignificant sounds that we wouldn’t give a second thought to. They focus their energies on the “greatness of small events,” and the subject of their most recent project is a lamp. Specifically, lamps used to produce a musical event. Titled The Enlightenment, the duo calls this performance a “hidden concert of pure light” that uses a bevy of different lighting elements like stage lights and high-powered bulbs. “Instead of violins are neon lights, to replace drums are strobe lights and instead of clarinets we will see theatrical headlights illuminating the audience,” they explain in the video’s description.
The Enlightenment was performed in October for Bologna’s Robot Festival, where it included 96 lamps. Each was fitted with its own copper coil that received various electric currents set at specific intervals, as well as a sensor. This produced an electromagnetic field that was captured and turned into sounds. Salvo and Vercelli accompanied the buzzes by modifying and amplifying each lamp’s electric output in real time. The result is a clash of blues, greens, and yellow flashes with the poetics of a familiar buzz. (Via The Creators Project)
UK-based artist San Pierre has a slightly unorthodox method when creating his work. Instead of displaying a simple image in a frame, he draws designs over top of the print with threads that are secured with nuts and bolts. These intricate, criss-crossing strings form delicate shapes that alter how the viewer interprets the image. Depending on the depth and color of the strings, the artwork might appear diffused or distorted with geometric fragments.
Pierre’s use of thread adds not only a physical layer onto his work, but a conceptual one as well. His piece titled Discontent No. 6 (top two images) features a dark figure who looks as though they’re trying to gingerly find their way. With the technicolor strings, however, it now reads as a barrier or a wall. Instead of freedom, this being is trapped. (Via My Amp Goes to 11)
Artist Yoon Ji Seon crafts her collection of self-portraits by intricately stitching photographs with a sewing machine. It’s an ongoing series titled Rag Face, and her facial expressions change with every piece. While they appear to us as similar-looking individuals, Seon changes it up with different colors and hairstyles. Despite these idiosyncrasies, each portrait has the same features. Most notably, these are hanging threads that mimic hair or tattered rags. The multiple layers of colors and stitches give these works a painterly effect, as if they are gestural and loosely handled; Seon obscures her images by working with her materials in this way.
In 2015, the artist will have a show at the Yossi Milo Gallery in New York City. They describe the her underlying concepts:
By sewing the photograph, a second image is generated on the back that is both a reflection of the front and a completely new image. The two images, combined with the original photograph as a third representation, recall the Buddhist theory that an object exists in many forms and there is no true form. Yoon Ji Seon’s work addresses Buddhist ideology deeply rooted in contemporary Korean society and confronts issues such as plastic surgery and suppression of speech. (Via My Amp Goes to 11)
The candy-colored works by New York-based artist Jaz Harold have a subversive nature about them. Although they use pastel colors have soft features, you can’t avoid the sexual undertones and overtones that are prevalent throughout Harold’s sculptures. We see grotesque displays of rotting skin, nippled pom poms, and sensual lips with just a hint of tongue. She writes about her charged works, stating:
Using an aesthetic that consciously appeals to child-like naïveté, Jaz’s work softens the emphasis on the ego, ritual, intimacy, and stigma that society generally attaches to sex.
Cherry blossoms (sakura) are a perfect balance of sexual innuendo, beauty, and innocence. The cherry blossom, symbolizing love in many cultures, adds an additional element in a body of work that covers both areas- an innocent love, and a simple uninhibited lust.
Harold makes the pure not so pure, perhaps in an attempt to scramble the visual culture that we’re used to, or as a way to offer a confusing reflection onto being young and learning about sex/being sexual. (Via Asylum Art)