Alexis Facca is a Belgium-based paper artist and set designer, known previously as Paper Donut. He recreates everyday objects in paper, which are used in both his personal work and commercial endeavors, including animation. Facca’s paper sculpting is successful on a number of levels – his attention to detail and craft, the formal aspects like color and composition, and its ability to amuse and delight us. His work is memorable, which is especially important when working with advertising clients.
In addition to paper, Facca has recently composed compositions that use other materials like popcorn and barbecue skewers. He also includes metal grates and wood blocks, too. His better known works, however, are objects recreated from paper. This means he has constructed filing cabinets, copy machines, and large potted plants. He has created life-size breakfast foods, too, including angular fruit, donuts and eggs. Yum!
Zim & Zou are a French design studio created by Thibault Zimmermann and Lucie Thomas. In addition to paper sculptures, they also explore graphic design, illustration, and installation work. Rather than use a computer, the duo prefer to use paper to design and sculpt many of their images before photographing them. From a series entitled “Back to Basics,” these brightly sculpted electronic devices represent 80s and 90s nostalgia and employ color schemes that remind me of the Nickelodeon shows I grew up watching. Each item is meticulously sculpted to real-life size and shape dimensions and includes thoughtful details that give the appearance of full functionality. The use of paper to recreate outdated technological objects also confronts the current modern tension between print and digital media.
The duo told Don’t Panic, “…[A]t first sight it’s a tribute to vintage technologies which marked the technological evolution of the last years, and all the nostalgia of the memories that each have with them. By bringing those ‘dead’ objects back to life, we tried to highlight the very fast evolution of our everyday objects. The devices we use nowadays will, in a few years, be considered as relics too. We wanted to ask a question as well: where will this evolution lead us to?
What inspired us personally for this project are the original objects themselves. Every day we use some of those objects, such as the Polaroid camera and we often play Tetris on the original grey Gameboy.”
Their website has a gallery full of other paper sculpture designs, including paper birds, food, spaceships, and a Higgs Boson. You can watch a time-lapse video of their construction process here. (via unknown editors)
Artist Brian Adam Douglas makes use of a unique process. Before exhibiting at galleries, Douglas began his practice on the streets of Brooklyn under the name ELBOW-TOE. His distinctive style was easily spotted as he used wood cuts, charcoal, collages, and stencils throughout New York City. Douglas has since further developed his process, style, and subject matter. He has retained his painterly style that could be found in his street art and paintings. However, Douglas now applies this to a special kind of cut paper art or collage work. In fact, he prefers to call it “paper painting”. Douglas paints individual parts of paper precise colors and carefully cuts them. All of these small pieces are then often adhered to a wood panel to create one painting-like composition. While he has often focused on individual people, Douglas has now ‘zoomed out’ in a sense. His work now often encompasses entire landscapes or scenes. These scenes frequently touch on natural disaster and specifically the way people cope with them. The statement of his current exhibit at Andrew Edlin Gallery further describes this style:
“Virtually all of the works in Douglas’ new series deal with the rebuilding of life and purpose in the wake of catastrophic deconstruction brought on by natural disasters and climate change(including overt references to Hurricanes Katrina and Sandy). They are not merely about the breaking down of things but about an innate capacity to cope with disaster and the rehabilitation of purpose. Spending up to half a year on a single piece, Douglas’ laborious process demands a pictorial integrity where nothing is wasted and everything serves his intensity of purpose. Forgoing the relative ease and fluidity of the brush stroke, the artist methodically builds his compositions through shards of color incised from sheets of paper he has painted, forging a novel way to combine painting and collage into a singular hybrid.”
“Paper Tears,” an exhibition of all new works by artist Jaybo Monk opened recently at Soze Gallery in LA. I connected with him to discuss his new body of work, and how it relates to poetry, travel, what came before and what comes next.
K: Congratulations on a beautiful show and a really solid opening! How have you felt about the exhibit?
J: Thank you, to be honest I forget my work soon as it has been done. I consider every show like pages from a book that continuously get closer to its end , therefore I am more interested in the next page as the one I just have read.
K: This new work of yours in “Paper Tears” is quite an evolution from past works in a way I love. They are much smaller and feel more personal. Can you tell us a little about how you may have approached this series differently than works in the past?
J: Since I remember I always have drawn my ideas on paper before I even put them in words. Each morning I wake up out of a dream, I try to remember it in a visual form. What I normally do on a bigger scale is the result of more than one dream. In “Paper Tears” I show one dream at once. The medium I used is also more personal: pocket aquarelles, pencils, ink… they also have a kind of diary aspect in them, involving time between each piece.
The art of Ala Ebtekar is as simple as it is effective. Ebtekar was born in the United States and raised in California but retained a strong connection to the land of his heritage, Iran. You can nearly see in Ebtekar’s work a gazing at home from far away, a sort of portal. Ebtekar is definitely referencing the cosmic with this work. He says of the Sufi influence behind his work, “Sufis believe that existence is of two natures – both earthly and divine – and it’s that transition between these two states that’s represented by an arch. The arch could be in architecture, but it could also be a beloved’s eyebrow, and how that’s an entrance to that other space.” Ebtekar also subtly uses Western imagery in addressing this “other space” – you’ll notice some of these pieces printed on the back of science fiction movie posters.
Edinburgh-based artist Polly Verity creates detailed and intricate sculptures out of paper and wire. Most of her subjects are animals or mythological creatures and the size of her sculptures range from palm to life sized. The wire for the sculptures is built up into a 3D frame and this becomes the contour and outline of the creature. The wires are joined together through wrapping and pinching; no heat is applied to forge the wire. She then applies wet fine paper that she first sizes with glue onto the structure. The paper dries and tightens up while formed on the frame. Her creations are usually kept encased in a glass dome or box for protection and display.
In addition to these incredible sculptures, Verity also creates geometric origami paper art and wearable paper art. Her ability to meticulously create such delicate and intricate designs out of basic and simple tools like paper and wire is impressive. Be sure to check out her Flickr page for more photos, including some of a project she worked on with her brother involving the sculpting of crumpled tissue paper organs.
Tomas Saraceno is a master of transforming a space and infusing it with an interactive surreal quality. His installations that are constructed to provide viewers with the experience that they are walking on a cloud are absolutely captivating. The soft dream-like magic of his work is more tactile and intimate, however, in this paper installation Cloud House featuring cloud like formations made only out of smaller geometric matte paper structures.
Inspired by her Oakland surroundings and the mysterious life of collected objects (from homeless shopping carts to a public disposal & recycling area), Amy Wilson Faville collages her own drawings in with an assortment of vibrant materials such as old mattress fabric, file folders, vintage wallpaper, and other scraps. Comparable to quilt-making, Faville’s compositions incorporate consistent patterns with eclectic pops of color, conceptually mirroring her subject matter.
Speaking on her Carts series specifically, Faville states, “My goal was to use the power of beauty to transform images of squalor into splendor.”