Artist Stefanie Herr’s topographic artworks are inspired by maps. When traveling, she writes, they facilitate navigation and orientation, and drawings by cartographers are the starting point of her work. To create her sculptures, images are printed on photographic paper, mounted on matboard, hand cut into tiny pieces and assembled. They resemble maps that show changes in elevation once completed. But, instead of rivers, plains, and mountains, Herr features faces of people.
She calls these pieces experiments on landscapes models that merge photography and sculpture. They often take weeks to complete. In an artist statement, Herr writes:
Photography abandons the two-dimensional plane and sets out to conquer the space. In search of suitable maps, however, I do not only focus on the shape of the terrain, but also on place names. As toponyms can inspire strong images or even stories, they often interfere in the development of my projects. When shooting photos, I mainly choose top, side and front view representations – I particularly like making use of “aerial” views on a scale of 1:1.
In addition to this inspiration, Herr is also concerned about environmental degradation and rapid loss of biodiversity. She further explains:
Unique natural heritage is gradually being depleted or replaced for the mere purpose of economic growth, and it seems that we have completely forgotten about the aesthetic values of landscape. As a world citizen, I am concerned about contemporary landscape change and the prevailing landscape perception. Topographic Fine Art mainly deals with these issues and, even though on a reduced scale, attempts to capture some of the natural beauty that surrounds us. (Via Lustik)
In artist Eleanor Davies’ piece titled Over 200 Beautiful Colors, she crafts a traditional yarn pom pom (like something you’d see on a beanie), but on steroids. Using wool, newspaper, and rope, Davies wraps donut-shaped discs with yarn and stacks them on top of one another. They become a mountain of wound wool, and finally she cuts the edges of every disc. This releases the fibers around the cardboard, and they form a larger-than-life ball of fringe.
The result of this tedious effort is something that you want to touch and maybe even hug. And, that’s Davies’ intention. She wants the viewer to desire an interaction with it. But, at the same time, she also wants to you to feel some sort of repulsion to it. Even though it’s a magnificent and incredible piece, you compare it to what other smaller, more perky-looking pom poms look like. This, in all its glory, droops as gravity has got the best of it. “The oscillation between attraction and repulsion is experienced through the disruption of taste values,” Davies writes in an artist statement. “Sculptures seek attention and flaunt themselves in such a way that they ask for it.”
The slow and meticulous construction of Over 200 Beautiful Colors is akin to a beautiful regime. Davies goes on to say:
In appropriating the sculpting techniques of hairdressing; extensions and highlights are added to slowly modify and enhance a sculpture’s look. The compulsive desire to reconfigure, reinvent, re-cut and re-colour is due to the satisfaction gained through succumbing to the lure of the surface. The process of overworking the sculptural surface is self indulgent and my practice embraces and revels in this.
Israeli artist Zemer Peled creates sculptures using countless ceramic shards. Each individual element is a small part of a greater whole, and their sharp and pointed edges form a single beautiful form that’s inspired by flowers or sea creatures. Through careful arrangement, these forms bloom and breath like the real thing.
Peled uses blue cobalt found in designs and landscapes from traditional Japanese pottery as her raw materials. Subtle lines and patterns create the textures for flower petals and other attributes. To make this possible, the artist uses a slab roller to build sheets of clay that are fired and then broken with a hammer. What’s incredible is not only the meticulous nature of assembling and placing each piece, but its the uniformity that they all have. Although Peled’s work is comprised of countless parts, each of them is the same. (Via Colossal)
London-based artist Jessica Dance specializes in creating handcrafted models, props, and sets that have a wide-range of commercial appeal clients include Vogue, Vanity Fair, Google, and more). Her work features a lot of conventional, everyday objects reimagined in a delightful, unconventional way. Dance knits food, toothbrushes, and even calculators on her domestic knitting machine, and it’s a playful twist on the real thing.
The knitted pieces are made from wool, and they look like something you’d want to snuggle up with. It’s an odd feeling to want to hug a giant turkey, but that’s the power of fiber arts (or any art, really). We attach associations to materials and sometimes nostalgia prompts us to touch, pet, or squeeze brussel sprouts and meatballs.
San Francisco-based artist Lizabeth Eva Rossoff has created a mashup of iconic statues and and characters in contemporary popular culture. By physically combining China’s ancient Terracotta Army with the heads of Bart Simpson, Batman, and Mickey Mouse, they fuse Eastern and Western culture. Rossoff class her series Xi’an American Warriors.
The artist explains that her work, “playfully explores the concerns of American media’s global influence and China’s industry of counterfeiting the copyrighted properties held by said media.” In essence, these sculptures represent a cycle.
Each stately clay piece stands 18 inches tall, and their appearance was created by using the same process that built the original third century BCE warriors from Lintong District, Xi’an Shaanxi province. She even worked with a Terracotta Warrior replica studio in Xi’an who make their clay sculptures using the same ground that was used so long ago. And, for a limited time, these artworks are available to buy on her website. (Via Endless Geyser of Awesome)
Korean artist Choi Xooang creates sculptures that you’d see in your nightmares. The grotesque artworks are made out of resin and shocking in the brutal ways that they manipulate the human body. Severed limbs, skin corsets, and people-made backpacks are all featured in these pale, hyperreal mutant characters. Although they feature exquisite craftsmanship (the life-like details are stunning), it’s hard to get away from subject matter.
His existentialist creatures, in the torments of their flesh and their contradictions, become our double dumb and clueless. The artist says that emotions are the only things given to a man or woman apart from their social status in the functioning of a capitalist society. Choi Xooang not only gives us his own feelings but attempts to retrieve a collective soul, a chart of all the sufferings and joys experienced by everyone.
We see these types of feelings represented; while there is pain, there is also sensuality between the characters, and even some eroticism shown throughout the strange hybrid people. With this, Choi communicates that pain and pleasure can walk a thin line. (Via Hi Fructose)
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)
Artist Harry Roseman takes the ubiquitous material known as plywood and with careful cuts and placement, creates the illusion that this rigid material is pliable. The large pieces include “folds” that make them look as though they are textiles. Roseman uses a single piece of wood and mismatches its grain to break up the visual monotony; it fools us into think that there’s a back and a front to this “fabric.” The rigidity is reminiscent of a plastic camping tarp, but it’s still impressive at how, with relatively few cuts, the pieces are believeable as something other than what they’re made of.
These sort of observations and overall sentiment is part of what Roseman is trying to achieve in his sculptures, writing:
The subjects of my work are the bend of a curve, the conjunction of edges, the turn of a fold, the weight and nature of objects, the conjunction of idea and object, the way an idea sits in an object and next to an object and the way surface can obscure and also reveal. One of my aims is to close the distance between thinking, looking and making, to the point where it is hard to tell the difference.