Carved carefully into the delicate surfaces of shells, Gregory Halili’s magnificent human skulls look like forgotten human fossils, discovered long after the extinction of our species. The New Jersey-based artist draws inspiration from the wild plant and animal life the Philippines, where he lived into his teenage years; his medium, black-lip and gold-lip mother of pearl, are gathered from the shores of the island country. The artist’s shimmering skulls are complex bas-reliefs, and his technique, which includes detailed oil painting, is evocative of ancient coins; in the place of hard metal lies a soft partially organic material, and portraits of kings are replaced with ominous skulls.
Halili’s skulls are poignantly fragile, far less durable than human bone. A single slip of a tool, and the tender piece is ruined. The shape of the shell lends itself to the humanoid form; encased within its circular bounds, the skull appears like a child in the womb. The shell material that once protected a gastropod with maternal determination, softly frames Halili’s expert carving. In this way, the artist forces a collision between birth, the “mother” of pearl, and death, represented here with the skull. Like relics washed ashore, these masterful pieces serve as a memento mori, reminding us of our own mortality, our creation and our inevitable demise. Take a look.
With the help of a powerful 3D microscope, the Hawaii-based photographer Gary Greenberg shoots stunning macro images of grains of sand, dissecting the seemingly uniform material into otherworldly crystals. The microscope, which the artist himself invented after earning a Ph.D. in biomedical research, magnifies the microscopic to 300 times their original size; the machine also affords the resultant images an astounding depth of field, capturing the most subtle curves and structures of the minuscule grains of sand.
Greenberg derives pleasure from the unpredictability of his process; each beach has a diverse history and therefore produces unique sand. In Maui alone, the grain shapes range from cylinders to spirals; they can be vividly colored or more muted. In the same handful of sand, we might find a tiny shell beside a microscopic mineral section that resembles an eaten corn cob.
Sand, as a substance, often operates allegorically in art, representing the impermanence of man within the shifting tides. Greenberg’s images work powerfully against that notion; here, human innovation freezes time, if only for a moment, fixing even the most minuscule objects in place. These grains of sand, many of which are likely well over thousands of years old, are crystallized for our visual pleasure; in Greenberg’s glimmering rocks, we can find traces of organic matter, now fossilized. Torn into many pieces by the tide and surf, shells, volcanic remains, and coral all intermingle on the beach shore. In Okinawa, Japan, sand is formed in part by the skeletons of single-celled creatures, visible here like strange starfish. (via HuffPost, Lost at E Minor, and Bored Panda) Read More >
Elaine Cameron-Weir latest work, titled Venus Anadyomene, 2014,consists of five similar pieces, each made a giant clam shell edged with neon tubing, and high-fire ceramic vessel each filled with olive oil, wick, flame, sand, mica, frankincense, benzoin, myrrh, brass. Each piece, suspended from the gallery by a brass rod, while the incense slowly burns.
Varying ideas of birth and bringing to life are present in the works, from the title (meaning ‘Venus Rising from the Sea’, a story of the Greek Goddess Aphrodite’s birth (and a famous work by Titian). The title of the work references both art history and god creation, as do the shells, which bring to mind Botticelli’s masterpiece of the Roman Goddess Venus (and one of the most recognizable and imitated paintings ever created). Meanwhile, the scent element in the gallery space of burning frankincense and myrrh recall the Christian nativity story and the birth of Jesus Christ, echoing the gifts brought by the Three Wisemen. Present throughout Cameron-Weir’s work are ideas of how symbolism is omnipresent to ideas of myth-making.
Elaine Cameron-Weir’s Venus Anadyomene, 2014 is currnetly on view now through April 6th at Ramiken Crucible in New York City.