I`d like to invite to visit J. Walter`s rich blog: “Canadian Art Junkie”. One of recent posts deal with the very special art of Patricia Piccinini.
Considering the fact that I felt quite uncomfortable watching her work at the very fist sight, I am not sure if this impressive example of J. Walters inspiring posts is a suitable teaser. But I particularly appreciate the diversity of the artists he is introducing as well as the fact that they know how to transport a strong message, a thought or to trigger emotions.
For more sculptures and details about Patricia Piccinini, click here:
When I came across David Hollanders awesome work the first time, I thought the “classy” terracotta-colored body fragments with cracks or completely broken bodies might be archaeological findings…Despite of being damaged and broken, they outlast time and become gracefully an integral part of their surroundings – like the beautiful horse heads.
Frankly speaking, a few art pieces – in particular sculptures of the series “Hands” – are a bit scary in my view. I felt unconfortable looking at them. Please, feel free to visit his website to gain your own impression. In fact, these hands (that seem to burnt or hurt) or other body parts remind me on the forensic medicine lectures a took, when I was a student. I also thought of grave goods, but maybe I am off the track.
Well, I guess art shall communicate with the viewer, provide food for thoughts and in a best case scenario, arts shall also trigger emotions. Thus,….well done, David.
ABOUT THE ARTIST
David Hollander is an US American sculptor, who lives in Colorado close to the Rocky Mountains. He spent a year and a half living and traveling through Dublin, Bologna, Lecce, Rome, Crete, Paris, Abu Dhabi, Istanbul. David has also lived and sculpted in Sydney, Australia and Seattle, Washington.
He is an MFA candidate in Ceramics at Cranbrook Academy of Art in Bloomfield Hills, Michigan and showcased his art pieces at various notable international exhibitions. His work is part of different private collections. Furthermore, David Hollander has created various public installations in the States, Canada, Australia and Europe.
MFA Candidate, Cranbrook Academy of Art, Bloomfield Hills, MI, 2019.
BA, Cum Laude, Ceramic Arts, Minor in Physics, University of Colorado, Boulder, 2002.
Exchange, University of New South Wales, Sydney Australia, 1999-2000.
His Residencies and Fellowships
Fellowship Recipient, Resident Artist, La Macina di San Cresci, Greve, Italy, 2012.
Resident Artist, Paese dei Balocchi, Bologna, Italy, 2010.
Resident Artist, Pottery Northwest, Seattle WA, USA, 2004-2006.
His Teaching, Lectures, Publications
“Contemporary Clay Shapers 2: Thinking Through Material” Monthly Ceramic Art, South Korea, July 2018, Vol. 268.
Teaching Artist at Cranbrook Art Museum Create Camps, Bloomfield Hills MI, 2018.
Visiting Artist Lecture, Zayed University, Abu Dhabi, United Arab Emirates, 2010.
Sculpture Instructor at Kirkland Art Center, Kirkland WA, USA, 2009.
Sculpture Instructor at Pottery Northwest, Seattle WA, USA, 2006-2009.
For further information, David Hollander can be reached at firstname.lastname@example.org
Powerful, they seem to slowly intrude into the space – owning it soon. The wooden sculptures make their way. No one seem to be able to stop them. Even if they burst, crack and splinter due to the high pressure and force that drives them, they move forward. The sculptures grow organically like cancer and join forces with other branches. Doors or entrance halls are too small to manage the expanding wooden bodies. On first sight, the growth or dynamic seem to be chaotic but on 2nd sight you will discover that they inconsiderately target the same direction / destination that they will destroy and transform because of their sheer mass & nature.
Walls cannot impede them.
ABOUT THE ARTIST
Hailing from São Paulo, Brazil, Henrique Oliveira is an award-winning artist that has exhibited his work around the world. Born in 1973, Oliveira received his BFA and Masters in Visual Poetics from the University of São Paulo.
While Henrique is also well-known for his paintings, this post focuses on his incredible wooden sculptures and installations. Using a combination of reclaimed plywood, fencing and PVC, Oliveira creates organic wooden sculptures that have a movement and flow that makes them feel liquid.
Oliveira’s installations are massive, often overtaking entire rooms and spaces. He first forms his shapes with PVC and then meticulously wraps it in layers of plywood, stripping away layers to reveal different colours of wood.
Be sure to visit Henrique’sofficial site to see his entire portfolio of work including his paintings and smaller-scale sculptures.
Born in Iisalmi, Finland 1952 | Lives and works in Helsinki, Finland.
Kaarina Kaikkonen, one of our most internationally recognized sculptors and artists, is known for shaping urban landscapes and emphasizing community through her installations. In her works, one can find references to current themes of humanity’s place in their own time, and of basic needs that always exist regardless of environment or culture. Old clothes contain the former user’s presence, which wraps around Kaikkonen’s story and places the viewer before something new and unknown, but at the same time exceedingly familiar and intimate.
The impressive installations made out of mens’ jackets and shirts are well known both in Finland and globally such as in the US, Cuba, Canada, Japan and Great Britain. Her first installation was on display in Helsinki in 1988. In Finland, one of her most famous works is the ‘Way’ -installation, which she built on the steps of Helsinki Cathedral in 2000. Her pieces can be found in several collections such as the Museum of Contemporary Art Kiasma, Helsinki City Art Museum, and Espoo Museum of Modern Art of EMMA.
Kaikkonen studied at the Finnish Academy of Fine Arts School and was awarded the National Visual Arts Prize in 1989, the Finland Prize of Art in 2001, and in 2013 the Order of the Lion of Finland awarded her Knight, First Class. Kaikkonen has also received international awards such as Public Prize in Den Haag Sculptuur in the Netherlands in 2004 and Honorable Mention at the Cairo 11th Biennale in Egypt in 2009.
Galerie Forsblom has been representing Kaarina Kaikkonen since 2008.
“I wanted to create a sculpture almost anyone, regardless of their background, could look at and instantly recognize that it is about the idea of struggling to break free. This sculpture is about the struggle for achievement of freedom through the creative process.” (Zenos Frudakis)
Cit.: “Although for me, this feeling sprang from a particular personal situation, I was conscious that it was a universal desire with almost everyone; that need to escape from some situation—be it an internal struggle or an adversarial circumstance, and to be free from it.
I began this work in a very traditional sculptural manner by creating a small model in clay called a maquette. The purpose of beginning in this manner is to capture the large action and major proportions of the figure within the overall design without any details to detract from the big idea. Another reason for not having details and for working on a small model only a few inches in height is that the small armature within it, holding the clay, is more easily manipulated, allowing for much greater flexibility in developing a concept. For example, an arm, a leg or a head can be pushed around without any concern for obliterating details, such as a nose or a finger.” (Zenos Frudakis)
ABOUT THE ARTIST
Zenos Frudakis is known for his public monuments, portrait statues, busts and figurative sculptures. Freedom, his best known sculpture, has become an Internet icon inspiring many in their quest to break free from boundaries. Zenos’ sculpture Freedom has been listed in The Top Ten: Public Art by The Independent.
Zenos Frudakis (born 1951) is an American figurative sculptor whose subjects include portraits of living and historical individuals and poetic/philosophical sculpture. He lives and works near Philadelphia. His works include those at Brookgreen Gardens, the Lotos Club of New York City, the Utsukushi ga-hara Open Air Museum in Japan,he National Academy of Design, and the U.S. Embassy in Pretoria, South Africa.
Zenos’ father, born in Greece, came to the U.S. as a boy. The oldest of five children growing up in Greek culture, Zenos admired, respected, and was drawn to Greek sculpture. Greek art influenced his aesthetic vision; additional inspiration came from sculptors Michelangelo, Bernini, Carpeaux and Rodin. The poetry of Eliot, Frost, Roethke and Graves, is important to Zenos, as is post-modern, deconstructionist philosophy.
Born in San Francisco to Greek musician and poet Vasilis Frudakis and Kassiani Alexis, Frudakis was raised in Wheeling, West Virginia, and Gary, Indiana, where he worked in the steel mills. He began sculpting at a very young age, and in 1972 came to Philadelphia to study at the Pennsylvania Academy of the Fine Arts. He studied sculpture with two Prix de Rome winners: his elder brother, sculptor Evangelos Frudakis, and painter James Hanes. At the University of Pennsylvania, he earned bachelor’s and master’s degrees in Fine Art.
Please, feel free to visit Zenos Frudakis website – that includes an online shop (poster, books, bronzes…) – for more information:
Erwin Wurm (born 1954) is an Austrian artist born in Bruck an der Mur, Styria, Austria. He currently lives and works in Vienna and Limberg, Austria.
In The Artist Who Swallowed the World, Wurm is quoted as saying: “I am interested in the everyday life. All the materials that surrounded me could be useful, as well as the objects, topics involved in contemporary society. My work speaks about the whole entity of a human being: the physical, the spiritual, the psychological and the political.”
Wurm is known for his humorous approach to formalism. About the use of humor in his work, Wurm says in an interview: “If you approach things with a sense of humor, people immediately assume you’re not to be taken seriously. But I think truths about society and human existence can be approached in different ways. You don’t always have to be deadly serious. Sarcasm and humor can help you see things in a lighter vein.”
Although the images are slightly humorous, they extend or manipulate reality in ways that can be disturbing. Wurm’s work portrays manipulated images of things in everyday life, things that look familiar, but which become distorted. Pieces like Truck, where a truck curves up against the building or Narrow House, a thin, claustrophobic house, take something familiar to all and distort it by enlarging, curving it, or slimming it down. “I will often use humor to seduce people”, admits Wurm. “To get them to move closer, but it’s never very nice when they look closer.”
Wurm’s work is often critical of Western society and the mentality and lifestyle of his childhood during post-World War II Austria. Although Wurm’s sculptures are humorous and ridiculous, they are actually quite serious. His criticism is playful, but should not be confused with kindness. He represents his criticism of objects, such as clothing, furniture, cars, houses, and everyday objects to his audience. Common themes in his work include not only our relationship to banal everyday objects, but also philosophers and life in postwar Austria.
Bio: Nando Kallweit is a German sculptor working in bronze and oak.
As a young boy, he was inspired by the beauty and antiquity of a bust of Nefertiti housed in the Egyptian Museum of Berlin.
After the fall of the Berlin Wall, his new-found freedoms allowed him to travel to Egypt and develop his belief in the basic strength and pride inherent in inhumanity.
His sculptures seek to emphasize this through elongated forms and upright postures. He reduces the figures to simple gestures and movements creating sculptures with a wonderful interplay between the archaic and the modern; between art and design.
Nando’s work has been exhibited across Europe and is held in many private collections. He has produced a number of large scale permanent installation pieces for German municipalities and museums.
Durch anmutige Ästhetik und grazile Anziehungskraft prägen sich die Skulpturen, Plastiken und Reliefs Nando Kallweits unweigerlich ein.
Dabei gibt es keinen Unterschied, ob man sie in Galerien, auf Kunstmessen, als raumgreifende Installationen oder Außenraumgestaltungen wahrnimmt. Es sind Gefühl und Poesie, die im Wechselspiel zwischen Objekt-Künstler-Raum-Betrachter und in differierenden Reihenfolgen, je nach Kontext, zu schwingen beginnen. Die verwendeten Materialien Holz, vorwiegend Eiche geschwärzt und Bronze tragen durch ihre Spezifik dazu bei.
Spuren emotionaler Robustheit wirken dabei ebenso als inspirierendes Gestaltungselement, wie detailliert ausgearbeitete, vom aufmerksamen Beobachter unverhofft entdeckte Feinheiten.
In diesem Spannungsfeld bewegt sich Kallweit permanent im Entstehungsprozess seiner Werke. Mit äußerster Intensität, Energie und Kraftanstrengung und gleichzeitig gefühlvoll und bedachtsam setzt er seine Visionen im Subtraktiven der Bildhauerei wie auch im additiven Herangehen des plastischen Arbeitens um.
Anatomisch der Statur des Künstlers ähnelnd, streben die Figuren mit stolzer Haltung, ästhetisch wohltuend dem Licht entgegen. Spannungsvolle Proportionsverschiebungen verstärken diesen Ausdruck. Die Sehnsucht nach unbekannten, nicht fassbaren, göttlich-geistigen Sphären scheint die Formensprache Nando Kallweits stark zu beeinflussen und zunehmend zu festigen.
Durch mannigfaltige Beobachtungen unseres Seins, wie auch kulturgeschichtliche Ambitionen entstehen spezifische Grundtypen, die in unermüdlicher Vielfältigkeit vom Künstler variiert werden.
Das Figürlich-Menschliche steht bei Nando Kallweit stets im Mittelpunkt.
Galerie FLOX, khc
Kontakt: BESUCH IN DER WERKSTATT IN BADOW BITTE NUR MIT TELEFONISCHER ABSPRACHE
ALTE DORFSTRASSE 17 19209 BADOW / GERMANY TEL. +49 (0)38874 / 23029 MOBIL +49 (0)162 / 21 35 101 email@example.com
Nando Kallweit is also represented by The Gallery FLOX in Dresden / Germany
Reena Saini Kallat’s (b. 1973, Delhi, India) practice spanning drawing, photography, sculpture and video engages diverse materials, imbued with conceptual underpinnings. She is interested in the role that memory plays, in not only what we choose to remember but how we think of the past.
Using the motif of the rubberstamp both as object and imprint, signifying the Bureau-cratic apparatus, Kallat has worked with officially recorded or registered names of people, objects, and monuments that are lost or have disappeared without a trace, only to get listed as anonymous and forgotten statistics.
In her works made with electrical cables, wires usually serving as conduits of contact that transmit ideas and information, become painstakingly woven entanglements that morph into barbed wires like barriers.
Her ongoing series using salt as a medium explores the tenuous yet intrinsic relationship between the body and the oceans, highlighting the fragility and unpredictability of existence.
Damn! Did you miss the LUX Helsinki Festival 2019 too?
…just due to the fact that you have never heard about this stunning event? Next year, we won`t have any excuse because here you are….some information about the awesome LUX Helsiniki Festival that transforms familiar buildings and spaces into unique works of urban art and attracts more than half a million visitors each year:
HELSINKI RADIATES – HOW TO ENLIGHTEN PEOPLE IN PERIODS OF DARKNESS (“OMG! Maybe, I watch too much world news, sorry!”)
Lux Helsinki sheded some light on the Finnish capital in its darkest winter hour with comforting annual regularity (January 5–9 in 2019). Artists from Finland and all over the world created a glowing urban gallery of colour, warming the city’s soul in the void that remains when Christmas and New Year’s Eve have come and gone.
The free festival offered a recommended trail complete with official guide and map, and combined established works and specially commissioned installations.
In 2019 LUX extended to include satellite attractions at Helsinki’s Old Student House and Cable Factory Cultural Centre, as well as the Hanasaari Swedish-Finnish Cultural Centre in neighbouring Espoo. Helsinki’s magnificent new central library, Oodi (the name means “ode” in Finnish), took pride of place on a route of 12 lighting features leading past Finlandia Hall and the National Museum and looping through the district of Töölö.
Themes varied from simple visual delight to more challenging ideas. At Finlandia Hall, Immanuel Pax’s installation Trespassing explored the sinister ubiquity of security cameras. Outside the National Museum, Mexican Ghiju Diaz de Leon’s Shelter Seekers addressed issues of migration and climate change.
Exact weather conditions are hard to predict in early January, but they’re always likely to be chilly. Over the years Lux Helsinki visitors have braved everything from sleety blizzards to bone-freezing Arctic blasts.
(Article by Tim Bird, Jan. 2019 …Or did you think, I `ve mastered the English language in the meantime? That`s still work in progress.)
The exact week of the LUX Helsinki Festival 2020 is not published yet. But traditionally – also because of the long winter nights – the festival takes place in January.
Circles & Ring sculptures are extremely fascinating.
Their shape is not simple at all. Their shape is rather reduced in terms of focused.
Actually, these sulptures seems to be a frame, a gate, a window, a “burning glass” or an “eye”…
Their different surfaces are reflecting or even breaking the reflection of their surroundings.
They invite us to pause and to notice our surroundings, and the fact that we are always an integral part of the scenery like the sculptures itself…Here & Now.
A few of the Rings & Circles look quite dynamic and mobile, others imperturbably stand their ground. It might be just us, who move and consequently change our point of view – using the sculpture as a kind of reference only.
In any case, these awesome sculptures are an integral part of their changing (e.g. think of the seasons, weather) environment and location.
It is simply magic to witness how they are able to quietly transform a landscape into wonderful poetry …