Posts about 'sculpture'

best of the week on roadside scholar

i had a really good time writing this blog this week. more than other weeks. sometimes i hit snags, and other times it just flows like a breeze. i like breezy thank you very much. maybe it’s because i am stepping into a summery state of mind. i keep telling myself that i am on semipermanent summer vacation until further notice, with no end date. i tell others too but i am not sure if they believe me. 🙂 but it really goes toward maintaining a positive state of mind, even if it isn’t the case.

we have gone from 60 degrees during the day to near 90 in chicago this week. i guess the summer season has arrived. my flowers out on the deck are in bloom and rich with vivid colors. it definitely was a rich colorful world here at roadside scholar this week too. check out some of the highlights below, and click on the photos to read the posts and hyperlinks to find out more about the artists and items…

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four questions for photographer-designer tony forte and the clever permafrost design collection

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doshi levien’s beautiful backside and dusty drawings from scott wade

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the fantastical imaginative world of reina mia brill

thank you all for the terrific feedback this week — i am so grateful that you come over to see what is happening here when there are so many choices out there. i had a good time finding things to show you this week too! the fun continues next week with a slew of stylish, original and humorous quality goods — see you then!


xs chair by nick demarco

question: if you wanted a landfill in your living room would you want it in the shape of a chair? if so, your wish can become reality now with the xs chair by california college of the arts design student nick demarco. nick says the production pieces will be made of recycled plastic mesh, and that it can be filled with anything you own in excess, such as these handy vitamin water bottles seen below.

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no thank you. and i mean that sincerely.

see more on nick’s website.

via freshome


thaddeus erdahl ceramics

this work from florida-based sculptor thaddeus erdahl is terrific. so many stories being told with skillful technique in an expressive, tactile medium. thaddeus is influenced by everyday life and pop culture, and is intrigued and by elemental human emotion as well as fantasy and children’s literature. he dexterously creates a multitude of feelings and energy through these dramatically detailed pieces.

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see more of the collection and contact thaddeus on his website.


runnybunny ceramics

i absolutely love these stoneware pears from etsy seller therunnybunny. i love that blue color called pool.

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can’t you just imagine a big bowl full of these on a dining table? while we contemplate that, let’s continue on: perhaps on the opposite end of the spectrum from the same seller are these fabulously odd animal-human combination and animal-animal figurines. they are created using vintage slip cast molds.

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i really like the details on that bird lady right now.

see more pears and other sculptural goodness at the runny bunny’s shop.


best of the week on roadside scholar

hellooo, how’s it goin? it’s pretty good over here, because i am still celebrating my birthday! please enjoy a virtual piece of cake and a few highlights from the past seven days or so, just in case you missed it. you can click on the photos to read the posts and click on the links underneath them to find out more about the artists, items and companies.

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spikey ceramic creations by claire palastanga and a goofy sleep mask

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philippe starck’s monseigneur collection and chris duffy’s glo canvases

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amazing bento box compositions from sakurako kitsa

thanks for all the friendly birthday wishes and your patience with my traveling whims. like i mentioned before i tend to lose my writing schedule when i am out gallivanting around the lower 48. and sometimes i wonder if i put too much pressure on myself to produce posts on a daily basis. i am just going to keep going though, and hope i don’t lose any readers in the process. this is still as fun to write as it was nearly a year ago when i started, and i have in large part all of you to thank for it! i wish you all a lovely weekend and hope to see you next week to share in more bright and colorful things.


susan graham sculpture: miniview

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i thoroughly enjoy the thoughtful construction and loose style of these metal animal sculptures from new york artist susan graham. her handmade menagerie is created from the idea of a three dimensional drawing, with a single continuous strand of steel or copper wire used for as long as possible for stability. special attention is addressed toward the character, gestures and expression of each animal, which makes it difficult to choose a favorite! ever curious to know more about the brains behind the operation, i asked susan three quick questions…

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q: how did you get into making these sculptures?
a:
i made a wire animal a long time ago as an art assignment. a teacher brought in a live rooster in a cage (this was in ohio, where i’m from) and asked us to use wire as a medium and capture the character of the rooster.

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q: do you have an art background?
a: i do have an art background. i had started school in chemistry at ohio state university and then switched to art-sculpture and photography – because that’s what i had always wanted to do. i moved to new york city and started a degree at the school of visual arts, but did not finish. i was afraid of getting too much in debt and not being able to afford an art studio here. i have a whole other art career besides the wire animals – i show at a gallery in chelsea called schroeder romero.

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q: what inspires you to create?
a: i am not sure what prompts my desire to create, but it is constant – a basic need. i do my art, i sew clothes sometimes, i make the wire pieces, i like to make cakes. it just seems to be built in.

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susan will be exhibiting in future tense: reshaping the landscape at the neuberger museum from may 11th – july 20th, 2008. be sure to see her etsy shop for her wonderful collection (or to commission your favorite animal), and go here to see some of her photographs from a recent exhibition she had at the philip morris branch of the whitney.

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thank you susan!


stone art and decor (round up)

oh man! i am so excited to go see shine a light, the new documentary concert movie of the rolling stones from the brilliant martin scorsese. in honor of one of my favorite bands, i bring you a round up of solidly stylish art, furnishings and personal accessories made of mighty rock:

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cairn candleholders from viva terra

fabio_alemanno_cleopatra_stone_chaise

limestone cleopatra therapeutic chaise by fabio alemanno

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textured sculpture works from antonio valverde

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pebble bracelet from etsy seller iacua

kathleen_dustin_beach_stone_evening_bag

beach stone evening bag from kathleen dustin

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vintage stone lamps from wisteria

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beautiful large-scale sculptures from seattle artist shane hart

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leah csiszar and charles austin’s andromeda plate and granite vessels

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polycarbonate stone stool by marcel wanders; fjord stool from patricia urquiola

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stone powder and resin votive holders from homeport

james_murphy_stone_console_table

stone console table by james murphy

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pebble votives from alkamie

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head two marble sculpture by david norem

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felt rocks from molo


elizabeth perkins glass art & sculpture – let’s chat!

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beloved readers, let’s all take a deep breath and dive into the amazing art, sculpture and installation work that virginia artist elizabeth wade perkins creates. it is simply mesmerizing and after a good long stare, i am swept away by the richness of even a single vessel, so fluid and steeped in her personal history it all is. elizabeth uses a variety of techniques, including casting, blowing and pâte de verre, which is the centuries-old type of casting she does to create her beautifully detailed lace pieces. to me, her noteworthy technical skills aren’t the only secret of her success here; there is also the skillful underworking (or should i say perfect-seeming working?) of an amalgamation of ideas — the concepts of time, place and memory. in these works you will find a consistent complexity that is whole and complete, and collections that are wry, nostalgic and absolutely current. let’s have a chat with elizabeth and find out more!

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q: where do you live, and where do you create your art?
a: i live on a farm named red bud in bumpass, virginia. it has been in my family for seven generations and its older name was seclusion farm. it is located in bumpass by neighboring areas called three square, tip top, cuckoo, and holly grove. bumpass is between richmond and charlottesville in louisa county. i make my work in my grandfathers old fix it shop. it’s a wood frame building covered in metal. it’s heated by a wood stove that my grandfather fabricated out of a number of wheel rims (from an old pick-up). he mended and made things in there to keep the farm running; everything from tractors to electrical. he invented this really cool system to keep his pigs hydrated. my favorite thing he invented in the shop was a light that was over the fridge to indicate that the toilet was running. he had hearing aids, so he couldn’t hear it. however his chair in the den was situated so that he could not only see out the “picture window” or look at television, but he could see the light over the fridge which indicated the toilet was running. when the light would turn on, he would go in the bathroom and jiggle the handle. god only knows why he didn’t just fix the toilet, maybe because it only ran sometimes or maybe because he used what he had at the time to fix the problem.

i think the whole thing is just awesome and ingenious. i’d like to think i got my creative mind and hands from him.

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q: what is your background, and did you study art formally?
a: i grew up in southern rural america. my undergraduate degree is in sculpture from the atlanta college of art, and my graduate degree is in craft material studies from virginia commonwealth university. my favorite place to learn is at the penland school of crafts. though i am formally trained as an artist, i have learned a lot from my personal experiments and am more frequently informed by my subjects rather than my “education”. i seemed to get in trouble from time to time in school; like the time i showed up with a huge bale of hay as a component of one of my works. let’s just say… when you see those things on the side of the road out in the field they seem kind of small, but they are not. they are massive and beautiful. sometimes it takes bringing the outside inside and the inside outside for us to really have an understanding of what we are looking at. if you see the forms in resuscitation (photos below) they are taken from that bale of hay. everyone on my graduate committee at the time told me that piece was technically impossible to build in porcelain and impossible to slump over in glass. i like making the “impossible” possible. they don’t teach you how to do that in school. i think those kinds of quests are personal and are brought about by our experiences, desires and willingness to fail.

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q: (without giving away any secrets of course!) can you tell us a little about the techniques you use?
a: there aren’t really any secrets to it. mostly it’s paying attention to what you’re doing, learning from what you do, seeing the potential and identifying the control in your artistic experimentation and investigations, working hard and being patient. i use many processes. i blow glass free hand, i also blow glass into both cold and hot blow molds. whatever is appropriate for the form and will make its potency more… stinky and real, honest perhaps.

i also kiln cast and use the pâte de verre method of casting. i use techniques that are appropriate to my forms and the ideas i want them to convey e.g., fragility, texture etc. most works contain glass.

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q: how do you think your work has transformed since you started making art?
a: in one of my artist statements i say, i am still the naive child searching around the house for hidden treasures in the old furniture and cupboards. i have the same nosiness and fearlessness as i did as a child. (inquisitiveness, perhaps.) as i’ve grown i have discovered the complexities of these nooks and crannies and have built a larger visual vocabulary by being inquisitive. i have practiced a lot. i have been seduced by my material and its traditions but i walk and practice outside those traditions and former histories. i think there are so many new forms to be made in glass.

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q: what is the price range of your collection?
a: $50.00-$20,000.00

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q: what is your inspiration for these works? do you have a message you want to send through these pieces?
a: i am interested in values and traditions; how they evolve and linger through the ways we experience life, art, and craft. i am interested in what remains inside and outside of these notions; works that give the viewer something to hold onto and in some cases to let go of. in other words, what we give birth to, what we pass on, and what we take with us when we pass away. i feel my most successful pieces deal with these complexities simultaneously.

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q: where can we go to see your collection in person? is there anything else meaningful you would like to include?
a: i will have a trio of medium glass lace pieces in the urbanglass gala and auction in new york on april 4th, 2008. i am currently seeking gallery representation. i have a website with many of my works. my email is included on the site, and if you are interested in buying my work you may contact me through my website.

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thank you elizabeth! and special thanks to burt for putting us together (and taking these last two photos)!


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