sculpture by vytautas kavaliauskas

enjoying the natural forms in these organic sculptures from lithuanian artist vytautas kavaliauskas. largely composed of wood, all the materials he uses are salvaged from the sea.

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more here.


glass and ceramics by jess wainer

i have got a few (not necessarily exciting) personal projects going on that are occupying my time, so i’ll only be writing sporadically for the next several weeks. in the meantime i hope you enjoy this ever-so-haunting glass and ceramic work from jess wainer. she is using a sgrafitto technique on the glass vases. very interesting.

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more intrigue here.


snapshot sunday

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jay kelly paintings and sculpture

i need order, some defined sense of balance and neutrality today and what better way to get it than through looking at these mixed media sculpture and oil works on vellum from artist jay kelly?

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 see more at roy boyd and jim kempner.


dominic falcione clay sculpture: miniview

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i immediately connected with these handcrafted ceramic pieces in ohio-based artist dominic falcione’s shop the moment i saw them. they’ve got everything i love in high quality craft: the organic, tactile appeal of clay, the handsome sculptural forms, and a bonus: an true function, in this case as a vase. i was intrigued by dominic’s etsy profile, which on first read seemed oddly out of sorts with what he has in his shop, because in it he claims that he is not a potter! how can you have a ceramics line and not be a potter? well, dominic can, and with great passion. and the path he’s traveled to get there seems to flow and glide along as fluidly as his thoughts about it all…

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q: i see you’ve written in your profile on etsy that you have a metalsmithing and sculpture background. how did this all begin?

a: i never really built anything until i was about 21 years old. i was always more of an illustrator or painter. the first thing i really built was an iguana cage for my girlfriend at the time. i think it had a big impact on me because there were multiple elements to address about what an iguana cage is and how it needs to function – like heat, air flow, humidity, lighting, accessibility, security, a variety of landscape elements, etc. at the time, we were pretty attached to that cool little iguana so it was very important to make a healthy environment for it as well as make the cage a piece of furniture, a functional centerpiece to a room that incorporated a design influenced by the life that the cage contained. i got hooked on that kind of alchemic design aesthetic.

i entered college after that experience to pursue what i have always done, illustration and painting, but eventually, i began to see some metal work that other students were doing and started taking 3D courses. i focused in metalsmithing because of the small, intimate, intricate and meticulous work that i loved about drawing and painting. for me, metalsmithing evolved into small sculptural objects and i started to incorporate other materials as part of a language with metals as a base. then i began sculpture courses to make larger fabrications with wood, plaster, etc. i stuck with sculpture for a while because there was no precedent of materials – any material was part of the palette. sculpture gave me fabrication experience with materials and metalsmithing gave me experience in fabricating with precision and grace.

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from all this, i gained the experience and word of mouth as someone who knew how to design and make things well, which landed me a full time job working with a local architectural fabricator/artist john comunale. i quit school and worked in his studio full time for five years building huge architectural signage, interior fixtures like lighting and furniture, and just odd miscellaneous stuff. usually big stuff.

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q: so how did you get from this metalsmithing-sculpture combination to clay?

a: the experience at comunale’s took me away from conceptual work, or art for art’s sake. art for art’s sake was a lot of fun, but it was always expensive and very taxing for me personally in a lot of ways. that’s when i started to focus on functional work, more like art objects for the home or for an interior environment. i wanted my work to have a practical purpose. my work started to evolve from sculpture for shows and galleries, to sculpture for the home. the hardest thing i deal with as far as design aesthetics, simply because i just can’t force myself to let go of it, is how to maintain the sculptural language of materials as the vehicle for concept in practical, functional art. that’s really where the bulb vases came in. i made a decision to limit myself to one platform, and i chose the vase.

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i love the vase right now because it can be sculptural, ornamental, functional, and holds something that no human can really make – a symbol of our size, understanding, and place in this infinite universe of mystery and wonder as well as a symbol of life and death.

to answer your question, i would have to say that i don’t really look at it in that way. it is really just another addition to the palette. i try to use materials that make sense in the language of the object itself. it is an alchemic design approach, and the bulb vases are a successful example, for me, of that kind of harmonious design – hence, harmonix craftworks. the materials, form and function of an object create a language. and, like words in a sentence, they must be symbiotic with each other to be cohesive and understood.

you can find dominic’s work and get in touch with him at his etsy shop.

thank you dominic!


off to the ooak show

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i am off to the one of a kind show today and tomorrow to see beautiful things from talented exhibitors, including jewelry by holly rittenhouse, pottery by joe christensen and flashdance mittens by moira and obbie (all pictured above).

i’ll be bringing you a summary of what i saw over the next day or two, and i will go out on a limb and warn you ahead of time that you may overdose on eye candy after you see it all.


spooky shopping, halloween fun (round up)

I have seen a ton of awesome Halloweeny things in my travels in the computer ranging from funny and clever to slightly off-putting to downright creepy. I think you’re going to like some of them too.

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Bone Chillers ice cube tray from Fred and Friends

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chocolate bats and peanut butter cats from Dancing Deer Bakery

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designy horror over at the Supermarket:

  1. sohan the scaredy ghost necklace from Corky Saint Clair
  2. Hood Swamp Owl at Night print by ahpeele
  3. cleaver pendant from Species by the Thousands

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Skullions, Deviled Eggs and Scarrots dishtowels from the Spoon Sisters

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limited edition flavors of Jones Soda

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porcelain skull by Franz Ignaz Günther for the Porzellan Manufaktur Nymphenburg

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freaky art from the boundless talent at Thumbtack Press:

  1. The Light in the Abandoned Gas Station by Jeremy Enecio
  2. Spooky Creeps by Jason Limon
  3. Edgar Allen Poe by Tony Bailey
  4. 3 Horrids by Gus Fink

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sassy greetings from someecards

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glittery skull votive holders from the Pottery Barn

and finally, some handmade scariness from our friends at Etsy:

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  1. Spooky Boo Lantern from from MariposaAvenue
  2. Happy Jack-O-Lantern soupcan nightlight, also from MariposaAvenue
  3. Alone by DistressingDelilah
  4. Frankenbot the Mega Scary Robot from Jordan Alexander
  5. Knitted Ghost Plush Toy and Grave playset from sayraphim

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Must…Stop…Eating… by Shutterbug Cel

Geez, that was more spooktacular than I thought… muhahahaha!!!!!!!!!!!!!!!

Have a great weekend everybody!


ricochet studio ceramic sculpture

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I really used to enjoy writing with sharp number two pencils, so I’m slightly nuts about this old school pencil sharpener sculpture, fashioned out of bone china from Vancouver’s Ricochet Studio. Richochet is a collective of artists who caucus together and then create limited edition ceramic works. The pieces in the collection are beautifully detailed and have a great retro modern feel.

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See more on their blog and at their Etsy shop.


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