tennis shoe, heel, sculpture

Abstract and conceptual sculptures by artist Lauren Elder:

“The main focus of her research is on the transformation of symbolic behavior through mass production and the resulting loss of information. Her aim is to recreate the commercial promise of the “all-in-one” consumer object through the use of failure in construction and functionality.

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fan, sculpture, knife

lady sculpture

princess sculpture
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Kjell Varvin finds an inexhaustible amount of ways of constructing temporary installations in the corner of his studio, which he has been documenting (and the rest of the blogosphere along with him) on this blog for a while. Personally I was even more taken by his digital representations of these installations, seemingly accomplished by superimposing photos of the sculptures.

” I am mostly using neutral elements based on geometry, resulting in images that do not contain much symbolism. Of course, a disc may give ideas of the sun or the moon, and a rectangle could refer to architecture, but that depends on where they are placed in the composition. Symbols are communicating concentrated meaning that will catch your attention and dominate your thoughts. I like the things as they are and I really have no story to tell. Our minds are eagerly producing associations, we compare and judge and value things and situations constantly. When you observe your mind should be empty. I want the eyes to be able to wander through the installations without hanging on to elements that can generate ideas about something already experienced or fantasized. It would be nice if there could be created an open space where the thought stream could rest for a while.

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Brea Souders:

“Composed from discarded film, static electricity and strong light, the photographs in this series are tapestries of my personal history. They contain slices of forgotten adventures, portraits of loved ones and strangers, untold experiments and family vacations, as well as shards of unrecognizable shapes and empty spaces–memories alongside their absence. Together, the charged fragments merge in energy and light to create a new narrative.

The images are created with shredded negatives from my archive attached to electrically charged sheets of acetate. Where the static force is strong, slices of film hold to the acetate. Where it is weak, they fall away. The acetate is then photographed using a flash, which reflects and creates streaks of white. This obscures some images while bringing others into relief. The reflected light also forms the photographs’ luminous internal frame. As appropriate to this process, the images’ final form exudes an element of playfulness and relies on the spirit of chance.”

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Berlin-based sculptor and artist Clemens Behr uses cheap materials like cardboard and wood to create complex and sometimes gigantic artworks. These works were created for his solo exhibition at the Karena Schüssler gallery and are based on functional ideas like shelves, lights or a wardrobe.

“It is very important to me to just keep working and moving. To think through working and not to think about the work too much. So most of the time, I run around the space hectically and keep forgetting things I planned to do. I never measure materials, I like to have all my stuff ready and work on my 3D collage without paying too much attention.”

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Dutch designer Bertjan Pot gained a lot of exposure through these mask experiments, and rightly so. I personally have a bit of an obsession with masks as well, and was delighted to discover this series of extravagant, weird and truly striking experiments.

“Although seemingly these masks tell stories, this again started out as a material experiment. I wanted to find out if by stitching a rope together I could make a large flat carpet. Instead of flat, the samples got curvy. When I was about to give up on the carpet, Vladi came up with the idea of ​​shaping the rope into masks. The possibilities are endless, I’m meeting new faces every day.”

 

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Sophia Collier designs fascinating sculptures of water in motion, made in carved acrylic.

“One day I was walking across a bridge and thought I wish I could just reach down into the water and pick up a piece of that shining surface and keep it forever.

I didn’t start working on this right away because in those years I had a job at a mutual fund. But, from that work, I did know it was possible to develop software to model vast, turbulent, nonlinear data sets like money … and also, maybe, water in motion.

In early 2008 I was ready and returned to this idea full blast. I gave away a closet full of business suits and lady-shoes and began to build my studio and skills. I traveled to Detroit and found idled expert machinists to teach me precision milling. I learned animation and 3D modeling. I experimented with materials and developed a color palette in acrylic block. Rather than hire fabricators, I developed methods and equipment to make every piece myself in my own studio.

Now, when I look at my finished work, I see peace. Powerful emotion and turbulence have found a resting place. The surface is a lense for pure light.”

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