Ceramic artist Keiko Masumoto is intensely interested in the intersection of art and craft, whether a craft object can simply be decorative or if an artistic work can still remain functional. Her questions have resulted in a series of traditional ceramic plates, bowls, and vases embedded with unlikely objects from wriggling octopi to entire buildings. You can explore a bit more in her online portfolio and at Spoon & Tamago.
Working with varying weights of iron wire, Italian artist Roberto Fanari constructs life-size figurative sculptures of both people and animals, applying the material like the strokes of a pencil to vary the density throughout each work. Some figures are almost wholly transparent, allowing for only a handful of lines to define the volume of a leg or torso while shifting to a more solid approach for the area around an eye or a thick tuft of hair, giving each each piece an almost ghostly, unfinished appearance. Fanari debuted a number of his wiry pieces at White Noise Gallery for a 2016 exhibition titled “Ferro,” (Iron) and you can see more of his work here.
Toshihiko Hosaka began making sand sculptures in art school and has been using beaches and sand boxes as his canvas for almost 20 years. His work defies what we typically think of as sand art as he sculpts and carves the loose, granular substance as if it were some malleable form of clay.
A girl is seen softly touching the nose of a giant, white horse frozen in mid-air within the Argentinian Pavilion of this year’s Venice Biennale, a large sculptural work by artist Claudia Fontes. The Horse Problem, and the Argentinian Pavilion, are located within the biennale’s Arsenal building, the largest pre-industrial production center of the world. Made long ago from wood, bricks, and iron, the building is one that could have only been built by horse-power, the work highlighting the hidden influences the animal had on the city.
Artist Lorenzo Quinn (previously) just finished the installation of a monumental sculpture for the 2017 Venice Biennale. Titled Support, the piece depicts a pair of gigantic hands rising from the water to support the sides of the Ca’ Sagredo Hotel, a visual statement of the impact of climate change and rising sea levels on the historic city. Quinn is known for his work with the human body—specifically hands—that he incorporates into everything from large-scale sculptures down to jewelry designs. Quinn is represented by Halcyon Gallery, and you can see more installation photos and videos of Support on Instagram. (via This Isn’t Happiness)
Stretched like a digital glitch, these distorted chairs by Dutch artist Sebastian Brajkovic appear more like a product of Photoshop than a physical object. The Paris-based sculptor has been turning heads (and twisting necks) at art museums and galleries for over a decade with his ongoing Lathe series that imparts elements of the digital world onto classical furniture designs. Brajkovic extrudes the seats, backs, and even the designs printed on them to form wild new chairs with varying degrees of functionality.
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