Kate MccGwire’s anthropomorphic pieces exude a naturally sourced beauty as they writhe and loom in place. Much of her sculptural and installation work uses materials from the animal world, like pheasant and crow feathers, to create something new entirely. The British sculptor uses a dozen verbs to describe what she does: “I gather, collate, re-use, layer, peel, burn, reveal, locate, question, duplicate, play and photograph.”
At Tacit Contemporary Art in Melbourne, Australia, artist Irene Wellm crafts a fairytale in a paper collage installation titled “Mundus Imaginalis.” Painted with gouache, the surreal images resemble paper dolls of mythological characters. The artist said she was inspired by the narratives of the Grimm Brothers in creating the works, which start as digital collage and are then scaled and painted in monochrome. The exhibit runs through Dec. 18 at the gallery.
Lyndal Osborne, a native of Australia now based in Canada, has long explored nature and issues surrounding the environment in her work. More recent installations, like “Curtain of Life”, specifically react to the issue of genetically modified organisms. Or as the Vernon Public Art Gallery, which hosts these works, phrases it: “The objective of this exhibition is to address the issues of (GMOs) and their impact on traditional food growers, especially in the Okanagan Valley region with its extensive fruit and vegetable production.”
(photo credit: Josh Palmer)
It’s no surprise that Saudi Arabia-born, Arizona-based artist/teacher Nathaniel Lewis was once a toy designer. Yet, although some of his newer sculptures have the bright, primary color schemes and wooden textures of old-school toys for children, the themes of series like “Little Terrors” are decidedly more complex. Depicting a TSA line, with workers, equipment, and explosives, Lewis confronts a common source of tension, anxiety, and frustration for adults.
Erika Lizée, an artist based in Los Angeles, created an installation for new exhibition “Shift and Fade” at BLAM’s Los Angeles location. The show challenged artists in San Diego, New York, and Los Angeles to “explore material as a metaphor for personal history.” In response, Lizée crafted “Seed of Life,” an installation based in acrylic on Duralar.
Zadok Ben-David, a London-based artist, chose a direct title for his latest body of work: “All the people that I saw but never met.” Yet, when you see the crowd of sculptures amassed by the artist, the work takes on a metaphysical quality. Each of the individuals, created from painted stainless steel and perspex boxes, represents a distinct personality and a new, potential relationship that never was.