London-based artist Elaine Duigenan’s painstaking process to create the body of work “Blossfeldt’s Apprentice” required two key elements: twist ties and a camera. The project is named for German artist Karl Blossfeldt, whose renderings of plant-life in the 1920s inspired this series by Duigenan. Blossfeldt famously said, “the plant must be valued as a totally artistic and architectural structure.”
Esther Sarto, a 24-year-old painter based in Copenhagen, creates gouache and watercolor works that are often as unsettling as they are elegant. Sarto, once known as “Miss Take” as a street artist, often uses bare, entangled humans and plant-life to express her sentiments. ”I am not a very verbal person,” she told WEAART. “There are a lot of issues you can express better without words. Often the meaning lays between the lines.”
North Carolina artist Mitchell Lonas uses a unique medium of incised metal to convey the dynamic and awe-inspiring forces of nature. His ethereal images of bird nests and trees are the results of a carefully developed process, which requires equal parts artistic vision and technical precision. Lonas starts by sketching objects in the natural world that he comes across during his travels or that have been gifted to him by family and friends. He then uses customized cutting tools to carve their images into large, painted aluminum panels.
Since 2012, Jillian Dickson has explored motherhood and nature’s flora and fauna with the series “Our Epidural Currency.” These drawings combine blooming flowers, female organs, and insects for a cohesive portrait of evolutionary strength. Yet, in each of these bold renderings, the point of entry is a complex beauty found in these self-contained ecosystems. The goal, she says in a statement, is to “examine the forgotten and neglected connection between the female tactile body and wild mother nature.”
We first covered Caitlin Hackett’s painstakingly detailed ball-point pen and watercolor paintings in Hi-Fructose Vol. 17, where she told us that her empathy for the natural world is the driving force behind her beautiful, yet morbid subject matter. Surrounded by her nature books and collections of bones in jars, from an early age, she has carried what she describes as “a profound sense of tragedy” for the destruction of nature.
They’ve been described as looking like strange alien organisms and beautiful, gelatinous blobs – whatever you want to call her works, Dan Lam’s bizarre “dripping sculptures” have an undeniable fantasy about them. Brightly colored with pointy, tentacle-like attachments, her work captures that special grotesque beauty that only mother nature could dream up. However, the Manila born, Texas-based artist explains: “My work looks organic because the process of creating it is organic.”