Whimsy, humor and fantasy collide in the sculpture of Beijing artist Wang Ruilin. Some pieces are realistic reproductions of animals’ bodies while others manipulate these bodies to create an unexpected effects. His “Horse Play” series feel especially humorous. The horses have expressive eyes and tuck in their necks almost petulantly. In one piece, horses pile on top of each other into a pyramid; at the top a horse stands with his head cocked to one side. Wang highlights each flesh fold on these horses, making their sculptural bodies seem lively.
Troy Coulterman’s resin sculptures evoke the vibrant colors and over-the-top expressions of animations and graphic novels. His illustrative style is somewhat unexpected to experience in three-dimensions. The Canadian artist (who was featured in Hi-Fructose Vol. 27) recently debuted an exhibition in his hometown, Regina, Saskatchewan, at the MacKenzie Art Gallery. Titled “Digital Handshake,” the show takes inspiration from the abstract ways we communicate online. In the candy-colored sculptures, figures appear to dissolve into pixel-like blocks. In the show’s centerpiece, a man and a woman are separated by an abstract mass — perhaps a metaphor for the barrier we put between ourselves and the world as we increasingly opt for digital experiences over physical ones.
A careful collector of found objects and (ethically sourced) animal bones, Jessica Joslin creates delicate sculptures that gracefully encase skeletal remains in baroque ornamentation. Using antique metals from chandeliers, samovars and other Victorian-era relics, Joslin gives the creatures whose bones she utilizes a dignified appearance even in death. Her work is both decorative and visceral, as her intricate craftsmanship belies her haunting subject matter. The artist recently created a new body of work for her solo show, “The Immortal Zoo,”opening October 24 at the non-profit gallery Firecat Projects in Chicago. Watch a teaser video and check out our preview of her latest work below.
Though research has emerged linking excessive social media use with anxiety and depression, our collective internet addiction shows no sign of slowing down. The fictionalized, digital selves we present to the online world comprise the bulk of some people’s social interactions. Australian artist Robin Eley interrogates the divide between one’s physical and digital identity in his new show “Prism,” opening at 101/Exhibit’s Hollywood location on October 18.
Rather than drawing a line to separate his personal and commercial work, LA-based artist Wayne White (featured in HF Vol. 19) brings the two full circle with his latest exhibition, “Invisible Ruler,” at NYC’s Joshua Liner Gallery. White has extensive credits as a set designer, puppeteer and director (he won multiple Emmys for his work on Pee-wee’s Playhouse), and his puppetry informs his oeuvre in both two and three-dimensional media. The title of the exhibition, according to the artist, alludes to the ways previous creative pursuits impact artists for the rest of their careers. Techniques learned in one medium come through in others in unexpected ways.
Like tiny movie sets that recall the color-coded cinematography of Wes Anderson, Marc Giai-Miniet’s sculptural dioramas reinterpret real-life, utilitarian settings. The artist (who we introduced on the blog recently) builds doll house-like architecture that evokes factories and workshops, turning these industrial spaces into whimsical settings filled with strange objects that seem precariously organized. Each room is stuffed to its brim, and it takes time for the eye to traverse the different compartments of each piece. While Giai-Miniet is a recognized artist in his native France with a long career behind him, he will debut his first US solo show at NYC’s Jonathan LeVine Gallery on October 11, “Théâtre de la Mémoire.” Take a look at some of his new works for the exhibition below.