“We are leaving many vulnerable species and habitats frantic, facing disruptions and uncertain outcomes,” says Oakland based artist Crystal Morey. Featured on our blog, her ceramic sculptures of people wearing animal skins express her personal connection to nature- and our strained relationship to it. “In my work, I investigate these actions while also creating an evocative and mysterious narrative that shows our interdependence with the land and animals around us.” Morey’s upcoming exhibition “At the Edge of Time” at Antler Gallery in Portland will debut a new series of small eagle, bear, and deer-headed figure, portrayed completely absorbed in some secret conference.
Matching the look of flesh has always been and is still considered one of the most demanding tasks for any artist. It is notoriously difficult for many reasons, making it a subject of intrigue throughout history. Brooklyn based sculptor Russel Cameron is a self taught artist who has made recreating flesh the primary focus of his work. His ongoing series “Flesh and Bone” explores the subtleties between skin tones, wrinkled and smooth parts, soft and rough textures, using materials like clay, paint, wood, and metal. While he sees skin and its nuances as a thing of beauty, he presents it in unsettling ways.
There’s something oddly beautiful about the work of Kansas based artist Jamie Bates Slone. Her vibrant sculptures are teaming with diseased growths and discolorations, and the effect is simultaneously fascinating and horrifying. Slone can relate to the physical and emotional impact that disease brings. “Through conjured memory, I revisit my family’s history with illness and premature death. These memories are flooded with emotion and anxiety that I use as the base of my sculptural work,” she says.
One look at artist Sophie Ryder’s hybrid animal sculptures and you’ll be whisked away into some mystical world. “I sculpt characters and beings- the dogs, the hares, the minotaurs… are all characters beyond animal form. I am not interested in making a replica,” she has said. The charming and remote cottage where she makes her work, featured here, is not far off from the fantasy that it creates. Ryder’s studio is located in the countryside of Colin Valley in the Gloucestershire Cotswolds, England, a beautiful but isolated place that rarely sees visitors. On November 20th, she will open her cottage up to the public for a rare showing of her works, including sculpture, plaster works, drawings, among other pieces.
We might not think much of sheets of paper, something we see every day, strung together in our notebooks and journals. German sculptor Angela Glajcar sees something light and delicate, with the power to take us to another place. She has exhibited her paper-produced works and suspended sculptures all over the world, with her latest installation on view at Heitsch Gallery in Munich, Germany. Titled “Weiss Ist Das Neue Schwarz” (“White is the new black”), her new work plays with opposites- solid blocks of light paper that float freely in the gallery space.
Oakland based artist Tracey Snelling, featured in Hi-Fructose Vol. 35, creates detailed dioramas and installations of urban landscapes. Ranging from miniature to large scale pieces, her installations represent her impression of a space through the use of mixed media like sculpture, video, and photography. Hers is an imaginary world based on real places, sometimes populated by dolls and figurines, and lit dramatically by LCD screens and film stills to add a flicker of life. For her latest multimedia installation debuting on November 20th, Snelling wanted to capture the vulnerability and strength found in poverty-stricken slums around the world.