Menu
The New Contemporary Art Magazine

Anatomically Inspired Soft Sculptures by Karine Jollet

Karine Jollet's collection of brains, hearts and skulls sounds like something out of a scary film - but her creations are far from gruesome. Rather, her anatomically inspired soft sculptures appear dreamy and elegant. "Observing anatomy fills me with wonder and respect," the artist writes on her website, "In my eyes, there is nothing morbid in anatomy; I can only see the beauty and wonderful complexity of forms and vital functions."


Karine Jollet‘s collection of brains, hearts and skulls sounds like something out of a scary film – but her creations are far from gruesome. Rather, her anatomically inspired soft sculptures appear dreamy and elegant. “Observing anatomy fills me with wonder and respect,” the artist writes on her website, “In my eyes, there is nothing morbid in anatomy; I can only see the beauty and wonderful complexity of forms and vital functions.”


Jollet stitches her designs from recycled fabrics, then embellishes them with lace, pearls, satin and embroidery. Among her favorite materials are old bed sheets, handkerchiefs, and other second-hand fabrics. The artist then cuts her materials into fragments, fills them with polyester and hand sews them back together to form the lifelike body parts. White is a deliberate choice in color for the artist, who says that “white evokes a world beyond the visible, beyond the living space of unity and purity. White is a basis on which these sculptures can be connected together.”


Karine Jollet is based in Paris, France. View more of her sculptures on her Flickr.

Meta
Share
Facebook
Reddit
Pinterest
Email
Related Articles
Aspencrow's hyperrealistic figurative sculptures blend the provocative with pop. Blending materials like resin, fiberglass, and silicone, his works serve as both admiring and wry portraits. The artist was born in Lithuania and moved to England to attend Birmingham City University, School of Art.
When Finland based artist Kim Simonsson began experimenting with figurative ceramic art in the 90s, it caught people by surprise. The term ‘ceramic’ brings to mind sophisticated objects, but his is a decidedly unusual mix of Eastern traditional materials and pop culture. “The subject of my work, as a rule, are children, animals, or something in between,” he shares. There are glazed-white ghostly children ‘bullying’ exotic wild animals like panthers and deer, or jumping into metallic puddles. See more after the jump!
Meredith James is like a latter day Alice in Wonderland documenting what she sees in her journey down and through a contemporary rabbit hole. Her videos, installations, and sculptures play with scale and trompe l’oeil to create optical illusions that are as disruptive as they are funny. In "Day Shift", a short video, she plays a security guard who, having just left work, crawls into the backseat of her SUV and reemerges as a miniature figure in the building's security monitor. In Ames Landscape, an installation, two figures stand in a glade. A large mountain reaches skyward in the distance. The space is configured so that, though the space is logically consistent, one figure stands much taller than the other. In Hallway, another installation, a door opens onto stairs that lead down to the basement. The stairs, of course, go nowhere because the space is flat. The fact that the illusion is a dead ringer for the space's actual stairs that lead to a real basement is not even remotely coincidental.
Stephanie Corr Gartanutti started as a painter, but after multiple sclerosis had diminished her fine motor skills for a period, she began to use sculpting as method to both create and cope. Each of her figures begins with a single piece of wire, and then "the wire is cut, shaped and fastened to itself. Then repeated again and again. Later in the process the wire will be woven through until it becomes a substantial object, that can be further manipulated and cut into shape."

Subscribe to the Hi-Fructose Mailing List