Matthew Monahan uses materials like paper to craft decidedly human and vulnerable sculptures. The artist’s entire practice uses a variety of materials. What carries through in each of his works is his penchant for conveying people in unexpected ways.
In Ryan Villamael’s paper sculptures, cityscapes and military structures protrude out of books. The artist rummaged through shops and garage sales to find wartime books that serve as the foundation for these creations. Elsewhere, the artist has created paper installation that resemble organic matter, rather than manmade weaponry and vessels.
Since the 1980s, Calvin Nicholls has created paper sculptures that blend 2D and 3D processes, cutting and layering paper for works that escape from the canvas. The artist typically focuses his efforts on creatures from the animal kingdom, emulating the forms of nature only using one or two colors and a meticulous process. The artist says he enjoys white on white, in particular, “due to the emphasis which is placed on texture and form.”
In the workshop of Paris-based David Truong, paper becomes alive. Truong’s sculptures, which can often be staged traditionally or even worn, represent a long fascination with geometry and polygonal structures for the artist. As evidenced by “Golden Kraken”, the artist adds details to the work reserved for alternate angles (and in this case, he brought canvas into the process).
In his most recent series, paper artist Charles Clary, previously featured on Hi-Fructose, nods to the power of nostalgia by creating over 200 individual VHS slipcase sculptures. The series took over a year to complete and marks a turn towards the personal in Clary’s art. This series is a response to his parents’ deaths and a nostalgia for childhood: “The idea behind the more recent work using retro pop culture from my childhood is of order from chaos, beauty from destruction, and hope for more joyous times.”
Russian paper-cut artist Asya Kozina recently created an ornate array of white wedding dresses inspired by Mongolian folkloric fashion designs. Though they resemble haute couture, the sculptural outfits are made entirely from paper. The St. Petersburg-based artist described the traditional Mongolian garments as “futuristic.” Her versions exaggerate their shapes and emphasize their geometric structure by removing the color. Kozina collaborated with photographer Anastasia Andreeva on a shoot featuring models donning her baroque pieces.