These are just a few of the absolutely breathtaking paper sculptures by Haitian born, New York based artist Fabiola Jean-Louis. Yes, I said paper. She’s chosen paper as her main medium because it “acts as a tether linking the present to a past when paper was not just a basic currency, but held the power to determine the freedom of a human being.” That gave me chills. Also, chill-inducing, this caption she recently wrote on Instagram regarding her paper shoes:

“Paper shoes. They are one of my favorite things to make, and have a deeper meaning that many people don’t realize. The feet of my ancestors were not allowed to wear such delicate shoes, because they weren’t seen as delicate creatures. And, it’s not that we cared to be. Just the same, the importance of our feet has long been overlooked. Remember that they helped us stand firm, helped us run, and sometimes they failed by giving out as our bodies succumbed to the painful whip. Somehow our feet have always helped us get back up.”

So beautiful. So powerful.

 

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Putting together one of my “Biophilia” installations at Walker Fine Art in Denver. The opening is tonight- Friday, May 11, 5-9 pm @walkerfineart

A post shared by JULIE MAREN artist (@juliemaren) on May 11, 2018 at 7:32am PDT

Acorns! Yep, I thought I’d just jump right in with the answer to your question of, “Wha?”. This is just one of many, many, many installations by American artist Julie Maren. It’s part of an ongoing series, titled “Biophilia”, and was installed in 2018 at Walker Fine Art {Denver}. How many acorns, you ask? Just over 800 acorn tops, each one filled with colorful paint! LOVE. Here is Julie’s story about this work, and how it came to be:

“Biophilia is a metaphor for interconnectedness. Each Biophilia (acorn top filled with material) represents an individual, beautiful and complete on its own. A group of Biophilia represents the synergy of a community as a whole.

Acorns, as seeds, are symbols of growth and unlimited potential. Just as one seed can grow into a massive oak that can plant a whole forest, the acorn teaches us about our own potential and what/ how/ who we share with the world. Through this metaphor, Biophilia provides a reminder of this relationship and our interconnectedness with our larger community and world.

“Biophilia” wall-sculptures are the result of my journey to take my paintings out of the confines of traditional square and rectangular canvases. I found paint filled acorn tops to be the perfect vehicle to transcend the omnipresent dot patterns in my paintings, indicative of space and time—and transform them into expansive, multi-dimensional murmurations of color and shadow—like coordinates on a three-dimensional grid.”

Community, unlimited potential, and hundreds of colorful ‘dots’… could I love this more? Nope. {You have to watch that speedy install video above. So. Many. Acorns.}

This is just a teeny, tiny peek at the work of 92 year old Canadian artist Gathie Falk. I have loved her work since my days as an art student. She was a successful, female, Canadian artist… which was exactly what I wanted to be when I grew up. The first time I actually saw Gathie’s work in person – at the National Gallery of Canada in 1999 – I cried. She does everything from painting to installation, but it’s this series of life-size, papier maché dresses that gets me every time. Feminine portraits, each with their own story told only with a few objects… no faces required. The photos above are Gathie with her mother in 1942, followed by a much more recent shot of Gathie in action. Here is a description of her work from Equinox Gallery, her representation in Vancouver:

“Gathie Falk’s practice meticulously transforms objects of everyday experience into extraordinary things. Working in a variety of media that includes performance art, sculpture, ceramics, painting and drawing, Falk has produced works that feel surreal and dreamlike, reinventing clothing, fruit, plants, shoes, or baseball caps into objects of much greater significance. Although these objects are relatable in their familiarity, it is the personal symbols they carry – not the universal – that are of interest to Falk. Her practice has been aligned with the traditions of Surrealism, Funk, Fluxus, and Pop Art, but the influences are rarely direct. Indeed, Falk is most comfortable when poised on the edge of contradictions.”

Sigh. Love.

Bowling pins! This is the funny, kitschy, and beautifully painted work of Toronto based artist Bernice Lum. Her current solo show, titled “A Spoon Full of Sugar”, is filled to the brim with altered bowling pins and is showing at Galerie Youn in Montreal until July 18, 2020. Here is Bernice’s statement, which sheds a little light on all of this fabulous nostalgia:

“Bernice Lum has been telling stories through her work by revealing a little bit of her story through a sense of humour, play and wit.  

Born in 1963, bowling and Wednesday evening drives to Dairy Queen were a weekly event for the family. Even her older brother was born while her father was playing in the finals of a bowling tournament which became the inspiration to her new series … a diary of stories within every pin, and a body of work that pays homage to her late brother and father.” 

So beautiful. And, as Galerie Youn so perfectly says, “A spoonful of sugar may not be the cure for COVID-19, but will help bring a smile, ‘In a most delightful way.'” Ah, yes, we could all use a little sugar.

Gasp! These silky creatures are the fabulous work of Melbourne based artist Troy Emery. His sculptures “examine the discourse surrounding the delineation between fine arts and craft, as well as animals as both entrenched decorative motifs and tokens of ecological ruination.” Works for me. Happy Monday.

Oh my word. I couldn’t type fast enough when I found the work of American artist Rhonda Wheatley {and ps. if you need a bio photo, make it look like that one!}. Rhonda does all sorts of things from mixed media to performances, but for me… it’s all about her “Power Objects”. The final piece above, titled “Power and Energy Amplifier: Increases power and healing energy one receives and/or sends to others”, is exactly what I need right now. A vintage mannequin hand, barnacle cluster, titanium quartz crystals, cholla cactus wood, and acrylic paint… yes, please. Here is a beautifully poetic excerpt from Rhonda’s artist statement:

“My work is grounded in the speculative, metaphysical, and spiritual, and through it I explore healing, consciousness expansion, and transformation. As an energy healer, I imbue my work with meditative focus and intent. Each sculpture is attuned to the combined energies and symbolism of my materials—vintage found objects and electronics, as well as organic and natural materials, including fossils, cicadas, barnacle clusters, moss, and shed snakeskin. I treat these materials as ingredients that flavor each piece with purpose and power.”

Purpose and power, indeed. Speaking of which, as of today, I will be taking a break from my daily posts for a couple of weeks while I recover from surgery. See you on the other side. ~ Danielle

This is “trace” {2014}, a breathtaking a community project by Toronto based artist Rebecca Belmore. This cascading blanket of beads has a permanent home at the Canadian Museum for Human Rights in Winnipeg. Rebecca is a member of the Lac Seul First Nation (Anishinaabe) whose artwork is “rooted in the political and social realities of Indigenous communities, [and] makes evocative connections between bodies, land and language.”  Yes, yes it does! Here is the description – that was written before the project began – of this very important project:

“With the creation of the large ceramic blanket, ‘trace’, Belmore honours the original inhabitants of the land upon which the Canadian Museum for Human Rights is built. This land bears evidence of over 6,000 years of Indigenous presence where 500,000 artifacts were excavated from the ground beneath the museum, including thousands of ceramic shards. Using clay from beneath the city of Winnipeg, thousands of small “shards” will be formed by hand. The action of squeezing a small lump of clay in one hand will produce an organic shape that will be pierced through the centre to become a “bead”. These shapes, although unique, will identify as being similar due to the hand-made process and because of their vast number. The beads will then be fired and woven together to produce the large-scale blanket-like form. The use of clay, the earth itself, imbues the artwork with a sense of timelessness. The modest gesture of forming these beads is a reminder of how precious and universal the bond is between humans and the earth.” ~ written by Lee-Ann Martin

Amazing. Rebecca, and fellow sculptor Osvaldo Yero, worked with the people of Winnipeg to create these hand-squeezed beads, and the result is absolutely stunning.

*Installation photos by Lindsay Reid via Wolfrom Engineering

Styrofoam, insulation, plexiglass, concrete, foam, wood … and that final piece? It’s is embroidery on Tyvek {a synthetic material used to wrap houses during construction}. What?! Yes. This is the very powerful work of Montreal based, Algonquin-French artist Caroline Monnet. Her show, titled “R-Value”, is currently showing at Division Gallery in Montreal. Here is the exhibition description:

“For years, the housing situation in Indigenous communities has remained grievously unchanged. In remote regions with harsh winter conditions, construction materials can be scarce and expensive. Construction financing is cannibalized for repair and upkeep, while residents and local councils are excluded from decision-making. The result is generic housing, unattuned to its environment and bearing no resemblance to traditional dwellings. Caroline Monnet’s recent work grapples with colonialism’s impact, updating outdated systems with Indigenous methodologies. Combining contemporary building materials and patterns transmitted across generations, Monnet creates hybrid objects. Resembling city maps and bar codes as much as they do traditional weaving and beading, the patterns she prints on, weaves into, or cuts from insulation offers a glimpse back and a path forward.

Meticulous, beautiful, powerful. This work will be at Division until July 1, 2020.

Oh, HELL yes! The power of vulnerability displayed as brass knuckles topped with some very beautiful / badass quartz. Do you remember this “ring”? I wrote about it waaaaay back in 2011… and now it’s in the Smithsonian! Yep, American sculptor Debra Baxter is my guest today. I’ve been following her ever since that first post, so it’s about time I had her on the podcast. You can listen up there under that stunning piece of wearable art, or subscribe right here.

Ok, let’s start off with a quick reference. For some of you, this will be a trip down memory lane… and for you youngins, an education. I give you Superman’s Fortress of Solitude, 1978:

Sigh. I was in love with him. Anyway, yes… those crystals! Clearly this would have an impact. How, after seeing this as a kid, could Debra not start making art that looks like this:

Oh, boy. The crystal brass knuckle collection… and this isn’t all of them! I know this is older work for Debra, but damn, it’s just too good not to show! It’s like having the Fortress of Solitude on your frickin’ hand!

But wait, there’s more. Here are the absolutely stunning pieces you can find in Debra’s jewelry collection:

Gasp! Absolutely stunning… and the reason for the rustling sound at the beginning of the episode. Hey, totally worth it!

Next up, the #30DayArtQuarantine. Oh my word, these are just a few of the pieces Debra made every day for 30 days:

See? How on earth could I ever pick a favorite? It’s impossible. A few of these pieces are being released TODAY via Form & Concept Gallery in Santa Fe…  Here’s an interview she did with them about this series, and a link to the 5 available pieces.

Next, a little look at the two-person show Debra did last year, with Vancouver based artist Rebecca Chaperon, at Roc La Rue Gallery in Seattle. This is the post I did for that show:

Aren’t they perfect together? Dreamy, mystical, all of it.

And finally, THE PAPER BAG. I have to put it in all caps because I cannot even begin to imagine carving something like this:

… and it’s not even finished yet! Keep an eye on Debra’s Instagram feed for #WIPs of this beauty. Thank you so much to my fellow sculptor {I’m manifesting this} for chatting with me, and thanks to YOU for listening to us. See you next week for a new episode of ART FOR YOUR EAR.

Other links:

1. Debra on Instagram
2. Debra’s jewelry: DB/CB
3. Upcoming jewelry collab. partner: Susanna of Mineralogy Project 
4. Roq La Rue Gallery, Seattle
5. Form & Concept Gallery, Santa Fe / 30day sculptures in their shop

Okay, let me explain how this post came together. I found the work of French artist Vincent Olinet, first, through those fabulous brooms at the top, titled “After the waves / the waifs / Shirley and Cyndie”, and assumed I had my post. But hold on… giant wooden lipsticks!? Oh, I have to write about those. Wait, he also has brand new colorful wig brooms!? Ah-mazing! Um, the lipstick can also be huge and installed outside? Oh my word, I love them in all of their oak & anti-UV glittery goodness! Whoa, blonde braids?!

Yep. That’s exactly what my last hour looked like… and I didn’t even show you his cakes.