Paper has got to be one of my favorite mediums for sculpture, but I know from experience it’s not always easy to work with. Lauren Clay is a Brooklyn based paper artist. I love her work, the textures and colours are incredible and the forms are really organic and cheerful. I don’t even want to think about how long it takes to make one, her attention to detail is superb, the rounded paper ends, the subtle ombre. I find the work fun and light-hearted, but also really beautifully considered and thoughtful.
Pegotty, 2011, acrylic on cut paper, papier-mâché, wood
Moan about the present, venerate the past, 2010, acrylic on cut paper, papier-mâché, wood
The unending amends we’ve made (imperishable wreath), 2010, acrylic on cut paper, papier-mâché, wire, wood
Schism Chasm Cataclysm, 2011, acrylic on cut paper, papier-mâché, acrylic, wire, wood
One Way Ticket into the Nirvana Thickets (Tunnel-Funnel-Cornucopia), 2009
acrylic on cut paper,papier-mâché, foam, wire, wood
I always enjoy a philosophical title, it shows the artist is heavily influenced by a number of deeper concerns even if it’s not directly obvious to the viewer. A title is a big part of the artwork. Plus anyone who confidently uses purple gets a lot of points from me. It’s a highly misunderstood colour that needs more of a chance. When I’m rich I will most definitely own one of these beauties.
Synchronicity Spoken Here (Purple Monochrome with Junk in the Trunk/L.H.O.O.Q. with Maxi Stripes), 2009 acrylic on cut paper, papier-mâché, foam, plastic
Images from her representative gallery Larissa Goldston Gallery.
There in a nice interview with Lauren here.
Lotta Jansdotter’s designs are like little plants working their way through cracks in the sidewalk – as her website says. Images of simple beauty that blend a little nature with a little modern. Lotta’s aesthetic is deeply rooted in the Scandinavian landscape. She was born 1971 on Åland, a small group of islands in the archipelago between Sweden and Finland. Her Swedish heritage is also apparent in her self sufficient approach to design. Can’t find what you want? Make it! Don’t know how? Learn it!
Her fabric designs are really nice to work with. I always love the warm greys and use them a lot. Above is her most recent fabric collection – Bella. Although I think I prefer her first collection – Echo (below). I’m thinking of making a copy of the dress she has on.
She’s pretty cute herself too – nice haircut.
Recently she did a little line of glass and porcelain for the store fishs eddy in New York. The line is so sweet – so scandinavian, but also a little 70′s I find. I love the forms of the mug and the oval platter.
To find out more about her, or to order fabrics, check out her site. Images are from there and also from fishs eddy. Some of her first fabrics are harder to get, I tend to find them at a couple of Etsy fabric stores.
Josef Albers is one of my great favorites. Best known for his abstract paintings, homages to the square and his studies in colour, he was also a well known and influential theorist. Colour theory and perception are delightfully interesting to me. I could stare at his work for hours, daggy as that may be. Here’s just a taste of some of his fantastic works. Definitely some quilt inspiration too, don’t you think?
For more images visit the Josef and Anni Albers foundation.
Anni Albers was a wonderful textiles artist from Germany. She also painted, printed and designed jewellery, but she was definitely best known for her awesome geometric weavings.
- Study for Camino Real, 1967 Gouache on Paper
Open Letter, 1958, Cotton
Albers was born in Berlin in 1899. Her mother was from an aristocratic publishing family and her father was a furnituremaker. As a child she was very intrigued by art. She painted during her youth, but was very discouraged from continuing after a meeting with artist Oskar Kokoschka, who upon seeing a portrait of hers, asked her sharply “Why do you paint?”
Study for Triadic II, 1969, Gouache on Blueprint Paper
She eventually decided to attend art school, even though the challenges for art students were often great and the living conditions harsh. Such a lifestyle sharply contrasted the affluent and comfortable living she had been used to. Albers attended the Kunstgewerbeschule in Hamburg then eventually made her way to the Bauhaus at Weimar in April 1922.
Quilt – unknown
At the Bauhaus she began her first year under Georg Muche and then Johannes Itten. Women were banned from certain disciplines taught at the school, especially architecture, and during her second year, unable to get into a glass workshop with future husband Josef Albers, Anni Albers deferred reluctantly to the only department open to her – textiles. It wasn’t long before Albers learned to love weaving’s tactile construction challenges thanks to her instructor Gunta Stölzl and she went on to become one of the century’s most influential textiles artists.
C, 1969, Screenprint
DR XVI (B), 1974, Ink on Paper
Anni Albers only passed away about 20 years ago, in 1994. Leaving behind an amazing body of work. Her husband is also one of my favorite artists but we’ll talk about Josef another time!
Together in 1971 they established the Josef and Anni Albers Foundation— a not-for-profit organization to further “the revelation and evocation of vision through art.” Devoted to preserving and promoting the enduring achievements of both Josef and Anni Albers, and the aesthetic and philosophical principles by which they lived. It serves as a unique center for the understanding and appreciation of the arts and of all visual experience.
Second Movement IV, 1972, Etching/Aquatint.
The Foundation carries out its mission by working on exhibitions and publications, assisting with research; and supporting education. It conserves the Alberses’ art and archives, and serves as an information resource for artists, scholars, students, and the general public.
The Albers Foundation is located on beautiful woodland acreage in Bethany, Connecticut. The Bethany campus includes a central research and archival storage center to accommodate the Foundation’s art collections, library and archives, and offices, as well as residence studios for visiting artists. The rural property provides a venue for educational outreach programs. Unfortunately artists residencies are offered by invitation only.
All images from the Albers foundations website.
Kirsten Hassenfeld lives and works in New York. She studied at the University of Arizona, Tucson and the Rhode Island School of Design, Providence. I absolutely love her work, as I’m drawn to most contemporary chandelier/large hanging installations in general, plus if it’s pastel and glows, I’m smitten. Her quiet translucent sculptures are made mostly with paper. They are stylized jewels strung like giant ornaments to make scenes from a ghostly fairy tale. They remind me a little of the work of the wonderful Tim Horn (more on him later!) A little like sea creatures, a little like elaborate decorations expanded, I can see so many things in her work, it’s fascinating.
She also makes work with found objects and sometimes collaborates with her husband, Lee Boroson. But it’s her patience with paper that impresses me most.
There’s a lovely little interview with Kirsten on the Huffington post site from quite a while ago (2007) if you’re interested in reading a bit about how she works. I’m going to save up for this pink one. Dreamy.
My artwork is always made up of components. I’m not sure why, but I generally felt like I could express more through the composition of many similar forms into a shape or mass than just one idea in one object. I like the space around me to be compelling, I enjoy feeling encompassed by a manipulated or a naturally beautiful environment. Like many artists, I feel as though sometimes I am harder to impress as time goes on, which is a shame to say. Then again, when I do see an artists work that makes a strong emotional impact, it makes me very, very happy.
Jacob Hashimoto‘s work makes me happy just through the photographs, I know in real life, his installations would make my breath catch. The work communicates such light beauty and stillness. He has a powerful knowledge of composition, delicate and sophisticated, it’s the kind of artist I wish I could be.
Drawing on his Japanese roots, Hashimoto, (now based in NYC, from Colorado originally) makes thousands of bamboo and paper ‘kites’ to compose his three dimensional installations.
“The elements forming these tapestries are a solid color of paper, or a complex, collaged pattern of multicolored cut paper. While the individual components remain more or less abstract, overall, clusters of pattern, stripes, or waves of color are formed, giving the works a pictorial quality that suggests organic forms, vistas, scrolling video games, or even board games. Through this unique process Hashimoto’s works convey an ephemeral wonder, entrancing the viewer with their continuously shifting illusion of light, space, motion, and sense of flight. Hashimoto’s working method is very open-ended, allowing him to sample art-historical references, icons of the every-day, and mismatched narratives within each composition.” (The artists website)
I hope you get the chance to see some of his work in person, with exhibition titles including – The end of gravity, Silence still governs our consciousness and Gateway to the Hidden Part of the Sky, I’m sure you will find something you like too.
Photographs from above: 1 & 2 Superabundant Atmosphere Rice University 2005
3 & 4 The other sun Roichini art gallery, London UK. (finishes 28th Aug 2012)
5 & 6 Superabundant Atmosphere Palazzo Fortuny, Venice 2009
7, 8, 9 & 10 Jacob Hashimoto V, Studio la Città, Verona Italy, 2008-09