Clara Hallencreutz

The Golden Arches

2009

Artist: Hallencreutz, Clara Title: Lipstick Date: 2015 Medium: C-print face mounted to archival acrylic, backed with aluminum Unframed Dimensions: 27.5" x 39" Signature: S...

Artist: Slonem, Hunt Title: Moreover Golden Date: 2025 Medium: Oil on wood Unframed Dimensions: 10" x 8" Framed Dimensions: 14.5" x 12.5" Signature: Signed by Artist on Verso ...

Artist: Hallencreutz, Clara Title: Global Roots Date: 2017 Medium: C-print Dimensions: 140 x 100 cm / 97 x 70 cm / 69 x 50 cm available (each editions of 3) Signature: Signed E...

Artist: Slonem, Hunt Title: New Dawn Glisten Date: 2024 Medium: Oil & Acrylic w/ Diamond Dust on Wood Unframed Dimensions: 15" x 19" Framed Dimensions: 18.5" x 22.5" Signature:...

ABOUT THIS PIECE: French photographer Ludwig Favre recently road tripped to California. His pictures of California's iconic architecture and beaches carry the same romantic feel of a...

Text by Michelle Cantin-Reid The common object reconstructed through skilful assembly and technique; casted, welded, and chased metal forms; almost perfect doppelgangers of the originals, this is how Zeke Moores’ work appears. Upon closer consideration, the materiality of these pieces comes to light. Deceivingly close to the real thing, they greatly diverge from the original. From chromed steel Trashcans to the reconstructed Port-O-Potty made from cast aluminum and nickel-plated steel, Moores uses metalsmithing techniques to render his sculptures, usurping of the traditional modes of mass production as well as the disposable materiality that we associate with these objects. In his work, mechanised assembly line production and objects made to be thrown out or forgotten become a craftsman’s labour of love. As the disposable dejected everyday object is taken from the street and placed into the gallery, our use and imposition of a hierarchy on objects becomes apparent. However, it also speaks of the amount of work no longer done by people or often done by a series of anonymous workers in a repetitive but carefully choreographed dance with machines. We approach very differently a practical or a mass-produced object and one that is crafted. These works also celebrate those objects designed for practical but not specifically aesthetic purposes. The imposition of a new materiality gives them durability and in the case of bronze casts or chrome plating a superficial prestige. Sitting in a gallery contemplated and beheld, the cast bronze Barrier is not unlike a monument or a statue. Though, these nobler materials are not wherein the beauty lies. Happy Meal...

Signed and titled in black ink on print verso. Patty Carroll is an American photographer who has taught and practiced photography since the 1970’s. Her photography is characterized ...

TWELVE CHAIRS GALLERY David Datuna’s Hungry Artist (2021) extends the themes of his 2019 performance at Art Basel Miami Beach, where he consumed Maurizio Cattelan’s banana installati...