Joel Urruty

Joel Urruty - Traveler, Sculpture 2024

2024

Mahogany, dye, lacquer, concrete As an artist I strive to create elegant sculptures that capture the true essence of the subject matter. Form, line and surface are used as the visua...

Medium: dyed wood As an artist I strive to create elegant sculptures that capture the true essence of the subject matter. Form, line and surface are used as the visual language. The...

Medium: Dyedwood As an artist I strive to create elegant sculptures that capture the true essence of the subject matter. Form, line and surface are used as the visual language. The ...

Medium: Dyed Mahogany and basswood As an artist I strive to create elegant sculptures that capture the true essence of the subject matter. Form, line and surface are used as the vis...

ABOUT “There’s no color in my work,” says Shlafer, “I either burn it, bleach it, or leave it alone.” Shlafer’s sculptures are designed with rudimentary material such as pine, oak, and spruce salvaged as driftwood on the Eastern end of Long Island. The artist started this body of work during the pandemic after he stumbled upon the charming discoveries while traveling on foot by the coastline. Always a wayfarer at heart, he drew inspiration from his youth of traveling on a motorcycle through Southern Africa and seeing indigenous art made from ordinary earth objects within local villages. “Wishbone 1” a 5 Foot sculpture, charred white oak with a tinted aqua resin base that reflects an omen of resilience and hardiness in light of the hardships of the past pandemic year, In another “Tune” a bleached spruce fence post narrowed into a tuning fork shape with a slate base. It welcomes a ceremonial vibe. “At the end of the day, that’s the energy we all crave,” says Shlafer, “who doesn’t respond to that?” “Mushroom #3” a charred white oak sculpture that is versatile in design so it can act as an end table or a stool. It is masterfully crafted and brings to mind the redwood stools...

ABOUT “There’s no color in my work,” says Shlafer, “I either burn it, bleach it, or leave it alone.” Shlafer’s sculptures are designed with rudimentary material such as pine, oak, and spruce salvaged as driftwood on the Eastern end of Long Island. The artist started this body of work during the pandemic after he stumbled upon the charming discoveries while traveling on foot by the coastline. Always a wayfarer at heart, he drew inspiration from his youth of traveling on a motorcycle through Southern Africa and seeing indigenous art made from ordinary earth objects within local villages. “Wishbone 1” a 5 Foot sculpture, charred white oak with a tinted aqua resin base that reflects an omen of resilience and hardiness in light of the hardships of the past pandemic year, In another “Tune” a bleached spruce fence post narrowed into a tuning fork shape with a slate base. It welcomes a ceremonial vibe. “At the end of the day, that’s the energy we all crave,” says Shlafer, “who doesn’t respond to that?” “Mushroom #3” a charred white oak sculpture that is versatile in design so it can act as an end table or a stool. It is masterfully crafted and brings to mind the redwood stools...

This solid accent portrays a primordial form. Tucker Robbins, inspired to bring his designs back to basics, worked with the Ifugao (Mountains of the Phi...

The title of Benjamin Heller’s group of sculptures, “Inner Tidal” refers to an “Intertidal Zone”, which is the edge of an ecosystem that is alternately above and below the waterline ...