Laurence Jenkell

Wrapping Twist Bonbon Blue Raye Rouge

2018

Upcycled Shirts, Resin, Nylon Fibres, Acrylic and Sodium Crystals Size US: 36 x 16 x 10 in Size EU: 92 x 41 x 26 cm Contemporary painter and sculptor Noah Kashiani...

Kim Seungwoo is a contemporary Korean sculptor, based in Seoul, South Korea, famous for his sculptures made of coins.

Golden kinetic sculpture by Gianfranco Meggiato, bronze. In his work, Meggiato gets inspiration from the most mysterious city on Earth, city where he was born, lives and works - Ven...

Hyun Ae Kang (South Korea, 1965) combines traditional Korean painting with Western abstract imagery using natural materials to create innovate mixed-media works that are rich in both...

Upcycled Shirts, Resin, Nylon Fibres, Acrylic and Sodium Crystals Size US: 29 x 15 x 8 in Size EU: 74 x 38 x 21 cm Contemporary painter and sculptor Noah Kashiani...

Kim Seungwoo is a contemporary Korean sculptor, lives in Seoul, South Korea. Seungwoo is famous for his sculptures made from coins and buttons. He creates hyper-realistic, life-size...

Challenger consists of a replica of the escape hatch from the NASA space shuttle installed as if it has fallen from the sky and flattened a Canada P...

Bedazzle 2006 Porcelain, luster, plexiglas, rhinestones, feathers 8" x 8" x 18" Signed COA provided Rain Harris uses her artistry with material to create a conversation between good taste, beauty, and tawdriness. By developing a piece with unrefined materials and bringing it to the point of refinement, she is creating art that asks where good and bad taste meet. This contemporary ceramic piece features a delicate array of porcelain flowers, berries, and leaves mounted on an organically shaped wooden plinth. The light green resin reflects the image of the porcelain bouquet.

“I’m completely fascinated by liquid mercury, so I decided to create a series around it and it’s kind of amazing stuff. We’ve created them into these extraordinary sculptures which w...

“I’m completely fascinated by liquid mercury, so I decided to create a series around it and it’s kind of amazing stuff. We’ve created them into these extraordinary sculptures which w...

Using smooth, minimalist forms in black with bright green, blue, red and white, Israeli-based sculptor Benny Katz creates the playful essence of a body builder...

Text by Nancy Webb It’s Saturday night and Karine Payette is in her studio. We meander into a conversation about the dog she used to have and her soft spot for German shepherds, an intensely obedient and loyal breed in a deceivingly wolf-like package. Payette’s most recent series of photographs, sculptures and video work seem to speak directly to this preoccupation with the multifaceted nature of human-animal relationships—the dialogues of control, intimacy, violence and domestication that subtly take place on an interspecies level. Her workspace is part laboratory, part prop closet—a bowl of fur sits not far from her computer. Somehow in this bright, open, chemical-clean scented room, Payette conjures wildness. We are taken to a strange place, the borderlands of interspecies mingling. At one extreme of the animal-human dynamics scale is the stalwart compliance of a professionally trained German shepherd who responds to commands with robotic precision. Here, power is comfortably held by an off-screen voice, animality pacified by a set of linguistic prompts. At the other end of the scale is a sculpture of a human figure clad in red, sharing a languorous kiss with a wolf. The story of Little Red Riding Hood is immediately called to mind, except that here our hooded protagonist seems to have bailed on grandmother’s orders, instead opting for a forest floor make-out with her canine stalker. This taboo mise-en-scène is a brazen inquiry into the boundaries we maintain with our animal counterparts. Its scale and three-dimensionality contribute to a feeling of immersion that the artist has been courting with her work for the past several years. It feels as though you’ve just walked in on something: you are implicated and your discomfort is like an invisible mist that coats these inanimate beings. Elsewhere in Payette’s suite of anthropomorphic works, the demarcation between species grows even fainter. A photographic series depicts the slow encroachment of fur, scales and feathers on human skin—a striking process of contamination facilitated by touch. The fusion of flesh, charcoal cat fur and a pale silky dress...