Silicone Figurative Sculptures

Water bottle of Javier's beloved cat GÜNTER, appeared in the solo exhibition "MR.GÜNTER, THE CAT SHOW" at PARUCO MUSEUM TOKYO in June 2022. Which can also be enjoyed by displaying.

Kenji Lim Hot Fuzz 2023 48 x 32 x 16 cm Mixed Media (Resin, Fake fur, glass pearls, glass vase, silicone, sand) Unique The tourist takes snapshots of life. Experiences are simultane...

Catharina Bond Badgastein 2023 Porcelain, Silicone 18 x 10 x 10 cm Unique The tourist takes snapshots of life. Experiences are simultaneously “strange” and “typical”. There is an ab...

Through a variety of structural and wall-hanged pieces, Karine Payette’s Adaptation examines how changes in the environment can begin to have an impact on our physical existence. Ele...

THRAS KALAITZIDIS is a visual artist and researcher currently living and working in Baton Rouge, Louisiana. He received his MFA in Studio Arts in 2022 from the College of Art + Desig...

Through a variety of structural and wall-hanged pieces, Karine Payette’s Adaptation examines how changes in the environment can begin to have an impact on our physical existence. Ele...

Through a variety of structural and wall-hanged pieces, Karine Payette’s Adaptation examines how changes in the environment can begin to have an impact on our physical existence. Ele...

Through a variety of structural and wall-hanged pieces, Karine Payette’s Adaptation examines how changes in the environment can begin to have an impact on our physical existence. Ele...

THRAS KALAITZIDIS is a visual artist and researcher currently living and working in Baton Rouge, Louisiana. He received his MFA in Studio Arts in 2022 from the College of Art + Desig...

Through a variety of structural and wall-hanged pieces, Karine Payette’s Adaptation examines how changes in the environment can begin to have an impact on our physical existence. Ele...

Through a variety of structural and wall-hanged pieces, Karine Payette’s Adaptation examines how changes in the environment can begin to have an impact on our physical existence. Ele...

Through a variety of structural and wall-hanged pieces, Karine Payette’s Adaptation examines how changes in the environment can begin to have an impact on our physical existence. Ele...

Through a variety of structural and wall-hanged pieces, Karine Payette’s Adaptation examines how changes in the environment can begin to have an impact on our physical existence. Ele...

Through a variety of structural and wall-hanged pieces, Karine Payette’s Adaptation examines how changes in the environment can begin to have an impact on our physical existence. Ele...

KAWS - Holiday: Singapore (Brown Edition) - Pop Art Artists KAWS Edition Details Year: 2021 Class: Toy Status: Official Released: 11/13/21 Paper: Vinyl Abo...

KAWS - Holiday: Singapore (Grey Edition) - Pop Art Artists KAWS Edition Details Year: 2021 Class: Toy Status: Official Released: 11/13/21 Paper: Vinyl Abou...

KAWS - Holiday: Singapore (Black Edition) - Pop Art Artists KAWS Edition Details Year: 2021 Class: Toy Status: Official Released: 11/13/21 Paper: Vinyl Abo...

Karine Payette builds vast dreamlike settings from hyperrealistic, banal objects in order to produce something narrative that evokes the precariousness of the world. The artist plays...

Karine Payette builds vast dreamlike settings from hyperrealistic, banal objects in order to produce something narrative that evokes the precariousness of the world. The artist plays...

Karine Payette builds vast dreamlike settings from hyperrealistic, banal objects in order to produce something narrative that evokes the precariousness of the world. The artist plays...

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...

Untitled 06, 2016 Mixed media on metal sheet (Signed on reverse) 31 1/2 H × 70 9/10 W × 39 2/5 D in 80 H × 180 W × 100 D cm Zsolt Berszán’s work speaks of repulsion and fascination and at the same time speaks about shapes that lie on the border between hallucination and obsession wherein the identity and order were disrupted. Themes such as the double and the metamorphosis, otherwise put, themes of atrophied characters are all representations of the abject. Berszán’s creation is located at the fine border between the representation of identity and its dissolution thusly aiming to represent the non-symbolized. The dynamic separation and the transitional object...

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...

Born in 1983, Karine Payette lives and works in Montreal. As a multidisciplinary artist, her work spans installation, photography, and video. She constructs playful, dreamlike larg...