Thrasyvoulos Kalaitzidis

Entities: Brush

2022

medium: reclaimed button-down shirts, wire, flower frog ARTIST STATEMENT "Flowers have been a large part of my work for years, but they took on new meaning for me in 2020. As our ba...

assemblage sculpture: old wood mantle clock box refashioned to resemble a Morocco Riad mansion, 6 antique painted skittles pins, antique photo with ...

assemblage sculpture: painted wood building refashioned out of an old seed box, constructed old wood toy boat to resemble the Ark, vintage carved & painted an...

TONY DAGRADI is an internationally recognized jazz performer, artist, composer, author, and educator. For over three decades he has made his home in New Orleans, performing on tenor ...

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...

Animatronic spray can sculpture by NTEL that dances and shakes its hips when plugged in. Made with felt, polymer and acrylic and includes cardboard black and silver brick wall. Gen...

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...

I construct sculptures based on the architecture of bird, animal, and insect homes. Viscerally attracted by their nostalgia, ware, and uselessness, I mimic their design, form and str...