Sun Golden 108 No 2, a powder coated aluminium artwork by Tsai & Yoshikawa

'Collapsed Triptych in Sand' is a unique wall-mounted sculptural artwork by the British artist, Olivia Walker. It has been created from coloured porcelain, tadelakt plaster and resin. The dimensions above are for the three panels. Walker works in porcelain to create pieces that explore ideas of growth and decay through the construction and layering of complex surfaces. All of her pieces start by being thrown on the wheel, before being built upon with thousands of individually applied fragments of porcelain. Many of her pieces are thrown and altered, often being cut away and reassembled in the leather-hard stage which allows her to deconstruct the form creating new surfaces on which to continue adding her porcelain layers. Starting from a set point on a piece, Walker lets these organic accretions spread out and grow, almost eating through, or growing over the form beneath and covering it. Walker makes reference to organisms such as fungus, corals, and bacteria but her pieces are her own interpretation, letting the viewer bring their own ideas and emotions to her pieces. Walker studied at Farnham in 2014 where she completed her MA in Contemporary Craft, specialising in Ceramics. An apprenticeship with the highly revered potter and writer, Julian Stair...

'Symmetry Fold Triptych' is a unique wall installation by the British artist Steven Edwards, created from black stoneware. The surface has been covered with a golden / bronze-like gl...

Obsidian III is a unique grey, bronze & clear glass wall-mounted artwork by the British artist Wayne Charmer. Taken inspiration from the moment that a mass of rock is literally cr...

Obsidian II is a unique bronze & clear glass wall-mounted artwork by the British artist Wayne Charmer. Taken inspiration from the moment that a mass of rock is literally cracked o...

Artwork?

Smithsonian

Artwork?

A unique wall relief by Andrei Prolettski, (born 1963, Krasnoyarsk, Russia). Made of 5052 powder coated aluminium. Here is a note about the artist from an essay by Britta Schroder: "Andrei Prolettski a contemporary artist, born in Siberia, attended the Surikov School of Art in his hometown, is exemplary in his exploration of the influence of Constructivist and Concrete Art’s legacy on contemporary art today. Although Prolettski is always on the move, always looking – he has traveled to India, Vietnam, and Africa; has lived in Germany, Switzerland, and France; and has explored Pop and Minimal Art, as well as the Russian avant-garde – his work still displays a striking similarity to the Russian pioneers of Constructivist and Concrete Art. This likeness does not merely stem from his embracing the clear formal language of geometry, but is rather the result of his taking constructivist orders and charging them with symbolic and universal meaning that goes far beyond art. The French curator and author David Rosenberg writes that “all art in Prolettski’s eyes is the attempt to find the relationship between our world and other parallel worlds, or between our dimension and other related dimensions.” He adds that the artist has “a clear interest in esotericism and occultism,” and that he is “steeped in classical culture and is fascinated by ancient religions, the art of the pyramids […] the cathedrals, […] alchemy and freemasonry.” The idea of a spiritual realm, a truth hidden behind things that takes the form of art, is something Prolettski shares with Kasimir Malevich, the painter of the famous “Black Square.” While the fact that Andrei Prolettski’s grandfather was an architect and his father a chemical engineer may be partly responsible for his pictures’ revealing an affinity with modernist industrial architecture, this is not the only reason. For one, his representations (sometimes planimetric, sometimes axonometric) of austere architectural structures enable him to transform a geometrical order (which he often drafts on scale paper) into a playing field of chromatic variations. Second, his black-and-white works like “Manhattan” and “Operation Room” revolve around the creation of moments of visual ambiguity (similar to Josef Albers’ “Structural...