These latest sculptures by New York-based artist Amy Brener are something magical. Made of a combination of materials like resin, pigment, and glass (Brener describes these as “totemic structures…of an imagined future,”) these objects combine natural and artificial aesthetics to create something familiar yet strangely distant from a what we know. As the artist describes:
“Some sculptures may be markers for an unknown border, while others hint at vehicular function. Some surfaces are ordered into compositions that allude to touch-screen platforms, energy cells and the digital logic of a different reality. Other surfaces are left to chance: to crystallize, crack under pressure and weather with time. Common sculpture materials such as resin and concrete shed their associations and morph into geological forms. I enforce approximations of natural processes onto my sculptures. Notions of sedimentation, erosion and fossilization come into play.”
See more of Brener’s work at her website here. And read more at her MoMA Studio Visit Page here.
Artist and computer programer Tom Beddard was born in 1976 in London and for the past eleven years he has been in Scotland. He has a PhD in laser physics that he received at the University of St Andrews, Scotland and now lives just outside Edinburgh. His amazing fractal sculptures are full of tiny details and aesthetic complexity. He writes his own software and scripts that work in tandem with simple mathematical and algorithmic processes to create his work. See more of his amazing fractal sculptures below!
Miniature silk embroidery on antique hand-made lace cotton panel by MotherEagle. Using fine Pearsalls filoselle silk filament, this is a miniature rib cage in split stitch, on a 1950s hand made lace panel.
Wood furniture, steel, and cement 45 x 73 1/2 x 20 in. (114.3 x 186.7 x 50.8 cm)
Untitled (Armoire) is part of a series in which Salcedo buried domestic furniture and other personal objects in cement, stripping these utilitarian pieces of their functions and turning them into humble monuments to their lost, silenced, or forgotten owners. The artist explained, “There was one widow … who told me how difficult it was to continue living with objects that are reminders of her husband… . Every day you sit at the dining table and the empty chair is there, screaming the absence of that person. It can become a very difficult object to live with. So I tried to make those objects silent, encasing them in cement.”