“Using pulp, laminated and household waste paper, and cardboard, I made a seven-foot giraffe and conducted a workshop in my son’s school, which involved all the pupils in making a 14-foot Diplodocus,” she says. Joined in her Derbyshire studio by her daughter Briony, she works primarily with p apier-mâché, which she began experimenting with when her children were still young. Otherwise, find more from Belanger on Instagram.Ī host of wild creatures inhabit the whimsical world of artist Penny Thomson ( previously), who creates intricate, kinetic sculptures that fit in the palm of your hand.
If you’re in Paris, visit Perrotin before December 17 to see the disquieting works in person. Suspense pervades the otherwise still scenes, exposing the anxiety and fantasy hidden in the banal. Detached body parts reside on tables and store shelves in a manner that’s tinged with sexuality, while objects like picnic blankets and tipped bowls appear on the brink of movement. A trio of the artist’s surrealist installations is now on view at Perrotin as part of Blow Out, a solo show that delights in strange theatrics and unobtrusive malice. More elaborate than her previous works, Belanger’s newest tableaus are similarly dramatic in subject matter while soft and subtle in visual tone-rather than glazing the ceramic sculptures, she blends powdered pigments into the material itself with a kitchen mixer, a practice that allows her to achieve her signature muted effect. Her stoneware sculptures are at once disconcerting and commonplace, depicting the uncanny remnants of a dinner party, medical furniture draped with lanky, limp limbs, and a discount shop hawking carved oranges, a half-eaten cookie, and apples chewed to their cores. All images by Pauline Shapiro, courtesy of Perrotin, shared with permissionĭescribed as fostering “a sense of lobotomized capitalist productivity,” artist Genesis Belanger coaxes tension from the mundane.
0 kommentar(er)
