monday morning eye candy: “Beauty and Natural Forces: Part II” by Sarah McNutt

 “Beauty and Natural Forces: Part II” by Sarah McNutt
Year: 2014
Location: Solana Beach
San Diego, CA
Materials: Unfired mold clay
Measurements 3′ x 1′ x 5′ feet

Second
work of a pair of sister pieces exploring the fleeting and controlling
nature of the idea of beauty when subjected to natural forces. This work
was handbuilt at San Diego State University, from unfiredable junk
clay, and allowed to disintegrate over a few hours in the ocean. It is
subjected to sun, waves, salt, and sand leading to it’s ultimate
destruction.

 

monday morning eye candy: Brian Rochefort

The following via his website:

Rochefort’s sculptures are provisioned by the artist as ‘Gloops’. They
are interpretive, mis-formed, and flawlessly amassed hollow ceramic.
Each piece profiles an affective relationship to the emasculated
characterization of infantile attachment to object. Typically, a teddy
bear, robust at core, falls short of true charity with arms truncated
and squat. In these sculptures, Rochefort’s idea pairs the masculine
iconography of automotive paint with the symbolic gifting of toy for
love.

Brian Rochefort is a Los Angeles based mixed media sculptor working in
ceramic and automotive paint. Born and raised in Rhode Island he
attended the Rhode Island School of Design, receiving a BFA in Ceramics.
He was the recipient of the Lillian Fellowship as an artist in
residence at the Archie Bray Foundation for the Ceramic arts from
2007-2009.

For more information regarding CV and/or artist statement
contact:

Brian Rochefort
[email protected]


www.brianrochefort.net

oh and he makes these drool worth cups too!


emerging artist: Michael Lorsung

Michael Lorsung – Artist Statement
I am interested in objects that are human made, but not necessarily hand made. I love the idea that as a species we have largely created the contemporary world that we live in and interact with on a daily basis. Our relationship to the objects that run through our lives is largely passive in so far as our thoughtfulness about their origins. Because of the ubiquitous nature of human made objects coupled with the throwaway, utilitarian culture we live in, it seems we frequently dismiss or simply never recognize the beauty in these things.
 
My work is an attempt at giving time and attention to objects from my own life that I find beautiful; whether these inanimate, soulless things want my attention or not. I care. Be it a grain silo whose form follows its innate function is beautiful in the way that sailboats are, as is a wrench on a tool bench that bears the marks of years of use or disuse by its owner. The objects themselves are monuments to our abilities, and their ubiquitous, oftunappreciated existences serve as reminders of the hubris that we project as a materially privileged culture.

I make these objects because I truly do believe that we do not recognize how much of ourselves as humans are inside of the man made things around us. Through the process of leaving my marks, drawings, and narratives on the surfaces of these pieces I am trying to leave the viewer with the sense that the meaning in the objects is created indeed by the user, and becomes part of the object’s history, despite its inauspicious beginning as an object of pure utility or function.