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Tiny doll heads in little jars become completely creepy pieces of jewelry
10.02.2017
12:53 pm
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A collection of tiny hand-made doll heads in jars by artist Polina Verbitskaya.
 
Ukrainian Artist Polina Verbitskaya is a self-described illustrator, dollmaker and “body artist” who lives and works in Kiev. Of all the oddities I found in Verbitskaya Etsy shop, I was instantly drawn to her macabre pendants made from little glass jars, each with a tiny hand-made doll head inside. Verbitskaya fills the jars with clear resin to make it appear as if the disembodied doll heads are floating in formaldehyde. Fantastic.

If these creepy charms don’t bring out your inner ghoul—I don’t know what will. Each single doll-head-in-a-jar necklace will run you $30 plus shipping from the Ukraine. I’ve posted images of Verbitskaya’s sinister doll-head jewelry below.
 

 

 
More after the jump…

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Posted by Cherrybomb
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10.02.2017
12:53 pm
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Hauntingly life-like sculpture of Sigourney Weaver in character from ‘Alien’
09.26.2017
09:04 am
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Artist Steve Scotts’ spooky sculpture of Sigourney Weaver as “Ellen Ripley” from ‘Alien’
 
Steve Scotts is the incredibly talented sculptor and FX specialist who created this mind-bogglingly realistic sculpture of actress Sigourney Weaver in character as the ass-kicking alien killer, “Ellen Ripley.” Weaver would make her first appearance as Ripley in director Ridley Scott’s horror film franchise, which started with 1979’s Alien. Scotts documented his work by capturing images of his blow-by-blow process—and the photographs that chronicle the making of his faux “Ellen Ripley” are as astounding as they are atmospherically unsettling.

In his bio, Scotts recalls the moment that he knew his destiny to pursue art had been sealed. It was 1993 and Scotts’ family had finally deemed that he was old enough to see a film by Steven Spielberg—specifically Jurassic Park. Scotts would refer to this event as a “life-defining 127 minutes” and credits the great FX master Stan Winston (the dinosaur wizard behind the special effects in the film and 1986’s Aliens) as a key creative inspiration for his work. As you can see from the photo at the top of this post, Scotts’ sculpt of Sigourney as Ripley is so remarkably life-like it seems conceivable that she might blink or even breathe. Another reason Scotts’ sculpture of Ripley is a standout is the fact that he did it just by studying photos of Weaver in character from the film, then constructed it using foam, silicone, acrylic paint—and if I understand correctly real hair. I’m continually amazed by an artist who creates work that challenges grounded perceptions of reality—and Scotts’ sculpture of Ripley blurs the lines between what is real and what might be masquerading as such brilliantly.

Some images below are ever-so-slightly NSFW.
 

An eerie early shot of Scotts’ sculpt of Weaver as “Ripley.”
 

 
More after the jump…

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Posted by Cherrybomb
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09.26.2017
09:04 am
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Your worst nightmares: The macabre and disturbing sculptures of Emil Melmoth (NSFW)
09.05.2017
09:37 am
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Imagine someone sneaked into your bedroom when you were asleep, peeled back your eyelids and scooped out your very worst nightmares then turned them all into sculptures.

Well, that’s kinda like what Mexican artist Emil Melmoth has achieved with his gruesome, morbid, yet strangely compelling sculptures of deformed creatures and unnamed things that dwell in the night—he has made the terrors of darkness visible.

Melmoth takes his inspiration from religious iconography, medical anatomy, death culture, the circus, the freak show, and the downright macabre. His sculptures may look like expensive props for a deeply disturbing horror movie but they are intended to engage the viewer in some serious thinking. Fusing wax, ceramics, resin, nails, and bone, Melmoth creates meditations on the human condition that juxtapose “ideas of religious immortality and paradise with the reality of bodily imperfection, dissection, and truths of scientific knowledge.”

[His] wax, anatomical models revel in a dark and surreal environment, and where his depraved sculptures live in affliction: fragile beings in an eternally harrowing state of mind. Melmoth projects the sublime and ethereal concepts of death onto his creations, portraying pessimism, nihilism, existentialism, the question of transcendence beyond death, mental instability, and self-destruction, all ideas represented in his invigorating constructs.

An exhibition of his work is currently on show at the Last Rites Gallery (until September 9th) but if you can’t make that then you can follow Emil Melmoth on Instagram and Facebook.
 
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See more of Emil Melmoth’s nightmarish sculptures, after the jump…
 

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Posted by Paul Gallagher
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09.05.2017
09:37 am
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Contemplating death & turning heads: The strange and disturbing sculptures of Yoshitoshi Kanemaki
08.28.2017
09:34 am
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Yoshitoshi Kanemaki sketches out his sculptures on paper before taking a large chunk of tree trunk and carving out his pencil-drawn designs. He uses camphor wood which is an evergreen tree that can grow up to one hundred feet in height. As he carves and chisels, he draws onto the wood to highlight the details he wants to bring out in each sculpture. He then paints the finished work in soft pastel colors.

And what do the resulting works look like?

Well, Kanemaki’s sculptures include large intricate skeletal momento mori which achieve just what their titles describe—figures gripped by the bones beneath the skin. He also carves strange figures with multiple heads which depict human indecision, ambiguity, the swinging change of mood daily wrought by life like a unmoored boat upon torturous seas. And then we have the split personalities or “glitches,” the two-head figures that capture “the hesitations or inconsistencies” that we can never answer.

“I think that such ‘ambivalent’ emotions can be embodied regardless of whether they are ‘surface’ or ‘deep’ layer by giving the effect of an irregular shape deviating from [the] human figure. The sculpture series created with these feelings is the projection of my own emotions — it may be your figure.”

Kanemaki was born in the Chiba Prefecture of Japan in 1972. He graduated from the Department of Sculpture, Tama Art University, Tokyo, in 1999. Since then he has exhibited his work in group and solo shows across the country, won several awards, and has work in various public collection. See more of Kanemaki’s work here or follow him on here.
 
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More of Kanemaki’s scupltures, after the jump…
 

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Posted by Paul Gallagher
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08.28.2017
09:34 am
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‘The poetry of this strange world’: Dig the tormented sculptures of Olivier de Sagazan
07.31.2017
10:30 am
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A sculpture by French artist Oliver de Sagazan.
 
French artist Olivier de Sagazan has been using his own body to create disfigured clay sculptures for over two decades. His work has been displayed all over Europe as well as China and India.

Born in Africa, de Sagazan would travel back to his place of birth in his early 20s where he lived in Cameroon for two years after receiving his Master’s Degree in Biology. Once he returned to France, he found himself deeply inspired by tribal art and the relationship between the earth and the influence that elements play in shaping our planet. According to a 2015 interview, de Sagazan then locked himself away to work on a comic strip called Ipsul ou la rupture du cercle (“While breaking the circle”) and began his journey as a painter and sculptor.

Here’s more from de Sagazan on what drives him to create his tormented sculptures:

“Men live in a mask of collective hallucination. In oblivion: they arrive one day in the world, totally lost, and leave in a stupor on another day. On the rest, they go on focusing on daily tasks, perhaps forgetting the poetry of this strange world. Art can be a knife to open this mask and reveal the strangeness of being alive. “

Images from de Sagazan’s hellish sculptures below. Some are NSFW.
 

 

 
More after the jump…

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Posted by Cherrybomb
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07.31.2017
10:30 am
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Beautiful porcelain sculptures of women with animal heads
05.12.2017
09:04 am
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The artist Crystal Morey believes our species are at “a pivotal moment, faced with monumental questions leading to difficult, uncertain answers.”

As she writes in her artist’s statement:

​Humankind has become the driving influence and force behind natural evolution. We are able to alter life from a single cell all the way up to entire ecosystems. Intentionally or unintentionally, we are rapidly affecting changes to the environment that would have taken natural processes millennia. Through these actions we are leaving many vulnerable species and habitats frantic, facing disruptions and uncertain outcomes.

Morey investigates these issues through her beautiful, talismanic sculptures of women with animal heads, which she sculpts from “the silken white earth of porcelain.” These delicate, fragile figures show our interdependence with the animals and landscape around us. Morey’s animals are reminiscent of the magical creatures found in children’s tales—rabbits, owls, bears, and wolves.

Having spent part of her childhood in the Sierra Nevada foothills, Morey once believed that humans were subservient to nature. But when she moved to the city, Morey soon realized that “humans are the largest variable in the changing of our planet’s ecological and environmental outcome.”

Based in Oakland, California, Morey was educated at the city’s College of the Arts, where she earned a BFA with High Distinction in 2006. She went on to study for an MFA in spatial art, at the San José State University, CA. Morey has exhibited her work since 2010. Her most recent show Entangled Wonders was held at Abmeyer + Wood Fine Art, in Seattle, Washington, earlier this year.

Crystal hopes that the viewer will come away from her work “thinking and asking questions about our role as humans on the earth and our relationship to other living beings.”

Follow Crystal on Instagram and see more of her work here.
 
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See more of Crystal Morey’s beautiful work, after the jump…

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Posted by Paul Gallagher
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05.12.2017
09:04 am
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Small World: Artist’s miniature models have BIG political message
04.20.2017
08:42 am
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Sometimes cliches are true. Strong medicine does often come in small bottles. We need only to look at the work of artist Isaac Cordal to apprecaite the truth of this adage. Cordal produces handcrafted minature cement scupltures which he then places in urban landscapes and photographs to make big and important statements.

His miniature sculptures—half-submerged in puddles, imprisoned in filing cabinets, or choking in dirt and rubble—critique modern life. Isaac describes his work as making “small interventions in the big city.” His figures depict the ruinous greed of corporations and politicians who devastate the world through their thoughtless actions. Cordal’s subject matter is climate change, the plight of refugees, and the destructive nature of capitalism.

Cordal’s artwork is powerful and eye-catching. He has exhibited these incredible tiny sculptures on sidewalks and public locations all across Europe. He’s like a movie director creating highly iconic and dramatic scenes which shock the passerby into questioning what it is they have just seen and thinking about how it reflects the world in which we all live. More of Isaac’s work can be seen here.

From such small acorns do mighty oaks grow.
 
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See more of Isaac Cordal’s minature marvels, after the jump…

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Posted by Paul Gallagher
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04.20.2017
08:42 am
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A jarringly realistic life-sized sculpture of actor Robert Shaw as ‘Quint’ from ‘Jaws’
04.18.2017
08:51 am
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A close look at Nick Marra’s uncanny sculpture of ‘Quint’ played by actor Robert Shaw in ‘Jaws.’
 
While you may not know sculptor Nick Marra’s name, you have definitely seen his work in films like The Hateful Eight, Jurrasic Park and the television series American Horror Story. Marra has been involved in the business of making things appear to be real for over two decades. While I’d be foolish to say that the artist’s life-sized sculpture of actor Robert Shaw as “Quint” from Steven Spielberg’s 1975 film Jaws is the best thing he’s ever done, I would challenge you to disagree that the likeness is so uncanny it is virtually impossible to tell the difference between the real, (late) Mr. Shaw, and Marra’s sculpture of Shaw in character for his role.

Marra’s sculpture made its debut at this year’s Monsterpalooza and it almost puts his previous eerily lifelike sculpture of Yul Brynner’s animatronic character of the “Gunslinger” from the 1973 film Westworld (which was recently, and quite wonderfully reprised by actor Ed Harris in the television adaptation of the film) to shame. Sculpture is an art form I have a deep reverence for and I have many, many favorites in the field such a Mike Hill and Jordu Schell. Marra’s mirror image of Quint is so desperately spot-on that it’s rendered me at a near loss for words. I mean, Marra’s faux Quint is crushing a beer can in his right hand and it’s so authentic that you can hear the tin cracking from the force of Quint’s shark-hating hands just looking at it. In other words, the fake Quint looks so much like the real Quint that I’m not even sure if I’m the real me anymore. Though I only have two photos to show you, I have also posted a short video of the remarkably talented Marra talking about his latest work in which you can see the sculpture in all its glory after the jump…
 

 
More after the jump…

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Posted by Cherrybomb
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04.18.2017
08:51 am
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Horror-film worthy sculptures of the human body that are just dying to meet you
03.27.2017
09:57 am
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A sculpture by Italian artist Francesco Albano.
 
The work of Italian artist and sculptor Francesco Albano have been highly praised since he got his start nearly two decades ago. And now Turkish director Cansin Sağesen has made a short film about the artist and his grotesquely beautiful sculptures.

In the short, Albano reveals that his father, who was also a sculptor, taught him his craft and that his work is driven by a “childhood urgency.” Albano considers his art to be a form of creative play—much like it would be for a child experimenting with tactile toys like Play-Doh. His sculptures look as if someone has let the air out of a human body like a balloon—which then transforms them into hideous blobs of gelatinous flesh with protruding bones, teeth, and genitalia.

According to Albano, his work is meant to express the idea of how merely existing in modern society can be physically crippling and often destructive leading to the full-on collapse of the human structure, physically and mentally. Once you get that, you’ll see Albano’s work in an entirely new light as perspective breeds a deeper understanding of such things that at first appear to exist for their shock value alone. That said, the images that follow are very much NSFW.
 

“On the Eve” 2013.
 

 

“Lump 2” 2012.
 
More after the jump…

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Posted by Cherrybomb
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03.27.2017
09:57 am
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The beautiful lost sculptures of Augusta Savage
02.28.2017
03:30 pm
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The African-American artist Augusta Savage was born in Florida during a leap year on February 29, 1892. Her earliest memories were of the heavy rains and making ducks and chickens from the wet red clay out in the yard. She decided early to become an artist but her father, a strict Methodist minister, tried to whip this dream out of her. He sometimes beat her four or five times a week. It didn’t work. Augusta was determined to go her own way.

The options for most poor girls at the turn of the last century was go to work, get married and have kids. Augusta married at the age of fifteen in 1907 and gave birth to her only child, Irene, a year later. Not long after this, her husband died. Augusta then got hitched to a carpenter by the name of James Savage. The marriage lasted until the early 1920s when the couple divorced. Augusta liked the surname so decided to keep it.

With marriage and a baby to look after, Savage didn’t manage take up sculpting again until 1919 when a local sculptor gave her some clay. She knew she had talent but how much she wasn’t sure. Her talent was decidedly confirmed when she entered a couple of her latest sculptures into a local fair. She won top prize. This was just enough encouragement for Augusta. She gave her daughter over to the temporary care of her parents and headed off to New York to enrol as a student at the Cooper Union School of Art.

To her tutors it became quickly apparent that Savage was an exceptional talent. She passed her four year arts course with flying colors in a speedy three. But not everyone was impressed with this bright and talented young woman. 

In 1923,  Savage won a place among one hundred other American students to travel to Fontainbleau, France for a summer arts program. Arriving at the venue just outside Paris, Augusta was barred from entry and ejected off the course by the French organizers on grounds of her color. But other people’s racism and stupidity was never going to stop Augusta.

She returned to New York where she soon set-up a studio in Harlem. Augusta established herself as a portrait sculptor seeking commission from well-to-do African-American families to produce busts. It was during this time that Augusta produced one of her most famous and celebrated works Gamin.

In 1929, Augusta Savage won another fellowship to study in Paris. This time there was no institutionalized racism standing in her way and all went well. It led to a second fellowship the following year. But upon her return to America in the early thirties, she found the country devastated by the Wall St. Crash and the ensuing Great Depression. No one wanted portrait busts or civic sculptures. Undeterred, Augusta opened the Savage Studio of Arts and Crafts in Harlem 1932, where she taught art to young kids in the neighborhood.

Success followed in 1934, when Augusta became the first African-American to be elected to the National Association of Women Painters and Sculptors. Three years later, she became the first director of the Harlem Community Art Center—which played a crucial role in the lives of many black artists.

Yet, Augusta Savage’s life always seemed shadowed by obstacle and opposition. The height of her greatest sculptural achievement came when she was asked to create a large sculpture for New York’s World Fair in 1939. Augusta produced a work called The Harp. It took her two years to develop and create. This massive piece of sculpture was inspired by the poem Lift Every Voice and Sing by James Weldon Johnson. The poem was written in response to “a group of young men in Jacksonville, Florida, [who] arranged to celebrate Lincoln’s birthday in 1900.”

Lift every voice and sing  
Till earth and heaven ring,
Ring with the harmonies of Liberty;
Let our rejoicing rise
High as the listening skies,
Let it resound loud as the rolling sea.
Sing a song full of the faith that the dark past has taught us,
Sing a song full of the hope that the present has brought us. 
Facing the rising sun of our new day begun,
Let us march on till victory is won.

Augusta’s statue featured twelve black singers rising up from the palm of God forming the shape of a harp. It was one of the main attractions at the fair. But when the show closed, no one was interested in helping Augusta keep the work or having it cast in bronze. The sculpture was smashed to pieces. It was a symbolic finale to Augusta’s career. On returning to Harlem, she found her position at the Community Arts Center had been taken by someone else. Things began to fall apart—more so after America entered the Second World War in 1941. Thereafter, nearly everything Augusta attempted failed. She moved to Saugerties, in the Catskill Mountains and started producing smaller works. But something had been lost. Something that had once been so powerful and resilient had been destroyed.

Augusta Savage produced less and less work. Most of her original work had been lost or destroyed. By the time of her death in 1962, Augusta Savage was tragically relatively forgotten

I have created nothing really beautiful, really lasting, but if I can inspire one of these youngsters to develop the talent I know they possess, then my monument will be in their work.

I don’t know if Augusta celebrated her birthday every four years or shifted around between the 28th Feb. and first of March, but as this is the last day in February maybe we should celebrate Augusta Savage who was truly one of the most significant American sculptors of the twentieth century.
 
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Augusta in her studio.
 
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‘The Harp’ (1939).
 
Read more about Augusta Savage, and see more of her work, after the jump…

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Posted by Paul Gallagher
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02.28.2017
03:30 pm
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Realistic sculptures of free-floating body parts, ‘humans’ trapped in formaldehyde & other oddities
02.16.2017
12:57 pm
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‘Migrants OVIS.’ A sculpture by Sara Renzetti and Antonello Serra.
 
The artististic duo of Sara Renzetti and Antonello Serra hail from Sardinia, Italy where they have been creating thought-provoking sculptures of humans that are as bizarre as they are startlingly realistic. 

Though their work is rather disturbing at first glance, there is also a distinct sense of serenity emanating from their sculptures even as they lay in impossible positions or are conjoined in unorthodox ways—as you will see in the duo’s three-part-series entitled Mentalese-ATTO. And since Renzetti and Serra’s work has left me struggling to find words powerful enough to describe their idiosyncratic life-size (or larger) sculptural creations, here are a few words from the artists themselves on what guides their unique creative direction: 

The body shape here understood as a landscape, it opens to the death of the subject by virtue of investigations, alterations, and tumbles, to which the single vision - experience - not corporal, is able to guess at the beginnings and the boundaries. The subject and the object, from which all the challenges. Look and just becomes a form of expediency in relation to what is continually postponed, suspended and expected. We are on the apocalyptic Tiber, intended as a viewing experience, revelation of a dream that is given to dream.

I am endlessly fascinated by craftsmen that are able to elevate their medium to the level that Renzetti and Serra have with their sculpture, which if I were to attempt to describe it would be something like if the fictional vivisectionist Doctor Moreau enacted his monstrous medical procedures on people, instead of mashing them up with animals. That said, pretty much everything you’re about to see in this post in one way or another are very NSFW.
 

 

‘Horror Vacui.’ 
 

‘I am my Son, my Father, my Mother, and I.’
 
More after the jump…

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Posted by Cherrybomb
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02.16.2017
12:57 pm
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Darkness Visible: These sculptures explore our darkest experiences
01.26.2017
10:30 am
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‘In Front’ (2103).
 
Growing up can be difficult. Being an adult can be just as hard. We can often find our lives cluttered with soul-destroying experiences that we don’t really need but somehow managed to have collected along the way. All those bad feelings and dreadful memories that cling to us like shadows. They can shape us and make us into someone other than the person we thought we were going to be.

Take one look at these sculptures by Turkish artist Yasam Sasmazer and I’m sure you’ll be able to relate to at least one of them.

Yasam Sasmazer’s sculptures tap right into those negative emotions we all experience at some point in our life—whether we want to or not, whether we can ever admit it or not.

Sasmazer carves her powerful totems out of wood. She uses them as a means to examine our notions of identity, our relationship to self and other and our deepest darkest fears.

Born in Istanbul in 1980, Yasam’s work has been successfully exhibited in London, Berlin, New York and China. When exhibiting her work she uses the gallery to create a liminal space where light and shadow play an integral part in creating moods and giving new meaning to her work.

The shadows represent the darkness in our souls’ hidden side and the most frightening part of our personality. The shadow is everything you are but do not want to be.

Here is a selection of Yasam’s work from her exhibitions Metanoia, Doppelgänger and Dark Twin. See more of Yasam Sasmazer’s work here.
 
From ‘Metanoia’
 
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‘Fear of Reason’ (2013).
 
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‘Taming the Darkness’ (2013).
 
More of Yasam’s work, after the jump…

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Posted by Paul Gallagher
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01.26.2017
10:30 am
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Farting Monkeys, Devilish Imps, Grotesque Beasts and other Bizarre Creatures

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A good imagination beats any psychedelic drug. Take a look at these drawings by 17th century Dutch artist Arent van Bolten featuring weird, grotesque hybrid creatures—part human, part cat, part dragon, part demon, part who the fuck knows….?

The last part is a fair description of what we do know about Arent van Bolten—which is little more than birth, marriage and death:

He was born about 1573 in Zwolle. In 1603 he there married Brigitta Lantinck. They had eight children. Some of them established themselves as solicitors in Leeuwarden where Brigitta Lantinck’s sister had married but remained childless so that the children of van Bolten became her heirs. Arent van Bolten must have died about 1625, for he is still mentioned in 1624, whereas in 1626 we read only of his widow.

Even his death date is uncertain as some put it up as far as 1633—which may have come as a surprise to his wife if she was already a widow in 1626. Apart from this slim entry we know he was a silversmith by profession, was in Italy 1596-1602, and left behind “a great deal of silverware and plaquettes.”

He may well have been one of those craftsmen who themselves made both the model and the finished article and perhaps even the original design which was not the normal practice at this time.

Van Bolten sculpted religious and rustic scenes and knobbly weird bronzes of “squat, ponderous” mythological beasts. It is for the latter that he is now best known—in particular his 400+ drawings of surreal and grotesque creatures compiled by an unknown collector circa 1637 which are currently held by the British Museum. 

It’s unknown what Van Bolten’s intention was in creating these rather fabulous beasts but the drawings do reveal the eye of a man who was a sculptor rather than a painter. His line relishes building up the layers, curves, depths, and organic growths rather than just offering a mere representation. Van Bolten’s grotesques have a solidity that makes it appear we could actually touch them.
 
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More of Arent van Bolten’s beasties and grotesque creatures, after the jump…

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Posted by Paul Gallagher
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01.10.2017
08:53 am
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Nightmarish sculptures of H.P. Lovecraft’s terrifying cosmic entities
01.09.2017
11:05 am
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‘Lovecraft Tormented’ wall sculpture. Get it here.
 
Like many of you oh-so-cool Dangerous Minds readers I am a collector of a great many THINGS. From records to books and a slew of action figures, my house is a mini-museum full of cool THINGS. I also happen to know that a number of our regular visitors to DM seem to have a thing for anything that associated with the great American horror writer H.P. Lovecraft. Which leads me to my post for today which features a number of intricate sculptures depicting some of Lovecraft’s eldritch entities such as “Dagon,” a creature that first made its appearance in Lovecraft’s short story of the same name from 1917; everyone’s favorite octopus-headed cosmic being, “Cthulhu”; Pickman’s model, and the nutty Nyarlathotep among others. I’m just aching to bring a few of these critters into my own menagerie of mayhem…

Some of the sculptures in this post are available for purchase. That said they are not cheap—specifically that magnificent wall sculpture “Lovecraft Tormented” (pictured at the top of this post). That puppy will run you a cool $1288. Several toy companies have released sets of Lovecraft’s monstrous nightmares and when they do, they sell out pretty fast, so if you see something in this post that strikes your fancy, get it now before it’s sold out and selling on eBay for bigs bucks. I’ve included some handy links for you to do just that under each available piece below.
 

‘Nyarlathotep’ sculpture by Sota Toys. Get it here.
 

‘Dagon’ sculpture. Get it here.
 
More Lovecraftian terrors after the jump…

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Posted by Cherrybomb
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01.09.2017
11:05 am
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Chaos, corruption & the demise of civilization
12.28.2016
08:45 am
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A sculpture by artist Kris Kuksi.
 

The function of my work has to do with relating to the darker side of human psychology

—Kris Kuksi

One of the notable fans of artist and sculptor Kris Kuksi is visionary film director Guillermo del Toro. And once you’ve seen Kuksi’s work it will not be hard to understand why it attracted the distinguished eye of del Toro and the late Robin Williams, among others.

Kuksi moved away from Springfield, Missouri and his alcoholic father while still a young child and was raised by his mother in a rural community just outside of Wichita, Kansas along with his two older brothers. The town offered a rather stagnant and unstimulating environment for the aspiring artist who spent a lot of time playing with his Star Wars action figures and LEGO bricks by himself. Kuksi’s grandmother would provide her grandson with her own stationary to draw on which allowed him to express himself despite the desolation he was surrounded by. His love of drawing was also encouraged by his high school art teacher who advised the teenager to continue his studies with higher education. Kuksi would go on to obtain both a bachelor’s and master’s degree in painting from Fort Hays State University.

By the time he was 22 Kuksi made his first attempt at sculpture using found objects such as castaway toys, leftover bits from modeling kits, wood, jewellery and other materials that helped him bring the images in his imagination to life. According to the artist it can take months to finish one of his densely detailed sculptures and it’s not unusual for him to work fourteen to sixteen hour jags in a single day on a complex piece in his studio—a former church by the Kansas River. Kuksi’s work is deeply influenced by Italian Renaissance masters and he refers to one of the greatest sculptors (and noted architect) of the 17th century and architect Gian Lorenzo Bernini as his “ultimate hero.”

I don’t like to use the phrase “mind-blowing” without good reason but Kuksi’s sculpture work is absolutely worthy of such praise. Kuksi’s artwork is featured in the 2010 book published by BeinART, Kris Kuksi: Divination and Delusion. Some images are delightfully NSFW.
 

‘Leda and the Swan.’ A sculpture by artist Kris Kuksi, 2014.
 

‘Churchtank.’
 
More after the jump…

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Posted by Cherrybomb
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12.28.2016
08:45 am
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