Sunday, May 8, 2011

Peter Callesen

Similar to other artists and sculptures like Su Blackwell, images don’t have to stay in two dimensional planes. Sometimes the image needs to branch out more to express the depth, space and volume to the piece. The images on paper seem to come alive with Peter Callesen work. Danish artist Peter Callesen doesn’t so much create works on paper, but rather works from paper. Paper as his medium, creating sculptural works by folding paper but his work is more complicated than cutting and pasting pieces of paper. Callesen puts both negative and positive space into each piece. Each work is made by cutting a single sheet and using only the removed paper to create figures or buildings. Sheets can be as small as a4 size or as big as 7m by 5m.

Callesen is quoted:

“My paper works have been based around an exploration of the relationship between two and three dimensionality. I find this materialization of a flat piece of paper into a 3d form almost a magic process.”

The meticulous works definitely hold a sense of wonder that comes from their precise detail capture through such a common material which is: A4 papercut, Large Scale Papercut and Framed A4 Papercut

Title Fall, 2008

210 x 240 x 70 cm

Material used 140 gsm acid free paper and glue

The symbolism in this work is what the drive to see every part of it from the top of the tree to the bottom skeleton. I as the viewer get the meaning as it portrays the fall of man by eating from the forbidding tree thus embracing death as punishment. Like most of Callensens work the subject seems to be rejecting its placement on the paper. It’s impressive also how the subject matter is placed where it animates actions in diverse potions. The shape of the skeleton is also appealing becoming more lifelike outside the picture as the tree trunk and branches remain 2 dimensional. The use of color absence of color is also interesting as the picture of the tree seems to be drawn with black pencil as the shape of the skeleton is also white with its features giving way to shadow instead of lines borders.

Title Birds trying to escape their drawing, 2005

90 x 128 x 6 cm

Material used: Acid-free 115 gsm paper and glue

Framed A4 papercut

The focus again with this sculpture piece is the rejection of the plan and the subject matter. Shadows below give the subject an angle of depth and that the subject is not in proportion to the shadows makes the subject more animated. The birds’ here are in 3d proportions showing the body and wings which can be seen in different potions either flying or bending down.

Title Saving Himself, 2007
Material used Acid-free A4 80 gsm paper, acrylic paint and oak frame.
47,5 x 37 x 7 cm

Title In the Kingdom of the Dead, 2009
Acid-free 110 gsm black paper and oak frame.
53 x 41 x 7 cm

Athough each of Callenes pieces has a singular story behind them; the theme for his work seems rejection of the standard build or plane which life and movement exist outside the area. Some of the subjects outside the positive space are in high or low relief or in 3d shapes sculptured from the same or different matters of materials. The views is asked the question” does art need to be tamed and framed in a particular space or can it too break free boundaries containing it.Here are some other examples of Cellesen's work:

Jennifer Maestre

Numerous times pencils doing the work of creating art but for Jennifer Maestre the art is the materials and tools used. Maestre is a Massachusetts-based artist that attended the Massachusetts College of Art, B.F.A., Glass with Distinction, Departmental Honors and what makes her sculptures so attractive is unique pencil sculptures are stimulated by sea urchin, sections of pencils present aspects of sharp and smooth for two very different textural and aesthetic experiences. Motivated by animals, plants, other art creates jewelry from pencils by gluing together blocks of pencils. Some of Maestre’s sculptures are comprised of 4,000 pencil stubs, sometimes even more. Her technique is cutting into the pencils 1-inch sections that she turns into beads by drilling holes through them. Then, she sharpens the pieces and sews them all together, usually using the peyote stitch, a sculptural beading technique.

Maestre has received many awards for her work including: Artist of the Year, Sculpture, Member’s Prize Show, Cambridge Art Association, Cambridge, MA. In 2006 and in 1999- Board of directors Sculpture Prize, The Cambridge Art Association National Prize Show, Federal Reserve Bank Gallery, Boston, MA.

Project Title: Asterida 5x24x24 from her private collection

Using red crayon tips, the sculpture blooms to a 3-dimensional figure that could be seen in oceans and equilibrium. The use of particular color is important as other colors would not be that effective. There is realism the texture as the points to the crayons are facing upwards to give the impression of spike but the shape arches over on the sides gives a smooth movement and angle and even sense of base. The arches service also as a base to lead the eye into the center. The counter balance is also important as some of the arches are slanted down and some are arched over gives a movement feels.

Project Title: Aurora size is 7x17x17 in.

Here again is the use of color that gives a realistic feel to the work. Lighter colors, yellow and orange give the portion movement and space while the darker colors, blue and green, in the center for gives depth. The artist repeatedly uses the tops of the pencils to give the sculpture texture and sticks to the bases of arches along the side for support. Very close symbolically to the shape of a bowl, the base is cupped in the center.