Jean Jacques Porret

"Achieving a sense of “rightness,” even in the most uncertain circumstances, is the motivating concept behind my sculptures. The work is figurative but is not about the figure. I consider myself an expressionist as I am more interested in communicating an abstract feeling or idea rather than an actual image."

Impulse, Cast bronze Edition of 5, H 15 in.

"I'm a self-taught artist who believes the journey into art begins at birth. I was born to parents who were collectors, and living in an art-filled home sparked my creativity. I began creating wooden sculptures at the age of 6 and stopped when I was a teenager, to later pick it up at age 28. I haven't stopped since. In my early years, I was looking at some of the greatest sculptors of all time for ideas and techniques. However, I found myself becoming too influenced by them. I then concentrated on creating my own style and path. That was maybe crazy and for sure an expensive decision, but today I'm on my own, with my own style.

While practiced in stone carving and other sculpting methods, I prefer the sensual -if unpredictable- outcome of bronze cast in the lost wax technique, where each step is more demanding and riskier than any other sculpting mean. That’s not to say that I, an engineer by training, leave much to chance. It does help me to understand how things fit together, but that’s where the value of my formal training ends. For a while I was casting my own sculptures, today I prefer to let that to be done by others, concentrating on the creating of 3D pieces which are sensual and which I can live with."

Pimpeche - Cast bronze Edition of 3, H 14 ¼ in.
Lady of the Night - Cast bronze Edition of 3, H 21 in.
Notorious - Cast bronze Edition of 3, 7 x 7 x 12 in.
Desinvolte - Cast bronze Edition of 3, H 20 1/2 in.

This review was published by Circle Foundation for the Arts © CFA Press ∙ Images are courtesy of the artist


 

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Ray Besserdin Paper Sculpture Artist

"As a child, I looked at a piece of paper and got excited at all the possible things I could create with it. Nothing has changed. I was born to artist parents and began my passion for paper in childhood. I innovated a style of art I term Impressionist Sculptured Paper, targeting emotions not realism."

The Path to Gondwana - Sculptured paper 91.5 x 91.5 x 8 cm

Born to artist parents, Ray began his passion for paper in childhood, about the time he also became fascinated with nature.  Graduating from LaTrobe University in 1982 and starting out as a graphic designer/illustrator, he soon began innovating sculpture techniques with paper.  Over 30 years, his work has ranged from miniature to gigantic and abstract to ultra-realistic, but his signature work is a style he terms “Impressionist Sculptured Paper,” associating it with the painting style of that name because it is only loosely representative, concerning more with stimulating emotive responses.

“I want the nature of the paper to show through as I speak to viewers’ hearts without the clutter of detail." 

Ray uses mostly hand and mould-made sheet formed cotton, mulberry and hemp papers from Europe and Asia. Nature and people are his favourite subject matter.

Ray has been recognized both in Australia and internationally with 24 awards to date, including two gold from New York, one for a Macquarie Bank corporate commission and First in the Nature Exhibition of LightSpaceTime Gallery, Florida 2018. He won the People’s Choice Award, National Works on Paper 2018, Mornington Peninsula Regional Gallery, Victoria and a highly coveted International Art Professionals “Gold Medal for Creativity” by the Mondial Art Academia, France.

Corporate clients include Macquarie Bank Australia, Amcor, Ford Motor Company and Northern Territory Government of Australia to name a few. Private commissions hang in London, Munich, Manhattan, New Zealand and throughout Australia.  

Recent interviews: ZoneOneArts  https://zoneonearts.com.au/ray-besserdin/  ACS Magazine Chicago, USA https://www.acs-mag.com/acsmagjanfeb2019 and Art & Museum Magazine, UK https://lnkd.in/gWbhQqx

   

Ray Besserdin is Australian Ambassador for Mondial Art Academia, France since 2018.

2019 Exhibitions: July in Melbourne, Australia presented by the Royal Botanical Gardens of Victoria; October in Paris, Carrousel du Louvre

Sven Libaek, Distinguished Composer - Sculptured paper 70 x 80 x 5 cm
The Red Sands Garden - Sculptured paper 91.5 x 91.5 x 8 cm
Don Burrows, Woodwind Jazz Legend - Sculptured paper 70 x 80 x 5 cm
Dionysian Green Man - Sculptured paper 120 x 120 x 10 cm

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Ken Macklin

"To me, making art is both personal and universal. I draw much of my inspiration from nature and the world around me. I look to the forests, fields, and land that surround my studio for inspiration. I remember what Henri Matisse said: 'Try to view the world through the eyes of a child'."

Studies For A Bell Tower, 2019 - Steel, brass, wood, steel wool 147 x 218 x 64 cm

Canadian artist, Ken Macklin is renowned for large-scale, non-representational sculpture. His work conveys a specific artistic sensibility that has been characterized by an interest in space, balance, gravity and the complex clustering of shapes. His use of mixed media and his use of color have charted new territory for his art. In Macklin's sculpture, materials are used as language; as writing; as a personal narrative.

Through The Field Wonderful, 2018 - Steel, steel wool 137 x 95 x 66 cm
Clown Around, 2011 - Painted steel 196 x 348 x 193 cm
In Just Spring, 2018 - Steel, steel wool, branches 130 x 86 x 74 cm
Throwing The Switch, 2012 - Painted steel 132 x 168 x 99 cm

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Bea Last – Artist / Mentor

"My practice is process-led, exploring drawing in its broadest sense. Currently, I am exploring drawing in the landscape with recycled materials, recycled papers and digital media."

Doric I&II, 2016 - Emulsion, graphite on canvas 70 x 70 cm

"Born abroad, to foreign parents, living and working in various places, at present based in Scotland. Not one particular place feels like home so, therefore, refer to myself as a global citizen.

My practice is process-led, the creative process to me is very much a journey, reflected in life. The monochromatic aspect of my work was process-led. Colour had become redundant and a distraction. I wanted to focus on the marks I was making.

Working large-scale was process-led. The works I create tended very much to have a presence about them and called out for a larger scale. Mark-making is very much the foundation of much of my work. I use it as a language. The broader the palette of marks made the more I can express myself. The marks evolve and develop, vital in moving my practice forward.

The use of paper is at present important to me. Both fragile, strong and reusable. I love combining fragility with the monumental. The use of light can be very elemental changing this fragility into solidity. Both can be crushed. Recycled. A kind of alchemy.

Conversation, placement location and relationship remain a constant.

Part of my practice includes mentoring. At present, I am mentoring a recent graduate from Grays School of Art, Aberdeen for a nine-month period and have been asked again to facilitate a portfolio preparation course, on behalf of Glasgow School of Art, for young students who may be thinking of applying to art school. The focus being experimental drawing and creative process. Commissions for the corporate sector continue, with paintings included in both private and corporate collections. Dokkae Project, Jeddah, The Corinthia Hotel (British Art Project) London W1, Microsoft, Reuters. I am also, at present working on an exhibition in Vienna, 2019.”

Bea Last holds a BA in Illustration from the University of Westminster (1981-1984) and is currently based in Scotland.

Doric I&II, 2016 - Emulsion, graphite on canvas 70 x 70 cm
Descent of Man and The Black Scrolls, 2017 - Recycled newspaper from 2017, graphite & emulsion
Lost Voices - Niches Project, 2018 - Graphite, emulsion, recycled baby shoes, Size variable
Descent of Man, 2017 - Graphite, emulsion on recycled news papers from 2017 - 1,9 x 22 m Variable dimensions on location

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Walter Gordinier

Pivot Plaza - Concrete, granite, laminated structural glass corten steel landscape design, stone, 385 ft. long + 300 ft. deep

American sculptor, Walter Gordinier was born in 1950 in El Paso, Texas and today lives in Portland. Gordinier is a Blue Chip American artist specializing in large-scale sculpture for private and public venues. He conceives, fabricates and installs proprietary, site-specific works of art for both interior and exterior placement. Walter has a highly motivated vision concerning the environment surrounding the sculpture. He designs urban plazas, healing gardens and develops the landscape theme. Walters sculptures will compliment and expand an authentic sense of presence, linking space and place to the community at large. Walters approach to pairing his sculpture with landscape architecture is expanding, inspiring and welcoming; extending a kind of open arms for viewers; to stay!

Since 1973 Walter has completed an impressive score of projects through out the United States and internationally, all from his studio in Portland Oregon. The diversity and experienced evidence of his built concepts are truly rewarding, leaving the viewers with a heart felt sense of satisfaction. His clientele are: Private Residences, Public Courtyards, Corporate Buildings, Universities, Liturgical, and Healthcare.

Collaborative thinking goes to the very root of a great concept build and resulting installation. For this Walter is quite comfortable working with his client, architects, engineers, contractors, interior designers, landscape architects, stakeholders, and community officials. Walter builds with stainless steel, corten-steel, granite, cast glass, stone, aluminum and laminated structurally dynamic glass.

Walter believes his site-specific sculptures should be contemporary, pure in form, distilled to their most essential gesture. Clean, modern well defined line, defining beautifully sited iconic sculpture.

Ceramic salt fumed boxes - various sizes
Border Crossing - Cast glass, steel, 9 ft. tall + 20 in. wide +2in.
Shift Response - Granite laminated structural glass, 25 ft. tall+4 ft. wide +10 in
Laminated structural glass, Texas - Limestone, landscape design, 35 ft. long + 12 ft. tall+ 10in.

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Katty Smith

"The subject matter fueling my creative process is always constant, the female figure; however, there is never a predetermined picture in my mind of the finished product. The partial to realistic female face is a defining trademark of most of my works and often sets the wheels in motion."

Surrogate Mother - Clay, 18 x 11 x 8 in.

Never in her first sixty-five years did Katty Smith ever dream of becoming an artist!  Growing up in the small community of Halifax, Virginia, there were no opportunities for exposure to art.  However, that strong desire to work with her hands translated into basket weaving, sewing and creative floral arranging.  An undergraduate degree in business followed by an MBA at age fifty-nine, a Master Gardening certificate and a Master Naturalist certificate formulated a love of learning throughout life.  At age sixty-five she enrolled in a college class for ceramic sculpture.  The bells and whistles were heard and she found her passion in life.  She studied sculpting in clay for five years before becoming a studio artist in New Smyrna Beach, Florida.

Botanical - Clay, 16 x 10 x 8 in.
Still I Rise - Clay, 16 x 9 x 9 in.
Rides With the Wind - Clay, 17 x 9 x 11 in.
Born to Dream - Clay, 18 x 7 x 7 in.

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Satomi Sugimoto

"I have always been attracted to forms and lines since I was a child. I see motifs of life reflected in my work including organic forms, elemental forces, body parts of humans, insects and animals. My art-making is a spiritual process; a search for the essence of objects."

My Name Is New Day, 2017 - Oil and glue on stone powder clay 14.5 x 16 x 13.5 in. / 36.5 x 41 x 34 cm

Satomi Sugimoto was born in Fukuoka, Japan, in 1982 and currently lives and works in Tokyo. She received her BFA from School of Visual Arts in New York. As a sculptor, she creates intimate-scale forms which are very raw, primitive, and organic with a very sensitive use of painting. She sees her art-making is a spiritual process; a search for the essence of objects and a process of purification where a single element is explored, honed and expressed.

Bird, 2018 - Oil, glue, and steel wire on stone powder clay 13.4 x 16.1 x 6.1 in. / 34 x 41 x 15.5 cm
Dancer, 2018 - Oil, glue, and steel wire on stone powder clay 19.3 x 23.6 x 8.6 in. / 49 x 60 x 22 cm
Ballerina, 2017 - Oil, glue, and steel wire on stone powder clay 14.5 x 20 x 10.5 in. / 37 x 51 x 26 cm
Moonlight , 2017 - Oil and glue on stone powder clay 18 x 6 x 10 in. / 46 x 15 x 25.5 cm

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Fay Wood

"I've been an artist for many years and creating sculpture using found materials is my favorite form of expression. I love a quote by Virginia Woolf: ‘Arrange whatever pieces come your way.’ I also have portfolios in painting, tapestry, collage, and drawing."

Aftertaste - Assemblage 16 x 39 x 16 in.

“Art using found objects has attracted me since 1965, when I was living in the San Francisco Bay Area, and saw large sculptures by local artists made from detritus on the Bay shore. They were fantastic, noisy, beautiful works with great humor and form - I never have forgotten them. As an art student at Massachusetts College of Art in Boston, Mass. I began studying painting, but later, when I was attending a life drawing group, a sculptor encouraged me to carve directly in wood. This began what has become a deep love for sculpture and, later found object assemblage.

In 1992, when I finally had a permanent studio in the Hudson Valley of New York State, I began combining found objects with the cherry wood carvings I had been doing and continue to do so; adding found rag paper, wire, and paint to the mix.

I have also continued to paint, draw, and create tapestries and, recently I have completed an 18 piece portfolio of collages. I have an extensive exhibition history, including The Proskauer prize from the National Sculpture Society, exhibitions at Brookgreen Gardens, S. Carolina, Biennale Dell Arte Contemporanea, Florence, Italy, where I have been invited again in 2019, as well as many solo, group and invitational exhibitions in the USA. I will also be a featured artist with Artrepreneur, a website assisting artists to further their careers, in a film on PBS worldwide in April 2019.”

Mantis - Assemblage 60 x 16 x 18 in.
I Thought I Stood - Collage 28 x 21.5 in.
Matriarch - Assemblage 21 x 17 x 17 in.
Three Dreams in the Desert - Collage 26 x 22 in.

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Tiki Mulvihill

"As a multidisciplinary artist, I incorporate sculpture, performance, and audio in site-generated installations and sculptural works. I construct natural and repurposed materials, realized through pseudo-scientific research and development to expand viewer interaction to bridge imagery fact and fiction."

FLOTSAM FIXATION: 1. Courier Wild, 16.5” X 7” X 5”, 2. Presto, 8.5” X 12” X 5”, 3. Time Peace, 25” X 19” X 7.25”. Driftwood and object sculpture

Multidisciplinary artist Tiki Mulvihill incorporates sculpture, performance, and audio in site-generated installations. Although currently situated in Vancouver, Mulvihill sees herself as a reluctant nomad, moving throughout her adult-life between rural and urban communities. This transience generates an ongoing dialogue within her studio practice where she teases the supposed truths we construct in our conflicted relationships with place. Mulvihill’s work, constructed of natural and repurposed materials, is realized through pseudo-scientific research and development. It expands through viewer interaction and engagement to bridge the gaps between imaginary and actual; between fact and fiction. Her work voices contradictions of belonging in disparate environments where humans respond to ‘place’.

FLOTSAM FIXATION: 1. Chirpy Pet 32” X 11.75” X 7”, 2. Effeminate, 45” X 18” X 10.75”, 3. Mr. Winkey, 26” X 8.5” X 9”, Driftwood and object sculpture
FLOTSAM FIXATION: 1. K Spiral, 21” X 9” X 6.5”, 2. Underneath, 46” X 17.5” X 9.5”. Driftwood and object sculpture
FLOTSAM FIXATION: 1. Pinkish Purple, 23” X 7.75” X 7. 75”. 2. Alian, 29” X 12.75” X 8”, 3. Cadaver Clock, 15.25” X 7.5” X 6”, Driftwood and object sculpture
FLOTSAM FIXATION: 1. Tickle Tusker, 15.5” X 16” X 9.75”, 2. Vixen, 24” X 11” X 8”, 3. Cervidae, 33.25 X 15.75” X 9., Driftwood and object sculpture

Mulvihill was born in Alberta, Canada and earned BFA and MA Degrees at University of Idaho. Regional activities extended her roles as an artist. Her subsequent diverse career included art/dance instruction, curating and coordination of art education. Mulvihill provided the impetus for experimentation in multidisciplinary collaborative and community-based activities. Her MFA (University of Calgary) furthered varied art connections. Recently, Mulvihill’s collaborative art-ventures led to co-founding Art is Land Network, a Vancouver Canada-based collective involving usage of natural re-purposed materials within landscapes.  Also recent residencies within Alberta, Scotland and Sweden invoked Mulvihill’s intra-disciplinary approaches to unique sites.  She exhibited multiple installations and sculptures in Canada, USA, England, Scotland, Sweden and Italy.

Love Heart, Assemblage embedded in drift wood 15 x 7 x 6 in.
Era Angles, Assemblage embedded in drift wood 33 x 22 x 9 in.
Vibrant Drift, Assemblage embedded in drift wood 80 x 80 in.
Woof, Assemblage embedded in drift wood 34 x 9 x 18 in.
BC Survey Feet, Assemblage embedded in drift wood 13 x 32 x 11 in.

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Tobbe Malm

"My working process begins with a small feeling or thought, usually triggered by an encounter. Drawing on my own memories and experiences, a theme emerges. A sketch. Then to the forge. There is a brief moment in which the iron can be shaped - when it has reached 1,000 degrees Celsius. An encounter, brief and fleeting, then the metal is plunged into cold water and the expression is frozen."

The Little Centaur - Recycled mixed parts 170 x 50 x 35 cm

Blacksmith artist, Tobbe Malm was born in the former iron mining town of Norberg, Sweden, in 1960. Generations of mining shaped the lives and minds of the inhabitants. Explosions in the mine tunnels far below the streets of Norberg shook the town day and night. The iron ore was boiled in a blast furnace, the smoke from the huge chimney perpetually licking the sky. Malm cites this presence of heavy industry throughout his childhood as an influence on his work. The constancy of birth and rebirth of substance fascinated him. As a child, he tinkered with a wide range of materials assisted by his father, a keen silversmith in his spare time. Malm's work is characterized by explorations into this subject of returning. In 2008, he moved his life and workshop to Bærums Verk artist village in Oslo, Norway. He was surprised to find both his past and present suddenly brought into stark relief. 

"When you move to a new place you are meeting yourself again, like new."

Much of Malm's work since then has been influenced by the idea of the perception of stories and the spark of encounters. He probes the resilience of our experience and the immediate presence of history in our lives. For Malm, the creative process is a powerful and transformative journey for both the artist and the viewer. As a trained social worker, it was natural for him to be drawn toward art as therapy.  He created the Iron Rose for Norway (Jernrosen) Project in response to the fatal 2011 gun attack on Utøya in the Oslo fjord, which left 77 people dead. Malm was inspired by the Norwegian Prime Ministers message of togetherness in the wake of the tragedy and by the "sea of roses" laid all over Oslo in mourning. He asked people forge to roses from iron. Hundreds of roses flooded in from all over the world; some delivered by hand from as far away as Australia. Meanwhile, Tobbe worked with survivors, their families, and those close to victims, to forge iron roses at his workshop. The artistic process provides the opportunity for healing by creating a space where grief can be viewed and shared. To date, there are more than 900 pieces in the collection. Malm was awarded the 2014 Alfred Habermann Memorial Prize for his work. He continues to dedicate himself to the process of creating art and telling stories. "I never know which way the piece will go. The process opens new doors for me."

OPUS FERRUM - Orion - Recycled mixed parts 50 x 25 x 15 cm
CrowBird - Recycled mixed parts 150 x 50 x 40 cm
Creation Theory - Forged iron, recycled mixed parts 160 x 50 x 40 cm
HorseAnimal - Forged iron, recycled mixed parts 120 x 80 x 40 cm

Tobbe Malm has taken part in several significant exhibitions around Oslo, including the Akerhus Kunstsenters “Kunstvisitten” Oslo Bussterminalen exhibition in February of this year, and Kunstrettvest (2015, 2016 and 2017), and has been commissioned to produce several public sculptures and traditional blacksmith gates. He received worldwide acclaim for his Bolt Poetry series, which was exhibited internationally through 2015-2017.


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