Les corps de l’artiste Jenny Saville. (born in Cambridge, 1970 – UK) Peinture monumentale.
Les corps de Jenny Saville : une chair qui semble souffrir, imparfaite et qui s’exhibe de manière provocatrice..
Jenny Saville – Plan, 1993, Oil on canvas, 274.3 x 213.4 cm
Art of Clare Ferguson-Walker. (UK) Figuratives sculptures
Through my work I aim to communicate the human condition from as many angles as I can see. I often draw upon elements of folklore and mythology, as I believe that certain stories carry age old truths woven into our collective sub-conscious which often have moral, emotional and physical relevance, regardless of time period or cultural status. I am drawn over and over again to using the human form as my starting point. as I believe that the physical body can and does communicate in a universal language. Each of us communicates using body language on a daily basis, often involuntarily, therefore it is a pure truthful language often revealing emotions that we would otherwise choose to hide. My figures are deliberately distorted, they come from another realm, my own personal world. Their forms also attempt to re-write our often limited views of what is considered beautiful. They are subtly rebellious.
I believe that the imagination is the channel by which the subconscious communicates with the conscious mind, and I believe that symbolism and metaphor are the languages that it uses. Therefore I freely allow my imagination to come up with scenes and concepts which I then turn into an object or image. My sculptures and paintings can be interpreted in the same way as one would interpret a dream, objects, creatures and positions carry hidden meanings to be unraveled. The subsequent narrative which I see developing is the plot line of my attempt to rationalize this world and my existence with in it. My work often deals with memory, loss as well as hope and the celebration of life itself. I love working with clay and I feel that the process of firing is something akin to alchemy, changing one substance into another. It allows for experimentation and always comes with the element of potential loss, making it a delicate and often heartbreaking art form.
I also love working with bronze, I love the excitement of the foundry process and I like the permanence of the material. I know that after I am gone, there will be a little of myself immortalized in my sculptures.
Rachel Ducker Wire Sculpture. (UK)
British contemporary artist, Rachel Ducker was originally trained as a jeweller. With an insatiable desire to create she turned her attention to sculpting the human form in wire, concentrating on the expressive and emotional dynamics of human nature.
Rachel Ducker Wire Sculptures
« With an incredibly visual, active mind Rachel has an insatiable desire to create and make. Well practiced in life drawing and with an appreciation of the human form and the emotional dynamics of human nature, combined with being originally trained as a jeweller, lead her to experiment with wire as a medium for sculpting the human form, capturing something ephemeral, either emotive or active.
Her pieces are untitled due to her belief that everyone sees something different in the sculptures and her lack of suggestion leads them to live that moment she portrays in their own particular way, therefore expanding the piece of work further with every viewer.
The translucency and form of her work allows rather dramatic shadows to be cast and with the right lighting, can show the three dimensional form on a two dimensional level creating an effect resembling a pencil sketch on the wall.
Rachel uses no model and she doesn’t form the shape around anything. The posture is first designed and then the pieces are carefully molded by hand and then gradually added to, wrapping wire, layer by layer. Her satisfaction with the posture can be instantaneous or take days and every angle important right to the tip of the finger and to a millimetre of adjustment until just right. She discovered that the slightest movement in the angle of the hand or fingers, or the tilting of the head changes everything the figure is portraying.
Her sculptures being featureless leaves the posture to say all, expressing the feeling. The hair creating the scene, making all more turbulent, dramatic, adding latent movement and tenacity. She is very focused on people watching and body language and how people express themselves physically and all goes along side her keen interest in psychology.
Her inspiration may come from the human form, but she is also greatly inspired by different materials, found objects and new techniques and is keen to combine mediums, finding it often leading to new ideas, which Rachel is never short of!
The wire work keeps her more than busy, supplying over twenty galleries in the UK alone, various exhibitions and numerous private commissions globally. But Rachel tries to keep her active mind diverse in it’s creativity. She still makes her silver cast jewellery to commission and enjoys experimenting with painting, life drawing monoprints, photography and is keen to try animation with the wire figures, as well as constantly moving on with the sculpture. »
Sculptures en { grillage } de Kendra Haste. (GB) / Galvanised wire Sculptures
Kendra Haste – ARIZONA JACKRABBIT (2013) – Sculptures grillage
« What interests me most about studying animals is identifying the spirit and character of the individual creatures. I try to create a sense of the living, breathing subject in a static 3-D form, attempting to convey the emotional essence without indulging in the sentimental or anthropomorphic »
Recently commissioned by Historic Royal Palaces to fabricate thirteen sculptures as part of an exhibition ‘Royal Beasts’ exploring the history of the Royal Menagerie at the Tower of London. The work will remain on-site as a permanent installation once the exhibition finishes.
Made from her trademark material, galvanised wire; life-size lions, baboons, a polar bear and an elephant help tell the story of the exotic animals that were a popular tourist attraction at the Tower from the 1100s.
![Sophie Ryder Artist – Transparent Minotaur [Wire, 2013]](https://www.lilavert.com/blog_lilavert/wp-content/uploads/2013/03/Sophie-Ryder-Artist-Transparent-Minotaur-Wire-2013-380x285.jpg)
Sophie Ryder sculpteur.
Sophie Ryder, minotaure, cheval, lievre
Né à Londres, en 1963. La plupart des sculptures de Sophie Ryder sont des créatures mythiques, mi-humains mi-animaux. Sa pièce la plus connue est le lièvre Dame, un lièvre avec un corps humain de sexe féminin.. Les sentiments et les émotions sont directement reliés à l’artiste elle-même. Elle utilise des animaux pour explorer les émotions humaines et montrant que les sentiments peuvent être lus. « Le Dame Lièvre m’est venue lorsque je cherchais un compagnon pour le Minotaure. Je voulais un corps de femme avec une tête d’animal et la tête de lièvre semblait fonctionner parfaitement. Elle est généralement accompagnée par un Minotaure, d’un chien ou d’un cheval, et plus récemment seule. l’apparence a également changé et il y a quelques années, la tête est devenue plus définie comme un masque pour montrer plus clairement qu’elle est un sous-homme. »
Sophie Ryder was born in London, England, in 1963. She studied Combined Arts at the Royal Academy of Arts where, while obtaining her diploma in painting, she was encouraged by fellow artist to develop her sculpture. Inspired by Picasso, Goya and Henry Moore, she famously developed the Lady Hare as a counter part to Ancient Greek mythology’s Minotaur.
Beautiful Floral animal sculptures by Natasha Cousens, Artist & Sculptor. Live in UK, moving soon to New Zealand.
Natasha Cousens – Sculptures COCOON
Also, visit in the same way sculptures of BETH CAVENER STICHTER
or ERIKA SANADA
la création de chimères homme-animal autorisée en Angleterre
Le but de cette culture est de répondre à la demande des groupes de recherche impliqués dans l’étude des cellules souches. En pratique, ces embryons ne doivent pas être conservés en vie bien longtemps, et les scientifiques s’accommodent très bien de la limite de 14 jours qui leur a été imposée. Ce délai se justifie par la position adoptée par de nombreux chercheurs, qui estiment qu’avant l’âge de 14 jours, l’embryon n’est pas encore un être humain à l’état d’ébauche et que toutes les manipulations de cette petite boule de cellules sont sans conséquences. En corollaire, il est bien entendu exclu de les implanter dans un utérus.
Blog Graphiste, Sculptures, Photos, Ver et Vie
