Yasam Sasmazer artist (born in Istanbul in 1980) – Mimar Sinan University of Fine Arts in Istanbul.
In her work, she uses the human psyche, in its dark or bright side, as her main site of investigation. With her realistic sculptures, she questions in turn the notions of identity, doppelganger, the self & the other, the individual in his social or natural environment, willingly deconstructing the clichés and cultural structures that surround these ideas. (source : berlinartprojects.com)
Yasam Sasmazar – Taming the Darkness | 2013 | Wood
Gehard Demetz est un sculpteur italien. Il sculpte sur bois des enfants sur-élevés pour les amener au niveau des yeux du spectateur, ce qui donnent à ses sculptures un sentiment de puissance. Des objets très spécifiques leur sont associés, juxtaposée à leur innocence.
Ils semblent “inconstruits”, souffrants – ils me donnent l’impression d’avoir capitulé…
Magnifiques sculptures en Bois de Morgan Herrin. (Etats-Unis)
Morgan Herrin – coppergate_three-sides_l / Wood sculptures
Morgan a travaillé quelques années comme charpentier sur des chantiers de décors de cinéma, et le bois s’est imposé à lui. Inspiré par le monde scientifique et la nature plus que par le milieu de l’art. La plupart de ses sujets ont été directement ou fortement inspirés d’évènements ou de problèmes historiques. Bosi utilisé : épicéa, pin ou sapin. – Mes pièces peuvent prendre entre six mois et un an à être produites. Le procédé de sculpture que j’utilise est presque entièrement manuel et c’est pourquoi c’est un procédé qui demande énormément de travail. Lire une interview sur ce site
Wood Art sculptures by Aron Demetz. Italian artist, born 1972. Europe exhibition Rome, Vienna, Milan or London.
Aron Demetz est un artiste italien né en 1972. Il créé des sculptures (bois d’érable et silicone) dans des poses tantôt sombres, tantôt mélancoliques, jouant sur des figures adolescentes ou enfantines.
Elles sentent l’odeur de résine ou de vernis, tente de symboliser les énergies biologiques et cosmiques qui animent tout être humain. A découvrir ses dernieres sculptures carbonisées.
For years, Aron Demetz (1972) has been focusing on the human figure, on contemporary characters which appear to be frozen in poses of the antique portraiture or paralysed in bizarre postures. This realistic gallery, which very often displays children or adolescents, is highly distinguished because of its formal composure while, at the same time, an atmosphere of melancholic meditation enshrouds the sculptures and makes them somehow classic and somehow stringently modern. In the last two years the artist has dedicated himself to a different projection of the human figure moving from the reflection and the research on emotions to a form of expression which wants to return to its origins, to the most profound human roots. Next to wood (which, however, always remains the soul of all the works) Demetz started to experiment with different materials such as silver and aluminium foils which bestow an aura of original uniqueness on the works, a condition of ethereal pureness. To the spectator, they suggest a metamorphosis, the feeling of observing a being which is changing, which is ready to start a new life, to exploit new possibilities. Through associations, images and symbols these sculptures speak to collective conscience. Fully aware of their own physicality and their physical and spiritual changes, the sculptures most often evoke the constant and meticulous research of the human “position”. A position which, on the one hand, has to be understood in a symbolic way (‘man’ understood as a symbol of power and at the same time of humility), but on the other, it has to be seen in a real, physical way – a position in a space with whom mankind has to interact daily. Recently, Aron Demetz presents a series of works which centres around the topic of cujidures – “seams”. In order to approach this new challenge, the artist chose resin as material to create his figures. The needed resin was collected with great patience from the wounds of the trees in the forests in Val Gardena. This instable material which is in constant change has intrinsic characteristics which are highly evocative. It has a strong scent, it can crystallise, melt, change colour (from an intense yellow to red or black), it can be very sticky or even conserve organic traces and small animals inside itself. By putting resin on his faces and busts, Demetz lays a new skin which saturates, welds or stitches their wounds (which have to be understood as wounds of the soul, as thoughts and important feelings). It is a living skin which not only covers, but even enters the works of art. Once again these sculptures display a range of different, even opposite meanings. Next to stirring life, hope and renewal the sculptures also express something archaic and primitive, a being which visibly evokes a mummified figure and which immediately makes the spectator think of rot and death. Therefore, these works trigger off a reflection on the body as a biological and vital structure with its moods, its smells, its heat and its limits. The works spread a twine of visceral energies which enshrouds everyone who enters the meanders of this primitive cosmos.