Surreal glass sculptures by Simone Crestani

I am an artisan first, before being an artist.
Glass working is a very complex technique that requires years of study and extreme dedication. I was fortunate to learn this technique while I was still young. Glass chose me, before I had any idea what I wanted to become.
I feel blessed to be the medium through which glass can express itself, in the continuous search for its full potential.

In these years of study, my thoughts were forged by the delicate rules of glass working: ignited by the high melting temperatures, stemmed by the risk of breaking, withstanding the test of time, continuously searching for limits to overcome.

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+15 surreal sculptures inspired by the sea by Rohan Mersh

Rowan Mersh is a multi-media sculptor who explores form through intuitive application of a material’s inherent qualities. His diverse and experimental approach to creation is epitomized by his ability to take very ordinary materials and transform them into the extraordinary. From textile sculpture to kinetic and interactive installation, Mersh’s pieces are inventive and multipurpose, bridging the realms of art, design and fashion.

Regularly exhibiting internationally with Gallery FUMI, Mersh’s sculptures have been acquired by major private and public collections the world over, most notably the V&A, Jerwood and The Crafts Council collections. His commissions and special projects include works for the Mercury Music Prize, Fendi and Veuve Clicquot.

Mersh, a graduate of the Royal College of Art in 2005, continues to live and work in London.

Janel Foo quites her job to make Inspiring stained glass wares.

Featuring several arrays of coloured glass arts forms, in distinct and diverse orientation, JanelFoo glass wares are reminiscent of 13th century bacilica rose glass windows — covered in christian art — and which opens the usually romanesque churches to the natural lighting of the sun, offering a visual reference, and clairvoyance to the essence of the building.

Los Angeles based creator, Janel Foo, a former wardrobe assistant, crafts colourful glass wares, with varrying geometries as a point of departure from the traditional wares.

illuminating the interior with photo-chromatography ; her works seeks to mimics this historical function. introducing a new flair of artsy, minimalist appeal with its playful use of colours and lighting introduced into the living spaces.

Janel Foo had quite her job as a wardrobe assistant after five years of work, inspired by her mentor she sort training and learnt to create stained glasses as an expression of her inner values.

She has so far featured in the LA Times and regularly shares her works on Instagram.

French artist encases coral reefs in colorful glass displays

Since childhood, a real feeling of helplessness and guilt has been eating away at the way the human species works, without worrying about the environment.

At the origin of my practice was to find how to live with, learn to listen to this pain rather than bury it to finally know the appeasement. This gave birth to a first series of works entitled “Lungs of the Oceans” intended to awaken the feeling of wonder for the nature that surrounds us and the desire to protect it

Series created between 2014 & 2018, dummy corals in textile & recovery materials – Fred Margueron p .

Created by Aude Bourgine , a french artist from Rouen, Aude has always been overtaken with strong feelings of guilt and powerlessness surrounding the human species way of acting without a care for its environment.

Her practice began as a search for a way to live with, and to learn to listen to, the distress of the ocean, rather than burying it to attain a certain peace of mind. 

“If we do not rapidly change our relationship with our environment, oceans will be dead by 2050. Their disappearance will entail a disastrous imbalance on all ecological, climate and human levels.”

Aude Bourgine has taken on this topic in her meticulous and dreamlike style, driven by the hope of raising awareness on these issues and convincing us that we can still get our act together.

10+ Surreal marble sculptures in movements by British sculptor

Michael has created many sculptures that incorporate classical drapery.

“I used to carefully study the play of different materials and meticulously recreate every aspect of the weight, tension and hang of the material in my sculpture, agonising over how to sculpt the edge of a drape where a foot protruded from beneath, trying to balance realism with the aesthetic of the piece”.

Michael’s ‘Emergent Collection’ beautifully demonstrates that he is no longer troubled with the same anxieties.

“I like to think this particular style of sculpting is a more mature and enlightened approach to such problems”.

In this collection, he introduces a flat plain to balance and divide the fully sculpted figure and disregard the formal studied limitations of the drapery. The drapery becomes the plain, which is both a solid form in its own right and yet is also at one with the figure, revealing and yet concealing the contours of the human form beneath.

Where a foot protrudes from the plain, the foot simply emerges, as if emerging from a pool of still water. With this technique I can focus on the beauty in the gesture or movement, without being hampered by physical reality – because it makes no sense, it makes perfect sense.

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everal of his work feature at the museum of modern art,Saatchi

‘absorbed by light’, are a series of sculptures which queries phone addiction

created a series of statues for the Amsterdam light festival, in a work which shows individual absorbed by their hand held technology, taking up focus and drawn to the warm illuminating light of the virtual worlds. The installation is titled Absorbed by light. 

the installation is a partnership between Gali May Lucas ,a brit installation designer and method sculptor Karoline Hinz

Dustin Yellin stunning visulas under layers of Bajillian glass

featuring series of paints resin artistic stories, behind thickly layered glass panels, painted or collaged with a riot of images that coalesce into shape-shifting narrative scenes, human figures, or isolated natural forms.

For Yellin, these projects are interconnected, as his description of Pioneer Works exemplifies:

“For me, it’s a sculpture. It’s just like you’re working in layers you’re seeing through, whether it’s layers of glass or layers of people, and eventually all those layers are in harmony and in unison to sort of make something like this possible.” Layers define Yellin’s practice.

Dustin Yellin is as known for his image-rich sculptures as he is for his entrepreneurship, reflected in his contemporary art hub, Pioneer Works, Brooklyn, his magazine of artist interviews, Intercourse, and his work in his own studio and running a (now closed) commercial gallery.

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Artist unveils intractive face for British tudor monarch

The Queen’s House, Greenwich has unveiled a major new installation ; using digital scans of Elizabeth’s portraits and the electrotype cast of her effigy, as well as descriptions by her contemporaries, the installation is a chillingly lifelike recreation of Elizabeth I.

Positioned directly opposite the Armada Portrait and suspended in isolation on surveillance mirror, the installation places both the aging and ageless Elizabeth in dialogue. Through this careful juxtaposition, explores the different sides of the queen, both real and imagined, and grapples with notions of mortality, the manipulation of truth, political propaganda and the extent to which female power is tied to appearance and youth.

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Commissioned by  acclaimed British mixed media artist, Mat Collishaw, “The  The Mask of Youth” , responds directly to one of the most important paintings in the Museum’s collection, the iconic and powerful Armada Portrait of Elizabeth I.

The Armada Portrait commemorates the most famous conflict of Elizabeth’s reign (1558–1603), the Spanish Armada’s failed attempt to invade England in July and August 1588. Despite being painted shortly after the invasion when the Queen was almost fifty-five, the painting depicts a woman who looks considerably younger. Inspired by this idealised image of the Tudor Queen, Collishaw has collaborated with leading special effects designers using cutting-edge technology to create a stand-alone animatronic mask which approximates Elizabeth’s appearance at the age of the portrait’s creation.

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Known for his fusion of technology and art, Collishaw brings Elizabeth back to life before her audience. By leaving the animatronics that facilitate her movements deliberately exposed at the back of her head, the artist suggests that behind Elizabeth’s public persona, her every movement was carefully controlled. Beneath the surface and behind her mask, she is busy making decisions and calculations to which no one else is privy.

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Inspired by historic art throughout his career, Collishaw has long been fascinated by the Armada Portrait and its function as a political statement that emphasises the sovereignty and ‘agelessness’ of a queen who in reality was middle aged, unmarried and heirless. Whilst Elizabeth’s portraits were designed to flatter, they also highlight her understanding of the fact that her public image could be used to suggest her power and authority. As a woman of intelligence, she used this tool to help overcome the cultural prejudices she faced due to her gender and to advertise her virtues, skills and competence as a female head of state.

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Mat Collishaw’s Mask of Youth is on display at the Queen’s House from 3 October 2018 – 3 February 2019.