Damien Hirst’s Skull

 

Drawing parallels with Damien Hirst’s Skull, I adorn non-art objects with inherently opulent materials, as a means of questioning the hierarchy of materials, as well as their value.

Hirst’s adornment of a £50m platinum skull with 8,601 diamonds, not only established it as the most expensive piece of art ever made, but also ultimately made its worth unquestionable.

Droog Design ‘secret natures’ exhibition

‘Clock inlays’ by formafantasma

Sterling board incased in acrylic sheeting.

Barbara Hepworth

The work of Barbara Hepworth proposed sculpture as an intensively carved and crafted object.

My studio practice mirrors that of Hepworth, in the daily tending of materials to produce beautiful forms. Hepworth’s work echoes with a pure contemplative labour, which is evident within my own work.

Isa Genzken

Isa Genzken, Installation view, Hauser & Wirth

Genzken believes that sculpture must have a certain relation to reality.

The stacked assemblages reference the column, a recurring motif within her work.

Mismashing materials, Genzken explores the concept of using domestic, inanimate objects in art.

Elieen Hutton

A Collaboration with Great and Blue Tits

hexagonally shaped nests, sustainably sourced spalted beech, aluminum brackets and screws

30 cm x 130 cm x 30 cm

Rodney Harris

Brick Upholstered armchairs – Spike Island National Centre for Visual Art Production – Bristol

Exploration into the combination of structure and style, changing the commonality of the building material.

Michelle Taylor

Exhibiting at the Barber Institute, West Midlands

Michelle Taylor destroys pieces of china through processes such as sandblasting, cutting and drilling, fabricating the missing elements with vintage paper and textile processes, such as print, stitch and knit. The reconstruction and deconstruction of the work juxtaposes the harsh industrial processes of sandblasting and drilling with the peaceful, precise act of sewing.

The Boyle Family

The Boyle family do not exclude anything as a potential subject matter. It is, however, the minimal use of artist invention, especially within their ‘Earth Pieces,’ that resonates with elements of my own practice.

The Boyle family aim to make the viewer look at reality with the same attention we devote to art, while suggesting and offering new interpretations of the environment.

Rachel Harrison

 

Hreinn Fridfinnsonn

Hreinn Friðfinnsson
Floor Piece 1992-07
Fluorescent paper, bookbinding material,
cardboard box

Fridfinnnsson often presents found objects with which he interferes as little as possible, creating new works that investigate ideas of the self and of time.

– http://www.serpentinegallery.org/2007/04/hreinn_fridfinnsson17_july_2_s.html