Articles from August 2024

Over the centuries, humanity’s relationship with wilderness has becoming increasingly fraught, as we continue to diminish natural green spaces in favor of roads, buildings, and manicured lawns. For Vashon Island-based artist Ariana Heinzman, our connection—or disconnection—to nature plays a central role in her vibrant ceramics practice.

For her current solo exhibition, Habitat for a Fake Plant at J. Rinehart Gallery, Heinzman (previously) conceived of a collection of quirky stoneware houseplants that sit on stools, irregularly shaped large-scale paintings, and decapitated-looking cuttings installed on the wall. These pieces interrogate the absurdity of bringing nature into human-made environments, examining how we have trained plants to acclimate to interior life.

“In this world, plant-like sculptures are wrapped in patterns reminiscent of tablecloths and wallpaper,” the artist says in a statement for the show, emphasizing their domestic role. The specimens sprout leaves that are flattened to adhere better to flat surfaces, and the foliage assumes anthropomorphic poses, “lounging in this new environment where their purpose is decoration.”

If you’re in Seattle, you can stop by Habitat for a Fake Plant through August 28. Explore more on the artist’s website and Instagram.

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According to Greek mythology, Daphne was the descendant of river gods. Born with a surging hunger for freedom and autonomy, the nymph committed herself to living a life rooted in solitude as she poured herself into deep passions like nature and hunting. Although Daphne devoted a great deal of time to exploring her tranquil surroundings, she eventually found herself in the chaotic throes of unrequited love as Apollo desperately sought to seize her for himself. One day, during a relentless pursuit in which Daphne was being chased by the Greek god, her only escape was to call her father for help, who subsequently transformed her into a laurel tree.

Narratives similar to this, symbolizing the adversity of self-preservation against burdening pressures set forth by powerful men, play a critical role in Valerie Hammond’s current solo exhibition Dreamers Awake.

While Hammond’s newest works imbue familiar themes of nature, spirituality, and strife, they also evolve from the artist’s ongoing interest in surrealism’s ability to address patriarchal narratives. “I found creative potential in its exploration of the unconscious and the uncanny, and I admired its attempts to liberate social conventions from conformist structures,” Hammond explains in the exhibition text. “I was especially intrigued by women’s involvement in surrealism, and their unique images of sexuality, vulnerability, violence, and rage.”

A feminine figure with billowing texture emerges from an amalgamation of wasp nests, wood, and paper in “Daphne 2,” alluding to the mythological tale while emphasizing the inextricable parallels between feminine plight and the metamorphic characteristics of nature. “Laurel” quite literally depicts the cost of self-advocacy, portraying Daphne’s fate as sprawling tree branches ascend from a pair of feet. Hammond’s ink pieces further draw upon the dissolution of feminine bodies, as inked silhouettes fade into landscapes behind them.

Dreamers Awake is on view at Pamela Salisbury Gallery in Hudson, New York until August 25. Keep an eye on Hammond’s Instagram for more updates and work.

Do stories and artists like this matter to you? Become a Colossal Member today and support independent arts publishing for as little as $7 per month. The article Silhouettes and Surreal Drawings Echo Strife and Self-Preservation in Valerie Hammond’s ‘Dreamers Awake’ appeared first on Colossal.