The fabric gets attached to a flexible wire for structure.
It’s been a long time since I’ve posted art, but I’m going to make it a regular practice again. I’ve found it difficult to be creative since the pandemic started and felt less connected with the work I’ve been making. It’s important to keep creating, though, especially when feeling uninspired. I’m not sure what direction I’ll grow in, but this is the art I was working on before the future felt so uncertain.
The project is sculpting breasts onto store-bought decorative foam fruit and veggies. Technically, it’s a great color/ texture matching challenge. I enjoy matching the flawed finishes, putting a perfect handmade detail on something clearly fake and mass produced. Conceptually, I’m interested in how women’s bodies are often compared to fruit, in playing with the juxtaposition of still lifes and naked women in art.I’m still deciding on a series title. So far, I’ve got Feminine Fruit or Breastables. What do you think? This Granny Smith has already sold, but there’s more fruit in the works. Would folks be interested in prints in the future?
What does it look like to you?
Before and after paint. The hairs are painted monofilament.
See this lovely lady-pin in person and do some bowling this Thursday at Comet! A bunch of talented artists have customized bowling pins for their silent auction which will benefit local nonprofits. The Comet Pub & Lanes and Creature Comforts will host the Get Comforta-Bowl tournament on Thursday, Feb. 20 from 6 p.m. to 10 p.m. The tournament will benefit local nonprofits, including Friends of Refugees, Our House and College AIM. Check out their page for details @thecometpubandlanes
Cleaning up the seams and putting together the inside flower bits.The pieces were so small that, even with a pressure pot, I was getting air bubbles. I ended up pouring with the mold open, and topping it off after strapping it together. A little more clean up than usual, but those tiny chisels get the job done easy. Check out this and more at Journey to Terra Flora this Saturday, 5-9 at Galeria Regina.
I only had a couple weeks to make this, so it was a lot of experimenting and pushing forward without all the planning I normally do. Here I was trying out a flexible rope and foam stem, which would’ve made it more like a snake flower. I ended up going a different direction with it, but I’m still kinda into this idea. What do you guys think? Are there snake flowers in my future?
The colorshift pigment is translucent, but will really transform the finished look. I can’t wait to share them with you! Check it out in person at Journey to Terra Flora at Galeria Regina July 13th 5-9pm. @ryshu @danielcurranart
For this step, I diluted acrylic paint with airbrush medium. This helps the paint flow into the details while maintaining some transparency in the high points. It’s all about making those final details pop.
Journey to Terra Flora opens July 13th at Galeria Regina. Link to event in bio. RSVP for details.
See all the weird stuff I’ve been making at Galeria Regina, Saturday July 13, 5-9 pm.
This shows me working on the core form of the caterpillar. That’s a tiny crockpot off to the side keeping my clay warm
My tiny horde of monsters, washed and ready for paint. This is a double cast toy, so after I paint them, they’ll get embedded in translucent resin. They have tiny clear hands in their future.
The first drop of this toy will be at the Kaiju Cult show 4/20 7pm-midnight at Little Tree Studios. I’ll be posting more sneak peeks as I get ready!
Getting ready for a coat of airbrushed glitter Normally I do my masking with tape, but for tiny things like this, clay works better. Can’t get glitter on those monster teeth! ?
The core form will get embedded in translucent resin. After I do a few successful prototypes, I’ll start trying out colors!
Performing surgery on a new mold. I created registration keys by cutting a zigzag into the outer edges. This helps the two parts line up more accurately for casting. I used a weitlaner retractor to hold the silicone open while I cut towards the inside, straightening out the seam as I got closer to the sculpt. It can be a bit tricky. The key is knowing where the edges of the sculpt are so that I’m not cutting totally blind. I usually take a picture of the mold set up before pouring so I have something to reference when I cut. I get better at it each time!
After I finish the details, I’ll add a holographic sparkle coat and high gloss varnish to make the colors really pop. It’s all about creating depth through layering.