Ludwika Ogorzelec by Brittany

Ludwika Ogorzelec  is a Polish sculptor who makes these huge displays of intricate line work that resides in nature and settles into it perfectly. She works to build 3d forms with many intersecting lines of the yarn or string, she calls this  ( Crystalization of Space cycle).  This execution form reminds me of drawing. Bringing forms to life line by line by weaving the material into it’s environment Ogorzelec inspires me to spend more time in and thinking about the display of sculpture and it’s relationship to the environment it is in.



Her work can be found on:

Lavar Munroe- by Brittany

One artist I have been following for a while on instagram is Lavar Monroe. Monroe is a interdisciplinary artist from Nassau, Bahamas and currently works in the states. He mainly works with painting and sculpture and his work is often consistent in both media. Munroe’s work mainly consist of mythological and personal narratives. He uses a wide variety of scrap materials including cardboard, rope, oil, wire, sweat and various other interesting materials. 










Images from:


Shirazeh Houshiary

Shirazeh Houshiary was born in Shiraz in 1955. Houshiary is an Iranian and sculptor whose mostly interested in installation. She is a former Turner Prize nominee, and lives and works in London. Shirazeh Houshiary left Iran in 1973 and then she attended Chelsea School of Art, in London between the years of 1976 to 1979. Houshiary is mostly identified with the Persian influence and ideology which comes from Sufi mystical doctrine and Rumi, a Persian mystic and poet from the 13th century.

Simone Forti

Simone Forti
Images from – Simone Forti, Handbook in Motion 

For the past few weeks I have been reading different books about movement. There are three books in particular by Simone Forti, Trisha Brown and Deborah Hay that bring me calmness every day. The images that you can see above are works from Simone Forti.

I have been trying to understand the relation between movement, our body and form and the meaning that it brings to me in my daily life. So far, I am understanding for myself that when I move or document my movement with pen on paper, I learn to slow down.

The same feeling happens when I carve wood. I try to portray the movement and curves of my body onto the form of the sculpture. Little things such as the curves or movement of my feet, can be translated into a section of the form. And the physical aspect of carving wood is also very meditative for me.

Carving an abstract form, which is what I am doing for my final project, allows me to deeply understand my own body and being through movement and touch. And I am excited to share my final form with everyone next week.

Do I put this here? Project 3 WIP

This is the start of my final project. My plan is to bead this denim shirt in a very dense floral pattern. To the point where the shirt becomes incredibly heavy and armour-like. This shirt is significant because a very deep trauma was inflicted on me while I was wearing it. I am using floriography, or the language of flowers, to inscribe a coded message about my thoughts and feelings as I dealt with the fallout of this trauma onto the shirt itself, as an act of resilience and reflection.

Richard Serra

Richard Serra’s Splash pieces are analogous to my investigation of the painterly mark making and sculptural potential of molten metal. For these pieces, Serra melted down pieces of lead and poured it into the corner to create casts of the “gutters” as he called them. His downward, splashing motion is similar to Jackson Pollock’s drip painting method, and Lynda Benglis’ floor paintings.

Lynda Benglis’ series of aluminium cast sculptures is another example of sculpture created by the inherent qualities of molten metal.

Lynda Benglis — AWARE Women artists / Femmes artistes

Lynda Benglis, Wing, aluminium cast

Image result for richard serra splash pieces

Richard Serra Splash Piece


  • Paint as a physical material (three-dimensional substance, specific consistency) 
  • How an artist is able to create visual abstraction using paint
  • Painting onto found wood
  • The contrast between the quality of something natural and something synthetic. When do the points of distinction between the two start and end? 


After discussing with the class and getting to work in the studio/woodshop,  I learned that my interest for this project lies in transferring my paintings onto found wood sculptures.

I would like to maintain the graphic, flat quality of the images.

I am now considering how the form of the paintings will interplay with the form of the wood sculptures


I found out about Leonardo Drew through New York Magazine’s youtube series, Interior Lives. There’s a great episode about Drew’s home and studio space that are in the same building. I’m attracted to the way he works and the way he lives.


I met Jeremy Hof in an interview to be his studio assistant. I did not get the job but I’m happy to have been able to visit his workspace. I really admire his approach to colour and material.

Antony Gormley

For project two I am inspired by the work of Antony Gormley, a British sculptor who is known to investigate the relationship of the human body to space. In his work he particularly looks into repetition of form to create the human figure. Most of his work looks into smaller geometric forms that build up and create one finished piece. I am particularly interested in his work at the moment, as I am part of the metal rotation, which is his main focus of material. Also his passion for the human body in relation to space is something that inspires me very much.

Jeff Koons

  There’s something unsettling about Jeff Koons.

He’s the guy known for the big shiny sculptures of mass-produced objects, like the giant balloon dog.

Balloon Dog

mirror-polished stainless steel with transparent color coating
121 x 143 x 45 inches
307.3 x 363.2 x 114.3 cm
© Jeff Koons
5 unique versions (Blue, Magenta, Yellow, Orange, Red)

Much of his work he doesn’t make himself. It’s been this way for most of his career. He runs a studio where he puts down the ideas and then other people execute them—like Damien Hirst did with his formaldehyde animals, and Murakami does with his pictures.

His sculptures feel like commercial objects— like they are each one in an infinite series of more to come, like Rubber Ducks. As long as there is a demand, they will be choked out of factories.

Looking at Koons’ stuff and listening to him talk makes me realize that art really is, at some essential level which I can’t ignore, a commodity to be bought and to be sold. Koons talks about his pieces with the excited reverence of a door-to-door vacuum salesman.

It’s all big, shiny, and “new”.

Koons likes the word “new”.

But, it also sells because it is familiar and references old stuff, pulling at kitschy nostalgia. It is readymade—the cheap kind of readymade, the kind that gives the readymade a bad name. It’s like the 1982 ET Atari console game—literal shit, with only a superficial memetic resemblance to the original, packaged and sold on the premise of brand-recognition. That sounds harsh. I mean to say I don’t like it.

I don’t want to take it seriously— I don’t want to assume Koons’ intentionality, or even attempt to read his sculptures as anything other than commercial objects.

Koons referencing Duchamp’s bottlerack does not feel profound or intelligent. It feels like Koons trying to score points with those of us who fancy ourselves educated, and who, as we saunter through the gallery, might relish the chance to flex in conversation.

Gazing Ball (Bottlerack)

galvanized steel and glass
36 x 15 15/16 x 15 15/16 inches
91.4 x 40.5 x 40.5 cm
© Jeff Koons
Edition of 3 plus AP


No matter that I don’t like the stuff, it forces me to remember the truth that I often try to forget, that I think many artists try not to think of—that so-called “art”, however profoundly conceived, ends up in parlour rooms and on mansion walls. People buy it because they like how shiny it is, that’s all. Oh, and it came from an art gallery, so it’s got that special status. It’s superficial, and it seems like these people don’t care.


mirror-polished stainless steel with transparent color coating
78 x 51 3/4 x 28 1/2 inches
198.1 x 131.4 x 72.4 cm
© Jeff Koons
Edition of 3 plus AP

The scariest thought for me is that this is the way it has to be if you want to survive. I think I might miss my soul.


I can’t help my cynicism. It’s a factory, mass-producing “art”. It is art-world structures hijacked by consumer culture. It is made to sell. Koons’ seriality of objects, the various editions of his Balloon Dog, are, to me, existentially horrifying promises of a never-ending production cycle,

a hanging etc.