Martin Kargruber

 

Martin Kargruber architectural sculptures of abodes. 

Benjamin Houlihan

Benjamin Houlihan saws, mills and sands everyday pieces so long that they finally become ultra-thin, almost linear structures which have lost all their functionality. 

Katharina Andress

Katharina Andress carves futuristic models in futuristic fantasy fashion, 'Andreonauts and Fashion for Astronauts'.

" I rasp and sand the wood, until no traces of carving can be seen. Then I prepare a chalk-based gesso according to old recipes and mix Bolognese and Champagne chalk with a compound of rabbit-skin-glue and water. Rabbit-skin glue is a traditional adhesive made from rabbit skins and bones. By now, there are modern alternatives, however, in the past this was the common glue. In the end, the mix has a creamy texture. It is a bit tricky, because the compound needs to stay warm at all times, but mustn’t get too hot or too cold. Then an approximate fifteen layers are applied with a brush. In between, I sand it then and again to make sure it will be completely even. At the very end, I polish the figure with an agate stone. It tightens the surface, that almost appears as porcelain or marble. It is so important to me to keep the face recognisably wooden. If the sculpture were white entirely, one could think it’s cast in plastic." Katharina Andress

Maehara Masahiro

 

Carved animals from assimilated blocks by Maehara Masahiro

Yuto Yamasaki

 

The incredible carved plants of Yuto Yamasaki.

Aki Tsuji

 

Aki Tsuji makes simple works of great balance and beauty mobiles, sculptures and dinner wear.

Quentin Garel

Quentin Garel is a contemporary sculptor born in Paris in 1975 who works in stone, wood and bronze. 

'Quentin Garel’s work is inspired by anatomy, skeletons and archaeological remains to create sculptures with hybrid forms. If he plays with reality and the relationship of scale to divert the forms and invent a population from a parallel paleontological world, at first glance his sculptures are an illusion, they become the remains of a real animal, in a subtle assembly of wood and bronze that he works in such a way that we can not differentiate them with the naked eye. Garel is an archaeologist of the present, who reinterprets the animal figure through a multitude of morphological variations.'

It all started 20 years ago, when his work took an ironic look at hunting trophies: he denounced a proud practice of man, a domination over the animal seen only as an object of consumption.