Take a look at the exciting new sculptures from '100 Sculptors of Tomorrow', the book that celebrates and sculpture and opens the definition of the medium.
His works come from a Native African perspective using rubbish and ubiquitous disregarded banana boxes in order to elevate them to new forms. They are both lowbrow and highbrow and comment on the imposition of a first world upon third world countries.
At first glance her work resembles Brutalist structures; self-contained and hard-edged; however, a closer inspection reveals their true nature. The artist is interested in anatomy, botany and architecture – her works are composed of plaster, marble, aluminium, pigment, and steel. They are bodily but also altogether man-made.
Francis Upritchard’s practice deals with both historical artefacts and displaced narratives.
Nathan’s work references ethnographic art with pop culture and modern artistic movements such as Minimalism. He references art historical modes with a fun and monumental approach.
His work is a completely zany conversation between various cultures (and religions) His work aims to create a completely new mode of representation by contrasting creation myths between religion and their differing representation of the body.
Shane Darwent decontextualises and re-contextualizes ubiquitous architectural forms as a type of high art.
His work is totally formal and absolutely technical and deals with the laws of physics. These works are about balance and physics and forces us to think about our own mortality in a way.
A retro-stylized LGBT approach that uses basic materials and elevates them to a very modernist form
His practice focuses on reconfiguring religious symbols such as the mandalas through previously used technological parts. His works are both meticulous and labour intensive, which suggests a wariness of the future.
Caroline’s work is painting, as textile as sculpture.
Sebastian’s work is mobile, satirical and pokes fun at art generally.
Her work comes from a feminist reinterpretation of Native American customs and culture and her work is centred on otherness and her personal experience within the Asian diaspora.
Holly Hendry, Just Offal (2018), Plaster, Jesmonite, Marble, Aluminium, Pigment, Ash, Iron Oxides and Stainless Steel Fixings, 163x76x5cm. first glance her work resembles Brutalist structures; self-contained and hard-edged; however, a closer inspection reveals their true nature. The artist is interested in anatomy, botany and architecture – her works are composed of plaster, marble, aluminium, pigment, and steel. They are bodily but also