{"id":24912,"date":"2023-06-19T13:21:18","date_gmt":"2023-06-19T13:21:18","guid":{"rendered":"https:\/\/newbloodart.com\/blog\/?p=24912"},"modified":"2023-08-29T16:37:37","modified_gmt":"2023-08-29T16:37:37","slug":"emerging-artists-working-with-waste","status":"publish","type":"post","link":"https:\/\/newbloodart.com\/blog\/emerging-artists-working-with-waste\/","title":{"rendered":"\u00a0Emerging Artists Working with Waste"},"content":{"rendered":"\n

New Blood Artists\u00a0making sustainable original art \u00a0<\/h2>\n\n\n\n

The word ‘sustainability’ seems to be everywhere these days, so what does it actually mean in the context of a developing artistic career? <\/p>\n\n\n\n

With environmental concerns increasingly on the agenda, many of our emerging artists are incorporating found and recycled materials into their original artworks. Thus making questions of waste and repurposing an integral part of their contemporary art practice.<\/p>\n\n\n

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Frame by Charlotte Walker, \u00a31500<\/a><\/figcaption><\/figure><\/div>\n\n\n

Emerging artist Charlotte Walker<\/a><\/h4>\n\n\n\n

Charlotte’s sculptures are made exclusively from found objects – from scraps of material to planks of wood and discarded trolleys. Her bright colours and repurposed materials\u00a0echo the punchy, arresting\u00a0work of acclaimed South Korean contemporary artist\u00a0Choi Jeong-Hwa<\/a>.\u00a0<\/p>\n\n\n\n

For Charlotte this closed-loop process is rich with possibility and enables her to push beyond limitations in order to strive for a truly sustainable sculpture practice. <\/p>\n\n\n\n

Her work plays with notions of durability and permanence, often repurposing past projects into new work. It is easy to envisage her large-scale sculptures in a corporate or institutional space. These contemporary pieces would attune well with any organisation\u00a0wanting\u00a0to make a statement about their commitment to sustainability and corporate social responsibility.<\/p>\n\n\n

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Prints (X3) by Charlotte Walker, \u00a3175<\/a><\/figcaption><\/figure><\/div>\n\n\n

Emerging artist<\/a><\/strong> <\/strong><\/a>Hannah Shaw-Giles<\/a><\/strong><\/p>\n\n\n\n

Investigating the boundaries between activism and art, Hannah Shaw-Giles’ reuses material and scavenged canvases to eradicate ‘virgin materials’ from her practice. Hannah uses old decorating paint to manipulate shreds of unrecycleable detritus, creating layers of texture. Inspired by the Arte Povera movement that bloomed in 1970s Italy, Hannah’s practice in a similar way challenges accepted notions of what fine art is made out of, and what it can achieve.<\/p>\n\n\n

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Margin by Hannah Shaw-Giles, \u00a3250<\/a><\/figcaption><\/figure><\/div>\n\n
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‘Paint Lid #2’ by Hannah Shaw-Giles, \u00a3175<\/a><\/figcaption><\/figure><\/div>\n\n\n

Emerging artist<\/a><\/strong> <\/strong><\/a>Kainoa Gruspe<\/a><\/strong><\/p>\n\n\n\n

Another artist whose materials and techniques invite comparisons with the Arte Povera movement is Kainoa Gruspe. Gruspe’s work features found natural objects such as dirt and twigs. See his large, dreamcatcher-like sculpture ‘Net For The Present Moment’ – the piece features chewing gum caught between the woven strings).\u00a0<\/p>\n\n\n

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‘Net For The Present Moment’ by Kainoa Gruspe, \u00a31100<\/a><\/figcaption><\/figure><\/div>\n\n
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Emerging artist<\/a><\/strong> <\/strong><\/a>Summah Longley<\/a><\/strong><\/p>\n\n\n\n

Summah Longley’s repurposed scrap metal sculptures walk the line between poetry and artwork. ‘From Scrapyard’ is made from a single piece of reclaimed steel, with illuminated words punched into it which beguile and inspire. The rusted, aged finish of the metal is offset by the stark modernity of the lights, and this piece would shine in an outdoor space as the falling light of evening draws out the glowing words. <\/p>\n\n\n

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‘From Scrapyard’ by Summah Longley, \u00a3850<\/a><\/figcaption><\/figure><\/div>\n\n\n

Emerging artist Daniel Gent<\/a><\/h4>\n\n\n\n

Daniel’s simple, mediative sculptures are formed from pieces of discarded cardboard that have been cast in plaster. Daniel seek’s to draw attention to everyday waste that may otherwise remain unnoticed. These original works challenge conceptions of which objects and materials are ‘worthy’ of documentation and a close, considered examination. Monochromatic works such as ‘Untitled (Vertical)’ and ‘Untitled (Box)’ are replete with intricate textures that reward engagement. These works expand the mind in a meditative state to suggest wavescapes, snow and other natural formations.<\/p>\n\n\n

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Untitled (Box) by Daniel Gent, \u00a3300<\/a><\/figcaption><\/figure><\/div>\n\n\n
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Untitled (Vertical) by Daniel Gent, \u00a3250<\/a><\/figcaption><\/figure>\n\n\n\n

Emerging artist<\/a><\/strong> <\/strong><\/a>Max Sheppard<\/a><\/strong><\/p>\n\n\n\n

Sheppard using wood found washed up on local beaches or scavenged from marshland. His bold, angular works are guided by an abstract, instinctive deference to the colours, shapes and textures of the materials that form them. Repurposing old materials as components of a larger beauty.\u00a0<\/p>\n\n\n\n

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‘Untitled’ by Max Sheppard, \u00a3300<\/a><\/figcaption><\/figure>\n","protected":false},"excerpt":{"rendered":"

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