Yoshitomo Seto is a kind of anti-landscape artist. The Denver sculptor explores the immense power of nature by focusing on the little things: seeds and twigs, pepper and pine cones, sticks and insect wings.
He recreates these fragile and neglected fragments, fragments, in the earliest forms of art کان bronze تبدیل transforming them into single, powerful objects to be considered for their important role in the ecosystem. Demands.
As viewers can see in their current exhibition at the Denver Botanic Gardens, this work involves a bit of both botany and anthropology, transforming plants and insects into their basic fragments so that they can build their bodies and the way they Helps to thrive and survive.
But there is also a great romance. A seed, after all, represents the future of the species and a wing allows it to fly and flourish. These artworks are technical and scientific, but they also inspire hope.
The show, titled “Off Sky and Ground”, is full of meditation and optimism. It takes a lot of hard work to put it together.
The site uses lost wax casting to create its works, a 5,000-year-old method of making plaster casts of objects and heating the molten metal to 1,675 degrees before cooling and polishing them. Is required. It’s a notoriously dangerous act, and the bronze sculptors tell stories about accidents and nearby blackouts that almost end their artwork.
Seto repeated it for the show. Shoppe, “Millionaire Seeds,” consists of hundreds of cast items – acorns, pine cones of various sizes, banana peels and other seeds – brought in large quantities and attached to the wall. Each piece is fixed individually on the surface and is only a few inches away from the accompanying object.
The arrangement hanging at the level of the eyes is a wonderful repetition for it. Every little thing has its power. But it’s hard not to be surprised by the whole thing as a whole. Like the forces of nature, it wants to show that “Million Air Seeds” is inevitable, never ending.
This instability helps the site’s work to rise above the ordinary wildlife art that is so popular in the West. Instead of casting a magnificent elk, mountain lion, or bear as a way to perfect his power, his work focuses on the uncertainty of the natural world, which seeks to root and grow things.
And it acknowledges failure. How many of these seeds will not germinate? How much energy is wasted? How much of this hope will be swept away by birds or consumed in the next forest fire?
It is a very humane way of considering nature, as a combination of relationships, events, destiny, culture and community, and it is compelling in this regard, especially in the context of the Denver Botanic Gardens, the urban oasis that people Discovers the interaction of. And plants by design.
“Off Sky and Ground” offers other perspectives on the relationship between humans and nature, some of which are quite interesting.
The piece “Fairy Wings” consists of a collection of skeletal wings, probably 8 feet from tip to tip, attached to the back wall of the gallery. If they are what the title suggests, then the real (and obviously big) fairy who donated them is nowhere to be found.
But focusing on the wings, the piece asks you to think about the essence of the “fairy” creature that folklore has seen and what it really is: half human, half worm, and maybe not as charming as fairy tales. Suggestion.
What’s even more interesting is that “Million Yards” is a three-dimensional work on the floor that resembles the wings of some insects that have grown from a natural size to almost a mon monster.
The piece, even less so in its skeletal elements, is not as scary as it is strange, partly mechanical, partly organic. Is it a mistake of nature or is the science experiment wrong? On the one hand, it serves as a reminder that natural objects are resonating in our heads long before the remote-controlled drones we often see in parks and beaches. On the other hand, this is not something you want to experience on a family picnic.
Seto draws all these ideas well into some other pieces in which man and nature shed light. The “gateway”, for example, takes the form of three branches – perhaps aspen or birch – that are joined in a circle, about 8 by 8 feet in circumference, and on a threshold in the middle of the gallery.
Although the raw material shown is purely natural, it is clear that the item was made by human hands. The branches do not grow in circular shapes. Someone saw him develop his potential and capture the moment.
But there is a real element of cooperation between the natural and human forces in the game. The branches bend without breaking at will, and the person who shapes them respects their beautiful flexibility without splitting them in two.
Takeaway: Anything is possible when man and nature cooperate with generosity and imagination.
There is no greater burden than “sky and ground” objects. This is a well-edited and cleverly crafted exhibition by the staff at the Botanic Garden Gallery, which once again shows why it is important to keep art as part of the overall operation.
Nature looks, smells and feels and is easily praised for its superficial attributes. This lovely garden is a powerful escape.
But nature has much more to offer us, and the interpretations of artists add to our time there, and help plants and flowers – and human visitors – reach their full potential.