Nuala O’Donovan makes ceramic pieces that are patterned after nature. These are part of her Teasel Series which is based on the teasel flower. O’Donovan on her work: I have used the characteristics of irregular/fractal patterns in nature as a system of constraints or guidelines when making decisions about the forms: The patterns are regularly irregular. The patterns and form are self-similar. The pattern records a response to random events during the making process. The result of using the characteristics of fractal geometry in making decisions regarding the form of the sculptural pieces, is that the form is resolved but retains a sense of potential change. The viewer engages with the piece by allowing their own visual experiences to influence their view of the outcome of the form and its future possibilities. I hope that this aspect of my work also evokes the transitory quality of living organisms, combining traces of history, the present and the future, in the patterns that make up their surfaces and forms. My decision to research patterns and forms from nature stemmed from my interest in the narrative quality of irregularities in patterns. The history behind a scarred or broken surface is what fascinates me. The evidence of a response to random events visible in patterns in nature, is testament to the ability of living organisms to recover, to respond, and to continue growing and changing. It is the imperfections in the patterns caused by a unique experience that are evidence of the life force in living organisms. via:staceythinx
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Nuala O’Donovan makes ceramic pieces that are patterned after nature. These are part of her Teasel Series which is based on the teasel flower. O’Donovan on her work: I have used the characteristics of irregular/fractal patterns in nature as a system of constraints or guidelines when making decisions about the forms: The patterns are regularly irregular. The patterns and form are self-similar. The pattern records a response to random events during the making process. The result of using the characteristics of fractal geometry in making decisions regarding the form of the sculptural pieces, is that the form is resolved but retains a sense of potential change. The viewer engages with the piece by allowing their own visual experiences to influence their view of the outcome of the form and its future possibilities. I hope that this aspect of my work also evokes the transitory quality of living organisms, combining traces of history, the present and the future, in the patterns that make up their surfaces and forms. My decision to research patterns and forms from nature stemmed from my interest in the narrative quality of irregularities in patterns. The history behind a scarred or broken surface is what fascinates me. The evidence of a response to random events visible in patterns in nature, is testament to the ability of living organisms to recover, to respond, and to continue growing and changing. It is the imperfections in the patterns caused by a unique experience that are evidence of the life force in living organisms. via:staceythinx
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Nuala O’Donovan makes ceramic pieces that are patterned after nature. These are part of her Teasel Series which is based on the teasel flower. O’Donovan on her work: I have used the characteristics of irregular/fractal patterns in nature as a system of constraints or guidelines when making decisions about the forms: The patterns are regularly irregular. The patterns and form are self-similar. The pattern records a response to random events during the making process. The result of using the characteristics of fractal geometry in making decisions regarding the form of the sculptural pieces, is that the form is resolved but retains a sense of potential change. The viewer engages with the piece by allowing their own visual experiences to influence their view of the outcome of the form and its future possibilities. I hope that this aspect of my work also evokes the transitory quality of living organisms, combining traces of history, the present and the future, in the patterns that make up their surfaces and forms. My decision to research patterns and forms from nature stemmed from my interest in the narrative quality of irregularities in patterns. The history behind a scarred or broken surface is what fascinates me. The evidence of a response to random events visible in patterns in nature, is testament to the ability of living organisms to recover, to respond, and to continue growing and changing. It is the imperfections in the patterns caused by a unique experience that are evidence of the life force in living organisms. via:staceythinx
Zoom Info
Nuala O’Donovan makes ceramic pieces that are patterned after nature. These are part of her Teasel Series which is based on the teasel flower. O’Donovan on her work: I have used the characteristics of irregular/fractal patterns in nature as a system of constraints or guidelines when making decisions about the forms: The patterns are regularly irregular. The patterns and form are self-similar. The pattern records a response to random events during the making process. The result of using the characteristics of fractal geometry in making decisions regarding the form of the sculptural pieces, is that the form is resolved but retains a sense of potential change. The viewer engages with the piece by allowing their own visual experiences to influence their view of the outcome of the form and its future possibilities. I hope that this aspect of my work also evokes the transitory quality of living organisms, combining traces of history, the present and the future, in the patterns that make up their surfaces and forms. My decision to research patterns and forms from nature stemmed from my interest in the narrative quality of irregularities in patterns. The history behind a scarred or broken surface is what fascinates me. The evidence of a response to random events visible in patterns in nature, is testament to the ability of living organisms to recover, to respond, and to continue growing and changing. It is the imperfections in the patterns caused by a unique experience that are evidence of the life force in living organisms. via:staceythinx
Zoom Info
Nuala O’Donovan makes ceramic pieces that are patterned after nature. These are part of her Teasel Series which is based on the teasel flower. O’Donovan on her work: I have used the characteristics of irregular/fractal patterns in nature as a system of constraints or guidelines when making decisions about the forms: The patterns are regularly irregular. The patterns and form are self-similar. The pattern records a response to random events during the making process. The result of using the characteristics of fractal geometry in making decisions regarding the form of the sculptural pieces, is that the form is resolved but retains a sense of potential change. The viewer engages with the piece by allowing their own visual experiences to influence their view of the outcome of the form and its future possibilities. I hope that this aspect of my work also evokes the transitory quality of living organisms, combining traces of history, the present and the future, in the patterns that make up their surfaces and forms. My decision to research patterns and forms from nature stemmed from my interest in the narrative quality of irregularities in patterns. The history behind a scarred or broken surface is what fascinates me. The evidence of a response to random events visible in patterns in nature, is testament to the ability of living organisms to recover, to respond, and to continue growing and changing. It is the imperfections in the patterns caused by a unique experience that are evidence of the life force in living organisms. via:staceythinx
Zoom Info


Nuala O’Donovan makes ceramic pieces that are patterned after nature. These are part of her Teasel Series which is based on the teasel flower.

O’Donovan on her work:

I have used the characteristics of irregular/fractal patterns in nature as a system of constraints or guidelines when making decisions about the forms: The patterns are regularly irregular. The patterns and form are self-similar. The pattern records a response to random events during the making process. The result of using the characteristics of fractal geometry in making decisions regarding the form of the sculptural pieces, is that the form is resolved but retains a sense of potential change. The viewer engages with the piece by allowing their own visual experiences to influence their view of the outcome of the form and its future possibilities. I hope that this aspect of my work also evokes the transitory quality of living organisms, combining traces of history, the present and the future, in the patterns that make up their surfaces and forms.

My decision to research patterns and forms from nature stemmed from my interest in the narrative quality of irregularities in patterns. The history behind a scarred or broken surface is what fascinates me. The evidence of a response to random events visible in patterns in nature, is testament to the ability of living organisms to recover, to respond, and to continue growing and changing. It is the imperfections in the patterns caused by a unique experience that are evidence of the life force in living organisms.

via:staceythinx

HIROYUKI HAMADA#59, 2005-2008plaster, tar, wax, oil and enamel Last one for now—These feel like artifacts from the future, there is something new and forward looking yet these stunning forms feel as if they’ve been aged, or marked by time. The thing that keeps me entranced with these forms is the material transformation. I love the surface he is able to create with such a finite set of materials. 
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HIROYUKI HAMADA#59, 2005-2008plaster, tar, wax, oil and enamel Last one for now—These feel like artifacts from the future, there is something new and forward looking yet these stunning forms feel as if they’ve been aged, or marked by time. The thing that keeps me entranced with these forms is the material transformation. I love the surface he is able to create with such a finite set of materials. 
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HIROYUKI HAMADA#59, 2005-2008plaster, tar, wax, oil and enamel Last one for now—These feel like artifacts from the future, there is something new and forward looking yet these stunning forms feel as if they’ve been aged, or marked by time. The thing that keeps me entranced with these forms is the material transformation. I love the surface he is able to create with such a finite set of materials. 
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HIROYUKI HAMADA#59, 2005-2008plaster, tar, wax, oil and enamel Last one for now—These feel like artifacts from the future, there is something new and forward looking yet these stunning forms feel as if they’ve been aged, or marked by time. The thing that keeps me entranced with these forms is the material transformation. I love the surface he is able to create with such a finite set of materials. 
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HIROYUKI HAMADA
#59, 2005-2008

plaster, tar, wax, oil and enamel 

Last one for now—
These feel like artifacts from the future, there is something new and forward looking yet these stunning forms feel as if they’ve been aged, or marked by time. The thing that keeps me entranced with these forms is the material transformation. I love the surface he is able to create with such a finite set of materials. 

HIROYUKI HAMADAUntitled #482003-2005, 33” burlap, plaster, enamel, oil, resins, wax and tar Images via the artists website after seeing Hamada’s work on my dash yesterday I decided to revisit his site, which now has some new,  large, Hi-res images with tons of close ups— more on the way 
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HIROYUKI HAMADAUntitled #482003-2005, 33” burlap, plaster, enamel, oil, resins, wax and tar Images via the artists website after seeing Hamada’s work on my dash yesterday I decided to revisit his site, which now has some new,  large, Hi-res images with tons of close ups— more on the way 
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HIROYUKI HAMADA
Untitled #48
2003-2005, 33”

burlap, plaster, enamel, oil, resins, wax and tar 

Images via the artists website 
after seeing Hamada’s work on my dash yesterday I decided to revisit his site, which now has some new,  large, Hi-res images with tons of close ups—

more on the way