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tony fredricksson’s driftwood sculptures

South Africa’s Tony Fredricksson creates driftwood sculptures unlike any I have seen before.       fredricksson_ballerina

The Ballerina

In an interview with Alison Nicholls (Art Inspired by Africa) Fredricksson tells of his earliest memories making art –  creating his own little world of plasticine figures. fredricksson_elephant_head

 Elephant Head


Yellow Billed Hornbill

As an adult he enjoyed successful endeavors in commercial art, printing and eventually resin castings of animal sculptures (almost 7,000 hand-painted, limited edition sculptures) before he began making driftwood sculptures seven years ago.


I kinda love the whimsical photos of the artist with his work. . .I know you can see the pig, but did you realize that the sax is one of his sculptures too?


“What I have found to be a rewarding part of this kind of sculpture is the exploration and discovery of the weathered pieces of wood.”


Because who wouldn’t want to hug a rhino?

Tony Fredricksson’s website

Read more about his journey in the full interview here.

The June issue of MAM (Monthly Art Muse) landed in subscriber’s inboxes yesterday. Guess what? It’s The Ocean Issue. Yup. More ocean inspired art to tickle your muse. Subscribe to my premium newsletter and see for yourself with an instant download!

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sylvie peraud’s new polymer clay jewelry

Scrolling through my newsfeed on Facebook the other day I was delighted to see a post from Sylvie Peraud showing her new work.




Inspired by seed pods, the polymer artist created a collection of necklaces that make bold statement pieces.


They appeal to my love of all things organic. One small part of some of her pods remind me of a Grant Diffendaffer technique I’ve been experimenting with since 2007.


Yes, I am still (and seemingly always) in the experimental stage so I tend to get excited when I see an artist move well past that stage and burst onto the scene with stunning work!


I also like how she incorporates the clasp into the design of each piece – clever. I look forward to seeing more as Peraud moves in this new direction.


Sylvie Peraud’s website

chung-im kim: industrial felt works

Textile artist Chung-Im Kim silk screens patterns onto industrial felt pieces, hand stitching the felt to create dimensional wall sculptures that seem to sway – an illusion made more convincing by the combination of surface pattern and clever stitching.




Baekya, detail

In an effort to understand the material and its capabilities, the artist surrenders herself to playing with the felt “to understand it’s character, it’s physicality, and shape-forming ability.” Born and raised in Korea, Kim has lived in Canada since 1990. She is currently associate professor in the Fibre Department at OCAD University.







“For me, patterns are hard to ignore as I encounter everyday life.  Whether the source comes from nature, historical context or plainly created by me, working with patterns always gives me the thrill of entering a new world.  A pattern can grow into a complex image jungle or a well disciplined ornamental beauty”. ~Chung-Im Kim


Chung-Im Kim’s website



sally lundburg’s digitally manipulated landscapes

As part of her studio practice Sally Lundburg gleans information from survival manuals, science and forestry. Lundburg combines the information with stories she collects through imagery and text to “explore notions of identity, liminality and social dynamics.”


Space Invader



“I’m fascinated by the idea of a richly layered ecosystem where humans and nature collide, intertwine, adapt, and hybridize. While there might be a “survival of the fittest” within a given species, each species depends on the services provided by others to ensure survival.”




 Epiphytes and Invasives

The Hawaii based artist digitally manipulates landscapes with portraits she creates using archival inkjet photographs and native Hawaiian koa wood. In one collection, Epiphytes and Invasives, she punctured milled logs with pine woodworking plugs, upholstery pins or rusty fencing stakes.  

Materials used for this series include koa logs, archival inket prints, habotai silk, epoxy resin, pigment, enamel paint, fencing stakes, pine woodworking plugs, nylon rope, upholstery pins, cotton thread, dried ma’o hau hele flowers. Sizes range from 16″ to 60″ high.


Space Invader

Haunting. Thought provoking. A reason to pause and reflect.

Sally Lundburg’s website

micah evans: glass sculpture storytelling

When he created the sculpture Braeburn (pictured below), glass artist Micah Evans drew upon inspiration from an apple tree in the back yard of the house he grew up in.



It reminded me of the apple tree that stood in the backyard of my childhood home, across the country from Evans. The sculpture doesn’t look like the scraggly apple tree that offered us little green apples, but parts of the story Micah tells about the sculpture resonated with me.

Art has the power to stir emotions – sometimes narrative from the artist helps.


Braeburn, detail

“This is the apple tree in the back yard of the house I grew up in. I was raised in a small farming town in Washington state surrounded by apple orchards. Small town communities are often close knit, conservative and simple. They are also dark, mysterious and inclusive. The security and shelter felt by those that live in these towns are often fractured and ugly at their core held together by fear and belief in God. I can’t decide why exactly I left, but I am glad I did.” 




Singer, detail

No narrative was needed to stir sweet emotions when I saw Singer (pictured above). I was immediately reminded of my mother at work on her Singer sewing machine, head bent toward the small light above the needle as she made clothes for her children.



Evans, currently an Artist in Residence at Penland School of Crafts, describes his work as being divided into two categories: Things he loves to make and things he HAS to make. He explains that the material drives the work he loves to make, because “I love to work with the material, therefore whatever I am making brings with it a genuine feeling of accomplishment and satisfaction.”

And the work he MUST make? Many of you will relate easily to Evans’ explanation:

The work I can’t help but make are the ideas that won’t let me sleep, the ideas that have me drifting off in conversations to my own world of redesigning and problem solving.  It’s the repeated execution of the simple shape that seems to inhabit every page of my sketchbook at the time.  It’s exploring ideas over technique, and the struggles that come with that process. These two worlds often interact and I bounce back and forth constantly.

Micah Evans’ website

See more of Evans’ work on his Penland School of Crafts page


monthly art muse - the white issue, may 2014

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