Peter Lanyon, British, 1918 - 1964

White Track

Hardwood, plywood, steel, string

1939

 I've broken’ with the rectangle and there's no restricting frame. I wanted to find out how to reproduce the weight of things. The object was to reduce the heaviness of the wood in the centre by the use of dynamic elements. A white dish shape is held by a sling on the diagonal, and a red cylindrical form travels round a white track. These two elements make the whole construction light and dynamic instead of heavy and static. You could say that just as the “Box Construction” is about space, this one is about movement in painting. They probably show two basic types of my own pictures. Some start with a quiet frontal plane, and others are altogether more agitated and moving. I have gone on making constructions, but of a rather different kind. But these early exercises taught me something, and enabled me to go back to the landscape.

Source link:

https://www.tate.org.uk/art/artworks/lanyon-white-track-t03324

Margaret Mellis, British, 1914 - 2009

Mellis was encouraged to experiment with collages and constructions by her friend, the artist Ben Nicholson, whose family lived with Mellis and her husband in St Ives at the start of the Second World War. These new works forced Mellis to 'think in a different way, not in colour which was natural for me.' This relief is somewhere between a painting and a sculpture, as it is put together, or 'constructed', using wood of different colours and textures. Mellis has used both geometric and natural shapes: for example, the egg shape in the centre, which is divided by a triangle.

Mellis was born in China to Scottish parents and moved to Britain when she was one year old. She studied at Edinburgh College of Art under S. J. Peploe, winning a scholarship to study in Paris in 1933. In 1939 Mellis moved to St Ives with her husband, the writer Adrian Stokes. There, she became part of the St Ives group of artists and produced constructions of plywood, driftwood and found objects in addition to painting. In the 1960s and 1970s she experimented with constructions and reliefs in colour. Since 1978 she has made reliefs using driftwood.

Source link:

https://www.nationalgalleries.org/art-and-artists/artists/margaret-mellis

Artist Website:
http://www.margaretmellis.com/

Rita Sobral, Artist

Damion Silver

Artist Website link here. 

John Wells, Artist

John Wells
Whitehole
1941

Amir Tomashov, Artist

Artist Website Link Below

https://www.amirtomashov.com/

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Howard Hersch, Artist

howardhersch.com

Adriane Colburn, Artist, based in San Francisco and New York

adrianecolburn.com

Artist Statement

Over the past several years I have developed a series of installations based on the complex relationship between human infrastructure, earth systems, technology and the natural world. In these projects, large cut paper wall-works are in conversation with manipulated objects, photographs, drawings, video and projected light. 

My installations are extracted from the data, images and video I have collected while participating in scientific expeditions to remote, wild places such as the arctic and amazon. The work reflects on these far-flung environments and the overall state of nature in an age where few stones remain unturned by man. I am particularly interested in romanticized notions of wilderness, the alteration of nature by industry and climate change and the relationships between scientific exploration and exploitation. In participating in these expeditions and generating work from the aftermath, I am reckoning with how our thirst to understand and visualize a landscape can irrevocably disrupt it. 

The large wall-works are made from photographs and drawings that have been transformed through a system of physical removal that results in abstracted images that are informed by voids as much as by positive marks. These fragile and often sprawling constructions are frequently paired with more direct or physically weighty fare in the form of found objects and imagery that points more frankly to the subject matter. At the core of all my work is a fascination with the way that our attempts to make sense of the world around us through maps, data and pictures result in abstractions that are simultaneously informative, formless and utterly ambiguous. 

Eduardo Chillida, Spain, 1924 - 2002

Untitled

Ink and paper collage on paper

17 1/8 x 12 3/8 inches

Executed in 1984

Christies.com

Image source gabrielcelaya.com

Val Britton, Artist

Image source artbusiness.com

Image source artbusiness.com

Ocean Drift #3, 2008

Ink, gouache, collage and cut-out on paper

30" x 44"

Image source valbritton.com

Maciek Jozefowicz, Artist

Sculpture made from Basswood Sticks.

In our class we are using Balsa (not Basswood).  Balsa is softer than Bass.  

You can cut Balsa with a utility knife. Bass cannot be cut with a utility knife. 

I found this artist on Behance.