Andrea Hasler
Andrea Hasler (born 1975) is from Zürich, Switzerland, and creates sculptures that look like they were made with meat.
Education and personal life
[edit]Hasler received her MFA from Chelsea College of Art and Design in London, UK in 2002 and currently lives and works in London, UK.[1][2]
Work
[edit]Hasler's works typically use wax, or wax-covered resin,[3] to create a wide range of objects[4] that appear to be made from meat, simulating objects such as purses and tents.[5][6][7][8] Hasler's wax and mixed media sculptures are characterized by a tension between attraction and repulsion, and highly influenced by artists John Isaacs, Berlinde De Bruyckere and Louise Bourgeois.[9] Her 2013 solo exhibition Burdens of Excess re-fashioned high-end designer accessories into bulging globs of pink wax studded with brand-name zipper pulls, insignias, straps and handles.[10]
Exhibits and awards
[edit]In 2014, Hasler won the Greenham Common Commission[3] and created a new work, The Matriarch, that took Greenham Common’s history as a starting point, focusing on the Women’s Peace Camp.[11] This work was filmed by BBC for The Culture Show.[12] Hasler also participated in the 3-D Foundation Artist Residency in the mountain town of Verbier, Switzerland creating two site-specific sculptures for the exhibition Mutations: Contemporary Sculpture in Context, curated by Paul Goodwin.[4]
Hasler's solo exhibitions include New Greenham Arts, Newbury, UK; GUSFORD, Los Angeles, CA;[10][13] Next Level Projects, London, UK;[14] and Artrepco Gallery, Zürich, Switzerland.[2] Her work was also featured in the 2014 book The Language of Mixed-Media Sculpture by Jac Scott.[15][16]
References
[edit]- ^ Chin, Andrea (6 June 2013). "Andrea Hasler: Burdens of Excess". Designboom. Archived from the original on 29 November 2023. Retrieved 22 May 2024.
- ^ a b "Artists - Andrea Hasler - Biography". GUSFORD. Archived from the original on 18 May 2015. Retrieved 12 May 2015.
- ^ a b Liu, Sophia. "Interviews: Andrea Hasler, in conversation". Surging Tide. Archived from the original on 27 February 2024. Retrieved 22 May 2024.
- ^ a b Azzarello, Nina (14 September 2014). "Andrea Hasler Installs Flesh Sculptures on the Swiss Mountains". Designboom. Archived from the original on 18 November 2023. Retrieved 26 May 2015.
- ^ "Bloody 'Human' Sculptures Push The Limits Of Grotesque Art". Huffington Post. 6 December 2017 [24 February 2014]. Archived from the original on 7 December 2022. Retrieved 26 May 2015.
- ^ Azzarello, Nina (17 February 2014). "Fleshy Intestine Tents by Andrea Hasler Recognize Nuclear Consequences". Designboom. Archived from the original on 21 February 2024. Retrieved 26 May 2015.
- ^ Lynch, Gerald (18 February 2014). "How Much Do You Wish This "Meat Tent" Was Actually Made of Meat?". Gizmodo. Archived from the original on 15 August 2020. Retrieved 26 May 2015.
- ^ "Where to buy: Andrea Hasler". The Week. 8 January 2015. Archived from the original on 19 May 2022. Retrieved 26 May 2015.
- ^ "Show and Tell: Andrea Hasler". Hunger TV. 1 May 2013. Archived from the original on 7 June 2013.
- ^ a b Ollman, Leah (5 July 2013). "Review: Designer handbags in the globby flesh at Gusford". Los Angeles Times. Archived from the original on 9 September 2014. Retrieved 26 May 2015.
- ^ "Embrace the Base". Corn Exchange, Newbury. 2014. Archived from the original on 18 May 2015. Retrieved 12 May 2015.
- ^ "Footage of BBC filming Andrea Hasler's tent 'The Matriarch' in situ Greenham Common". Andrea Hasler. 27 August 2014. Archived from the original on 23 May 2024. Retrieved 22 May 2024 – via Vimeo.
- ^ "Andrea Hasler: Burdens of Excess". Artweek.LA. Jun 5, 2013. Retrieved 26 May 2015.[dead link ]
- ^ "Andrea Hasler - Irreducible Complexity". Next Level Projects. Archived from the original on 27 November 2021. Retrieved 22 May 2024.
- ^ "Andrea Hasler Featured in the Language of Mixed-Media Sculpture". GUSFORD. 31 May 2014. Archived from the original on 18 May 2015.
- ^ Scott, Jac (2014). The Language of Mixed-Media Sculpture. Ramsbury: The Crowood Press. pp. 12–13, 50–55, 307–314. ISBN 9781847977212. OCLC 870426600.