Kathleen Ryan's sculptures are a stark reminder that beauty can be found in the most unexpected places. Her latest exhibition, "Souvenir," at Karma Los Angeles, presents nine stunning works that defy conventions and push the boundaries of what we consider art.
The show begins with two towering slices of oversized bread, "Starstruck" and "Sunset Strip." These toasts have been transformed into monumental sculptures, their surfaces etched with a mesmerizing mosaic of polished stones, beads, and dark glassy agates. The golden crumb that forms the center of each toast glows like a beacon, radiating an otherworldly light.
Ryan's fascination with everyday ephemera is on full display in "Bad Fruits," a series of gem-encrusted fruits frozen in various phases of decay. This collection showcases her mastery of mixing the ordinary with the extraordinary, creating something both beautiful and unsettling. Each fruit, from citrus to raspberries, has been transformed into a masterpiece of twisted textures and colors.
One sculpture that stands out is "Dreamhouse," a colossal raspberry-shaped form composed of tightly packed red beads and semiprecious stones. The rotting flesh of the peach at its center seems to pulse with life, while the crystalline structure that erupts from it evokes the eerie glow of an opalescent cave.
Ryan's work is often compared to Dutch vanitas, Baroque-period still lifes that symbolized the transience of human existence. However, her sculptures add a commentary on consumerism and waste, highlighting the afterlife of discarded objects in our culture. Her materiality is deliberate and tactile, inviting us to touch and explore.
In "Heavy Heart," "Show Pony," and "Sweet Nothings," Ryan takes us on a journey through the realm of sentimental mementos and trite titles. These sculptures feature sleek bodies and perfected curves that serve as vessels for emotional transference. They are at once familiar and unsettling, inviting us to confront our own vulnerabilities.
Lastly, there's "Wild Heart," which embeds a Harley-Davidson engine in the heart-shaped body of a peach. This paradoxical union of organic and synthetic materials creates a sense of tension that is both captivating and disquieting. It's as if Ryan has distilled the essence of America's iconography into this singular, bewildering object.
Throughout her work, Kathleen Ryan probes the liminal spaces between beauty and ugliness, decay and rebirth. Her sculptures are not just visually striking but also intellectually provocative, challenging us to reevaluate our relationship with consumption, waste, and the world around us. As we gaze upon these wondrous creations, we are reminded that even in the most mundane objects, there lies a secret universe waiting to be unearthed.
The show begins with two towering slices of oversized bread, "Starstruck" and "Sunset Strip." These toasts have been transformed into monumental sculptures, their surfaces etched with a mesmerizing mosaic of polished stones, beads, and dark glassy agates. The golden crumb that forms the center of each toast glows like a beacon, radiating an otherworldly light.
Ryan's fascination with everyday ephemera is on full display in "Bad Fruits," a series of gem-encrusted fruits frozen in various phases of decay. This collection showcases her mastery of mixing the ordinary with the extraordinary, creating something both beautiful and unsettling. Each fruit, from citrus to raspberries, has been transformed into a masterpiece of twisted textures and colors.
One sculpture that stands out is "Dreamhouse," a colossal raspberry-shaped form composed of tightly packed red beads and semiprecious stones. The rotting flesh of the peach at its center seems to pulse with life, while the crystalline structure that erupts from it evokes the eerie glow of an opalescent cave.
Ryan's work is often compared to Dutch vanitas, Baroque-period still lifes that symbolized the transience of human existence. However, her sculptures add a commentary on consumerism and waste, highlighting the afterlife of discarded objects in our culture. Her materiality is deliberate and tactile, inviting us to touch and explore.
In "Heavy Heart," "Show Pony," and "Sweet Nothings," Ryan takes us on a journey through the realm of sentimental mementos and trite titles. These sculptures feature sleek bodies and perfected curves that serve as vessels for emotional transference. They are at once familiar and unsettling, inviting us to confront our own vulnerabilities.
Lastly, there's "Wild Heart," which embeds a Harley-Davidson engine in the heart-shaped body of a peach. This paradoxical union of organic and synthetic materials creates a sense of tension that is both captivating and disquieting. It's as if Ryan has distilled the essence of America's iconography into this singular, bewildering object.
Throughout her work, Kathleen Ryan probes the liminal spaces between beauty and ugliness, decay and rebirth. Her sculptures are not just visually striking but also intellectually provocative, challenging us to reevaluate our relationship with consumption, waste, and the world around us. As we gaze upon these wondrous creations, we are reminded that even in the most mundane objects, there lies a secret universe waiting to be unearthed.
her use of everyday objects like bread and fruit to create these massive sculptures is so genius i mean who wouldn't want to see a giant toast with mosaic stones and beads on it? 
but seriously, her work is so thought-provoking it makes you think about consumerism and waste in a whole new way. i loved how she used contrasting materials like red beads and dark glassy agates to create this sense of tension and unease. and can we talk about "Dreamhouse" that raspberry-shaped form with the pulsing peach center?! 
. It’s not just about creating something pretty, it’s about commenting on our culture and consumerism too 
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. And that Harley-Davidson engine in "Wild Heart" is like, totally mind-blowing 
. It’s like she took something iconic and American, and turned it into something completely unexpected.
. She makes you think about what we consider beautiful or ugly, and whether that’s even relevant anymore 
. I mean, we live in a time where waste and consumption are such big issues, so it’s refreshing to see art that tackles those topics head-on 
.
. If you haven’t seen it yet, do yourself a favor and check it out!
I mean, have you seen her stuff? It's like she takes something so normal and just... blows it up into this whole other world! 
. Her sculptures are like nothing I've ever seen before - they're so unexpected yet totally captivating. I mean, who wouldn't want to see a massive slice of bread with golden crumbs radiating this otherworldly light? 
It's like she's taken these everyday objects and turned them into something truly magical.
. She's pushing the boundaries of what we consider "art" and making us see the world in a whole new way. So if you haven't checked it out yet, definitely add it to your list ASAP 
. And the way she combines different textures and materials is just genius – it's like her sculptures are this tactile experience that invites you to touch and explore.
. Maybe it's because they're reminding me of all the weird stuff I've accumulated over the years – you know, those sentimental mementos and trite titles that we tend to collect and hoard. Ryan's art is like a mirror held up to our consumerist culture, and sometimes that mirror reflects back some pretty uncomfortable truths 
.
Art is all about breakin' rules & pushin' boundaries 
! Those giant slices of toast 
And them gem-encrusted fruits 
... what a vibe! 
Ryan's all about mixin' the ordinary with the extraordinaire 
. I love how she takes everyday stuff & turns it into somethin' magical 
. It's like, she's talkin' to us, man... about consumerism, waste, & gettin' real with our emotions 
. The more I see of her work, the more I'm like, "Yaaas, queen! 
You're speakin' straight to my soul!"