Kathleen Ryan's sculptures are an enigmatic exploration of beauty, decay, and the human condition. Like a bittersweet toast left to burn, they ignite both repulsion and fascination in those who behold them. At first glance, these works may seem like discarded trash turned into art, but upon closer inspection, they reveal themselves as masterpieces that transcend their humble origins.
Ryan's practice is rooted in the idea of the everyday as a source of inspiration and meaning. She mines the mundane, turning hot rods, motorcycles, citrus fruits, and disposable kitsch into complex sculptures that exude both elegance and ugliness. Her art is not about creating something beautiful; it's about embracing the imperfections and contradictions that make life worth living.
One of Ryan's most striking series is "Bad Fruits," where gemstone-encrusted fruits are frozen in various stages of decay, inviting the viewer to contemplate the fleeting nature of existence. These works are often compared to Dutch vanitas paintings, which symbolize the transience of human desires and the inevitability of decline. Yet, Ryan's focus on the discarded and the rotten adds a layer of commentary on consumerism and waste.
Her sculptures are not just aesthetic objects; they serve as memento mori, reminding us that death and decay are an integral part of life. They embody the contradictions of modern existence – beauty and ugliness, pleasure and pain, luxury and decay. In doing so, Ryan's art transcends traditional notions of beauty, inviting us to reconsider what it means to be human.
One such work is "Starstruck," a monumental sculpture composed of polished stones, beads, and agates that seems both beautiful and repulsive at the same time. The golden crumb-like field that opens at its center evokes decay, luxury, and geological depth, blurring the lines between the natural world and our human-made creations.
In another piece, "Wild Heart," a cast-concrete peach slice is combined with an old Harley-Davidson engine to create a work that's both familiar and strange. The tension between the tender skin of the peach and the rough, industrial texture of the engine holds together, suspending its subjects in a state of waste and wanting.
Throughout her exhibitions, Ryan consistently pushes the boundaries of what we consider acceptable or beautiful. Her art is an unwavering rejection of the ornate and the sublime, embracing instead the mundane, the discarded, and the forgotten. And it's this willingness to confront the darker aspects of human existence that makes her sculptures all the more powerful – a testament to the complexity, messiness, and beauty of life itself.
Ryan's practice is rooted in the idea of the everyday as a source of inspiration and meaning. She mines the mundane, turning hot rods, motorcycles, citrus fruits, and disposable kitsch into complex sculptures that exude both elegance and ugliness. Her art is not about creating something beautiful; it's about embracing the imperfections and contradictions that make life worth living.
One of Ryan's most striking series is "Bad Fruits," where gemstone-encrusted fruits are frozen in various stages of decay, inviting the viewer to contemplate the fleeting nature of existence. These works are often compared to Dutch vanitas paintings, which symbolize the transience of human desires and the inevitability of decline. Yet, Ryan's focus on the discarded and the rotten adds a layer of commentary on consumerism and waste.
Her sculptures are not just aesthetic objects; they serve as memento mori, reminding us that death and decay are an integral part of life. They embody the contradictions of modern existence – beauty and ugliness, pleasure and pain, luxury and decay. In doing so, Ryan's art transcends traditional notions of beauty, inviting us to reconsider what it means to be human.
One such work is "Starstruck," a monumental sculpture composed of polished stones, beads, and agates that seems both beautiful and repulsive at the same time. The golden crumb-like field that opens at its center evokes decay, luxury, and geological depth, blurring the lines between the natural world and our human-made creations.
In another piece, "Wild Heart," a cast-concrete peach slice is combined with an old Harley-Davidson engine to create a work that's both familiar and strange. The tension between the tender skin of the peach and the rough, industrial texture of the engine holds together, suspending its subjects in a state of waste and wanting.
Throughout her exhibitions, Ryan consistently pushes the boundaries of what we consider acceptable or beautiful. Her art is an unwavering rejection of the ornate and the sublime, embracing instead the mundane, the discarded, and the forgotten. And it's this willingness to confront the darker aspects of human existence that makes her sculptures all the more powerful – a testament to the complexity, messiness, and beauty of life itself.
Did you know Kathleen Ryan's sculptures have been on display for like 6 years now? 
They've gotten over 2 million views on YouTube, with some videos having up to 1M likes! 
Her "Bad Fruits" series alone has been viewed over 350k times! 
The most popular one, 'Starstruck', got 120k likes and 30k comments in like 2 hours after its release! 
Fast forward to today, Ryan's sculptures have sold out at auction for like $1 million+ 
and her art has been featured in top museums worldwide 
. She's collaborated with some big brands too - did you know she partnered with a car company once? 
The most popular art medium used by Ryan is resin, accounting for 70% of all her works! 
What I love about Kathleen Ryan's art is that it forces us to confront our own mortality, kinda like the rate at which she sells out her pieces... 90% of people who buy her work are between 25-40 years old! 
. People didn't just throw trash into a mold and call it art 
. Kathleen Ryan's sculptures might seem like that at first glance, but trust me, they're like nothin' I've ever seen before 
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. And the way she freezes 'em in decay is just...wow 
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. That golden crumb-like field at the center is just...whoa 
. She's not worried about makin' people feel good or somethin' 
. She's just gonna sit there and stare at the ugliness in life, and make us look too 
. She takes the discarded, the broken, and the forgotten, and turns them into something beautiful... or not, depending on how you look at it 
. It's like she's trying to tell us that beauty is in the decay, and that's a message I can get behind 
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. And I think what I admire most about her work is that it's not just about aesthetics; it's about the human condition 
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i love how she's not afraid to get messy and push boundaries with her art. it's like, the more uglier it gets, the more beautiful it becomes 
what a scam! 
. i think that's what makes her sculptures so powerful - they're not just pretty to look at, they make u think
. And the way she incorporates consumerism and waste into her art is so spot on 
. It's like, we're living in a world where stuff just gets tossed away without a second thought... but Ryan's work is all, "Hey, let's not forget about it." Plus, I love how she blends beauty and ugliness – it's like life itself, you know? 
️ It's like she's saying, "Hey, life is messy, let's celebrate it!" 
And honestly, some of her pieces are just plain weird and wonderful - I love how she takes these hot rods and motorcycles and turns them into... well, into whatever it is she does with them. 
Did you know that the average person spends around 33% of their daily life on social media? 
, while 71% of Gen Zers believe that art is essential for creating a sense of community. 
On average, people spend around 4-6 hours a week engaging with art online, with that number expected to rise as more platforms incorporate AI-generated content. 
. She's reminding us that life is messy, and we need to accept that. 
The way she incorporates decay and rot into her work, like in "Bad Fruits," is really thought-provoking – it's like, our desires are fleeting, but our flaws and weaknesses are what make us human 
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