Story via this is Colossal Husband and wife team Paul DeSomma and Marsha Blaker translate their oceanic inspirations directly into their collaborative glass sculptures, frozen glass waves caught mid-crash and appearing to spray surf from the contained vessels. The works exist as seamless gradients, dark blues circling the base while white froth circles the top of the pieces crafted from molten glass. Although the couple works collaboratively on the vases, they also adhere to individual practices. Blaker focused on the textures and colors found within detailed marine environments while DeSomma’s work emphasizes the clarity and form of colorless and transparent glass. The couple met at the esteemed Pilchuck Glass School in 1989, marrying shortly after and opening their studio in Live Oak, California in 2001. Together the couple is known internationally for their glass and ceramic work. (viaCreative Boom and Amusing Planet)

Via This is Colossal With little more than thin wooden dowels and a bit of glue, artist Janusz Grünspek creates scale replicas of everyday objects that from a distance appear like line drawings. Dining room tables, power tools, an Apple laptop, and even a candle chandelier are formed from delicately cut and bent wooden pieces that mimic the form of digitally-rendered wireframes. Grünspek calls the 2011 series Drawings in Space, and you can see a bit more on his website (warning: Flash). (via Junk Culture, Visual News)

Story via this is Colossal Artist Ellen Jewett refers to her sculptural work as “natural history surrealist sculpture,” a blend of plants, animals, and occasionally human-made structures or objects. Her artwork is deeply informed by an extensive background in anthropology, medical illustration, exotic animal care, and even stop-motion animation, all of which accentuate the biological structure of each piece, while freeing her imagination to pursue more abstract ideas. Over time, Jewett has become more focused on minimizing materials and relying a negative space. “I find my sculptures are evolving to be of greater emotional presence by using less physical substance,” she shares. In addition, she eschews any potentially toxic mediums like paints, glazes, and finishes, opting to use more natural, locally-sourced materials. “This, unavoidably, excludes most of what is commonly commercially available, and has sent me on a journey of unique material combination and invention.” By employing these more uncommon materials, and leaving traces of fingerprints and other slight imperfections Jewett hopes her work leaves a more authentic impression. You explore more of Ellen’s work …