Kris Lemsalu

HOLY HELL O, 2018Price on Request

Details

MaterialGalleryLocation

jacuzzi tub, ceramic, quilts, mannequins, textilesMargot SamelNew York City

Description

Human-crafted. AI-refined.

The artwork features a vibrant, colorful installation that dominates the gallery space. The composition is dynamic, with undulating ribbons of vivid blues, greens, and pinks cascading across the wall, creating a sense of movement and energy. The central element is a whimsical, sculptural form that appears to be a boat or vessel, adorned with a patchwork of patterns and textures. The overall style is playful and imaginative, blending elements of surrealism and pop art to create an immersive and visually striking experience. The artwork likely explores themes of freedom, exploration, and the interplay between the natural and the artificial worlds. ...

Similar Artworks

Jacqueline De JongGAZA, 2022Price on Request

Evgeny AntufievUntitled, 201712000 EUR

Özgür KarSqueezed Bone (Top Light), 20236500 EUR

Hayv KahramanMoustache mask, 2021Price on Request

Sarah LucasMON PIED (roof series), 1995Price on Request

Rachel RoseColore (1845), 2022Price on Request

Evgeny AntufievUntitled, 20237000 EUR

Özgür KarA Door Ajar, 202318000 EUR

Jacqueline De JongAvdiivka, 2023Price on Request

Rachel RoseFifteenth Born, 201945000 USD

Chioma EbinamaSnake Spiral, 2023Price on Request

Kembra PfahlerFear of a Karen Black Planet, 199415000 USD

Hayv KahramanEntanglements with torshi, 2021Price on Request

Brook HsuUntitled (Skull), 2021Price on Request

Tosh BascoMoved by the Motion: Spooky Distancing, 2017Price on Request

Artist

Kris Lemsalu

1985 , Estonian

Kris Lemsalu’s practice is filled with eccentric colours, shamans, talismans, kitsch imagery and materials such as clothing, food and animal pelts. Working in installation, sculpture and performance, the Estonian artist’s works deny categorization and invite ritualistic catharsis of life and death, beauty and pain. Mimicking the formlessness of life itself, her works and performances transcend structure into absurdist mix of textures and materials; with cheap rubber bags being attached to precious porcelain, a toothbrush burning between the artist’s lips or a chicken-eggs-chandelier hanging between her legs. Lemsalu’s exquisite use of her body as a material alongside the strangeness of her inanimate objects blends the very distinction between herself, her art and life, more broadly. Fairy tales and folklore, fantasy and reality become indistinguishable in the artist’s universe of kitsch and absurdity. With no beginning or end, Lemsalu’s practice is a metamorphosis in action. ...