An artist named Stéphanie Kilgast has set the creative vibes at their best with her art pieces. She makes use of discarded items to reflect on the potential post-apocalyptic life. Taking on that note, she lets her creativity and thoughts mingle together and come up through painted-clay structures. Reflecting on the beauty of nature, they shimmer with coral, algae, etc.
Life and its evolution on Earth have inspired many creative souls for years. They let their imagination take the upper hand and come up with beautiful depictions. They reflect on the possible beginnings of life on the planet. However, an artist named Stéphanie Kilgast has managed to stand out and take that narrative to another level. Taking a step on the less-trodden path, she entices her audience with post-apocalyptic life. Vibrant colors come together to festoon that trail.
The fears of facing an apocalypse have been bolstering with nature reeling under the pressure of ever-growing human demands. The unconstrained desires of materialistic development are adding fuel to that part to a great extent. Not just that, the frequent incidence of calamities and climate-change scenarios has the world in a scary situation. So it is not a surprise for artistic souls to come with the depiction of the apocalypse through their art pieces.
Stéphanie Kilgas has added another feat to that narrative. Based in Vannes (France) currently, the artist has illuminated her artistic sphere with her masterpieces. Bringing on the power of nature, she has come up with many fascinating bits on the platter. She manages to poise the rankling side of an apocalypse with the vibrant beauty of nature. Weaving a scintillating note, she makes use of discarded elements that form a part of human life.
Then, she comes up with painted-clay structures on them to showcase the post-apocalyptic charm of nature. One can find the out-grown corals, algae, etc., covering most of the discarded items. Taking a closer look at her art platter, one can find the discarded items to trace their roots to the consumption domain of the human world.
For instance, in “Coral Royal” (2019) (epoxy clay, acrylics on a tin can, 14 x 15 x 11 centimeters); one can see coral life growing in a crushed can. The vibrant play of colors gets on the board to add stars to that part. An empty tube of paint supports beautiful fungi on its surface in “Quinacridone Magenta” (2021) (cold porcelain, epoxy clay, acrylics, wire on empty paint tube). A cleaning agent also comes up with the same reflection in “Cyltonic” (2018) (polymer clay, acrylics, wire, thrifted can of cleaning agent, 17 x 9 x 19 centimeters).
“Losing My Song Culture” (2021) (epoxy clay, air-dry clay, cold porcelain, paper, watercolor, acrylics, on broken headphones, 28 x 18 x 17 centimeters) manages to stir its viewers with vibrant hues bringing on the paramountcy of the nature. A bird perches on the broken headphones with enticing plant life.
Shedding light on her art pieces, she shared, “In that sense my work is joyous. I remove the root of the problem, us, and let all the other species just grow over our mistakes.” Adding to that, she said, “Nature itself is full of bright colors. It’s inherently beautiful, and my work is an ode to all the living and existing species, (except) for us. Hope dies last, so I still hope my work opens up discussion, thinking, and eventually change.”
Her admirers can look forward to a thrilling time. She has got shows at Comoedia in Brest (France), Modern Eden in San Francisco, and Melbourne’s Beinart Gallery in 2022.