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The Ring was recently installed in Place Vendôme in Paris–it was formed as a way to interact and distort the area around it, and as a result causes passerby to restructure their thinking about their surroundings.

I only wish that I had known about this when I was in Paris a month ago–from the pictures, it seems like something out of a dream sequence.

What I like about this statue is that the structural beauty of its surrounding architecture is what makes the statue come alive; it draws upon and interacts with history, reflecting the high art of Haussmanian buildings (literally) in a new era. The sculpture reminds me of the hall of mirrors at Versailles in both the way that it elongates the space around it as well as the sheer luxury that the flawless mirror seems to embody. The Ring is a manifested “illusion” of grandeur, its material pulling in the blue from the sky as if laying claim to everything that it reflects.

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Henrique Oliveira is a Brazil-based sculptor, a young and rising artist who has hit recent success.

He takes driftwood from the streets and creates these massive, living pieces of art within large spaces. He paints as well, creating linear designs on canvas in what seems to be an imitation of wood’s curving growth rings.

via Olveira’s site

In the above picture, it seems as if the wood has entered the home and burst out from the foyer, creating a growth that invades and lives through its location. The wood invades the sidewalk at the house’s front, yet it is completely still: it guards itself in wait.

The wood is its own being, reborn after being hacked away, reincorporated into a new entity. The wood itself defies defeat, and a tempest is created.

It’s been more than a month since I’ve seen my significant other, and we’re both starting to get a little dejected by the distance–while I spend my days in Louisiana, he’s working in the heart of Chile, during the southern hemisphere’s winter.

Today while strolling through a sculpture garden in Santiago, he found this piece, called “Sólo un Beso,” or “Only a Kiss.”

Sólo un beso, via flickr

I couldn’t find any more information on the sculpture than this one photo, but I believe that the anonymity of its creation lends anonymity to the sculpture itself, allowing the viewers (and in my case, myself) to project their own experiences into the largely undefined figures. The sculpture must be twice the size of an ordinary man, so that looking up at it would inspire a sense of wonder–the figures above are imposing themselves into our lives as modern-day myths, a product of a romantic fiction that serves as a muse for modern love.

To me, the green emphasizes that mythical feeling–maybe it is made from an oxidized, rusted copper, or sturdy green stone–but the roughness of the skin and the wear created by the sculptor make them seem as if nothing could part the couple. They are set through the ages, enamored with each other until the day that their feet turn to dust beneath them.

If you have any more information on this sculpture, let me know. I would love to hear it.