Best of: Yasemen Hussein
Anyone that knows me know’s that I have a passion for feathers, from earrings to tattoos to lighting, if it has feathers on you have my curiosity. These lights and pieces of artwork have more than my curiosity they have my attention. They are both light but bold and have a wonderful movement to them.
I am intrigued by the sheer variety of this artists work and especially the horned mask!
Inspired by her deeply rooted love of nature, Hussein has produced a hanging chandelier, hand sculpted from up cycled plumbers copper pipe and cast resin birds lit by integral LED’s. Sprawling curved copper branches writhe and interweave with perched stylized blood-red birds that glow like warm gems.
The chandelier is on display till the end of February 2015 in the windows of The Mill, a visual effects company in London’s Great Marlborough Street. Check it out if you are in the area.
Some very diverse elements go into the creative mix at Yasemen Hussein’s studio. There’s a mountain of electrical cable, a shelf full of 1970s copper vases retrieved from the windows of local charity shops, some heavy duty welding equipment and… a concrete mixer. “I’m inspired by mythology, the Italian renaissance and poetry,” she says. “Basically – beauty. And that could be Dolly Parton or Aubrey Beardsley.” Her work is as exuberant and fantastical as it is organic.
Hussein studied glass work in Illinois, learned “the tricks of the trade of concrete” in California and now sculpts the most intricate copper pieces imaginable in her converted stable house in south London. Her metal feathers juxtapose elegance and lightness with the heft of their source material and are commissioned to act as light fittings, or interior centrepieces of varying sizes. She has collaborated on headwear with Philip Treacy, created stagewear for Katy Perry and Will.i.am and fashioned fluid, windswept-looking metal “hairpieces” for Toni & Guy.Her work can be finished in anything from synthetic woven hair to gold, or left raw.
“Everything I do is commission-based,” says Hussein. “I can work at any scale – sometimes it’s making thousands of tiny things to make one large thing, like a gold chain piece I did with Swarovski. But I’ve also cast s