• WWW.BUSINESSINSIDER.COM
    Volkswagen Overtakes Tesla As Europe's Top EV Seller
    The Volkswagen ID.4 still sits third behind the Model Y and Model 3 in European EV sales. Jan Woitas/picture alliance via Getty Images 2025-04-24T12:32:04Z Save Saved Read in app This story is available exclusively to Business Insider subscribers. Become an Insider and start reading now. Have an account? Volkswagen beat Tesla in European EV sales across the first three months of 2025, data shows. Registrations for VW EVs are up more than 150%, while Tesla lost huge ground. However, the Model Y and Model 3 remain Europe's top two most-registered EVs. Tesla has lost its crown as the top EV seller in Europe.Volkswagen's EVs outsold Elon Musk's car company across the first three months of the year, according to data from JATO Dynamics, an automotive analysis firm.65,679 Volkswagen battery EVs were registered in the first quarter, compared to 53,237 Teslas.The German carmaker saw its registrations more than double year-over-year, rising 157% since the first quarter of 2024.Tesla registrations dropped 38% over the same period. According to JATO's data, this was the biggest decline among the top 30 most-registered brands.It's a bad time for Tesla to be losing ground. JATO found that the year's first three months were the strongest quarter for battery EVs on record. Battery EVs accounted for 16.9% of all total car registrations in March — an increase of 2.7 percentage points year-over-year.The UK was the main driver of growth, with volumes up by 13%.Despite the company losing the top spot overall, Tesla's Model Y and Model 3 remain the top two most-registered battery EVs.In March, registrations of the former dropped 43%, but the Model 3 increased 1%. The Volkswagen ID.4 ranked third but remained 2,000 units short of the Model 3 across the quarter. Volkswagen overtook Tesla in the first quarter of 2025 on EV sales in Europe. Daniel Pier/NurPhoto via Getty Images "As the brand continues to deal with a host of PR issues in addition to the changeover of the Model Y, Tesla is now relying on the Model 3 to offset its loses," said Felipe Munoz, a global analyst at JATO Dynamics. "Despite the controversy surrounding the brand's CEO and the limited availability of the new Model Y, Tesla continues to perform well," he added.Tesla reported first-quarter earnings on Tuesday, with revenue down 9% while net income plunged 64%, well below analyst expectations.However, the stock still rose, as Musk said he would spend less time working with the government and focus more on his car company. Recommended video
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  • WWW.VG247.COM
    The good news is Switch Pre-orders have gone live at US retailers, the bad news is they've almost immediately sold out
    Pre-orders for the Nintendo Switch 2 went live in America last night, and as you'd expect, the console sold out quickly as people flocked to various retailers to secure one. Many were able to lock an order in, setting them up for a bright future of Mario Kart World and Donkey Kong Bananza. The rest, left suffering Switch-less. Read more
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  • WWW.NINTENDOLIFE.COM
    Swashbuckling Pirate Adventure 'Trident's Tale' Sets Sail On Switch Next Month
    Subscribe to Nintendo Life on YouTube809k The bright and colourful pirate adventure Trident's Tale launches on the Switch eShop on 22nd May 2025 for £22.49 / $24.99. Developed by 3DClouds, a studio best known for creating kid-friendly games based on big IPs such as Hot Wheels and Transformers, this looks to be an inviting way of introducing younger gamers to more open-world adventures. Taking control of Ocean, a girl who dreams of becoming a pirate, Trident's Tale sees you exploring the high seas of a magical world all to plunder treasure and collect some mysterious artifacts.Subscribe to Nintendo Life on YouTube809kWatch on YouTube Like any good pirate video game, you'll be able to build up a crew of scallywags and fight other seafarers in naval combat. You'll also be able to deck out your ship, customise and level up your pirate team, and explore to your heart's content. On foot, Ocean has access to her trusty cutlass and pistol, but you'll be able to expand her abilities as you progress through the game. Oh, and as you'd expect, there are tons of secrets to find and riddles to solve. Being a pirate isn't easy. We know there are some big pirate games out there on other consoles, but we still think there aren't enough of them. Let's hope this ends up being one of the better ones. What do you think of Trident's Tale? Let us know down below.
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  • TECHCRUNCH.COM
    Threads officially moves to Threads.com and updates its web app
    Instagram Threads, Meta’s newest social network and X competitor, is officially relocating from the website Threads.net to Threads.com. The transition will coincide with a handful of quality-of-life improvements for the Threads web app, including features to more easily access custom feeds, saved posts, and likes, as well as other tools for creating new columns, copying posts for resharing, finding your favorite creators from X on Threads, and more. Meta had initially launched its new social app in July 2023 on the URL Threads.net, as a Sequoia-backed Slack alternative startup had owned the Threads.com domain at the time. (That startup sold to Shopify last year.) In September 2024, Meta acquired the Threads.com domain name and later began redirecting the URL Threads.com to Threads.net. Starting today, Meta explains that users will no longer be redirected from the .com to the .net; it will be the other way around. Going forward, if you type in Threads.com in your browser, you’ll go directly to your Threads home screen without being redirected. Meanwhile, those who type in Threads.net will be redirected to the URL Threads.com. The change gives Meta a more prominent and better-remembered URL for its social app that now reaches over 320 million monthly active users, as of Meta’s last public earnings announcement in January. The rebrand of sorts may allow the app to better compete with its rival X, which also has a memorable (and simple!) domain name. In addition to this change, Instagram head Adam Mosseri on Thursday announced a few other minor updates coming to the Threads web app, which is often used by creators. He said users will now see their custom feeds appear in the web app in the same order as they appear on the mobile app. Plus, users will now be able to access their liked and saved posts via the main menu instead of having to create a pinned column to see them. Image Credits:Threads Another new addition allows users to copy a Threads post as an image instead of having to screenshot it. This will make it easier to share Threads posts in other apps, like Instagram, Meta thinks. Threads users will also now be able to add a column by clicking a new column icon on the right side of the screen. And they’ll be able to click a plus “+” button in the bottom-right to open a new window and compose a post. Image Credits:Threads There’s also a new feature that allows people to find and follow the same creators they previously followed on X. This feature was introduced earlier this month and works by having users download an archive of their X data, which is uploaded to Threads. Those who previously had access to the feature were shown a pop-up saying they could now “Find popular creators from X.” The feature remains in testing, Meta says. Topics
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  • WWW.AWN.COM
    Netflix Drops ‘Love, Death + Robots’ Volume 4 Trailer, Episode Details
    Netflix has revealed the official trailer for Love, Death + Robots Volume 4, as well as full details for all 10 episodes. The animated anthology series debuts on May 15. The upcoming season features dinosaur gladiators, messianic cats, string-puppet rock stars, and many other forms of the bizarre. Presented by Tim Miller (Deadpool, Terminator: Dark Fate) and David Fincher (Mindhunter, The Killer), Jennifer Yuh Nelson (Kung Fu Panda 2, Kill Team Kill) returns as supervising director for 10 shorts showcasing the series’ signature, award-winning style of bleeding-edge animation, horror, sci-fi, and humor. Buckle up! The Love, Death + Robots Volume 4 episode list includes: “Can’t Stop” A unique take on the Red Hot Chili Peppers’ legendary 2003 performance at Slane Castle, Ireland, with band members Anthony Kiedis, Flea, Chad Smith, and John Frusciante recreated as string-puppets. Directed by David Fincher, with animation by Blur Studio. “Close Encounters Of The Mini Kind” Tiny terror is unleashed in a mini alien apocalypse as writer/directors Robert Bisi and Andy Lyon pay tribute to classic sci-fi stories of alien invasion and human stupidity using tilt-shift techniques. Animation by BUCK. “Spider Rose” A return to the fantastic cyberpunk universe of “Swarm” (Vol. 3), directed by Jennifer Yuh Nelson and written by Joe Abercrombie, based off the short story by Bruce Sterling. On a remote asteroid mining operation, a grieving Mechanist gets a new companion and has a chance to avenge herself against the Shaper assassin who killed her husband. The voice cast includes Emily O’Brien, Feodor Chin, Piotr Michael and Sumalee Montano. Animation by Blur Studio. “400 Boys” In a post-apocalyptic city where warring gangs follow a bushido-like code of honor, the 400 Boys gang forces them to unite. Robert Valley directs from a script by Tim Miller, based on the short story by Marc Laidlaw. The voice cast includes John Boyega, Ed Skrein, Sienna King, Dwane Walcott, Rahul Kohli, Pamela Nomvete, and Amar Chadha-Patel. Animation is by Passion Animation. “The Other Large Thing” From writer John Scalzi comes the story of a cat who plans world domination and is helped by a robotic butler. Patrick Osborne directs. The voice cast includes Chris Parnell, John Oliver, Fred Tatasciore, and Rachel Kimsey. AGBO animates. “Golgotha” In a rare live-action entry, a conscientious vicar plays host to an emissary of an alien race who believes their messiah has been reborn on earth… as a dolphin. Tim Miller directs from a script by Joe Abercrombie, based on the short story by Dave Hutchinson. The voice cast includes Rhys Darby, Moe Daniels, Graham McTavish, Phil Morris, Michelle Lukes, and Matthew Waterson. VFX is created by Luma Pictures “The Screaming Of The Tyrannosaur” On a space station orbiting Jupiter, decadent aristocrats gather to witness a brutal contest of genetically modified gladiators. Tim Miller directs and writes, based on a short story by Stant Litore. The voice cast includes MrBeast and Bai Ling. Blur Studio animates. “How Zeke Got Religion” B-17 Flying Fortress Liberty Belle has the oddest mission of World War Two: a journey into occupied France to bomb a church before the Nazis can raise an ancient evil. John McNichol’s short story is adapted by J.T. Petty. Diego Porral directs. The voice cast includes Keston John, Braden Lynch, Roger Craig Smith, Gary Furlong, Bruce Thomas, Andrew Morgado, and Scott Whyte. Animation is by Titmouse. “Smart Appliances, Stupid Owners” From an angry toothbrush to an overworked smart showerhead and an intelligent toilet, various household appliances divulge tales of bemusement, scorn, and wonder about their human owners. Directed by Patrick Osborne and written by John Scalzi. The voice cast includes Melissa Villaseñor, Ronny Chieng, Amy Sedaris, Kevin Hart, Josh Brener, Nat Faxon, Niecy Nash-Betts, and Brett Goldstein. Aaron Sims Creative animates. “For He Can Creep” A poet confined to an insane asylum in 1757 believes Satan wants him to write a verse that will end the world. And the only thing standing between him and the Prince of Darkness is his cat, Jeoffry. Emily Dean directs the period adaptation of Siobhan Carroll’s short story, adapted by Tamsyn Muir. The voice cast includes Dan Stevens, JB Blanc, Jim Broadbent, Nika Futterman, Jane Leeves, and Dave B. Mitchell. Polygon Pictures animates. Check out the trailer now: Source: Netflix Journalist, antique shop owner, aspiring gemologist—L'Wren brings a diverse perspective to animation, where every frame reflects her varied passions.
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  • WWW.ARTOFVFX.COM
    Captain America – Brave New World: VFX Breakdown by Digital Domain
    Breakdown & Showreels Captain America – Brave New World: VFX Breakdown by Digital Domain By Vincent Frei - 24/04/2025 Behind one of the most intense sequences in Captain America: Brave New World is the magic of Digital Domain. An 8.5-minute CG dogfight, digital doubles, new cloud tech, and the glorious return of Celestial Island—all built from the ground up! WANT TO KNOW MORE?Digital Domain: Dedicated page about Captain America: Brave New World on Digital Domain website.Hanzhi Tang: Here’s my interview of Hanzhi Tang, VFX Supervisor at Digital Domain.Alessandro Ongaro: Here’s my interview of Production VFX Supervisor Alessandro Ongaro. © Vincent Frei – The Art of VFX – 2025
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  • 3DPRINTINGINDUSTRY.COM
    New €23M BMW Additive Manufacturing Campus
    German car manufacturer BMW Group has opened a $25 million (approx. €23.3 million) Additive Manufacturing Campus in Munich, expanding its effort to industrialize 3D printing for automotive production.  While the investment is new, the direction it points to has been years in the making. The company’s AM initiatives have steadily expanded since the launch of the IDAM project in 2019, which saw BMW and its partners implement two automated metal 3D printing lines; one in Bonn and one in Munich.  Three years later, BMW also helped complete the POLYLINE project, focused on developing an automated production chain for polymer parts. Both projects, backed by the German Federal Ministry of Education and Research, were aimed at moving 3D printing from prototype labs into high-throughput, factory-floor environments. “Additive manufacturing is already an integral part of our production system,” says Milan Nedeljković, BMW AG Board Member for Production. “This new facility will enable us to further integrate and scale these technologies.” A section of the POLYLINE project with automated systems of Grenzebach, DyeMansion and EOS, located at the Additive Manufacturing Campus of BMW. Photo via DyeMansion. 3D printing at BMW The new campus brings many of these efforts under one roof. Around 50 3D printers have been installed at the site, with another 50 already operational across BMW’s global network. Eighty specialists are currently stationed at the Munich facility, where they’re focused on tool-less production processes with an emphasis on reducing development time and cost. In addition to its production and prototyping roles, the campus will serve as a research and training center. BMW says it will support further development of automated workflows established through IDAM and POLYLINE, ranging from quality assurance integration to series production. The company has also been active outside its own walls. In parallel with building its internal infrastructure, the car manufacturer has invested in startups such as Carbon, Desktop Metal (now a subsidiary of Nano Dimension), Xometry, and ELISE, with a focus on digital manufacturing, according to Design Engineering. Other efforts to embed 3D printing deeper into manufacturing include BMW’s collaboration with Laempe Mössner Sinto, announced late last year. Through this partnership, six fully automated binder jet systems were installed at BMW’s foundry in Landshut, enabling large-scale production of sand cores for six-cylinder engine components. Additionally, the Munich campus is expected to become a central training hub. The aim is to help employees worldwide adapt to shifting design standards, part qualification methods, and factory operations shaped increasingly by AM. Laempe sand 3D printers. Photo via Laempe. Automotive 3D printing facilities Walking a similar path as BMW, other companies also invested in their own 3D printing facilities for automotive production. One month ago, Bosch opened a €6 million metal AM facility at its Nuremberg plant, centered around a Nikon SLM Solutions NXG XII 600 3D printer. With the ability to produce up to 10,000 kg of parts per year at speeds of 1,000 cm³/h, the setup is designed to make production faster and more flexible.  By eliminating the need for tooling and reducing material waste, Bosch aims to shorten development timelines and support more sustainable practices. While initially focused on automotive components, the company also sees potential in energy and aviation applications. Few years ago, American carmaker Ford opened an Advanced Manufacturing Center in Redford, Detroit, integrating 3D printing, collaborative robots, digital manufacturing, and augmented reality. At the time of the launch, the facility was used to produce components for the Ford Shelby Mustang GT500, including two 3D printed brackets that secured the brake line.  These parts helped reduce production costs while supporting the vehicle’s hydraulic brake system. Equipped with a 700hp 5.2-litre V8 engine, the GT500 was described as the most powerful sports car Ford had built and was showcased at the North American International Auto Show in Detroit in January 2019. What 3D printing trends should you watch out for in 2025? How is the future of 3D printing shaping up? To stay up to date with the latest 3D printing news, don’t forget to subscribe to the 3D Printing Industry newsletter or follow us on Twitter, or like our page on Facebook. While you’re here, why not subscribe to our Youtube channel? Featuring discussion, debriefs, video shorts, and webinar replays. Featured image shows a section of the POLYLINE project with automated systems of Grenzebach, DyeMansion and EOS, located at the Additive Manufacturing Campus of BMW. Photo via DyeMansion.
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  • ARCHEYES.COM
    The Mobile Architecture Studio: Rethinking Remote Work in Architecture
    The Mobile Architecture Studio | © Bin White via Unsplash For centuries, architecture has been a discipline grounded in place. From the Renaissance ateliers of Florence to the bustling studios of 20th-century Paris, the architectural studio has functioned as both a literal and symbolic site of practice, where ideas were sketched, models were crafted, and debates took shape. But what happens when the architect is no longer rooted in one place? Today, the profession is undergoing a quiet yet radical transformation. The convergence of digital tools, a remote-first work culture, and increasingly global collaborations has loosened the ties of architects to the traditional studio. Design now unfolds across continents, on laptops, in airports, at construction sites, or from cabins in rural outposts. Architecture, once anchored in static environments, is becoming mobile. From Atelier to Everywhere Historically, the architectural studio was a spatial constant, a room where drawings lined the walls, materials were physically tested, and face-to-face collaboration defined the design process. It shaped not only the workflow but the entire culture of architectural production. In the last decade, accelerated rapidly by the pandemic, architects have begun to question the need for fixed locations. As firms embrace hybrid models and designers adopt location-independent routines, the challenge is no longer where to work but how to maintain continuity, security, and creativity across distributed teams. The answer lies in digital infrastructure. Today’s mobile practice depends on a suite of tools that enable seamless access and coordinated collaboration across distances. Among these, Virtual Private Networks (VPNs) have become foundational. They allow architects to connect securely to studio servers, access software licenses, and transfer sensitive project files from anywhere. For those exploring remote design work, using a vpn free for pc offers an accessible starting point for establishing secure and flexible workflows. The Architect as Digital Nomad The once-stable geography of architectural labor has dissolved into something far more fluid. Architects are no longer bound by proximity to projects or colleagues. Instead, they navigate a decentralized ecosystem where design happens across borders, time zones, and digital interfaces. The rise of the digital nomad architect is part of a broader shift in the knowledge work industry. Freed from the obligation to inhabit a single office, many architects are embracing mobility not only for its logistical convenience but for its creative and cultural richness. This is not about abandoning rigor, it is about rethinking the studio as a dynamic, distributed network. Today, architects may design from construction sites in Bali, coworking spaces in Berlin, or remote villages in Latin America. These backdrops, often rich with material, cultural, or environmental stimuli, inevitably influence the creative process. A color palette developed in Mexico City might echo the terracotta tones of a local mercado. A facade imagined in Kyoto could reflect the subtle rhythm of surrounding shoji screens and shadowplay, similar to the sensitivity to light and void seen in Tadao Ando’s Church on the Water. This lifestyle, however, depends on reliable infrastructure. Key tools include: Cloud-based platforms like BIM360 or Google Drive for real-time syncing of models and markup workflows Communication apps such as Zoom, Slack, and Miro to facilitate remote critiques and coordination VPNs to safeguard proprietary information, ensure access to licensed tools, and maintain compliance with privacy standards. A distributed practice might outsource schematic design to a consultant in Seoul, manage detailing from São Paulo, and present virtually to a developer in New York, all within a continuous 24-hour workflow. The profession’s geography is now layered and asynchronous, made viable by secure digital channels. But nomadism also requires discipline. Without the implicit rhythms of a traditional office or the informal pressure of proximity, architects must build new structures for accountability. Studios are adopting daily check-ins, model audits, and standardized workflows to preserve the rigor and depth of architectural production even when practiced asynchronously. Rethinking the Space of Design © Francesco Liotti via Unsplash © Ranjith Alingal via Unsplash This new model inevitably influences the design process itself. While site-specificity still matters, place now plays a more fluid and experiential role. A sketch drawn in a Kyoto guesthouse, a section composed in the Atlas Mountains, or a materials board assembled under Mediterranean light brings a broader, lived dimension to architecture. And yet, mobility comes with trade-offs. The loss of shared rituals, spontaneous studio conversations, or tactile material exploration can dilute the collective energy that once defined studio culture. Architects must now consciously recreate space for dialogue, whether through scheduled pin-ups, collaborative whiteboarding, or hybrid review sessions. The Studio as Network As this distributed model matures, the very concept of the studio is being redefined. No longer confined to a single room, the studio becomes a living network of people, projects, folders, schedules, and cloud-based tools. VPNs, cloud storage, and time zone-aware calendars form the invisible architecture that sustains the visible one we inhabit. This shift is not merely symbolic. Architects have always designed spatial flows of people, light, and movement. Today, they must also consider the flows of data, authorship, and collaboration in their virtual environments. The infrastructure of practice has become just as important as the architecture it produces. Where Do We Work From Here? The mobile studio represents more than a shift in tools—it signals a rethinking of the architectural profession itself. As architects explore new geographies of work, from the mountains to the metropolis, the question isn’t simply where architecture happens, but how. Technologies like VPNs make this transformation possible, but the deeper evolution lies in our redefinition of presence, authorship, and the nature of creative collaboration. In liberating the practice from its physical confines, architecture isn’t losing ground—it’s finding new ground to stand on. by ArchEyes Team Leave a comment
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  • WWW.ARCHPAPER.COM
    Weiss/Manfredi and SCAPE win Nelson-Atkins Museum of Art competition
    The jury is in: Weiss/Manfredi will design the new addition at Kansas City’s Nelson-Atkins Museum of Art. The New York office beat out Kengo Kuma & Associates, Renzo Piano Building Workshop, Selldorf Architects, Studio Gang, and WHY Architecture in the international competition. SCAPE; Atelier Ten; WeShouldDoItAll; Taliaferro & Browne; Jaros, Baum & Bolles; and Severud Associates are also on the winning project team, together with Weiss/Manfredi. The choice to go with Weiss/Manfredi was unanimous, a spokesperson for Nelson-Atkins said in a statement. “Weiss/Manfredi’s concept absolutely blew us away as it captured the spirit of the museum while offering a bold vision for our future,” Nelson-Atkins CEO Julián Zugazagoitia said. The design is meant to evoke signal transparency, both literal and philosophical, the architects said. (Courtesy Nelson-Atkins Museum of Art) “We are deeply honored to work with The Nelson-Atkins Museum of Art on this transformative project,” Marion Weiss and Michael Manfredi said in a joint statement. “It is a rare and meaningful opportunity to reimagine the museum as a place where art, architecture and landscape converge to reveal a place of discovery and delight,” they added, “and we look forward to collaborating with the museum and community to create a more transparent and welcoming cultural campus.” The Weiss/Manfredi addition will face the Bloch Building by Steven Holl. (Courtesy Nelson-Atkins Museum of Art) Weiss/Manfredi called its winning design a “connected tapestry.” It reestablishes a front door for the museum to the north side, opening up the west side to events and a learning lobby on Oak Street. This lobby will spill out to the “Commons” and a new photography center. The galleries will overlook the main quad. (Courtesy Nelson-Atkins Museum of Art) The proposal responds to the 2007 addition by Steven Holl: Three repetitive volumes branch out, creating a harmonious rhythm. A horseshoe archway underneath the existing 1933 building’s grand stair connotes a grand gesture. “Central to our competition was the need to respect the Nelson-Atkins’ original, neoclassical building, as well as our beautiful Bloch building, while also bringing something new to our campus,” Zugazagoitia said. “This concept delivers all of that, and we look forward to working with Marion, Michael, and their team to collaborate on an expansion design that keeps our commitment to great experiences with art and forges a deep sense of belonging and connection within our community.” The competition, organized by Malcolm Reading Consultants, was first shared in May 2024, as reported by AN. The open call went out in October 2024, gathering 182 submissions—but only six came out on top. A timeline for construction was not issued.
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  • WWW.THISISCOLOSSAL.COM
    Get ‘H.A.P.P.Y’ with Liz West’s Immersive Installation Made of More Than 700 Colorful Discs
    “H.A.P.P.Y.” All images courtesy of Liz West and Mercer Art Gallery, shared with permission Get ‘H.A.P.P.Y’ with Liz West’s Immersive Installation Made of More Than 700 Colorful Discs April 24, 2025 Art Kate Mothes Spanning nearly the entire floor of the main space of Mercer Art Gallery in Harrogate, Liz West’s expansive new installation invites viewers to revel in color and brightness. The artist has reimagined the historic early-19th-century spa promenade room as a vibrant, sensory immersion. West’s solo exhibition, H.A.P.P.Y, takes inspiration from a common malady known as seasonal affective disorder, or S.A.D., which is a form of depression that often manifests in the fall or winter when the days are shorter and the temperatures drop. It typically recedes in the summer and spring. Continuing her interest in the effects of light, reflections, and chromatic relationships (previously), the artist created “Our Colour Reflection,” the centerpiece of H.A.P.P.Y, to highlight the emotional, psychological, and physical power of vibrancy and hue. Composed of 765 multi-colored discs layered in low relief across the floor, the piece transforms the environment into a luminous experience that interacts with natural and artificial light and evolves throughout the day. H.A.P.P.Y also includes a selection of paintings, drawings, and models for “Our Colour Reflection,” and the exhibition continues through October 5. See more on the artist’s website and Instagram. Next article
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