15-17 Years Winner: Ben Lucas, Street Cleaners. Feral pigeon (Columba livia domestica), Essex, England. All images the photographers, courtesy of BWPA, shared with permissionFeral Pigeons and a Feisty Fox Take Top Honors in the 2025 British Wildlife Photography AwardsMarch 25, 2025NaturePhotographyKate MothesFrom swimming guillemots and sun-dappled Scots pines to a coy seal and ravenous pigeons, the winners of this years British Wildlife Photography Awards celebrate the diversity of animal life across Great Britain.Jurors considered more than 13,000 images submitted by amateurs and professionals alike, with the top award going to Simon Withyman, who captured a striking portrait of a female fox in his hometown of Bristol.British Wildlife Photographer of the Year 2025 and Winner of Urban Wildlife: Simon Withyman, Urban Explorer. Red fox (Vulpes vulpes), Bristol, EnglandI had been photographing this vixen for three years, Withyman says. This streetwise fox was a successful mother and had a family of young mouths to feed. I was instantly drawn to the interesting perspective effect of these railings and wanted to showcase some beauty in this everyday urban scene.Additional impressive images include Drew Buckleys dramatic view of Scotlands Monadhliath Mountains with a white hare in the foreground and a troupe of ravenous pigeons headed for a bag of chips, captured on a GoPro by teenager Ben Lucas. See even more in the BWPA 2025 winners gallery.Wild Woods Winner: James Roddie, Storm Light Over the Caledonian Forest. Scots pine (Pinus sylvestris), Glen Strathfarrar, ScotlandHabitat Winner: Drew Buckley, Kingdom of the Hare. Mountain hare (Lepus timidus), Highlands, ScotlandCoast and Marine Runner-up: Ben Porter, The Seal Cave. Grey seal (Halichoerus grypus), Bardsey Island, WalesUrban Wildlife Runner-up: Paul Goldstein, Bus Pass. Swan (Cygnus olor), Mitcham, EnglandAnimal Behaviour Runner-up: Paul Browning, The Rain-Deer. Red deer (Cervus elaphus), Surrey, EnglandBlack-and-White Winner:Mark Kirkland, Guillemot Kingdom. Guillemot (Uria aalge), St. Abbs, ScotlandCoast and Marine Winner: Nicholas More: Blue Shark. Blue shark (Prionace glauca), Penzance, Cornwall, EnglandAnimal Portraits Runner-up: Ben Hall, Red Grouse Coming in to Land. Red grouse (Lagopus lagopus), Yorkshire Dales National Park, EnglandNext article

Detail of Empire Builder. All images courtesy of Sonja Peterson, shared with permissionDelicate Ecosystems Converge in Sonja Petersons Intricate Cut Paper CompositionsMarch 25, 2025ArtClimateKate MothesInspired by natures myriad forms and relationships, Minneapolis-based artist Sonja Peterson creates sprawling scenes from intricately cut paper. Working intuitively while focusing on the environment and our place within it, she merges organic motifs and animals with humans and historical references.The inherent simplicity of a blank piece of paper is a compelling attribute for Peterson, who is fascinated by the possibilities of texture, pattern, and the relationship between positive and negative space. Originally, the artist made drawings on large sheets, which she began to cut into in order to rearrange compositional elements. She became increasingly interested in the art of the incision and removed other media altogether.Lost and SearchingMy choice of paper echoes the idea of the fragility that I want to convey as I look at the precariousness of ecological systems, Peterson tells Colossal. The works structural integrity is, at times, reliant on its interconnectivity; if elements disconnect, the entire system is in threat of collapsing.An overarching theme in Petersons work revolves around interconnectionboth natural and human-madehighlighting how our global trade systems, manufacturing, and agriculture are fundamentally reliant on our environment, even as they contribute to an ever-growing climate crisis. She often combines human interactions with botanical details, like a sunken ship in Lost and Searching or the salient history of European colonialist expansion in Empire Builder.The artist is interested in our global systems as something of untamed wonder, a gaze that was once reserved for the natural world, she says. She often juxtaposes botanical details with human-made structures, such as ships or buildings. Nature is now often seen as contained patchwork or a constructed binary to a technological world that is now the wild frontier.Petersons work is currently on view in Nordic Echoes Tradition in Contemporary Art at Scandinavia House, which runs from April 5 to August 2 in New York City. The show celebrates contemporary folk arts from the Upper Midwest, featuring more than 50 works by 24 artists. Find more on the Petersons website and Instagram.The Undergound Plot of the Royal Pommes Frites, cut paper and acrylic on wallpaper, approximately 72 x 50 inchesDetail of The Undergound Plot of the Royal Pommes FritesDetail of Lost and Searching, cut paper and acrylic on wall, 114 x 50 inchesEmpire Builder (2022), hand-cut paper and acrylic on wall, 106 x 64 inchesGhost Ship Part 1 (2022), cut paper, 112 x 50 inches. All images courtesy of Sonja Peterson, shared with permissionLayered Losses, hand-cut paper, 50 x 58 inchesDetail of Lost and SearchingInstalling Navigator, cut paperNext article

Hieronymus Bosch, The Garden of Earthly Delights (1490-1510), oil on oak panels, 81 x 152 inches. Image courtesy of the Museo del Prado, MadridTraverse Hieronymus Boschs The Garden of Earthly Delights with SmarthistoryMarch 24, 2025ArtKate MothesHave you ever wondered why two large owls sit on either side of the central panel in The Garden of Earthly Delights by Hieronymus Bosch? Or perhaps youve noticed the strangely fleshy, sculptural fountains rising from the bodies of wateror are they stone? Why is the right side so dark, and who are all these people anyway?Narrated by Dr. Beth Harris and Dr. Steven Zucker, Smarthistorys latest video tours the uncanny landscapes of Boschs famous triptych, which continues to confound our expectations of Christian art of the Renaissance.Smarthistory is a small nonprofit that collaborates with hundreds of art historians, curators, archaeologists, and more, who are committed to making art history as accessible as possible. Through essays, conversations, and videos, the organization presents scholarly information in engaging, digestible, yet analytically rigorous lessons.For Smarthistorys video examining some of the motifs in The Garden of Earthly Delights, Harris and Zucker dive into some of the most alluring details of Boschs historic painting, parsing mysteries that have persisted since its creation at the turn of the 16th century.The overarching narrative of Boschs masterpiece remains largely an enigma. Although it is wonderfully playful and wonderfully inventive and just an incredible thing to look at, it would have been deeply troubling to Boschs generation, Zucker says. His society would have looked at this as sinful, even though the people that are being represented here didnt understand sin. (More on that in a minute.)An anomaly of its genre, the painting was commissioned by Engelbert II, a wealthy member of the court of the Duke of Burgundy, probably intending it for his palace. The work consists of three panels in the style of an altarpiece, with two half-size panels on either side of a central composition, which fold inward like two doors to reveal another painting on the exterior.Detail of the left panel portraying God introducing Eve to AdamIn Boschs case, he depicted a crystalline sphere in grisaille, or all-gray, which portrays an overview of the earth with God perched in the upper left-hand corner, readying to make something of the lackluster orb. Two biblical phrases, for he spake and it was done, from Psalm 33, and for he commanded and they were created, from Psalm 148, reference Creation.Turning over the panels, as if opening the cover of a book, we enter an otherworldly realm where humans and beasts mingle with oversized animals, fruit, and surreal structures. On the left, Adam and Eve are introduced by a young God, before Eve was tempted to eat the forbidden fruit hanging in the Garden of Eden. In the center, dozens of nude figures frolic, eat, engage in sexual activities, forage, swim, and fly. On the right is hell.One of the most compelling theories is that the central panel is an alternate story, Zucker says. What if the Temptation had not taken place? What if Adam and Eve had remained innocent and had populated the world? And so is it possible that what were seeing is that reality played out Boschs imagination?Exterior of The Garden of Earthly Delights shown with panels closedTwo oversized owls, symbolic of the presence of evil, flank the central panel. While people appear unashamed of their selves or actions, a sense of uneasiness pervades the scene, balancing the dichotomies of paradise and hell; holiness and sin.The largest figure is a figure which art historians call the tree man,' Dr. Harris says. His legs look like the branches of trees with more branches growing from them. But where we might see his feet, we see two unsteady boats in the water with figures in them, suggesting that theres an inherent instability to this figure who can barely balance in this way.Smarthistorys video illustrates compositional tools that provide clues to underlying narrative and metaphor, like the way the tree man appears to look back across space at Adam and Evespecifically Adams lustful gaze as the representation of humankinds origin. In this representation, we dont need the apple. We dont need the serpent. All we need is Adams lustful gaze as he is introduced to Eve, Dr. Zucker says. And the rest, so to speak, is history.Explore more from the world of art on Smarthistorys website. You might also enjoy this fantastical parade in The Netherlands devoted entirely to Bosch and Roberto Benavidezs Bosch-inspired piatas.Detail of the central panelDetail from the right-hand panel depicting HellDetail of the central panelDetail of the central panelNext article

2024 Stockton UniversityIn Electric Garden, Ricky Boscarino Leads a Tour of His Whimsical Handbuilt HomeMarch 24, 2025ArtFilmKate MothesIn December 1988, artist Ricky Boscarino was on the hunt for real estate. Not just any property would do, though. It was really my boyhood ambition to built my dream house, where literally all my dreams could come true, he says in the short documentary Electric Garden. Little did he know that over the course of the next four decades, a dilapidated hunting cabin would transform into a veritable way of life.Luna Parc emerged on a wooded six-acre parcel in northwestern New Jersey and has been in progress continually since 1989. Family lore is that we were carpenters for many, many generations, Boscarino says. My whole life became about making things with metal, wood, glass, fabric, concrete.With numerous additions and labyrinthine levels, Luna Parc includes a kind of living museum, where Boscarino adds new work all the time, plus studios devoted to various mediums, living spaces, and an expansive sculpture garden. At 5,000 square feet, the self-described madcap artists vibrant, elaborately ornamented home evokes a fairytale dwelling or a whimsical, Tim Burton-esque construction.Boscarino continues to add new details to Luna Parc, whether electrifying a concrete sculpture garden with colored lights or adding new works to the museum. The house occasionally opens to the public during the summer months, and you can learn more and plan your visit on Boscarinos website. Watch the documentary in full on Vimeo.Next article

Jacopo Ligozzi, A Groundhog or Marmot with a Branch of Plums. (1605), brush with brown and black wash, point of the brush with black and brown ink and white gouache, and watercolor, over traces of graphite on burnished paper, sheet: 13 x 16 5/8 inches. All images courtesy of The National Gallery of Art, Washington, D.C., shared with permissionLittle Beasts Is a First-of-Its-Kind Museum Collaboration Reveling in Art and the Natural WorldMarch 21, 2025Kate MothesDuring the 16th and 17th centuries, major developments in colonial expansion, trade, and scientific technology spurred a fervor for studying the natural world. Previously unknown or overlooked species were documented with unprecedented precision, and artists captured countless varieties of flora and fauna in paintings, prints, and encyclopedic volumes.Marking a first-of-its-kind collaboration between the National Gallery of Art and the Smithsonian National Museum of Natural History, Little Beasts: Art, Wonder, and the Natural World pairs nearly 75 prints, drawings, and paintings with around 60 objects from the NMNH collection.Jan van Kessel the Elder, Insects and a Sprig of Rosemary (1653), oil on panel, 4 1/2 x 5 1/2 inchesIn major cities like Antwerp, artists such as Joris and Jacob Hoefnagel and Jan van Kessel created highly detailed drawings, prints, and paintings of these insects, animals, and otherbeestjes, or little beasts in Dutch, says the National Gallery of Art. Their works inspired generations of artists and naturalists, fueling the burgeoning science of natural history.Natural history has been a focus for scholars since ancient times, albeit early commentary was a bit more wide-ranging than its definition today. The largest single work to have survived from the Roman Empire is Pliny the Elders Naturalis Historia, which consists of 37 books divided into 10 volumes and covers everything from astronomy to zoology and mineralogy to art.Studying the natural world in ancient and early modern times was predominantly a philosophical pursuit until a discernible change during the Renaissance. By the 16th century, attitudes had shifted. The humanist learning tradition, centered on literature and the arts, began to give way to more advanced explanations for natural objects, describing their types and transformations and grouping them into classes.Private collections played a fundamental role in founding many natural history archives. The popularity of Wunderkammers, or rooms of wonder, transformed a pastime of the wealthy into exercises in scholarly prestige. By the late 17th century, more rigorous and formalized classification systems emerged as the philosophical component waned.Wenceslaus Hollar, Shell (Murex brandaris) (c. 1645), etching on laid paper, plate: 3 3/4 x 5 3/8 inchesThroughout this time, artists like Albrecht Drer, Clara Peeters, and Wenceslaus Hollar created works that responded to new discoveries. From biologically accurate renderings of shells and insects to playful compositions that employ animals and plants as decorative motifs, paintings and prints were often the only means by which the public could see newly discovered species.Artandsciencehave been closely aligned throughout the 175-year history of the Smithsonian, says Kirk Johnson, director of the NMNH. Even today, researchers at the National Museum of Natural Historydepend on scientific illustrators to bring clarity and understanding to the specimens they study.Little Beasts opens on May 18 and continues through November 2 at the National Gallery of Art in Washington, D.C. Find more on the museums website.Clara Peeters, Still Life with Flowers Surrounded by Insects and a Snail (c. 1610), oil on copper,overall: 6 9/16 x 5 5/16 inches; framed: 10 x 9 x 1 1/2 inchesRobert Hooke, Micrographia: or, Some physiological descriptions of minute bodies made by magnifying glasses. / With observations and inquiries thereupon (1665), bound volume with etched illustrations height (foldout illustrations significantly larger): 12 3/16 inchesJan van Kessel the Elder, Artists Name in Insects and Reptiles [bottom center] (1658), oil on copper, overall: 5 5/8 x 7 1/2 inches; framed: 9 7/8 x 12 1/8 inchesJan van Kessel the Elder, Noahs Family Assembling Animals Before the Ark (c. 1660), oil on panel, overall: 25 3/4 x 37 3/16 inches; framed: 32 3/4 x 44 1/4 inchesAn Elephant Beetle (Megasoma e. elephas) from the Department of Entomology collections at the Smithsonian Institution National Museum of Natural HistoryWenceslaus Hollar, Two Butterflies, a Wasp, and a Moth (1646), etching on laid paper, plate: 3 3/16 x 4 3/4 inches; sheet: 3 1/4 x 4 13/16 inchesNext article

The Prophet (2025), oil on canvas, 48 x 30 inches. All images courtesy of the artist and albertz benda, New York and Los Angeles, shared with permissionRobert Peterson Summons Black Resilience and Tenderness in Vibrant PortraitsMarch 20, 2025ArtKate MothesIn characteristically glistening blue hues, Robert Petersons striking portraits invite us into emotionally complex inner worlds.Peterson centers the Black body in paintings that challenge dominant narratives surrounding Black lives, celebrating beauty, compassion, and resilience. Tender portraits reveal the essential humanity of vulnerability and individuality with an emphasis on themes of empathy and togetherness.Protect Those Tears (2025), oil on canvas, 14 x 11 inchesPetersons choice of oils, a traditional portrait medium, embeds his work in the continuum of Western painting. However, instead of highly stylized scenes or elaborate ornamentation, his figures are often set against bold, flat backgrounds and they appear half-dressed or in casual clothes, unguarded and relaxed.In his forthcoming solo exhibition, We Are Forever at albertz benda, Peterson examines familial connections, paying homage to the strength and dedication inherent in the relationships between siblings and parents and their children.At the core of this new body of work is a profound sense of intimacy, offering a thoughtful reflection on presence and the enduring significance of his subjects stories, the gallery says.We Are Forever runs from March 27 to May 3 in New York. Find more on the artists website and Instagram.Untitled (Purple) (2025), oil on canvas, 18 x 14 inchesWater Me (2025), oil on canvas, 24 x 20 inchesHamsa Tattoo (2025, oil on canvas, 28 x 22 inchesUntitled (Black) (2025), oil on canvas, 18 x 14 inchesInstallation view of works at the Dallas Art FairNext article

All images courtesy of Art21A Visit to Amy Sheralds Studio Revels in Her Commitment to BeautyMarch 19, 2025ArtFilmGrace EbertFrom the studio to her childhood bedroom in Columbus, Georgia, to the museum, a new film from Art21 presents a broad portrait of Amy Sherald. The artist is perhaps best known for her depiction of former First Lady Michelle Obama and her signature images of Black Americans rendered in grayscale.In Singular Moments, the Art21 team peers into Sheralds process and captures the intricacies of creating a work. Reference photos taped to a wall and paint squirted onto white paper plates accompany the artist as she works on her increasingly large-scale canvases.Sherald frequently paints people she knows, beginning with their faces and eyes before moving on to the rest of their figures. As the title of the film suggests, her focus is on a single moment of beauty. I think beautiful paintings are important, she says in the film. I say figuration is like the soul food of art making. Its what takes you back home and what you eat when you need comfort, and we all need that at some point.The film comes ahead of Sheralds first solo exhibition at a New York museum, American Sublime, which will present about 50 works from 2007 to today next month at the Whitney Museum of American Art. In addition to a visit to the artists parents home, filled with grade-school pictures and teenage art projects, viewers also witness the creation of some of her more recent works, particularly those exploring what it means to be an American.Watch Singular Moments above, and be sure to read our conversation with the artist in which she discusses anxiety and finding respite in her work.Next article

All images courtesy of Resketch, shared with permissionResketch Upcycles Misprints and Unwanted Paper into Reclaimed NotebooksMarch 19, 2025DesignGrace EbertAlthough recycling paper uses less water than manufacturing the material from wood pulp, the process still requires significant energy and resources. The team behind Resketch has found a way to skip that step altogether.Founded by Chicago-based artist Shawn Smith and now helmed by Skaaren Design, the company makes notebooks and sketchpads of unused architectural diagrams, maps, logs, sheet music, and more. The resulting designs offer users the opportunity to creatively engage with the original markings and add their own additions to the printed pages. Flipping through a notebook also becomes an act of discovery as old calendars or bureaucratic forms are tucked between graphs and lines.Through partnerships with the creative community and local and national businesses, we rescue 8 to 10 tons of high-quality, unused paper every year that would otherwise prematurely enter the waste stream, Resketch says. The company currently collaborates with schools, businesses, architectural firms, and creatives across the U.S. to source materials with just enough blank space for a doodle or to-do list.Shop notebooks and pads in Resketchs store, and keep an eye on Instagram for their latest products. (via Core77)Next article

Overlook (2025). gouache, acrylic, ink, and 42 vintage postcardson panel, 32 x 40 inches. All images courtesy of the artist and Cristin Tierney Gallery, shared with permissionVintage Postcard Paintings by David Opdyke Demonstrate an Ecological Future in PerilMarch 19, 2025ArtClimateKate MothesThe first known postcard printed as a souvenir can be traced to Vienna in 1871, followed by commemorative cards for famous events like the completion of the Eiffel Tower in 1889 and the Chicago Worlds Fair in 1893. It wasnt long before a fashion for picture postcards took the U.S. by storm throughout the first half of the 20th century.For David Opdyke, the iconic correspondences form the groundwork for an artistic practice examining capitalism, globalization, consumerism, and our fraught and increasingly disconnected relationship with the environment. Occasionally darkly humorous yet steeped in a sense of foreboding, his uncanny scenes suggest what kind of world we might live in we do nothing to stem the mounting climate crisis.Charismatic Megafauna (2024), gouache and ink on vintage postcard, 4 x 6 inchesOpdyke summons idyllic coastlines, national parks, government monuments, wildlife, and civic infrastructure to weave fractured yet cohesive topographies, says Cristin Tierney Gallery, which is presenting the artists current solo exhibition, Waiting for the Future.For nearly a decade, Opdyke has invoked the nostalgia of landscape postcards to interrogate the climate emergency within the context of American politics and geographies. Through these carefully altered compositions, Opdyke merges the past and the future, presenting both urgent and inevitable visions of environmental upheaval, the gallery says.The artist often uses antique cards that he purchases on eBay, painting scenes of environmental disasters or discordances between nature and architecture. Alternating between cartoons and life-like portrayals of trees, animals, fires, and structures, his compositions range from single cards to wall-spanning assemblages, his gouache-painted details spreading from frame to frame.In Overlook, for example, giant tentacles destroy bridges, rising sea water threatens cities, and huge fires rage in institutional buildings. A dome encloses a metropolis, a rocket named Mars 2 heads for a new home in the solar system, and an airplane banner advertises Technology Will Save Us in a bleak yet not unimaginable reality fueled by techno-utopianism.Enough of Nature (2025), gouache, acrylic, and ink on 500 vintage postcards, 104 x 168 inchesIn his large-scale Enough of Nature, Opdyke transforms natural landscapes into encampment sites for those displaced from their homes, and portions of the overall composition appear to dislodge from the main grid as if floating away.Caught tenuously between outmoded industrial practices, shifting societal value systems, and a rapidly evolving climate crisis, Opdykes piecesWaiting for the Future underscores the precariousness of complacency, a cautionary tale, the gallery says, laying bare the fragility of our constructed environment.The show continues through April 26 in New York City. Find more on the artists website. Detail of OverlookMain Stage (2015-2020), gouache on vintage postcard, 6 x 4 inchesUnity, Industry, Victory (2024), gouache and ink on vintage postcard, 6 x 4 inchesInsurrection (2015-2020), gouache on vintage postcard, 4 x 6 inchesFourth Wall (2015-2020), gouache on vintage postcard, 4 x 6 inches If you cant say something nice (2024), gouache and ink on two vintage postcards, 4 x 12 1/2 inchesBreaking In (2015-2020), gouache on vintage postcard, 6 x 4 inchesDetail of Enough of Nature First Contact (2023), gouache and ink on vintage postcard, 4 x 6 inchesNext article

Images Salvador Dominguez, shared with permissionSalvador Dominguez Confronts Identity and Labor Through Woven Pipe Cleaner VesselsMarch 18, 2025ArtCraftJackie AndresI was among the first in my family to go to college, artist Salvador Dominguez says. Years after graduating, I began to realize the biggest challenge was going to be sharing the work I make with those closest to me. When art is so deeply intertwined with identity, a profound irony can form when trying to share it with loved ones who havent had access to the same resources or lessons in Western art theory and history. Even when the work itself is rooted in shared culture and family connection, how do artists bridge this gap?The Chicago-based artist confronts this question in a series of hand-woven vessels titled Mano de Obra. Paying homage to a nostalgic vibrancy from his upbringing in southern California and Mexico, the brilliant colors within Dominguezs work serve as cultural markers. Memories of vividly painted houses and colorful statues inside corner stores and carnicerias, or butcher shops, guide the artists use of color and pattern, each component tethered to his sense of identity.Pipe cleanerswhich are fairly accessible and easily recognized by both children and adultsproved to be a clear choice as Dominguez contemplated different materials to work with. Weaving each slender, fuzz-covered wire into functional vessels greatly alters the value of the material in a fascinating way and evokes a familiar environment in which the artist was raised, where trade and craft were used interchangeably as currency.Recently, Dominguez has begun to teach his mother, Silvia, the weaving techniques he developed with pipe cleaners. He shares:Her labor within domestic life often went unseen, but her imagination came alive through craft and embroidery. By involving her in this creative process, I not only honor her contributions but also try to maintain our connection, transforming her labor into a visible and valued part of the work. I remain curious about how this collaborative effort has the potential to bridge the gap between generations, particularly since we live in separate parts of the country.To stay inspired, the artist also collects a slew of domestic items. From his mothers hand-embroideredtortillerosto household textiles like pillowcases and table runners from Indigenous artisans from Mexico, Dominguezs collection of precious goods influences form, pattern, and palette in his own work. Though he has encountered these articles since early life, turning to them for research has established a new, unique relationship with the familiar objects.Dominguez is anticipating a group exhibition in Antwerp, Belgium this May with de boer gallery. Find more work and updates on the artists website and Instagram.Photo by Ian Vecchiotti. Courtesy of the artist and ANDREW RAFACZ, shared with permissionNext article

Squat lobster: Galathea sp. The Nippon Foundation-Nekton Ocean Census / Gallardo. All images courtesy of Ocean Census, shared with permissionOcean Census Expeditions Discover More Than 800 New Marine SpeciesMarch 18, 2025Kate MothesInvolving more than 800 scientists from more than 400 institutions worldwide, Ocean Census has embarked on ten expeditions and numerous workshopsso farwith a sole aim: discovering new species in the worlds greatest frontier. Last week, the organization announced that it had discovered 866 new species, further advancing our understanding of marine biodiversity. Among the finds is a newly identified guitar shark, which belongs to a distinctive group of animals that share characteristics of both sharks and rays.Guitar Shark: Rhinobatos sp. The Nippon Foundation-Nekton Ocean Census / Sergey BogorodskyAnother revelation is the pygmy pipehorse, which was found off the coast of Africathe first time the genus has been spotted outside of the cool waters of New Zealand. Ocean Census says:These diminutive pipehorses are masters of camouflage, remaining elusive as they inhabit coral reefs and blend seamlessly into their surroundings. Many members of the family Syngnathidaewhich also includes seahorses, seadragons, and pipefishare classified as Threatened on the IUCN Red List due to habitat destruction, bycatch, and targeted fishing.While 866 is a remarkable number of discoveries, Ocean Census has its work cut out. The identification and official registration of a new species can take up to 13-and-a-half yearsmeaning some species may go extinct before they are even documented, says a statement.To address this lag and accelerate identification, the initiative was launched jointly in 2023 by The Nippon Foundation and Nekton with a mission to close critical knowledge gaps before its too late.Pygmy Pipehorse: Syngnathidae. The Nippon Foundation-Nekton Ocean Census / Richard SmithOceans cover more than 70 percent of our planets surface, but these vast bodies of water remain largely unexplored. Of the estimated one to two million marine species on Earth, only 240,000 are known to science, Ocean Census says.Currently on a 35-day expedition to the South Sandwich Islands, the project joins four additional programs, including Schmidt Ocean Institute, to search for new species off the South Atlantic Oceans volcanic archipelago. Find more on Ocean Censuss website.Gastropod: Turridrupa sp. The Nippon Foundation-Nekton Ocean Census / Peter StahlschmidtCoral: Octocoral (Maldives). The Nippon Foundation-Nekton Ocean Census / Asako Matsumoto, ShaaanMollusc: Granulina nekton. The Nippon Foundation-Nekton Ocean Census / Jess Ortea, Leopoldo MoroSea Star: Tylaster sp. The Nippon Foundation-Nekton Ocean Census / Martin HartleyCrinoid with Octocoral Attached. Martin Hartley / The Nippon Foundation-Nekton Ocean CensusDetail of Crinoid with Octocoral Attached. Martin Hartley / The Nippon Foundation-Nekton Ocean CensusNext article

Jersey boxers (Gigartina sunday). All images from Photographs of British Algae: Cyanotype Imperfections by Mandy Barker, published by GOST Books. All images Mandy Barker, courtesy of the author and GOST, shared with permissionMandy Barkers Cyanotypes Revive a Pioneering Botanists Book to Warn About Synthetic DebrisMarch 18, 2025Kate MothesIn 2012, I found a piece of material in a rock pool that changed my life, artist Mandy Barker says. Mistaking this moving piece of cloth for seaweed started the recovery of synthetic clothing from around the coastline of Britain for the next ten years.Barker is known for her photographic practice that takes a deep dive into marine debris. Her work has been featured in publications like National Geographic, The Guardian, VOGUE, and many more. Often collaborating with scientists to raise awareness about plastic pollution in the earths oceans, she eloquently highlights its harmful impacts on marine habitats, wildlife, and all of us who depend on the ocean for sustenance.Patterned blouse (Laminaria materia)Forthcoming from GOST Books, Photographs of British Algae: Cyanotype Imperfections surveys the unexpected and out-of-place along British shores. At first glance, each specimen appears like a fragment of a leaf or a scatter of organic material, but upon closer inspection, the subjects of Barkers images reveal details of unraveled polyester or scraps of nylon tights.Barker hopes to raise awareness of the damaging effects of fast fashion, synthetic clothing, and the increasing amounts of microfibers in the oceans. The fashion industry is responsible for more greenhouse gas emissions than all international flights and container ships combined and is also the second-largest consumer of water, requiring about 2,000 gallons of water to produce a single pair of jeans.Barkers new book is composed as an homage to the work of trailblazing botanist and photographer Anna Atkins (1799-1871), who is thought to be the first woman to take a photograph and the first person to publish a book containing photographic illustrations. Her 1843 study, Photographs of British Algae: Cyanotype Impressions, employed blue photograms to illustrate photosynthetic organisms and seaweeds.Barkers work serves as a kind of sibling or sequel to Atkins pioneering publication, presented in a similar style with handwritten names in Latin beneath each specimen.Coat lining (Dichloria vestis)In their updated versions, the titles take Atkins scientific names as a starting point and tweak them just slightly to conjure references to clothing or the human body. In the plate titled Dichloris vestis, for example, Barker draws on a real type of algae Atkins catalogued, Dichloria viridis, but vestis is instead a tongue-in-cheek reference to outerwear, often made of polyester or other synthetic materials. Conferva tibia, which portrays frayed tights, employs the Latin word for leg.From John o Groats at the northernmost tip of Great Britain to Lands End at its southernmost, Barker recovered specimens of clothing from more than 120 beaches. Her finds, ranging from parkas to wigs to sports jerseys, were pulled from the sand, tide pools, or directly from the sea. In Photographs of British Algae: Cyanotype Imperfections, Barker looks to the past to better understand how our actions in the present have both immediate impacts and will shape the future of the climate crisis.Find your copy on GOSTs online store, where signed editions are also available, and explore more of Barkers work on her website and Instagram.Nylon tights (Conferva tibia)Shawl (Odonthalia amiculum), shown on a spread from Photographs of British Algae: Cyanotype Imperfections by Mandy BarkerJacket lining (Rhodomenia ignotus)Fishnet tights (Chylocladia funda)Two Blouses (Asperococcus indusium)Synthetic fur hood (Myrionema Palliolum)Lining (with algae) (Grateloupia intra)Next article

All images courtesy of SpeakLocal, shared with permissionWho Shot Me? Help Identify the Anonymous Photographer Who Captured 1960s San FranciscoMarch 17, 2025HistoryPhotographyGrace EbertBetween 1966 and 1970, a San Francisco-area photographer captured thousands of images documenting civil rights demonstrations, protests against the Vietnam War, Grateful Dead concerts in Golden Gate Park, and so much more. Their archive is a veritable treasure trove of the eras counter-culture and evidence of their willingness to put themself in the middle of the action to get the perfect shot. The problem, though, is that no one knows who the photographer is.Bill Delzell, of the nonprofit SpeakLocal, encountered the archive in 2022 after a friend introduced him to its then-owner, who was looking for a buyer. A commercial photographer and collector, Delzell found himself enamored by the images and compelled to become their new custodian. I have no interest in owning the work, he told Colossal. I just have an interest in discovering who the photographer is.In total, the collection contains 2,042 processed 35-millimeter colorslides and 102 rolls of black-and-white film, meaning there are around 8,400 images in all. Alongside moments of angst, outrage, and joy, there are glimpses of critical happenings, like the seconds before Muhammad Ali burned a draft card while speaking at an anti-war rally.More than half of the film is unprocessed, meaning the photographer never even saw much of the collection. Delzell thinks this suggests the person was a student or hobbyist, rather than a journalist or artist who might be motivated to develop the images to sell or utilize in their work.This is the second unidentified photographic archive to come out of San Francisco in recent years after a similar Kodachrome collection was discovered in 2023. Anonymous works like these inspire questions about worth and merit when so often, we ascribe value based, in part, on the creator. This work really forces us to look at all of that and question what is the value of the work. Is the value the expression of the photographer? Or is the value the amalgam of all parts and pieces? Delzell asks.The image with Katy in the foreground with her familyAlthough many questions about the archive remain, a few clues have surfaced. Early in the discovery process, Delzell texted a handful of images to his friend Katy. She responded saying she could see herself in one of the photos. She was five years old, wide-eyed, and walking with her family while holding onto her sisters stroller. She was crossing in front of people marching against the unjust treatment of migrant farmworkers, Delzell writes. It was 1968 on Dolores Street.When he shared a different selection of photos with another friend named Amanda, he was similarly surprised. She was on her way to visit her friend Stanley Mouse, he says. Amanda called him quickly to say that Mouse, who designed the Grateful Deads iconic skeleton and roses poster, was in the background of the image of people sporting blue and green body paint in Golden Gate Park. Its fun that these little coincidences that remind us of how history continues to touch us, Delzell adds. The project, which is now called Who Shot MeStories Unprocessed, surpassed its goal on Kickstarter, although there are still opportunities to access some of the rewards. This funding will allow Delzell and the SpeakLocal team to develop the rest of the film and establish a broad platform for disseminating the images. Plans include a database, book, immersive exhibition in San Francisco, and a documentary. If they act quickly, sharing the archive will hopefully bring more people forward who can help identify the photographer and offer insights into its creation. Peoples living memories might still be able to help us, he notes.Several theories have emerged, but one of the most compelling is that the images belong to French filmmaker Agns Varda. A black-and-white image of a storefront captures a reflection in the glass windows, and the person behind the lens appears to be a woman with her signature bowl cut. Varda was a wonderful collaborator, Delzell says. Shes pretty much grabbing every neighbor, every friend shes got to help her tell her stories. Shes inspired me to think of this as a community project.Even if Varda isnt behind the shotsher daughter claims she isntDelzell says its possible these images were taken by a group of people or as visual notes for a potentially larger project. Perhaps they were part of a research process for a film or a novel that we have yet to connect. Or maybe, he speculates, the photographer utilized their camera to immerse themself in a variety of situations and be introduced to communities they might not otherwise.Whatever the answers, the focus at the moment is on garnering interest from those who might have a connection to people featured in the images or be able to offer context. SpeakLocal intern Amari Kiburi is hosting a short exhibition of the project this week at Natomas Charter School in Sacramento, and Delzell is looking for curators and enthusiasts interested in doing the same. We get to try to imagine what inspired this person to spend five years (amassing this archive) and then to have lost it, which is what really baffles me, he says.There are many more images from Who Shot MeStories Unprocessed in the video below. If youre interested in getting involved with the project, reach out to SpeakLocal. (via Smithsonian Magazine)Next article

Still Life with Jars (2025), acrylic and flashe on canvas, 60 x 84 inches. All images courtesy of the artist and Harpers, New YorkPorcelain Vessels Are Portals Through Time and Space in Paintings by Sun Hwa KimMarch 17, 2025ArtKate MothesIn the late 17th century, during Koreas Joseon Dynasty, a particularly rotund, plain white porcelain vessel rose to popularity. Nicknamed moon jars for their milky glaze and spherical form, the earliest examples were finished in wood-fired kilns to add character to their minimalist surfaces. Treasured and reproduced by skilled artisans throughout the centuries, the classic style continues to influence contemporary artisans.For Brooklyn-based artist Sung Hwa Kim, the traditional Korean jar serves as a starting point for an ongoing series of paintings invoking decorative vessels as metaphorical containers for the past. In the context of the still-life, he conjures what he refers to as visual haikus, poetic evocations of the passing of time, like changing seasons and the transition from day into night.Still Life with Jar, Ashtray, and Vincent van Gogh Painting (2024), acrylic and flashe on canvas, 72 x 60 inchesIn Kims current solo exhibition, Spring, Summer, Fall, Winter, and Spring at Harpers, the artist emphasizes quiet, everyday moments in domestic settings that often overlook brick buildings or the iconic Brooklyn Bridge. Some of his compositions are vibrantly monochrome, setting the scene for a vase on top of a table, containing a scene from a historic painting or faraway landscape.Kim often incorporates spectral, glowing insects (previously) and situates the vessels on sills or near windows. Vases contain landscapes, trees, and animals, while decor on the walls reference works by famous modernists like Vincent van Gogh, Ren Magritte, and Sanyu.Inside the pots, the flora appears ghost-like or faded, rendered in fuzzy gray marks, and objects left nearby, like a pencil and notebook or a drinking glass, suggest that someone was recently present but an unspecified time has passed since they left. The jars serve as portals to other times and places just as the windows provide views of another world. Ultimately, Kim masterfully inhabits the role of guide, making perceptible the delicate threshold between what fades and what endures, says a gallery statement. Spring, Summer, Fall, Winter, and Spring continues in New York through April 5. See more on the artists website and Instagram.Still Life with Jar, Fruits, and Incense Burner (2025), acrylic and flashe on canvas, 72 x 60 inchesStill Life with Jar and Round Glass Top Table (2025), acrylic and flashe on canvas, 50 x 40 inchesStill Life with Jar, Moon Lamp, and Ren Magritte Postcard (2024), acrylic and flashe on canvas, 72 x 60 inchesStill Life with Jar, Pencil, and Notebook (2025), acrylic and flashe on canvas, 60 x 48 inchesStill Life with Jar (2024), acrylic and flashe on canvas, 50 x 40 inchesStill Life with Jar and Sanyu Painting (2025), acrylic and flashe on canvas, 60 x 48 inchesStill Life with Jars (2025), acrylic and flashe on canvas, 60 x 48 inchesNext article

All images courtesy of Heather Rios, shared with permissionDelight in Heather Rioss Delectable Cakes Made from Polymer Clay and EmbroideryMarch 17, 2025Kate MothesWhile Heather Rioss slices of layer cake look ready to stick a fork into, you may want to think twice. Formed of polymer clay and finished with embroidery, the artist pairs the sweets with a vintage plateand sometimes a forkin playful trompe loeils.Enveloped in realistic frosting and decorated with berries, blossoms, and sprinkles, each work evokes pieces youd be ready to dig into at a birthday or wedding. Rios meticulously embroiders each sponge element, fashioning patterned layers in thread on a hoop before transferring the finished panel to the sculpture.In addition to freestanding forms, Rios embellishes small paintings with shallow reliefs of cakes on canvas, emphasizing vibrant color and the fluffy texture of the exposed interiors.Many of Rioss cakes would be exceedingly difficult to achieve in reality, like detailed floral designs or motifs from blue-and-white porcelain. Lucky for us, we can have our cake and keep it, too. Find more on the artists Instagram, and purchase a slice from her Etsy shop.A sponge embroidery in progressNext article

All images Windy Chien, shared with permissionThrough Knotted Installations, Windy Chien Reinterprets the Hitching PostMarch 14, 2025ArtCraftJackie AndresSince the 1800s, hitching posts have shaped a history anchored in utility and community. Scattered throughout towns and outside common areas, the sturdy objects offered a secure point to tie down horses, especially during social events or gatherings. San Francisco-based artist Windy Chien reinterprets this functional object in her ongoing Hitching Post series.Interdependent forms are particularly fascinating to Chien. If the object around which the hitch is tied were to be removed, the hitch collapses and loses its integrity, she says. Just as the presence of the knot relies on another element to remain intact, social spaces and gatherings rely on collective presence.Having received commissions for the projects since 2019, Chien creates unique pieces for a wide range of communal areas, such as airports, offices, houses, and ranches. Cutting wooden supports to various lengths and fastening rope by wrapping and knotting, the flowing and geometric compositions stretch across walls and exterior facades.Combining motifs from her Circuit Board series with other techniques, Chien recently completed a large installation in a Los Angeles office stairwell comprised of four works, each spanning 20 feet wide in a gradient of six hues. In April, the artist is looking forward to Ruth Asawas retrospective at San Francisco MOMA, where she will be showing several works alongside the exhibition. Find more on her website and Instagram.Next article

For 16 days this spring, an international kite festival will soar above the beaches of Cervia. Artenvento returns to northern Italy from April 19 to May 4 with more than 200 participants from 50 countries and five continents. In its 45th year, the 2025 festival welcomes artist Kadek Armika, whos known for incorporating Balinese kite-making traditions into his modern, flying sculptures. This iteration also marks the 80th anniversary of the citys liberation in WWII and revolves around a theme of solidarity and peace.Find more about the festival and its broad programming, including workshops, music, and acrobatic performances, on its website.Do stories and artists like this matter to you? Become a Colossal Member today and support independent arts publishing for as little as $7 per month. The article This April, Thousands of Kites will Paint the Sky for an International Festival of Flight appeared first on Colossal.

Leidy (2025), acrylic on burlap, 48 x 36 inches. All images courtesy of Jose Lerma and Nino Mier Gallery, shared with permissionSparse Brushstrokes Give Rise to Thick Impasto in Jose Lermas Minimal PortraitsMarch 13, 2025ArtGrace EbertWhen Jose Lerma encountered Reception of the Grand Cond by Louis XIV by Jean-Lon Grme at the Muse dOrsay in Paris, he found himself drawn to the figures tucked far behind the crowd. Known for his meticulous realism, Grme rendered these small characters with minimal brushstrokes, a decision that has influenced Lermas work for more than a decade.Exaggerating the sparse quality of the figures, Lerma (previously) paints portraits in wide swaths of acrylic applied with brooms and industrial tools. The new works retain the contrasts of earlier pieces as well-defined strokes sweep across the burlap to form heavy, impasto ridges. Yamila (2025), acrylic on burlap, 72 x 48 inchesAt Nino Mier Gallery in Brussels, Lermas new solo exhibition Bayamonesque presents the culmination of his current style. The title references his upbringing in Bayamn, Puerto Rico, and how we think about resemblance. Painting both real subjects and manufactured characters, the portraits reference those who might otherwise be relegated to the background, stripping down their likeness to only whats necessary. Vacillating between figurative and abstract, the compositions are what Lerma refers to as the summary of a portraitThe abstract painter in me is, above all, drawn to certain people for specific features that can be broken down to their bare minimum as paintable elements: an expressive cowl, a striking nose, a distinctive shape of lips.Bayamonesque is on view from March 14 to April 17 in Brussels. Find more from Lerma on Instagram.Celimar (2025), acrylic on burlap, 32 x 24 inchesLeda (2025), acrylic on burlap, 72 x 48 inchesClarisa (2025), acrylic on burlap, 32 x 24 inchesFelo (2025), acrylic on burlap, 24 x 16 inchesIsmaela (2025), acrylic on burlap, 32 x 24 inchesRania (2025), acrylic on burlap, 32 x 24 inchesFernanda (2025), acrylic on burlap, 24 x 16 inchesLisi (2025), acrylic on burlap, 48 x 36 inchesNext article

Out Here (we is) (2025), cotton and metallic thread hand embroidered on linen, 16 x 20 inches. All images courtesy of Melissa Caldern, shared with permissionMelissa Caldern Preserves Neighborhood Memories in Bold Textured ThreadMarch 13, 2025ArtCraftGrace EbertOn expanses of beige linen, Melissa Caldern immortalizes pockets of a neighborhood or domestic space. Combining imagery from her childhood in the Bronx with her familys native Puerto Rico, the artist translates familiar landscapes and sights into vivid embroideries, preserving her memories in thread. The intimate compositions capture how neighborhoods and communities change, particularly as long-time residents are displaced. Her current body of work, titled Gentrified Landscapes, explores a place that once was but is now between the two spurts of gentrified-led divestment and revitalization and how this particularly affects the Bronx and Puerto Rico.Villa Nueva (Id Still be Puerto Rican even if born on the Moon) (2024), cotton, nylon, and chenille hand embroidered on linen, 24 x 24 inchesCaldern embraces the potential of thread to add texture and emphasize the more conceptual elements of her work. Villa Nueva (Id Still be Puerto Rican even if born on the Moon), for example, drapes soft, green chenille across the composition like a lush cluster of vines. Prone IV | My Underemployed Life series features a green sofa unraveling into tangled fibers that spill off the canvas.In her studio, Caldern focuses on the meditative, entrancing process of stitching. Works begin with a drawing thats transferred to a pattern and freehand rendered onto the linen. She enjoys the slow, methodical movements, which remind her of times I sewed with my grandmother, making Cabbage Patch Kids clothes to sell on the playground before school started for the day. Embroidery takes me to a calm place where only the process matters.Currently, Caldern is working on a few commissions and preparing for a solo exhibition in Puerto Rico. She also recently began a large-scale work titled Bodega Miles that will stretch 40 inches wide and take more than a year to complete. You can follow her progress on Instagram.Prone IV | My Underemployed Life series (2023), cotton and satin thread hand embroidered on linen, 16 x 20 inchesA work in progressComing Soon (2023), cotton and metallic thread hand embroidered on linen, 16 x 20 inchesEl Tiempo Muerto (The Dead Times) (2023), cotton, and metallic thread hand embroidered on linen, 24 x 24 inchesDetail of Coming Soon (2023), cotton and metallic thread hand embroidered on linen, 16 x 20 inchesNext article

Green Room (2025),acrylic and oil on linen, 162 x 194 x 3 centimeters. Photos by Shin Inaba, courtesy of Keita Morimoto and Almine Rech, shared with permissionKeita Morimoto Lingers in the Artificial Light of Urban NightsMarch 12, 2025ArtGrace EbertCities are constantly in flux, but Keita Morimoto (previously) invites us to linger in their transitions a little longer. The artist renders corner stores, vending machines, and lampposts that illuminate spaces that might otherwise go unnoticed. Either unoccupied or inhabited by just one or two people, Morimotos scenes are dimly lit but not eerie and invoke the environments most of us engage with for just a moment.The anonymous, liminal spaces in my paintings echo the feeling of never fully belonging, Morimoto says in a statement. Im drawn to the way emotions can transform a familiar setting into something entirely different, revealing deeper truths about the human experience.Crossroad (2025), acrylic and oil on linen, 162 x 130 x 3 centimetersIn a new body of work titled To Nowhere and Back, the artist continues his explorations into the interplay of light and shadow. Drawing on the sights of New York City and Tokyo, he considers how we find connection in a world thats constantly changing. He shares:My work reflects a lifetime of navigating conflict, loneliness, and the desire to escape within urban environments. When I moved from Osaka to Canada at 16, I experienced a profound sense of isolation, as though severed from everything familiar. Over time, some connections emerged, but it was always accompanied by subtle discomfort. Returning to Japan in 2021 brought a similar disorientationmoments wheneven my birthplace felt unfamiliar, as if reality itself had shifted.Rather than translate streets hes wandered down directly onto the canvas, Morimoto paints with a cinematic quality. This pulls the viewer from the familiar and makes even the most ordinary sidewalk appear intriguing. Zeroing in on light sources further supports this vision, and artificial bulbs become beacons amid scenes shrouded in darkness. The artist considers how these machines create a robotic harmony in Japanese urban life and paints them as characters in their own right.To Nowhere and Back runs from March 14 to April 26 at Almine Rech in Tribeca. Find more from Morimoto on Instagram.Last Call (2025), acrylic and oil on linen, 116.7 x 91 x 2.8 centimetersEvening Embers (2025), acrylic and oil on linen, 162 x 130.3 x 3 centimetersForgotten Path (2025), acrylic and oil on linen, 162 x 259 x 4 centimeters. Photo by Osamu SakamotoWaiting Hour (2025), acrylic and oil on linen, 116.7 x 91 x 2.8 centimetersNo Destination (2025), acrylic on panel, 27.3 x 22 x 2 centimetersEvening Embers (2025), acrylic and oil on linen, 162 x 130 x 3 centimetersStairs to Nowhere (2025), acrylic and oil on linen, 162 x 130 x 3 centimetersThe Way Back (2025), acrylic and oil on linen, 162 x 194 x 3 centimetersMissed Calls (2025), acrylic and oil on linen, 145.5 x 112 x 3 centimetersGathering (2025), acrylic on panel, 27.3 x 22 x 2 centimetersNext article

All images courtesy of Ins Quezada and Ins Llasera, shared with permissionIn KAUANI, Indigenous Mexican Flora Flourishes in Glowing LanternsMarch 12, 2025CraftDesignKate MothesIn Nahuatl, an Aztec language indigenous to Mesoamerica still spoken by more than a million people throughout Mexico, kauani means to flourish. Designers Ins Quezada and Ins Llasera, co-founders of Tornasol Studio, conceived of a series of luminaires inspired by native flora in celebration of the regions rich botanic diversity.The ongoing series, KAUANI, emulates details of endemic species, drawing on textures found on cacti, geometric agaves, and the rhythmic patterns of corn. The duo also find inspiration in the unique seeds of mamey and guanabana fruits or the pigmentation of cacao and chili peppers.Cacti symbolize resilience, Quezada and Llasera say in a statement, sharing how the plants adaptations to extreme environments mean they can endure long droughts and high temperatures. The pair adds:For instance, their spines not only serve as a defense mechanism but also condense water and create a protective layer. Their pale pigmentation, resulting from waxes that insulate their tissues and their water-retention capabilities grant them unique volumetric forms. Unlike most plants, cacti perform photosynthesis at night, closing their stomata during the day to conserve water and nutrients. It is in darkness that they truly breathe.Merging natural forms of fruit and botanicals with textiles, the lanterns incorporate knitted skins with delicate spikes, ruffles, or tentacles that tread the line between representation and abstraction. Melon-like orbs and oblong shapes reminiscent of seed pods are suspended from the ceiling or propped up on surfaces with spindly feet.If youre in Mexico City, you can see KAUANI in Noches rides through May 15 at AGO Projects. Explore more on the designers website, and follow updates on Instagram.Next article

Girl with Butterflies (2024), silk and wool yarn on muslin warp, 50 x 40 inches. All images courtesy of the artist and Claire Oliver Gallery, shared with permissionRegal Portraits Evoke Myth and Power in Simone Elizabeth Saunders Hand-Tufted TextilesMarch 12, 2025ArtCraftKate MothesEmblazoned with vibrant patterns and words like TRUTH and LOVE, Simone Elizabeth Saunders explores Black identity in relation to kinship, power, and survival. Her hand-tufted textiles (previously) merge cultural narratives and history with mythology, nostalgia, and personal experiences. Saunders predominantly focuses on women, who she portrays in bold portraits and within fantastical, empowering scenarios. In recent works like Girl with Butterflies and She Manifests Her Destiny, figures embrace and commune with totem-like snakes, insects, and plants.She Reveals (2022), hand-tufted velvet, acrylic, and wool yarn on rug warp, 65 x 60.5 x 1 inchesRooted in the myriad histories of the global Black diaspora and rich textile traditions throughout countless cultures, Saunders employs a craft technique historically relegated to a role beneath fine art in order to turn the tables on how we comprehend influence, identity, and artistic expression.Saunders is represented by Claire Oliver Gallery, and you can explore more work on the artists Instagram.(Be)Longing IV (2023), hand-tufted acrylic, cotton, wool, and metallic yarn on cotton rug warp, 20 x 1 x 30 inchesGirl with Hummingbirds (2024), silk and wool yarn on muslin warp, 50 x 40 inchesInternal Reflections (2022), hand-tufted velvet, acrylic, and wool yarn on rug warp, 66 x 62.5 x 1 inches(Be)Longing VIII (2024), hand-tufted acrylic, cotton, wool, and metallic yarn on cotton rug warp, 20 x 1 x 30 inchesRelease in Darkness (2022), hand-tufted velvet and acrylic yarn on muslin warp, 66 x 55 inchesShe Manifests Her Destiny (2024), silk and wool yarn on textile backing, 50 x 40 inchesBreak Away at Dawn (2023), hand-tufted velvet, acrylic, and wool yarn on muslin warp, 66 x 56 x 1 inchesNext article

Flowers in a Glass Vase (1704), oil on canvas, 33 26 3/8 inches. Image courtesy of Detroit Institute of Arts. All images shared with permissionLauded Dutch Golden Age Painter Rachel Ruysch Gets Her First Major Survey in the U.S.March 11, 2025ArtKate MothesMany of us are familiar with titans of the Dutch Golden Age like Frans Hals, Johannes Vermeer, Rembrandt, Jan Steen, and more. Yet fewer of us have probably heard of Rachel Ruysch (1664-1750), renowned during her lifetime for her original style but under-acknowledged through the centuries in the canon of Western art history.Co-organized by the Toledo Museum of Art, the Museum of Fine Arts, Boston, and the Alte Pinakothek, Munich, the first major U.S. exhibition of the artists work, Rachel Ruysch: Nature into Art, introduces audiences to the breadth of her remarkable paintings.Posy of Flowers, with a Beetle, on a Stone Ledge (1741), oil on canvas, 7 7/8 9 5/8 inches. Image courtesy of Kunstmuseum BaselDuring her seven-decade career, Ruysch was the first woman admitted to the Confrerie Pictura, The Hague painters society, and she was appointed court painter in Dsseldorf to Johann Wilhelm, Elector Palatine. She rose to become one of the highest-paid artists of her day. In a foreword for the exhibition catalog, the directors explain that Ruysch achieved fame across Europe in her lifetime, but her oeuvre was little studied by art historians in subsequent centuries. She has never been the subject of a major exhibitionuntil now.Art historians consider Ruysch to be among the most talented still life artists of the era, and by the time she died at 86, she had produced hundreds of paintings. Nature into Art includes more than 90 international loans, including 48 of her most significant works.The artist was born in The Hague, The Netherlands, to parents with backgrounds in science and design. Her father was a professor of botany and anatomy, and her mother was the daughter of an architect. The artist began painting when she was around 15, copying flower and insect specimens from her fathers collection.As her artistic faculty grew, Ruysch taught her father and her sister Anna how to paint. She merged modern scientific observation with an incredible aptitude for capturing light, composition, and form, and she typically dated her paintings when she signed them, giving art historians a clear record of stylistic shifts and subject matter over time.Flowers and Fruit in a Forest (1714), oil on canvas, 38 48 1/2 inches. Image courtesy of Stdtische Kunstsammlungen & Museen AugsburgRuyschs success during her lifetime is attributed to both her unmistakable talent and the 17th-century Dutch fondness for flowers and gardening. Still life paintings of floral arrangements and tables heaping with food highlighted the beauty of nature and the gifts of plenty. The vanitas genre also sprung from the style, interpreting memento mori, Latin for remember you must die, into subtle, well-versed visual cues.Motifs like skulls, insects, rotting fruit, or wilting flowers were symbolic reminders of the futility of pleasure, power, or wealth after death.For example, in Ruyschs Posy of Flowers, with a Beetle, on a Stone Ledge, beetles and flies crawl over a spray of peonies and wildflowers that will soon wilt, and water droplets signify purity and the fleetingness of life.Nature into Art runs from April 12 to July 17 in Toledo, traveling on to Boston afterward, where it opens on August 23.Flowers (1715), oil on canvas, 29 2/3 23 3/4 inches. Photo by Photo: Nicole Wilhelms, courtesy of Bayerische StaatsgemldesammlungenAlte Pinakothek MunichIllustration from Observations of a Surinam Toad, graphite on paper, 8 x 11 in. Image The Royal Society, LondonAnna Ruysch (Dutch, active from 1685, died after 1741), A Still Life of Flowers on a Marble Table Ledge (1685), oil on canvas, 13 11 3/4 inches. Photo by Erin Croxton, courtesy of a private collection and Birmingham Museum of ArtFlower Still Life (about 1716-20), oil on canvas, 29 3/4 23 7/8 inches. Image courtesy of Toledo Museum of ArtRachel Ruysch and Michiel van Musscher (Dutch, 16451705), Rachel Ruysch (16641750) (1692), oil on canvas, 30 25 inches. Image courtesy of the Metropolitan Museum of ArtNext article

American Crow (2025),acrylic on canvas, 8 x 8 inches. All images courtesy of Vasilisa Romanenko and Arch Enemy Arts, shared with permissionVasilisa Romanenkos Lush Portraits Wrap Common Birds in Decadent PatternsMarch 11, 2025ArtNatureGrace EbertBeauty and natures resilience are at the core of Vasilisa Romanenkos work. The Connecticut-based artist paints faithful depictions of common yet dignified birds amid clusters of fruits and flowers, exploring the power of opulence in times of upheaval.A stately crow poses amid rust-colored roses, a great blue heron poses amid clusters of tangerines and lilies, and a small warbler perches amid pink poppies. Referencing the defiantly decorative works of English textile designer William Morris (18341896), Romanenko embraces the entrancing nature of decadent patterns.Great Blue Heron (2025), acrylic on canvas, 22 x 28 inchesI want my work to feel like an escape from everyday life, like taking a moment to be still and appreciate nature, she says about her solo exhibition, BIRDS & BLOOMS, at Arch Enemy Arts. Enveloped by flora at full bloom, the winged subjects exude a sense of calm and strength as they perch and prepare for their next flight.BIRDS & BLOOMS is on view through March 30 in Philadelphia. Find more from Romanenko on her website and Instagram.Northern Mockingbird (2025), acrylic on canvas, 11 x 14 inchesBlack-capped Chickadee (2025), acrylic on canvas, 5 x 7 inchesOrange-crowned Warbler (2025), acrylic on canvas, 5 x 7 inchesDark-eyed Juncos (2025), acrylic on canvas, 9 x 12 inchesPalm Warbler (2025), acrylic on canvas, 8 x 10 inchesBrewers Blackbird (2025), acrylic on canvas, 9 x 12 inchesNext article

Shortlist, Travel: Liu Song, China Mainland, Abseil. A tourist descends by rope into Tianyan cave in Chongqing, China. The unique karst cave contains a large Buddha statue that draws tourists from around the world. All images the photographers, courtesy of the Sony World Photography Awards 2025, shared with permissionLandscapes, Customs, and Culture Shape the 2025 Sony World Photography AwardsMarch 11, 2025NaturePhotographyKate MothesNearly half a million images were submitted to this years Sony World Photography Awards, organized by the World Photography Organisation, marking another highly competitive, awe-inspiring selection of moments captured across the globe. Now in its 18th year, more than 419,000 contributions rolled in from more than 200 countries.The photos shown here are all entries in the Open competition, which invites amateur image-makers from around the world to submit their best compositions. Additional contest streams, for which many of these images are also considered, highlight the work of professionals, students, specific regions, women, and youth.Winner, Travel: Matja imic, Slovenia, Ask a Shaman. Shamans play a major role in Native Bolivian traditional culture, La Paz, BoliviaFrom dramatic landscapes to cultural customs to one-of-a-kind travel experiences, the winning and shortlisted photos capture beautiful and diverse ecosystems, locations, and traditions. The contest celebrates the ability of an individual photograph to capture and distill a singular moment, and to evoke a broader narrative, says a statement.The overall winner of the Open Photographer of the Year will be announced on April 16 in London, where the 2025 exhibition opens at Somerset House and runs from April 17 to May 5. Explore all of the top shots on the awards website.Shortlist, Travel: Khai Chuin Sim, Malaysia, Wings of Tradition. This pair of Kazakh eagle hunters was photographed in the vast and rugged landscape of western Mongolia. Clad in intricately detailed fur garments, they sit atop sturdy horses, with golden eagles perched majestically on their armsShortlist, Travel: Chim Oanh, Vietnam, Incense Flowers. Workers dry colorful incense before taking it to sell at the marketShortlist, Landscape: Yoshiaki Kudo, Japan, Blossoms in a Dreamscape. Weeping plum trees in full bloomShortlist, Lifestyle: Syed Mahabubul Kader, Bangladesh, Paddy Straw. A group of workers unloads paddy straw from a truck. The rice straw is a by-product of farming that is used for a variety of purposes, including as cattle feed and fuelShortlist, Landscape: XiaoYing Shi, China Mainland, Ground Vein. Aerial view of Factory Butte, UtahShortlist, Travel: Kunal Gupta, India. The Colours of the Andes. Set against the backdrop of Perus Rainbow Mountain, two elegantly adorned alpacas stand as symbols of the rich Andean culture and the timeless bond between humans and natureWinner, Lifestyle: Hajime Hirano, Japan, Akihabara. The prototype of todays Akihabara was a gathering of street vendors selling parts for radios. After the late 1950s, during a period of rapid economic growth, Akihabara grew into Japans largest electronics town. Today, it is famous worldwide for its anime and cosplay cultureShortlist, Landscape: Francisco Negroni, Chile, The Lord of Volcanoes. Villarrica is the most dangerous volcano in Chile and one of the most active in America; its last eruption occurred in 2015. In this photograph a strong electrical storm can be seen over the volcano, while the crater is illuminated by the lava pitShortlist, Street Photography: Angela Magalhes, Portugal, Feast of St. Martin. The Magusto festival in the city of Braga is celebrated not only by eating chestnuts and drinking gua-p (a traditional Portuguese spirit) but also by dancing, singing, and jumping the bonfire where the chestnuts are roastedShortlist, Travel: Arun Saha, India, Floating Market of Myanmar. Early in the morning, hundreds of vendors come to sell everyday necessities to both local consumers and tourists at Myanmars Inle LakeShortlist, Travel: Akram Menari, Algeria, Get Ready! The intricate details of the horses hoof emphasize its strength and poise; the hoof appears taut and ready for action, perfectly in sync with the rider preparing to engage in the equestrian sport. The photograph was taken just before a game beganNext article

All images Jinjoo Jo, shared with permissionUneasy Interactions Signify a Response to Tragedy in Jinjoo Jos Blue IllustrationsMarch 10, 2025IllustrationKate MothesTreading the boundary between cuteness and discomfortinnocence and harmSouth Korean artist Jinjoo Jos illustrations express the tenuous relationship humans conjure with nature and a personal response to a widely publicized tragedy.Blue Anger, a series Jo began in 2020, portrays young girls interacting with insects, which are unsettlingly large and imposing. I have always loved nature, but in this series, I chose to use insects as a metaphor for predators, she says. The young girls in the illustrations stare straight ahead as insects endlessly swarm around them. At times, I see myself as a passive witness to their suffering; at other times, I step into the artwork and become one of them.Most of the works seen here belong to Blue Anger, which continues to evolve. Rendered in black, white, and a cerulean blue hue, the first piece was made in direct response to the so-caled Nth Room case, a horrific cybersex crime that took place between 2018 and 2020. At the time, I was overwhelmed by anger and despair, the artist tells Colossal. The case involved the sexual exploitation of at least 70 underage victims, who were subjected to abuse both online and offline.Blue Anger serves as a way to process the energy-draining emotion, in a sense creating a kind of tribute to the young people who were victimized. Recent works diverge from the theme of insect-as-predator, reverting control to the young girls who instead commune in a pond with a larger-than-life moth or coexist in an illuminated space with fluttering insects drawn to the light. Jo primarily employs colored pencils and graphite, occasionally incorporating black ballpoint pens for darker details. She then scans her drawings in order to complete them digitally using Procreate and Photoshop. Jo has been working for several years on a graphic novel related to ongoing scientific research, which is currently in pre-production. She has also been working on an essay detailing her experiences of pregnancy, which she hopes to eventually compile into a small book. Find more on the artists website and Instagram.Next article

All images courtesy of Ash Aurich, shared with permissionIntricate Postage Stamp Tattoos by Ash Aurich Are an Ode to Art HistoryMarch 10, 2025ArtIllustrationKate MothesAs the saying goes, if one knows very little about something, their knowledge could fit on the back of a postage stamp. But for tattoo artist Ash Aurich, the minuscule format provides a readymade canvas and frame ripe for experimentation, intrigue, and beauty.Using a fine line technique with delicate shading, Aurich outlines the unmistakable scalloped edges of the ubiquitous, tiny adhesives, filling rectangular compositions with Renaissance-inspired romantic and religious figures.A deep appreciation for iconic artworks inspired Aurich to create tiny odes to art history. I wanted to be able to capture the essence of these masterpieces in a unique and engaging way, she tells Colossal. Having the opportunity to tattoo these designs on others who appreciate art is a rewarding experience.Aurichs preferred subject matter is people, especially the dramatic and often symbolic figures in art historical masterworks by the likes of Johannes Vermeer or Caravaggio. The attention to detail, use of light and shadow, and mastery of human anatomy create stunning, lifelike representations that translate beautifully into tattoos, the artist says. She shares that its important for the emotions and narratives of each portrait to resonate with the wearer, especially at their small scale.Currently in residency at Atelier Eva, Aurich has opened her books for March and April in New York City. The tattoos seen here are all flash designs, but she creates custom compositions, too. See more on Instagram.Next article

Residue (2018). Photo by Ryohei Yanagihara. All images courtesy of Rui Sasaki, shared with permissionRui Sasaki Encases Spectral Flowers in Intimate Glass AssemblagesMarch 10, 2025ArtNatureKate MothesWhat is essential is invisible to the eye, Antoine de Saint-Exupry wrote in his 1943 novella The Little Prince, a sentiment that drives Rui Sasakis work. From what the artist (previously) describes as a mysterious and ambiguous material, botanicals appear to float in frozen cubes of water.Sasaki employs glass to document and preserve the nature of the present. Works like Subtle Intimacy respond to places and experiences where she feels present. It is vital for me to connect who I am and where I am, especially when I am in unfamiliar spaces, the artist tells Colossal. She likens intimacy to nostalgia, exploring the depth of feeling associated with memories, comfort, and security.Subtle Intimacy 2012-2023 (2023), glass, plants, LED, and aluminum, 253.5 x 310 x 332 centimeters. Collection of 21st Century Museum of Contemporary Art, Kanazawa. Photo by Nik van der GiesenSasaki traces her fascination with the medium to childhood, specifically to its visual similarities to the surfaces of ponds or lakes. I was always wondering how I could make something out of water, she says. When I saw molten glass at a glassblowing studio during a summer family trip in Okinawa, I fell in love with it.When Sasaki moved to the U.S. from Japan in 2007, she began incorporating plants into her work as a way to recover my senses from my loss of intimacy and home in my mother country, she says. When she returned to Japan five years later, she continued to hone her focus on botanicals.Enchanted by how plants can express experiences of her surroundings, Sasaki portrays individual botanicals in sculptures ranging in size from a few feet wide to room-size installations. She says:Collecting plants is the most important aspect of the work. I use all my five senses in gathering plants. That helps me to recall my past memories, especially in my childhood, and to connect my feelings of intimacy towards my country, Japan.Sasaki places collected specimens between two sheets of glass and fires the piece in a kiln. The plant turns to white ash, leaving the impression of petals, leaves, and veins. Air bubbles that naturally emerge in the heat are also preserved in what the artist likes to a time capsule. The original form of the plant no longer exists but its impression endures.Detail of Subtle Intimacy 2012-2023 (2023). Photo by Nik van der GiesenDualities like presence and absence, fragility and strength, and transparency and opacity merge with Sasakis interest in befriending glass while reveling in the knowledge that she will never fully comprehend everything about it.If youre in Denmark, you can see Sasakis sculptures at Glas from March 22 to September 28 in Ebeltoft. Her work will also be on view later this year at the Aichi Triennale 2025. Explore more on the artists website, and follow Instagram for updates.Residue (2018). Photo by Ryohei YanagiharaUnforgettable Gardens (2022). Photo courtesy of Art Court Gallery / Takeru KorodaSubtle Intimacy 2012-2023 (2023), glass, plants, LED, and aluminum, 253.5 x 310 x 332 centimeters. Collection of 21st Century Museum of Contemporary Art, Kanazawa. Photo by Nik van der GiesenDetail of Subtle Intimacy / Utsuroi (2024). Photo courtesy of National Crafts Museum (National Museum of Modern Art, Tokyo) / Tomoya NomuraSubtle Intimacy / Utsuroi (2024). Photo courtesy of National Crafts Museum (National Museum of Modern Art, Tokyo) / Tomoya NomuraDetail of Dormant Recollections (2024). Photo courtesy of Northern Alps Art FestivalDetail of Unforgettable Reminiscences (2022-2023), installation view at Bellustar One. Photo by Keizo Kioku, Tokyu Kabuchiko TowerDetail of Unforgettable Reminiscences (2022-2023), installation view at Bellustar One. Photo by Keizo Kioku, Tokyu Kabuchiko TowerNext article

A Trio of Stop-Motion Shorts Utilize a Cumbersome 3D-Printing TechniqueMarch 8, 2025AnimationFilmGrace EbertAlready more cumbersome than digital techniques, stop-motion animation typically involves sets and characters designed to make subtle movements so that filmmakers can capture minute shifts frame by frame. Directors Jack Cunningham and Nicolas Mnard, of Eeastend Western, have chosen the even more involved process of replacement animation for their recent project.Popularized by George Pal in the 1930s and 40s, replacement animation involves creating distinctive models for each movement. Where Pal used wooden characters, though, Cunningham and Mnard opted for 3D-printed figures for their new anthology, TRIPLE BILL.Comprising a trio of films all under two minutes, the collection spans three genres to survey the atmospheric potential of the technique, the directors say. The first is BLUE GOOSE, a western mocking the current state of social media, that features an enormous cowboy statue that leaves his post at the gas station. Just to have the figure walk across the set required eight unique models.The second two are similarly labor-intensive. CLUB ROW is a dizzying film noir about data privacy featuring an endlessly spinning staircase, and MYTHACRYLATE is a fantastic glimpse at the battles we have with ourselves.As the behind-the-scenes photos below show, each model had to be cut, sanded, and painted individually before being precisely placed in position. Mnard told Its Nice That that elements like lighting, sound, and camera angles were particularly important to help convey emotion in TRIPLE BILL, which envelops viewers in a hypnotic critique of technology and its effects.Find more from Eastend Western on Vimeo. For a similar technique, you also might enjoy these bears on stairs. Behind-the-scenesBehind-the-scenesBehind-the-scenesBehind-the-scenesNext article

The fairies will find us if we leave a trail. All images Katherine Duclos, shared with permissionThrough LEGO Compositions, Katherine Duclos Grounds Chaos in ColorMarch 7, 2025ArtJackie AndresKatherine Duclos begins each artwork with a color palette and no plan. Placing modular LEGO bricks one by one, the Vancouver-based artist intuitively builds each dense composition, commencing a repetitive process in which she introduces paint before rearranging again.Duclos most recent solo show, aptly titled The light and color we carry, reinforces the overarching significance of color within the artists practice. She created her recent collection during a great shift as she moved to a new home with her family. The neurodivergent artist held onto color as a grounding force, creating connections between the specific hues and lights she would miss in her previous home.Detail of Temper your touch please (2024)A statement from the Vancouver Art Gallery reads:Times of transition and upheaval are particularly difficult for autistic families, and Katherines need to order her world became more intense as her home became more chaotic and the future seemed unclear. To better prepare herself for the changes, she focused on regulatory work that enabled her to feel a sense of control and order amidst the chaos.Having disabilities with spatial processing and rotating images causes Duclos to run into some obstacles with the diagrams and instructions that accompany the traditional LEGO kit. I never enjoyed Lego until my son handed me four flat pieces stuck together when he was 5 and said, I thought youd like these colors next to each other. That was my light bulb moment, she says. Made to hang at any orientation, each vibrant amalgamation encourages movement and fluctuation despite the stiff, blocky nature of the material.Duclos is creating work in preparation for a forthcoming solo exhibition in January next year. Keep tabs on her work via Instagram and the artists website.Fireflies and lilacs (2024)Let your sad light be a beacon (Raincouver) (2024)Detail of I will ahead of you and scaffold the light so you can see the path forward (2024)Sometimes the asymmetry is so subtle its subversive (2024)You can make your own plans, the day will make itself (2024)Temper your touch please (2024)I will ahead of you and scaffold the light so you can see the path forward (2024)Next article