Oscillation (2017). All images courtesy of Paul S. Briggs, shared with permissionFrom Single Balls of Clay, Paul S. Briggs Hand-Turns Leafy VesselsNovember 21, 2024ArtCraftKate MothesCurling leaves and pinched patterns cloak the bold vessels of artist Paul S. Briggs. Using a slab-building technique, he creates chunky sculptures that nod to nature, mindfulness, and the malleability of his chosen medium.Briggs approaches his process as a kind of meditation, pinch-forming each piece from a single ball of clay. When sharing his work on social media, he even uses the hashtag #noadditionorsubtraction to illustrate how the form emerges from the precise quantity he begins with. Calyx Krater (2021). Photo by Joe PainterIt is difficult to see from the finishedvessels how the pieces emerge from one piece of clay, Briggs tells Colossal. Im at a stage in the process where to call them pinch-pots doesnt quite capture the evolution of the form, and so Ive been using the terminology hand-turned.'The artist composes each piece through a kind of two-pronged method: the initial step of building with slabs helps him to think through ideas and philosophize concretely, while pinching quiets his mind.As a teacher at The New York State College of Ceramics at Alfred University, Briggs is interested in how a range of topicseducational theory and policy, art education, theology, and artcoalesce in both the studio process and the finished work. One of the main tools I ask students to bring to my workshops is patience, he says. You cannot rush these pieces; one must slow down. It is a very assertive but tender process, especially when handling six to 12 pounds of clay.Windflower Vase (2022)Being psychologically present in the process is central to Briggss approach, which is why I have talked about the work as being a mindful, meditative technique, he adds. Undulating leaf forms, intimate divots, and rippling edges repeat in infinite circles around each vessel, evocative of a mesmerizing, three-dimensional zoetrope.Very recently, Ive been making pieces with a balance of slow, intentional pinches and very loose, intuitive marks, Briggs says. These works are still emerging, and hes interested in the potential of combining different approaches in one form.Among several other group shows, Briggs will show a few vessels in an exhibition celebrating the 50th anniversary of The Art School at Old Church in Demarest, New Jersey, which runs December 6 to 8. Hes also preparing for his next solo exhibition at Lucy Lacoste Gallery in Concord, Massachusetts, slated for July. Until then, explore more on the artists website.Wildflower (2021). Photo by Joe PainterWhorl (2024)Calyx Bowl (2021). Photo by Joe PainterWindflower Vase (2022)Calyx Krater (2021)Previous articleNext article

Apokaluptein:16389067 (20102013), cotton sheets, ink, hair gel, graphite, and gouache, 15 x 40 feet. All images courtesy of Jesse Krimes, Jack Shainman Gallery, and The Met, shared with permissionThrough Monumental Installations of Soap and Stones, Jesse Krimes Interrogates the Prison SystemNovember 21, 2024ArtSocial IssuesGrace EbertAround 2009, Jesse Krimes was sent to solitary confinement while awaiting trial for a drug charge. He had recently graduated from Millersville University of Pennsylvania with an art degree and spent his first year inside Fairton Federal Correctional Institution making. The one thing they could not take away or control was my ability to create, he says.Like many incarcerated artists, Krimes had to forgo the luxuries of a pristine canvas and set of paints. Instead, he had to be resourceful and utilize the few materials available to him. He began transferring mugshots and small photos printed in The New York Times onto wet remnants of soap bars. He then tucked the blurred, inverse portraits into cut-out decks of playing cards glued together with toothpaste, which created a kind of protective casing that allowed him to smuggle the works out of the facility.Detail of Purgatory (2009), soap, ink, and playing cardsThe 292 works became Purgatory, which considers how we view criminality and references the unwinnable game of living in a carceral society. Having transferred both photos of people sentenced to prison and celebrities like Naomi Campbell and David Letterman, Krimes points to the ways popularized images can exacerbate power imbalances.Purgatory is currently on view at The Met in Jesse Krimes: Corrections, one of two New York exhibitions of the artists work.Exploring the role of photography in the criminal justice system, Corrections brings together several of Krimes large-scale works, including Apokaluptein: 16389067. The 40-foot patchwork mural similarly features imagery taken from newspapers that the artist transferred to 39 prison-issue bedsheets using hair gel. Inverted photographic renderings piece together advertisements, snapshots of global strife, and scenes of life from 2010 to 2013, all overlaid with Krimes own drawings.The root of apocalypse, apokaluptein is a Greek word translating to uncover and revelation. Paired with Krimes Bureau of Prisons ID number, the title references mass destruction and the mediated view of the world from inside the justice system.Detail of Apokaluptein:16389067 (20102013), cotton sheets, ink, hair gel, graphite, and gouache, 15 x 40 feetFollowing his release, Krimes co-founded the Center for Art and Advocacy, which supports artists directly impacted by the justice system, and continues to collaborate with people who are incarcerated, often seeking help in sourcing materials for his work.Naxos, for example, suspends 9,000 pebbles from prison yards in a vivid installation as a parallel to Apokaluptein: 16389067 at The Met. And at Jack Shainman Gallery, where Krimes is represented, the artists new body of work repurposes clothing gathered from currently and formerly incarcerated people into sweeping tapestries.Cells features three abstract works of transferred art historical imagery overlaid with sprawling, network-like embroideries. The webbed pattern is based on microscopic images of cancerous cells, which the artist excised to leave only the healthy tissue intact. By removing these malignancies, he creates an intricate metaphor for the ways the justice system extracts people from society while exploring new pathways toward care and redemption.Part of Krimes intent for his practice is to pay homage to those inside. It is an absolute honor to have works that were created in such an austere and traumatic environment on display, he said about Corrections. To show these works highlights much more than the work of an individual artist, namely the collective value, creativity, and dignity of the millions of people currently behind prison walls.Cells is on view through December 21 at Jack Shainman Gallery, while Jesse Krimes: Corrections runs through July 13, 2025, at The Met. Find more from Krimes on his website.Unicorn (2024), used clothing collected from currently and formerly incarcerated people, assorted textiles, embroidery, and image transfer, 109 x 105 x 2 3/4 inchesDetail of Unicorn (2024), used clothing collected from currently and formerly incarcerated people, assorted textiles, embroidery, and image transfer, 109 x 105 x 2 3/4 inchesDetail of Purgatory (2009), soap, ink, and playing cardsDetail of Purgatory (2009), soap, ink, and playing cardsDetail of Naxos, installation view of Jesse Krimes: CorrectionsDetail of Naxos, installation view of Jesse Krimes: CorrectionsStag (2024), used clothing collected from currently and formerly incarcerated people, assorted textiles, embroidery, image transfer, acrylic paint, 82 x 77 x 2 3/4 inchesNext article

All images courtesy of Hollie Chastain, shared with permissionHollie Chastain Lands a Playful Series of Collaged UFOsNovember 20, 2024ArtCraftKate MothesFrom paper, thread, and gouache, Chattanooga-based artist Hollie Chastain (previously) combines ephemera and found materials into vibrant collages. Strips of paper are cut, woven, and stitched into playful, abstract compositions.The artists recent extraterrestrial-inspired series emerged somewhat by accident. I was playing around with scraps and some abstract surface design,and it ended up vaguely UFO-shaped, so I ran with it, the artist tells Colossal.Green ValleyChastains playful series uses a limited palette of five colors, in addition to vintage printed matter and a thin maple veneer for visual warmth. Creating such a big collection with limited materials and colors is both challenging and extremely satisfying, Chastain says. I am not overwhelmed with options, yet have to stretch myself to make them each unique.Some of the pieces of more intentionally UFO-shaped than others, and Chastain titles each one after the name of a global city where UFO activity has been reported. I blame David Duchovny, she says.Chastain is currently working toward a solo exhibition in late 2025 at Townsend Atelier in Chattanooga. And if youre in Colorado, you can see her workincluding several of the UFOsin Moons Out, Goons Out at Ah Haa School for the Arts in Telluride through November 30. Find more on her website and Instagram.Previous articleNext article

All images courtesy of Matthew Chambers, shared with permissionConcentric Forms Escape the Confines of the Ceramic Vessel in Matthew Chamberss SculpturesNovember 20, 2024ArtGrace EbertIts been almost exactly a decade since we first featured the concentric, ceramic vessels of Matthew Chambers on Colossal, and in that time, weve come to find his sculptures no less stupefying. From his studio in St. Lawrence on the Isle of Wight, Chambers continues to push the boundaries of the medium. The artist is known for nesting meticulously scaled forms inside slightly larger pieces, all of which are thrown on a wheel. Hypnotic and seemingly endless, the dynamic works appear like vast portals that descend into relatively small vessels.For his most recent pieces though, Chambers has switched his focus from inner to outer, as the aligned forms shift in position to swell outward and upward. Each sculpture is an opportunity to explore a particular pattern, he adds, and now, that process involves extrapolating motifs and the limits of the spherical shapes. After 18 months of back-to-back exhibitions, Chambers is now slowing down and returning to his studio to experiment and try new methods. His works will be on view with Cavaliero Finn at Collect Art Fair in February 2025, and until then, find more of his sculptures on his website and Instagram. Next article

Kathryn Coopers Layered Photos Capture the Complexities of Starling MurmurationsNovember 19, 2024Kate MothesFlocks of starlings share risk as hundredseven thousandsof eyes are on the lookout for predators. Remarkably, the group achieves this without any leadership structure, the simple interactions between individuals creating outcomes greater than the sum of their parts, says scientist and photographer Dr. Kathryn Cooper.Coopers professional background in physics and bioinformaticsa data science applied to biological systemsled her to study of the dynamics of networks. She uses a 19th-century photographic technique called chronophotography to reveal what she describes as the robustness of self-organised systems in nature.Some of the earliest motion studies during the Victorian era employed chronophotography. Coopers remarkable panoramas of starling murmurations contain numerous individual photos that, when superimposed into a single image, display the incredible flight paths and coordination of the group.Just before dusk, smaller groups from the same area gather together above a communal roosting site.As the flock grows larger, they cast about the sky in an undulating murmuration.A few basic principles govern the groups rhythmic complexity, namely that each bird responds only to those closest to it. This means that when one bird turns to avoid attack from a falcon, the birds around it also turn, Cooper says. The neighboring birds turn a split second later, then their neighbors turn, and so on, which sends a wave of information through the flock, she adds.This year, Coopers views of starlings were recognized by the Sony World Photography Awards and the Royal Photographic Society. Find more on her website and Instagram.Previous articleNext article

Goldeen. Photo by Yuta Studio. All images courtesy of Sangmin Oh, shared with permissionSangmin Oh Illuminates Upcycled Industrial Fiber in Knitted Lighting SculpturesNovember 19, 2024DesignKate MothesSprouting like coral or fungi, Sangmin Ohs biologically-inspired lighting designs and furnishings merge form and function. Based between The Netherlands and South Korea, the designer (previously) is fascinated by the interplay of material, aesthetics, and sustainability.Ohs sculptural pieces revolve around the use of textiles to create knitted or woven shades for lamps and other objects. In a new project titled SOIL TO SOUL, he and a team of studio assistants have assembled an installation using Heracron brand aramid yarna type of lightweight and strong polymer fiber that is resistant to the effects of heat, abrasion, and chemicals.Installation view of SOIL TO SOULAramid yarn is often used in bulletproof vests, heat-protective clothing, and as coverings for optical cables. Oh utilizes scraps of the material discarded by the manufacturer, turning to 3D knitting technology to reimagine colorful, textural pieces of fabric.The functional narrative of Heracron aligns with that of mushroom, which protects and sustains the earth, Oh says of the works in SOIL TO SOUL. Its hair-like strands mirror the skein of mycelial threads. Inspired by this similarity, the shape and pattern of the knitted fabric were designed to reflect these qualities.Ohs work is currently on view in Seoul at RE;CODE, a brand focused on upcycling, where pieces like a sprawling, fungi-inspired floor lamp comprise the illuminated window installation. See more on his website and Instagram.Woven fabric for SOIL TO SOULPink Dendrogyra MutantInstallation view of SOIL TO SOULInstallation view of SOIL TO SOULDetail of fabric used in SOIL TO SOULAcroporaWoven fabrics for SOIL TO SOULPrevious articleNext article

Carr Fleuri, antique samples of hand-painted flower patterns for dress fabric, France, 1841 (2023), collage, hand-cut, Japanese paper, paper weaving, gold leaf, and acrylic painting, 26 x 26 inchesMyriam Dion Weaves Milestones of Womens History from Vintage NewspapersNovember 19, 2024ArtCraftKate MothesFrom found vintage newspapers and hand-painted designs, Myriam Dion composes remarkably detailed collages. Known for reimagining newspapers into sculptural, geometric works, the Montral-based artist (previously) has recently begun experimenting with a range of found materials, like gouache-painted samples of antique textile patterns and pages from old garden books.The stories Dion chooses to highlight often revolve around women and their accomplishments. It is interesting to see how women are documented in the media, she says, especially at a time when newspapers were written by men for men and how this evolves and sometimes regresses depending on the subjects, the artist says.Detail of Carr Fleuri, antique samples of hand-painted flower patterns for dress fabric, France, 1841Through a painstaking process of cutting and weaving tiny strips of material, Dion adheres gold leaf and adds drawing and painting details. I also include folding techniques that allow me to create relief and a textile look to the paper, she says. Drawing allows meto develop patterns through repetition and is conducive to larger installations.The artist currently has work on view in Timelines, her solo exhibition at Arsenal Contemporary in New York City, which emphasizes her interest in milestones like womens labor rights and suffrage throughout the 20th century, especially in the U.S.These themes are expressed through headlines in a dated language as evocative as the homespun crafts that Dion elevates, says a gallery statement. By exploiting the metaphoric potential of ephemera, she underscores the vulnerability of these rights while offering a timely reminder of their importance.Miss Marion Cassidy, Daring Canadian Aviatrix, New Mexico, Wednesday, May 21, 1919 (2024), collage and weaving of newspaper and hand-cut Japanese paper, acrylic paint, pencil drawing, and gold leaf, 47 x 47 inchesDion has recently become fascinated by darning samplers, which like other embroidery samplers, were historically used to showcase ones knowledge and skills with different stitches. In terms of darning, a method of mending, the patterns often mimicked different weaves or knitting to show that the samplers maker was capable of mending a variety of fabrics. These are objects rich in know-how and historythey are magnificent and very inspiring for me, both formally and conceptually, Dion says. These objects evoke repair and care, which give a second life to damaged fabrics. They are linked to women, indeed: traditional crafts and artisanal virtuosity, elements to which I am sensitive and which greatly influence my creative process.Dion is particularly drawn to the samplers geometric characteristics, which she incorporates into her own compositions. Patterns and floral motifs intertwine in meticulously detailed pieces, often transforming into ornate framing devices for intimately scaled photographs of women snipped from the newspaper.The artist recently won a commission for a large public artwork inspired by darning samplers, which will be installed in a new hospital in Vaudreuil-Soulanges, Qubec, in 2027. Another public work will be installed at the Santa-Cabrini Hospital in Montral next summer.Timelines continues through December 14. Find more on Dions website and Instagram.Girl in Knicks on the Links, Miss McMillan, The Brooklyn Daily Eagle, New York, Monday, May 8, 1922 (2024), collage of hand-cut newspaper and Japanese paper, drawing, painting, paper weaving, and gold leaf, 116.5 cm x 108.5 centimetersDetail of Girl in Knicks on the Links, Miss McMillan, The Brooklyn Daily Eagle, New York, Monday, May 8, 1922Women Workers, Daily Republican Eagle, Red Wing, Minnesota, Friday, October 2, 1942 (2024), collage and weaving of newspaper and hand-cut Japanese paper, acrylic paint, pencil drawing, and gold leaf, 40 x 40 inchesDetail of Women Workers, Daily Republican Eagle, Red Wing, Minnesota, Friday, October 2, 1942Marie Curie, Radium discoverer to visit America, February 10, 1921 (2024), collage and weaving of newspaper and hand-cut Japanese paper, acrylic paint, felt, and gold leaf, 42 1/2 x 43 inchesNext article

Can U., Pre-College 2024RISD Pre-Collegiate Programs Are Now Enrolling for Summer 2025November 18, 2024SponsorRISDAt Rhode Island School of Design (RISD) Pre-College, rising high school juniors and seniors can experience life as a RISD student and work alongside hundreds of other creative, highly motivated students who will inspire them to push their limits and produce their best work. They will follow a college-level curriculum inspired by the RISD first-year experience with day-long studio classes, visits to the Nature Lab and RISD Museum, critiques, and projects that will forever shape how they approach art and design.Outside the studio, students can participate in activities and events on and off campus. Summer 2025 runs from June 28 through August 2.I feel like Ive grown tenfold as an artist at Pre-College, and Ive never been more inspired to work toward art school. The critique process at RISD is so unique and constructive. Im so glad I got to experience it.Gauri G., Pre-College 2024Apply for RISDs Pre-College residential summer immersive.RISDs Advanced Program Online is an online intensive designed for high school students interested in pursuing art and design in college. This series of college-level courses for students in grades 1012 calls on creative young people to reframe the way they look at the world, their art practice, and the way they collaborate while learning best practices in developing their work.The Spring 2025 term runs from March 1 through May 11, and the Summer 2025 term runs from June 14 through August 10.Register for RISDs Advanced Program Online.Whether on-campus or online, students will participate in courses led by our reputable teaching artists, learn to navigate college resources and demands, and create portfolio-ready work.Learn more and compare programs at precollege.risd.edu/compare-programs.Previous articleNext article

Istanbul. All images courtesy of Hoxton Mini Press, shared with permissionSwing Through the Worlds Most Spectucular Artist-Designed PlaygroundsNovember 18, 2024BooksDesignGrace EbertDavid Hockney famously said that people tend to forget that play is serious, but for the artists and designers behind some of the worlds most visionary parks and museums, recreation has never been a trivial matter.A new book by Emmy Watts travels the globe to highlight more than 80 spectacular environments created purely to foster one of the most primal activities. Published by Hoxton Mini Press, The Art of Play is a vast compendium featuring a range of interactive, immersive, and conceptual spaces for both children and adults.Chongqing, ChinaIncluded is Mike Hewsons seemingly perilous design in Melbourne, which perches massive boulders attached to slides, monkey bars, and other equipment on tiny wheels fit for a skateboard (dont worry: theyre secured with rods). Others take inspiration from nature, including the colorful bubble architecture of an Istanbul playground and the fantastic characters at an all-ages park in Chongqing, China. Outfitted with typical equipment like sandboxes and tunnels, this space also has tables for checkers and exercise areas specifically geared toward older adults.Pick up a copy of The Art of Play for a dose of whimsy and perhaps to help plan your next family vacation.City Museum, St. LouisKunt Hora, CzechiaValenciaShanghaiMianyang, ChinaDoha, QatarMelbourneDalian, ChinaShenzhenNext article

Tender Willingness (2024), vintage crystal, glass, quartz, obsidian, tourmaline, and mixed media, 16 x 20 x 20 inches. All images courtesy of Lauren Fensterstock and Claire Oliver Gallery, shared with permissionCelestial Forms Erupt and Tumble in Lauren Fensterstocks Jewel-Encrusted SculpturesNovember 18, 2024ArtKate MothesLike crystallized meteors or mysterious terrestrial phenomena, Lauren Fensterstocks jewel-encrusted sculptures (previously) reflect the artists interest in sacred symbols of the universe. In her solo exhibition, Some Lands Are Made of Light at Claire Oliver Gallery, Fensterstock presents a new body of intimate sculptures and Swarovski crystal-coated drawings that reflect moments of introspection and inner peace.I Arrange the Stars (2024), vintage crystal, glass, quartz, obsidian, tourmaline, and mixed media, 14 x 22 x 19 inchesI see my work as jewelry but not to adorn the body rather (to) augment the soul, Fensterstock says in a statement. I invite viewers to pause and reflect on their place within a collective experience and embrace their perceived imperfectionsacknowledging that our differences, flaws, and struggles are what make us uniquely human.The artist plays with light and contrast, composing spherical surfaces and dark cavities that glint in the light. She uses natural crystals, like quartz, and repurposed found objects like chandelier parts, Swarovski gems, antique beads, and glass. The resulting works take the form of exploding celestial objects and enigmatic botanicals.Some Lands Are Made of Light continues through January 18. Find more on the artists website and Instagram.Detail of I Arrange the StarsShe is Refuge (2024), vintage crystal, glass, quartz, obsidian, tourmaline, and mixed media, 14 x 21 x 21 inchesDetail of Tender WillingnessThe Intimate Vast (2024), vintage crystal, glass, quartz, obsidian, tourmaline, and mixed media, 15 x 33 x 33 inchesDetail of The Intimate VastInstallation view of Some Lands Are Made of LightNext article

Eternal return (2024), terracotta vessel, plaster, wood, steel, resin clay modeling paste, and acrylic paint, 23 5/8 x 42 1/2 x 37 3/4 inches. Photo by Damian GriffithsClementine Keith-Roach Unearths Ancient Vessels for Her Motherly SculpturesNovember 17, 2024ArtGrace EbertFrom her studio in Dorset, Clementine Keith-Roach sculpts expressive, bodily forms that appear as if plucked from an ancient cavern or soot-filled cellar.The terracotta works feature fragments of weathered limbs that crisscross and grasp fingers around hand-built vessels. Dents, cracks, and white patina mark the surfaces of each domestic object and trace their histories and former uses.I is another (2024), terracotta vessel, plaster and resin composite, wood, steel, resin clay,modeling paste, and acrylic paint, 20 1/2 x 58 1/4 x 29 7/8 inches. Photo by Damian GriffithsIn a conversation with Colossal, Keith-Roach frequently references themes of nurturing and communal responsibility and the roles she sees those values playing in a world that strives more earnestly for equality and care. What if we saw mothering as a metaphor, she asks?The transformative nature of pregnancy, the ways bodies merge, and a mandate of care figure prominently in the artists practice. When she became a mother herself, she felt broken apart, both psychologically and physically as she responded to the needs of the baby. This severing between mind and body remains in Keith-Roachs work, as nude, headless chests buttress a wide, sloping bowl in Eternal return, for example. Although she currently enjoys leaving the vessels empty, milk would fill the basins in some of her earlier pieces, directly invoking motherhood.Keith-Roach refers to her new workswhich are on view at PPOW in New Yorkas statues, although she complicates the idea that monuments deify singular people, often men with imperial inclinations. Instead, her sculptures remain anonymous and contain several pairs of hands or limbs that, often literally, elevate a central object.A statue boils down to a representation of an individual. Even if theyre the most extraordinary person, theyre born out of a social moment, the artist adds. An individual is never isolated. Theyre born out of a kind of collective moment.Detail of I is another (2024), terracotta vessel, plaster and resin composite, wood, steel, resin clay,modeling paste, and acrylic paint, 20 1/2 x 58 1/4 x 29 7/8 inches. Photo by Damian GriffithsAt the center of each work is an antique terracotta amphora the artist sources from second-hand shops and markets. Plaster casts of her own body and those of her friends create a series of detached limbs that, despite retaining the distinctive wrinkles and shapes of a particular person, are unidentifiable as they cradle or reach across the vessel.For some sculptures, Keith-Roach wanted to have the bodies merge before they were pulled from the cast. When creating Herm, for example, she asked her subjects to stand tightly together, allowing their skin to touch so she could create one form from two figures. In many works, she says, a multitude of people becomes one mass.Once she fuses the body parts to the anchoring amphora, Keith-Roach embarks on a deceptive trompe loeil process, in which she paints and conditions the new additions to mimic the patinaed surfaces of the older components. In the completed sculptures, theres tension between the bodys inevitable decay and the timeless durability of ceramic, which the artist celebrates: My works have this sacred quality to them. Theres raising the domestic vessel up, transforming it into something ceremonial. Its taking it out of the everyday and making it into an object of reflection. Its the same with the body parts. Its looking at these movements and gestures and things we do every day and monumentalizing them. Its monumentalizing the everyday.Keith-Roachs solo exhibition New Statue is on view through December 21. You can find more of her work on Instagram.No one (2024), terracotta vessel, plaster, wood, steel, resin clay modeling paste, and acrylic paint, 18 7/8 x 23 5/8 x 29 1/2 inches. Photo by Damian GriffithsEternal return (2024), terracotta vessel, plaster, wood, steel, resin clay modeling paste, and acrylic paint, 23 5/8 x 42 1/2 x 37 3/4 inches. Photo by Damian GriffithsHerm (2024), terracotta vessel, plaster, wood, steel, resin clay modeling paste, and acrylic paint, 50 x 20 1/8 x 20 7/8 inches. Photo by Damian Griffithsworks and days 2 (2024), plaster, resin clay, paint, 17 7/8 x 17 7/8 x 4 3/8 inches. Photo by Damian GriffithsDetail of works and days 2 (2024), plaster, resin clay, paint, 17 7/8 x 17 7/8 x 4 3/8 inches. Photo by Damian Griffithsworks and days 1 (2024), plaster, resin clay, paint, 18 7/8 x 17 7/8 x 5 1/8 inches. Photo by Damian GriffithsDetail of works and days 1 (2024), plaster, resin clay, paint, 18 7/8 x 17 7/8 x 5 1/8 inches. Photo by Damian GriffithsNext article

Fort (2024), wood, cardboard, 94 1/2 x 133 7/8 x 19 3/4 inches. All images courtesy of Mariane Ibrahim, shared with permissionLush Growths and Classical Architecture Converge in Eva Jospins Meticulous SculpturesNovember 16, 2024ArtNatureGrace EbertRather than position herself as an observer of landscapes, Eva Jospin imagines humans and their environments as one. The Parisian artist carves intricate forests and stately architecture subsumed by vines and craggy cliffs all from humble cardboard, accentuating the corrugated textures to add depth and intrigue.In her Chicago debut at Mariane Ibrahim, Jospin presents a series of freestanding sculptures and wall works that invite the viewer to venture into her large-scale, yet incredibly intricate worlds. Titled Vanishing Points, the exhibition gestures toward perspective and the ways subtle details and contemplation can shift how we see. Fort troglodyte (2024), wood, cardboard, and mixed media, 72 1/2 x 59 x 31 1/2 inchesAs with earlier bodies of work, Jospins paper sculptures and vivid, silk tapestries draw on classical styles and the 18th-century tradition of follies, architectural structures designed for decoration. These often ornate buildings could be found in many Baroque gardens, which took human mastery over nature as an imperative. The artists works instead depict a convergence between the manufactured and the organic. In the six-foot tall Fort troglodyte, for example, vines crawl down from a ceiling embedded with shells and sea sponges. The exquisite vault stands parallel to a similarly shaped cavern, occupied by trees rising from a rugged bluff.Jospin walks viewers through her process and studio in the video below. If youre in Chicago, see Vanishing Points before January 25. Detail of Fort troglodyte (2024), wood, cardboard, and mixed media, 72 1/2 x 59 x 31 1/2 inchesCapriccio (2024), wood, cardboard, and mixed media, 76 3/8 x 41 3/8 x 21 5/8 inchesDetail of Capriccio (2024), wood, cardboard, and mixed media, 76 3/8 x 41 3/8 x 21 5/8 inchesJardin Constantine (2024), silk thread, silk canvas, wood and cardboard frame,46 x 96 7/8 x 4 inchesJardin Constantine (2024), silk thread, silk canvas, wood and cardboard frame,46 x 96 7/8 x 4 inchesPetit Bois (2024), wood, cardboard, 28 x 34 1/2 x 9 1/4 inchesTreille (2024), silk thread, silk canvas, wood and cardboard frame, 100 3/4 x 69 1/4 x 4 inchesDetail of Fort (2024), wood, cardboard, 94 1/2 x 133 7/8 x 19 3/4 inchesDetail of Treille (2024), silk thread, silk canvas, wood, and cardboard frame, 100 3/4 x 69 1/4 x 4 inchesLabyrinthe (2024), wood, cardboard, and mixed media, 41 x 39 3/8 x 27 1/2 inchesDetail of Labyrinthe (2024), wood, cardboard, and mixed media, 41 x 39 3/8 x 27 1/2 inchesNext article

All images courtesy of E.D. FilmsReturn to Hairy Hill Hauntingly Renders Family Lore in Black-and-White AnimationNovember 15, 2024AnimationFilmKate MothesIn an isolated home in the tiny, prairie hamlet of Hairy Hill, Alberta, a young girl named Ethel lives with her three younger siblings. She carries the burden of caregiver as the children navigate a dysfunctional relationship with their mother, who cryptically transforms into a bird and flies away. Ethel is then faced with sustaining their livelihood on her own.Director Daniel Gies co-wrote Return to Hairy Hill with Emily Paige, with whom he also co-founded Montral-based studio E.D. Films. The short is based on the true story of a woman named Marie-Anne Ethel GarnierGiess grandmotherwho was born in Hairy Hill in 1940.Rendered in black-and-white, otherworldly paper figures traverse a dreamlike landscape at the foot of a mountain range as winter approaches. Paper was always a key element used throughout the story to convey an impermanence and fragility of the human characters that contrasts with the organic, painterly animals and environments, the studio says. Gies and Paige achieved the analog effect by using three-dimensional computer graphics to create the impression of stop-motion puppets.The studio describes the project as a haunting and deeply personal tribute to family folklore, drawing on stories of what its like to live in remote and often harsh environments. As Ethel watches her siblings transmogrify into woodland creatures, she must carefully consider whether she will join them in her own metamorphosis or defy fate and venture into an entirely new life.Real paper puppets served as models for the evocative characters, and the effects of light and shadow emphasize the fraught relationship between the known and unknown. Enmeshing a variety of styles, the animation includes three-dimensional painterly forests, sculptural details, and classic, two-dimensional techniques. Check out E.D. Films website for a behind-the-scenes look at the process, and follow the studio on Vimeo.Next article

All images courtesy of Murase KabankoA Samurai-Inspired Backpack Elevates Leather Scraps to a Bag Befitting a WarriorNovember 14, 2024Kate MothesIn Japan, randoseru are small, high-quality backpacks, typically made of leather, designed to withstand years of use by school children. Manufacturer Murase Kabanko, for one, departed from its typical offerings with a highly detailed nod to a different tradition altogether: samurai.Also known as bushi, samurai were an elite military class in Japan between the 11th and 19th centuries, typically retained by feudal lords. Over the centuries, their status evolved from a mostly provincial role to one of notable political influence, but the warriors were formally abolished in the 1870s as modern militaries emerged.In Murase Kabankos unique, meticulously crafted bag, the company has created an ode to historic armor. Leather craftsman Noriki Okada used scrap pieces from other bags to assemble an accessory that exudes strength and a connection to Japanese cultural heritage. In yellow, black, and red, the intimidating faces of oni demons flank the sides and are embellished with woven details and precise stitching.From small leather plates and numerous brass rivets, the backpack evokes the protective shell of an isopod and references a style of armor that developed between the 14th and 16th centuries known as tosei-gusoku. The suits often exceeded 50 pounds and were engineered for maximal flexibility while providing optimal protection. Tosei-gusoku also refers to types of equipment accompanying Buddhist altars or horses. Okadas randoseru taps into the dual associations of history and utility.Okadas randoseru won the artistic design award at this years Japan Leather Awards. If you have a spare 500,000 yenabout $3,300you can purchase your own on Murase Kabankos website. (via Spoon & Tamago)Previous articleNext article

Replica of a Chip (1994), wool mounted on wood, 120 146.1 centimeters. Photo Museum Associates/LACMA. Image courtesy of American Indian Science and Engineering Society, shared with permissionMarilou Schultz Weaves Computer Processor Patterns in Traditional Navajo TapestriesNovember 14, 2024Kate MothesWhat does Intels Pentium computer chip have in common with Navajo textiles? More than you might think.For artist Marilou Schultz, the ancestral practice of weaving melds with an unexpected contemporary source of inspiration. Merging analog loom methods with the patterns found on computer processor cores, Schultz entwines the histories of the Navajo people and modern technology.Detail of Intel Pentium core processor dieIn the late 17th century, Spanish colonists introduced a breed of sheep called the Iberian Churro to the American Southwest. The Dinknown also as Navajowho had lived in the Four Corners region for hundreds of years, embraced shepherding and wool production, eventually developing a unique breed still managed today, the Navajo-Churro. Along with an aptitude for raising sheep, Din weaving traditions flourished. Anthropologists surmise that the craft was adopted from the neighboring Puebloans sometime in the 12th or 13th centuries. As time passed, Navajo styles and techniques evolved, rising to popularity first among Plains Indian tribes and then, in the 19th century, with Europeans and non-Native tourists who sought out blankets and rugs for their remarkable craftsmanship and geometric patterns.Schultz, a mathematician and teacher in addition to her studio practice, was commissioned by Intel in 1994 to make Replica of a Chip as a gift to the American Indian Science & Engineering Society, an organization still active today that focuses on advancing Indigenous people in STEM. As computer historian Ken Schirriff details in a thorough blog post about the pieceespecially its highly accurate layoutthe work highlights the alluring patterns of a trailblazing piece of technology.Detail of Replica of a ChipThe first Pentium processor was released in 1993. About the size of a fingernail, the diethe material on which the processor is fabricatedcontains more than three million transistors. These microscopic switches control the flow of electricity to process data. Today, some high-powered chips contain billions of transistors.Schultz faithfully transferred the die pattern to a tapestry, employing delicate loom techniques and working from a photograph of the chip. Unlike traditional Navajo textiles, the geometries in Replica of a Chip are far from symmetrical.She used yarn pigmented with plant dyes, and the cream-colored regions are the natural shade of Navajo-Churro wool.Schultz told Schirriff that the weaving process was slow and deliberate as she referenced the image, completing about one to one-and-a-half inches per day. The painstaking and methodical process of sending warp through weft creates a beautiful tension between the instantaneous results we associate with digital tools today.Intel Pentium processorsReplica of a Chip was the first in a series of weavings Schultz created based on computer circuits, including one known as the Fairchild 9040. While not as common as the Pentium, the Fairchild company is notable for its employment of Navajo workers in its operation in Shiprock, New Mexicowithin the Navajo Nationin the 1960s and 1970s.Part of a government initiative to try to improve the economic conditions of life on the reservation, Fairchild was incentivized to open a manufacturing center in Shiprock. The project started in 1965 with 50 Navajo workers in the Shiprock Community Center manufacturing transistors, rapidly increasing to366 Navajo workers, Schirriff says. Eventually, the company employed 1,200 workers, and all but 24 were Navajo, making Fairchild the nations largest non-government employer of American Indians.In 1975, the Fairchild-Navajo partnership took a dramatic turn that spelled its demise. With the semiconductor industry suffering from the crippling U.S. recession at the time, Fairchild laid off 140 Navajo employees in Shiprock, which today still has a population of only a little more than 8,000 residents. The layoffs were a blow to the community. A group of 20 locals, armed with rifles, responded by occupying the plant for a week. While the episode eventually ended peaceably, Fairchild decided to shutter entirely and move its operation overseas, further compromising trust in corporate interests on Navajo land.Womens roles in manufacturing and assembling electronics are often under-recognized. Schultz taps into ideas around gendered labor, visibility, and the slippery notion of progress. Through the lens of Navajo history and craft, she addresses paradigm shifts in technology, economics, and social change through the language of fiber.You can see Replica of a Chip in Woven Histories: Textiles and Modern Abstraction at the National Gallery of Canada in Ottawa, which continues through March 2, 2025.Detail of Replica of a ChipNext article

Wild Things (2024), glass and ceramic mosaics. Commissioned by MTA Arts & Design for 14 St-7 Av station. Photo by Photo: Trent Reeves. All images Fred Tomaselli and NYC Transit 14 St Station Complex, shared with permissionCosmic Birds Soar Through New York City Subway Stations in Fred Tomasellis New MosaicsNovember 13, 2024ArtKate MothesKnown for his large-scale, collaged resin paintings and ongoing series of reimagined front pages of The New York Times, Fred Tomaselli is captivated by what he describes as the friction between beauty and ugliness or internal and external forces. He often observes interactions between humanity and nature through rhythmic patterns and vibrant colors.In New York Citys 14 St-6 Av and 14 St-7 Av subway stations, a series of new murals titled Wild Things have been unveiled in the historical spirit of the MTA mosaics. An avid birder, the Brooklyn-based artist highlights species that live year-round in New York City.Detail of mosaic in 14 St-7 Av stationScenes brightening up passageways and stairwells include orioles mobbing a falcon, a bright sky full of electric blue clouds, a spiral-eyed, cosmic cardinal, and more.Wild Things marks Tomasellis first permanent public artwork in Manhattan and reflects his mixed-media approach to collage in ceramics and glass. Commissioned by MTA Art & Design, the mosaics join more than 350 permanent installations accessible to public 24/7.Learn more about the artists work on Instagram. You might also enjoy Contemporary Art Underground, a celebration of New York City Subway art, Nick Caves 360-food Soundsuit installation, or Nancy Blums sprawling tile blossoms.Passageway from 7 Av to 6 AvDetail of work in passageway from 7 Av to 6 AvMosaic located in 14 St-6 AvMosaic located in 14 St-6 AvDetail of mosaic located in 14 St-6 AvMosaic located in 14 St-6 AvPrevious articleNext article

Zhai-Liza (Angel). All images courtesy of Hans Op De Beeck and Templon, shared with permissionImagination and Introspection Suffuse Hans Op de Beecks Immersive Whispered TalesNovember 13, 2024ArtKate MothesIn his characteristically gray, monochrome palette, Hans Op de Beecks current solo exhibition Whispered Tales at Templon fashions enigmatic narratives from lifelike silhouettes. The immersive, sprawling presentation brings together a mix of new and previous work, inviting viewers into an atmospheric, introspective space.People and dioramas appear frozen in time in Op de Beecks sculptures, as if plucked from a memory or dream. Zhai-Lia (Angel), for example, portrays a young girl wearing fairy wings and a holding a wand, seated pensively in front of a swathe of bamboo. In Zhai-Lia (mothers shoes), she wears a tutu and oversized high heels.Installation view of Zhai-Lia (mothers shoes) in Whispered Tales at Templon, New YorkThe artist often depicts children who interact with the adult world yet remain innocent to concerns beyond their own, channeling the engrossing otherworldliness of youthful imagination and play. The invariable flatness of the gray palette makes the figures appear removed from reality, while lending a universal feel to their presence.Time also finds purchase in works like Danse Macabre, in which a miniature carousel is raised to eye level on a pole and a skeleton stands amid celestial objects in Victorian-era garments. Along with a sculpture titled Vanitas Table in which a classic still life setting features a human skull, Op de Beeck taps into the tradition of memento mori, the reminder that life inevitably ends.The way the artist plays with the perception of scale and atmosphere sparks a disconnect, a feeling of strangeness when confronted with scenes lifted out of the ordinary, says a gallery statement. Each work offers us the seed of yet another possible story [and] transforms the prosaic into an almost magical experience where simplicity gives birth to the unexpected.Whispered Tales continues through December 21 in New York. Find more on the artists website and Instagram.Danse MacabreDetail of Danse MacabreDetail of MauriceInstallation view of Whispered Tales at Templon, New YorkInstallation view of Whispered Tales at Templon, New YorkInstallation view of Zhai-Liza (Angel) in Whispered Tales at Templon, New YorkMy Uncles Country HouseInstallation view of Whispered Tales at Templon, New YorkPrevious articleNext article

Curiosity Box. All images Laura Kramer, shared with permissionLaura Kramers Glass Sculptures Intersect Aesthetics and ArchaeologyNovember 13, 2024ArtNatureJackie AndresMaterial culture is an important aspect of understanding past and present histories. Used in anthropology and archaeology, the concept refers to the the cultural significance an object may hold. Whether it be tools, religious articles, clothing, or even art, physical items have always been a reflection of the societies that wield them. Glass artist Laura Kramer is driven by this phenomenon.Into her work, Kramer carries personal experiences from studying anthropology and archaeology and participating in excavationsor digs in St. Eustatius, an island in the Caribbean. I am interested in the connection of the imbued spirit within the object, she explains. My work is deeply influenced by the cabinet of curiositiesodd objects that may not be easily categorized.CinnabarFrom her studio in Rhode Island, Kramer sculpts organic forms encrusted in ornate textures that mimic the natural formation of crystals. Sometimes using found objects like wasp nests, the artist creates peculiar sculptures that defy generally accepted systems of classification. Challenging the typical boundary between the manmade and natural, her sculptures land in a liminal space when examined from an anthropological point of view.See more from Kramer on Instagram.MarieMemento MoriAzuriteMaryCrystal BowlNext article

Detail of Air Force. All images courtesy of Cssio Vasconcellos and Nara Roesler Gallery, shared with permissionEndless Fields of Detritus Blanket Cssio Vasconcelloss Aerial CompositesNovember 12, 2024Kate MothesWhere do jets go when they no longer fly? What happens to shipping containers when they arent useful anymore for cargo? The answer is invisible to most of us, but for Cssio Vasconcellos, abandoned trains, planes, and automobiles are far from forgotten.For more than four decades, the So Paolo-based artist has been fascinated by the relationship between humans and the landscape. Over the years, his work has captured dramatic impressions of sprawling cities around the globe, often from the air, spurring an ongoing series called Collectives that condenses details of urban infrastructure like highways and parking lots into sprawling, all-over compositions.Collective 11: AirplanesCollectives 2, to which these images belong, focuses solely on the mesmerizingand mind-bogglingquantity of scrapped vehicles and metal indefinitely parked in nondescript places. Vasconcellos draws from tens of thousands of aerial photographs he has made of junkyards, scrap heaps, airplane graveyards, and dumps to create remarkable, large-scale composite images.The artist has mapped all of the junkyards around So Paolo, plus numerous more near the Brazilian cities of Cubato, Santos, and Rio de Janeiro. He has also documented desert landscapes in the U.S. that serve as final resting places for commercial airliners and military jets.Over, for example, considers numerous associated meanings, like overview, all-over, overdose, or game over. The title references not only excess but the overflow of visual information in contemporary society.Seeing an image like this is to make clear that there is no throw away,' Vasconcellos says in a video about OVER, which took him about a year and three months to complete. This volume of things that are in the work they are out there, he adds. I just put them together.Detail of OverThese photos may look like post-apocalyptic scenarios, but they could be our future, the artist says in a statement. We still have to learn that by throwing things away and taking them out of our sight, we dont make themdisappear. In fact, they keep existing somewhere else, outliving us mostof the time.Vasconcellos cuts out individual shipping containers, trucks, dumpsters, and piles of detritus in a meticulous and time-consuming digital process. He never repeats an element in a composition, and each piece is scaled and situated so that the shadows align with the directionality of the light. He then adds dust and dirt to the surfaces, simultaneously emphasizing the patina of time and an eerie sense of timelessness. Devoid of people, Vasconcelloss images nevertheless describe the human predilection to produce, consume, and cast aside. Its kind of nonsense, because there are some paths, but you dont really understand how a person or a car can get in thereor get out, Vasconcellos says. It is a possible world, but at the same time, an absurd one.Vasconcellos is represented by Nara Roesler Gallery, and you can explore more of his work on his website and Instagram.Collective 12: BoatsCollective 10: ContainersAir ForceCollective 7: Metal ScrapDetail of Collective 7: Metal ScrapCollective 9: Scrap DumpsterPrevious articleNext article

Ghost Garden. All images courtesy of Laura Berger, shared with permissionEmpowering and Protective Bodies Merge in Laura Bergers Metaphysical PaintingsNovember 12, 2024ArtKate MothesIn complementary shades of blue and orange or pink and green, Laura Bergers oil paintings (previously) meld embracing figures with botanicals, landscapes, and celestial phenomena. Women lounge comfortably in a steam bath or walk across an expanse of dunes, often rendered lightly transparent as if floating over or absorbing their surroundings.Berger situates the figures interactions in the center of the composition, bending and arranging limbs, foliage, fabric, or strings of stars into intimate, metaphysical geometries.ResurfacingHer imagery adopts a subtle rhythm, sometimes even near-symmetry, in a nod to spirituality and transformation. Emanating empowerment and a sense of safety, the women wrap around one another in endearing, protective collectivity.Berger will have work in a booth presented by Mama Projects at Untitled Art Fair, which runs December 4 to 8 in Miami Beach, and will be part of the exhibition Ultraviolet Catastrophe at The Pits Palm Springs location, which is scheduled to open on December 17.Find more on the artists website, and follow updates on Instagram.Desert WalkingThe Steam BathNight ThoughtsBehind the GardenThe GarlandTracing Your OutlineTransienceNext article

Denis Cherims Photos Capture the Coincidental Charisma of Daily ScenesNovember 11, 2024PhotographyKate MothesLight, shadows, and linear perspective are just a few of the tricks up photographer Denis Cherims sleeve as he captures surprising, well-timed, and occasionally ironic glimpses of daily life (previously). I seek answers in places hidden in plain sight, the Madrid-based artist says in a statement. I feel curiosity about everyday objects with secret desires to be the main character.Often using a digital camera, Cherim captures the way lines converge to create surprising symmetry or sunlight glitters off the sea and appears to emanate from a street lamp. The photos are part of his ongoing series, The Coincidence Project, which he has been developing since 2012. Through my project, I have been able to show the outstanding amongst the mundane, Cherim says. By playing with the perspective and scale, I create juxtapositions making different parts of the scene interact between each other.The artist recently began returning to analog methods after receiving a newly launched Pentax 17 film camera, already shooting more than 50 rolls. You can find more work on his website, and follow updates on Instagram.Next article

Letter to the Center of the Lake (2024), oil stick and acrylic on canvas over panel, diptych, 72 x 94 x 2 inches. All images courtesy of the artist and HARPERS, shared with permissionMetaphysical Landscapes by Eliot Greenwald Illuminate the Mutuality of All LifeNovember 8, 2024ArtKate MothesFor Eliot Greenwald, humankind and the landscapes we occupy are essentially one in the same. Cycles of life, death, and rebirth may diverge from being to being, but the artist considers all existence to be fundamentally interconnected and substantially the same.At HARPERS in Chelsea, Greenwalds solo exhibition Library continues to explore the artists fascination with landscape and the metaphysical, inviting us to explore a surreal realm of otherworldly botanicals, double moons, and enigmatic pathways.Ask the Arrow (2024), oil stick and acrylic on canvas over panel, diptych, 72 x 94 x 2 inchesIn oil stick and acrylic, Greenwald often repeats motifs of trees and mountains through variations in light and hue, nodding to the cyclical nature of the seasons and how the time of day or year influences how we perceive the world around us. The artist also incorporates vehicles that wind their way through the scenes and illuminate their surroundings. These miniature automobiles stand in for the human vessel itselfa subtle reminder that even the most engineered facets of the Anthropocene are just one piece in the grander puzzle of existence, says a gallery statement.In addition to Greenwalds organically-shaped canvas pieces, Library also includes sculptural elements, like Library of Paper Towels, a tiny, freestanding room filled with books covered in colorful paper.Made of reclaimed wood salvaged from an 18th-century barn in western Massachusetts, where the artist lives, the repository contains hundreds of hand-bound books made from paper towel. Employing a material made expressly to be used and thrown away, the artist reckons with the way knowledge is gained, shared, preserved, and valued.Library continues through December 7 in New York City. Find more on the artists website and Instagram.Installation view of LibraryDetail of Library of Paper Towels (2024), wood, hardware, hat light, extension cord, and artist books, 110 x 50 x 50 inchesBlanket Drapes with its Fringe (2024), oil stick and acrylic on canvas over panel, 78 x 47 x 2 inchesDetail of Blanket Drapes with its FringeNot A Franz West (2024), oil stick and acrylic on canvas over panel, 95 x 47 x 2 inchesWind Doesnt Suck, It Blows (2024), oil stick and acrylic on canvas over panel, diptych, 72 x 94 x 2 inchesDetail of Wind Doesnt Suck, It BlowsInstallation view of LibraryPrevious articleNext article

Morel Doucet. Photo by Alaric S. Campbell. All images excerpted fromCrafted Kinship by Malene Barnett and published by Artisan Books, 2024, shared with permissionCrafted Kinship Unravels the Creative Practices of 60 Carribbean Artists, Designers, and MakersNovember 8, 2024Grace EbertA new book by Malene Barnett celebrates more than 60 artists, designers, and craftspeople whose work has been shaped by their Caribbean roots.Published by Artisan, Crafted Kinship: Inside the Creative Practices of Contemporary Black Caribbean Makers peers into a range of multi-faceted practices influenced by the diaspora. Whether drawing on connections to the land and memory or speaking to colonial histories and African origins, each creative shares insight into their practices, histories, and communities through insightful interviews.April BeySeveral artists featured previously on Colossal have contributed their stories to the nearly 400-page tome. Firelei Bez, for example, discusses how her work strives to center the Caribbean within a global context by capturing traditions like Carnival or perfectly translating the way sunlight would filter through her grandmothers backyard in the Dominican Republic.Similarly, Morel Doucet explains how foregrounding his Haitian identity has allowed him to tell his own story, rather than have others decide who or what his delicate, ceramic sculptures are about.Also included in the book are April Bey, who illuminates the relationship between opulence and thriving futures, and Sonya Clark, who unravels the Eurocentric distinction between art and craft. Barnett, too, is an artist and maker who shares glimpses into her studio and meticulous ceramic practices. Firelei BezAs a whole, Crafted Kinship focuses on the processes, considerations, and histories that go into a vast range of works, drawing connections between each element, maker, and their ancestral ties.Find your copy on Bookshop.Lavar MunroeBasil WatsonSonya Clark. Photo by Alaric S. CampbellCharmaine WatkissApril Bey. Photo by Alaric S. CampbellNext article

All images courtesy of the artist and Galerie LJ, shared with permissionQuentin Garels Lifelike Sculptures Transport Us to the Faraway ForestNovember 7, 2024ArtNatureKate MothesLifelike mammals with sage expressions characterize the sculptures of Quentin Garel (previously). A deer with enormous antlers, an ibexa type of wild goatwith curving horns, and a beady-eyed donkey are just a few of the creatures in the artists current solo exhibition with Galerie LJ, Dans la Fort Lontaineor, in the faraway forest.Oscillating between reality and fantasy, Garels sculptures portray creatures threatened by overhunting, displaying them on the wall or atop metal rods like trophies. He works with the woods natural grain, allowing the whorls and knots to emphasize musculature.Part of a commissioned series for a public installation in Thonon-les-Bains, France, Garel explores the theme of mountain animals, drawing attention to the needless impulse to hunt for sport. In Thonon-les-Bains, bronze casts of the pieces shown currently at Galerie LJ will be installed in a large wall fountain.Dans la Fort Lontaine continues through November 23 in Paris. Find more of Garels work on Instagram.Previous articleNext article

Pigeons Get Pretty in This Historic, Illustrated Profile of Fancy BreedsNovember 7, 2024Kate MothesDubbed rats of the skies, urban pigeons are often viewed as a nuisance today, but these wily birds are in fact feral descendants of esteemed domesticated ancestors. Documented in ancient Egyptian hieroglyphs and Mesopotamian cuneiform, pigeons have been historically valued as food, holy symbols, pets, andthanks to a remarkable homing abilitymessengers.Avian enthusiast Emil Schachtzabel (1850-1941) was particularly fascinated by the wide variety of hybrid types that breeders, known as fanciers, created over time. He drew upon the 18th-century European interest in fancy pigeons, which wereand continue to bebred for unique traits like size, behavior, feather displays, or color.In his seminal work, Illustriertes Prachtwerk smtlicher Taubenrassen (1906), often referred to simply as Prachtwerka masterpiece of pigeon breedsSchachtzabel chronicled diverse and chimerical varieties. He introduces the fantail, the nun, the frillback, and the cropper, the latter of which can balloon its chest to the size of a grapefruit.The lithographs included in Prachtwerk were based on watercolor templates by Anton Schner, and the fanciful illustrations merge Schachtzabels interest in both the artistry and evolution of the feathered beings. Schachtzabel combined two knowledge traditions that had not always overlapped: the practical wisdom of pigeon fanciers and the taxonomical theories of naturalists, says The Public Domain Review, continuing:As described in thePrachtwerks preface, Schner positioned his lithographic pigeons at carefully chosen angles to give the fancier a better sense of golden proportions, toward which his or her own breeds could strive.Prachtwerk is held in the collection of the Biodiversity Heritage Library, which has digitized the original book.Next article

Helix No. 2. All images courtesy of Daniel Mullen, shared with permissionColor and Repetition Form Optical Rhythms in Daniel Mullens Geometric PaintingsNovember 6, 2024ArtKate MothesTransparent, glass-like planes sweep across Daniel Mullens canvases, dancing across the color spectrum and layering or rotating with mathematical precision. The Amsterdam-based artist (previously) has long been fascinated by the way pigments relate to one another and invite depth or contrast through opacity and tonal shifts. At the moment, my work is taking shape in three forms: paintings on linen, wooden cut-outs that directly interact with their surrounding space, and sculptural pieces that play with illusion, light, and form, Mullen tells Colossal. Across these three mediums, the rectangle serves as a primal anchor, creating a framework for color and abstract illusion.Untitled Interaction No. 15The artist is currently working on a series called Helix, in which hes focused on capturing movement and rhythm through a pared-down palette. Quinacridone magenta, primary yellow, and turquoise phthaloa family of blue and green pigmentsform the basis of these explorations, allowing him to delve into their interactions and nuances.As if layering individual, tinted panes over one another in a twisting arrangement, the three hues interact to produce vibrant oranges, violets, and blues that appear to glow from within.Earlier this year, Mullen released his first book, Transfigurations, which showcases more than 40 works resulting from his investigations into form, color, and optical vibrations. I consider it more an art object than a traditional book, reflecting my ongoing investigation into geometry and perception.Mullen is currently preparing for two solo exhibitions in Lima and So Paulo next spring. Find more on his website, where you can purchase Transfigurations, and follow updates on Instagram.Photo courtesy of Enlace GalleryVortex No. 9Spatial Drift No. 7Light WorksFrom the Helix seriesPhoto courtesy of Enlace GalleryTransfigurations. Photo by The Book PhotographerArising. Photo courtesy of Enlace GalleryPrevious articleNext article

Unearthing Buried Gods. All images courtesy of Michael McGrath, shared with permissionMichael McGrath Summons Symbolism and a Folk Art Style in Expressive PaintingsNovember 6, 2024ArtKate MothesFrom fanged cats and all-seeing ravens to anthropomorphized botanicals and disembodied faces, Michael McGraths uncanny works nod to the symbol-rich, flat compositions of folk art or nave painting. His mixed-media works combine materials like graphite, oil paint and oil stick, ink, and acrylic on a variety of surfaces, including wood, canvas, and burlap.Inspired by the expansive scenes of contemporary artists Peter Doig and Mamma Andersson, and self-taught artists Henry Darger (1892-1973) and William Hawkins (1895-1990), McGrath harnessed a narrative approach in his own practice. I decided to experiment with figures and storytelling in my painting, he tells Colossal. He also counts Jim Henson among his influences.Threats and competition for tiny vampires (2023), graphite, colored pencil, and India ink on wood panel, 14 x 11 inchesPopulated with an array of characters, from trees with alarmed expressions to tiny, fairy-like black critters with bulbous wings and long legs, McGrath delves into mysterious, emotional tales with plots as enigmatic as they are supernatural.The artists interest in painting evolved from an early fascination with design, especially album covers and advertising in magazines like Spin and Thrasher. I never had the patience to develop classical skills, so I focused on dimensional and collage work for a while, until I eventually decided to invest more time in painting, he says.McGraths work will be part of an online group show with MePaintsMe, Slight of Hand, which opens on November 12. In February, he will also have pieces on view in a group show at Court Tree Collective in Brooklyn. Find more on his website and Instagram.Monster control, future systems No. 3, (2024), acrylic, oil stick, and oil on canvas, 78 x 120 inchesNight float, threat window (2024), oil and oil stick on canvas, 60 x 48 inchesHunting songs (2024), oil, oil stick, and grease pencil on linen, 30 x 24 inchesMuppet moon nightmare choir (2024), acrylic, acrylic yarn, embroidery thread, painted canvas, and burlap on burlap, 40 x 30 inchesMoon float (2024), acrylic, watercolor crayon, enamel, and oil pastel on canvas, 60 x 48 inchesStories to frighten your children with and dangerous literature (2023), oil, oil pastel, and acrylic on linen, 30 x 40 inchesCat song, moon riot, No. 2 (2024), oil on canvas, 48 x 36 inchesNext article

All images courtesy of Yannick JameyIn The Big Wait, a Couple Readies a Remote Australian Town for Visitors Who Might Never ArriveNovember 5, 2024FilmGrace EbertIf you were to find yourself running out of fuel while flying above the arid Nullarbor Plain in southwestern Australia, dont panic. You might have the opportunity to meet Kate, Greg, and their dog Holly. The pair are the sole occupants of Forrest, a former railway town thats home to an emergency airport, which serves as an essential stop for planes needing to fill up mid-journey. Surrounded by miles of desert, Kate and Greg manage the remote property and see few visitors, although theyre always prepared for a traveler to spend the night.Director and producer Yannick Jamey dropped in on the duo for The Big Wait, a poetic and dryly humorous documentary about life on the Australian plain.Set to Heaven and Paradise by Don Julian and The Meadowlarks, the short film captures Kate and Gregs routine. They change sheets and dust the mantles of the six cottages on site, cut the lawns, and spray herbicides on the runway to prevent weeds from springing through the blacktop and cracking the pavement. Even though today weve had no visitors from outside, Greg says early in the film, we are all the time trying to make sure that all the beds are available, everything is shiny and nice. He continues: And that we, when guests arrive, can put all the behind-the-scenes stuff away from us, and when you finally get there, you can just put on your beautiful smile to the guests and say, Where were you? We were waiting for you!Jamey punctuates vast, aerial shots with tight, close-ups to juxtapose the immense geographic isolation with intimate storytelling. Surreal and at times absurd, The Big Wait glimpses an unassuming paradise fit for two but always ready for the next arrival.The Big Wait just made the festival circuit, and Jamey is working on several short and feature-length films at the moment. Follow his latest projects on Vimeo.Next article

Photos by Almin Tabak. All images courtesy of Starry Night Retreat, shared with permissionA Sprawling Garden Opening Next Spring Embodies Van Goghs Starry NightNovember 4, 2024Kate MothesTwo decades ago, Halim Zukic purchased a 173-acre plot of land in a verdant valley near his hometown of Visoko, Bosnia and Herzegovina. He conceived of a retreat, where his love of nature and landscape design could open to the public. But it wasnt until 2018 that the businessman and art enthusiast began replicating details of one of the worlds most recognizable paintings on an enormous scale. While working on the property one day, Zukic observed some tractor tracks that reminded him the swirls and waves of Vincent van Goghs seminal work from 1889, The Starry Night. With plenty of motivation but less of a clear plan, he and an amateur team intuitively followed the contours of the land and made numerous adjustments over time to achieve visual and spatial harmony.The elaborate design for Starry Night Retreat, which employs lavender and a variety of other herbs as its medium, is characterized primarily by the absence of straight lines. The estate encompasses a 25-acre park within its overall footprint, which includes meeting places like a natural amphitheater.The project honors Vincent van Gogh and those who bravely pursue their passions despite the sacrifices required, says hospitality manager Merjem Zuki. Mr. Zukic views the retreat as a unique space where nature and art blend, enabling visitors to reconnect with essential elements of their being and engage their senses.Starry Night Retreat is slated to open to the public next May. Find more on its website.Previous articleNext article

Arcimboldo-esque Portraits Emerge from Tools of the Trade in Early 19th-Century AquatintsNovember 4, 2024HistoryIllustrationKate MothesIn the 16th century, Italian Renaissance painter Giuseppe Arcimboldo spurred an idiosyncratic trend in portraiture, elaborating on the symbolism of fruits, animals, and objects by arranging them compositionally into human faces.Arcimboldos work inspired some European illustrators to portray tradespeople as physical embodiments of their work, such as Nicolas de Larmessin in the 17th century and Martin Engelbrecht in the 18th. The instruments of the subjects professions literally became them.Around 1800, London-based published Samuel William Fores continued the playfulif occasionally unsettlingtradition of composite portraiture in a series of aquatints depicting a florist, a baker, an armorer, a tailor, and several others, made from the sum of their tools and wares. A blacksmith, for example, is composed of an anvil, bellows, and hammer, while a fruiterera greengroceris made of produce and baskets.The Public Domain Review notes the significance of the title of the series, Hieroglyphics: If, indeed, the print dates from around 1800, then it would place the image soon after the discovery in 1799 of the Rosetta Stone by Napoleons troops during their invasion of [Egypt]and so at a time when the idea of hieroglyphs would have been very much in the air.We currently understand the word hieroglyphs to denote an ancient system of writing in which pictures were substituted for text, so the title may take some license with that interpretation. But that may also be beside the point. As The Public Domain Review continues, it as though the act of replacement itself is enough, be it a word or a swathe of face, it does not matterthe whole world seen as renderable in a landscape of objects.Prints of Hieroglyphics are currently held in the Wellcome Collection in London, where you can explore the library and exhibitions free of charge.Previous articleNext article

A Mosaic Storyline Looks to the Sky in a Poetic Stop-Motion AnimationNovember 4, 2024AnimationFilmGrace EbertGiven that mosaic typically requires a cement base to secure the individual fragments, its unusual to find the medium in stop-motion animation, a technique requiring that components move a microscopic distance in each frame.But during a 10-day residency in Tarusa, Russia, a group of artists working with the collaborative Invisible Friends decided to try their hands at the unconventional approach. The result? The sky has no edge, a poetic narrative about looking up thats crafted almost entirely from mosaic.Conceived in five days and filmed in the same amount of time, the dreamlike animation flows through a patchwork of scenes devised by individual artists, all of which are then stitched together. Theres a crow perched on a powerline that promptly chomps a fly, red and orange fireworks bursting in the distance, and a bee buzzing high above a train as it races by.To create the film, artist Ilya Yudovich concocted a plasticine mixture with sand and other materials. The resulting substance retained the texture and consistency of cement without hardening. Invisible Friends shares an in-depth look behind the scenes on its website and adds:The animation process was highly labor-intensive. In some instances, it resembled cut-out animation, with a large pre-prepared mosaic picture being moved beneath the camera, undergoing slight alterations. At times, it involved intricate work with the entire picture a form of total animation. Each frame required meticulous attention to detail, as if reconstructing the mosaic anew.Theres a helpful translation of the films narrative on YouTube, but you can find more experimental techniques and collaborations from Invisible Friends on Vimeo.Next article

New Jersey (2017). All images Arielle Bobb-Willis, shared with permissionIn Keep the Kid Alive, Arielle Bobb-Willis Reaches for ExuberanceNovember 1, 2024Grace EbertColor, movement, and sweeping, expertly choreographed gestures permeate the works of Arielle Bobb-Willis. The Los Angeles-based photographer blurs the boundaries between art and fashion imagery, rejecting the notion that Black expression is limitedor limiting.A slim monograph collects 90 of Bobb-Williss photos, highlighting her distinctive eye and bold, conceptual compositions. Published by Aperture, Keep the Kid Alive positions observation and imagination as useful tools to inspire awe for the overlooked. Models dressed in bright, color-blocked garments pose in parks or alleyways, their joyful dances and chromatic clothing enriching the nondescript spaces.New Jersey (2017)Bobb-Willis first picked up a camera at 14 and through moves from New York to Aiken, South Carolina, to New Orleans, found the medium was both cathartic through chronic depression and loss and also an essential tool for developing her taste and confidence. Photography is how I keep my inner child alive. Photography has taught me to fall in love with life, she shares with Nicole Acheampong in an interview in the book, adding: I love finding unexpected rainbows, and sunshine and a beautiful green park and kids chalk drawings on the sidewalk and melted ice cream and butterflies and flowers and Black girls with bright-blue braids and sweet graffiti poetry! I keep my inner child alive by taking pictures of my every day. Im always finding things that Im so in love with. Photography is, and will always be, a daily practice of falling in love with as many things as I can.Whether captured in a Los Angeles parking lot or against a purple wall in New Jersey, Bobb-Williss images are dynamic and vivid, drawing beauty and exuberance from unassuming spaces.Keep the Kid Alive is available on Bookshop, and you can find more from Bobb-Willis on her website and Instagram.New Orleans (2021)Los Angeles (2020)Williamsburg (2016)New Jersey (2018)New Orleans (2017)New Jersey (2019)New Jersey (2022)New Orleans (2016)Next article

November 2024 Opportunities: Open Calls, Residencies, and Grants for ArtistsNovember 1, 2024OpportunitiesColossalEvery month, Colossal shares opportunities for artists and designers, including open calls, grants, fellowships, and residencies. If youd like to list an opportunity here, please get in touch at [emailprotected]. You can also join our monthly Opportunities Newsletter.Olbrich Botanical Gardens invites proposals for temporary, light-based installations for GLEAM, Art in a New Light, a public art exhibition situated within a 16-acre Midwest landscape or a 10,000-square-foot tropical conservatory. To celebrate the 10th anniversary, the theme of the 2025 exhibit is reflection. GLEAM will be open to the public from August 23 to October 25.Deadline: 11:59 p.m. CT on November 17, 2024.Open CallsArtadia Awards (Houston)Three visual artists will receive unrestricted funds of $15,000, and one artist will receive the Marciano Artadia Award of $25,000. Honorariums will also be provided to finalists.Deadline: November 1, 2024.All About Photo Open Call (International)The 44th issue of AAP Magazine will be centered around street photography. Winners receive $1,000, their images published, and press coverage.Deadline: November 12, 2024.Art Scene Wests Call For PhotographicFine Art (International)Art Scene West is accepting fine art photography of every genre inside their San Diego Art Gallery from December 14, 2024, to January 31, 2025. Up to 20 artists will be selected.Deadline: November 22, 2024.Yale Call for Art Recognizing Enslavement (International)This open call is seeking public art, socially engaged art, or participatory art projects, permanent and ephemeral, and related programming in New Haven to address Yales historical roles and associations with slavery and the slave trade as well as the legacy of that history.Deadline: November 30, 2024.Public Art for Spatial Justice (Massachusetts)These grants range from $15,000 to $30,000 and are open to all disciplines. Projects should creatively cultivate spatial justice through public works. Deadline: 11:59 p.m. ET December 2, 2024.The Wildlife Photographer of the Year 61 (International)Winners of the 61st annual competition will be shown in an exhibition launching at the Natural History Museum, London, in October 2025. There is a 30 entry fee, which increases to 35 in the last week of the submission period.Deadline: 11:30 a.m. GMT on December 5, 2024.Works on Paper Open Call 2025 (International)The Gallery at Green & Stonea is accepting 3D sculptures and 2D works, including paintings, drawings, prints, and collages, for an exhibition centering on paper next January. There is a 15 application fee.Deadline: December 7, 2024.Open to artists 19 and older, this award offers one artist $7,500, a solo exhibition, and a printed catalog at Pelham Art Center. $2,500 is divided among the finalists, and there is a $25 application fee.Deadline: December 15, 2024.NSMA International Painting Competition (International)Open to professionals and students, this competition focuses on contemporary realism in painting, and all subject matter is welcome. One winner will receive $25,000, and finalists will be exhibited at the New Salem Museum and Academy of Fine Art.Deadline: 11:59 p.m. EST on January 15, 2025.Sony World Photography Awards 2025 (International)Open to photographers worldwide shooting on any device, this contest includes top prizes of $25,000, a solo exhibition in London, Sony digital imaging equipment, press and media coverage, and more.Deadline: January 10, 2025.GrantsVIA Art Fund Artistic Production Grant (International)This grant awards individual artists, nonprofit organizations, and institutions between $25,000 and $100,000 to commission works outside museum or gallery walls, within the public realm, or in nontraditional exhibition environments. Projects must have a confirmed exhibition venue.Deadline: November 4, 2024.Stanley Bleifeld Memorial Grant (United States)This $5,000 grant is sponsored by the National Sculpture Society and awarded annually to one sculptor with who a mature body of work inspired by nature. Works created in workshop or instructional settings should not be submitted.Deadline: November 4, 2024.Wherewithal Grants (Washington D.C.)These $7,500 grants support ongoing or new projects that embrace unconventional or D.I.Y. values, which will be presented from January to December 2025. Project & Presentation grants will directly support artists presenting work outside of commercial galleries, museums, or established nonprofits.Deadline: 11:59 p.m. EST on November 12, 2024.Material Works Art Award 2024 (International)This award supports artists through a one-time $2,500 grant in exchange for an original artwork that will join the Material Works collection. There is a $40 application fee. Deadline: 12 a.m. CT on December 8, 2024.NYSCA/NYFA Artist Fellowship (New York State)These $8,000 unrestricted cash grants are awarded in fifteen disciplines during a three-year period. This fellowship is intended to fund an artists vision or voice at all levels of artistic development.Deadline: 5 p.m. ET on December 17, 2024.The Adolf and Esther Gottlieb Emergency Grant (International)The Adolph and Esther Gottlieb Emergency Grant program provides one-time interim financial assistance to qualified painters, printmakers, and sculptors whose needs resulted from an unforeseen catastrophic incident and who lack the resources to meet that situation. Awardees typically receive $5,000, up to $15,000.Deadline: Rolling.Adobes Creative Residency Community Fund commissions visual artists to create company projects on a rolling basis. Awardees will receive between $500 and $5,000.Deadline: Rolling.Pollock-Krasner Foundation Grant (International)The foundation welcomes applications from actively exhibiting visual artists who are painters, sculptors, and artists who work on paper, including printmakers. Grants are intended for one year and range up to $50,000. The artists circumstances determine the size of the grant, and professional exhibition history will be considered.Deadline: Rolling.Residencies, Fellowships, & More2025 Museum of Glass Visiting Artist (International)A Visiting Artist Residency in the Hot Shop allows artists to explore new ideas and techniques or push the boundaries of a current series. Applicants may typically work in any medium.Deadline: Midnight PT on November 2, 2024.Saguro National Park Residency (International)All mediums are eligible for this June 2025 residency in the Saguro National Park, which offers a $3,000 stipend and living accommodations. Application fees range from $60 for one artist to $120 for a duo and $160 for a group.Deadline: 4 a.m. CT on November 8, 2024.Bernheim Artist in Residence Program (International)Now in its 45th year, this program awards up to four residencies each year to artists working with nature. Residents receive a $2,500 stipend and accommodations. One residency is dedicated to an artist in Kentucky or nearby counties in Southern Indiana, and another is dedicated to an artist whose work addresses environmental issues and the climate crisis.Deadline: Midnight EST on December 2, 2024.Newberry Library Artist in Residence Fellowships (International)This one-month fellowship supports research for a visual artist with a $3,000 stipend.Deadline: 11:59 p.m. CT on December 15, 2024.Joshua Tree Highlands Artist Residency (International)These seven-week residencies in Joshua Tree National Park include $1,500 stipends, living accommodations, and studio space. There is a $45 application fee.Deadline: 11:59 p.m. MT on December 15, 2024.The Bray Artist Residencies (International)Throughsummer and long-term studio experiences, this program offers the opportunity to work within a community of global artists actively creating new work.Deadline: December 19, 2024.The image above is Evanescent by Atelier Sisu.Next article

All images courtesy of Soeun Lee, shared with permissionIn the Mood for Food, Soeun Lee Solders Vibrant Stained Glass Visions of ComfortOctober 31, 2024ArtCraftKate MothesDrawing on her background in illustration, Soeun Lee captures atmospheric tableaux of sunny breakfasts and relaxing reading spots in stained glass. A fried egg in a pan, an open book left on a table, or a full cup of coffee next to a plate of toast suggest someone is nearby, just out of the frame.I play around with things that hint at a personal presence, like an empty chair, a book, or a mug, Lee tells Colossal. I want the viewer to be able to sense the lingering traces of a conversation or thought that occurred just moments before.Nodding to the deep shadows of Edward Hoppers Chop Suey or Wayne Thiebauds baked confections, Lees compositions draw on similar themes and emphasize contrast to create each interiors mood. Many of my pieces draw inspiration from classic American diners, which evoke a sense of familiarity and warmth for everyone, she says, whether they are newcomers or lifelong residents.The notion of comfort runs through much of Lees work, especially through the subtopic of food. Stacks of pancakes or toast are lit by the morning sun through nearby windows or an open refrigerator illuminates its contents. This play on light continues by way of the medium itself, activated by the sun shining through the panes to brighten vibrant colors.Many of my designs cast long shadows, evoking the time of day, whether its the very early morning light or the warm glow of sunset, she says. I choose the colors to reflect that mood. Early mornings evoke a sense of hope and the promise of a new day, while shadows from a sunset remind me to find down, reflect, and find rest.Lee is currently working on new pieces, which she will make available on her website. Follow Instagram for updates.Previous articleNext article

All images courtesy of the artist and Hashimoto Contemporary, shared with permissionDreamlike Creatures and Spiritual Symbols Merge in Lou Beneschs WatercolorsOctober 31, 2024ArtIllustrationKate MothesCosmic phenomena, spiritual symbolism, and the stuff of dreams embellish Lou Beneschs mystical watercolor paintings. From a trio of blackbirds hovering over a giant bed on a ragged coastline or a many-faced ram bearing bells and birds, the Paris-based artist (previously) draws on the iconography of folklore, fairytales, Greek myths, and symbols of spirituality.A Comforting Invisible, opening soon at Hashimoto Contemporary, marks the artists first solo show with the gallery and brings together a collection of otherworldly illustrations that begin with reality but morph into unearthly, imaginary beings.In often semi-symmetric compositions, hybrid animals and unique interactions nod to metamorphosis and metaphysical experiences in surreal landscapes. The edges of each piece of paper have also darkened or faded with age, emphasizing the element of time oras in dreamstimelessness.Benesch explores what the gallery describes as the existence of a second, invisible realm accessed only through the portal of dreams. Stage-like settings, archways, and niches reveal emblems like eyes, a miniature labyrinth, the sun and moon, eggs, and a range of geometric shapes.Eggs, for example, represent hope, fertility, and rebirth. People have revered the sun and moon since time immemorial, symbolizing duality, balance, and transition. Benesch adds that the addition of a maze provides a way toaccess this universe of contemplation with an invisible hand guiding us along the paths that we forget to see.A Comforting Invisible runs from November 9 to 30 in Los Angeles. Find more on the artists website and Instagram.Next article

Dog stinkhorns (2022) All images Riittaa Ikonen and Annie Collinge, licensedSpawning in Forests, Figures Pose as Human-Sized FungiOctober 31, 2024NaturePhotographyJackie AndresNestled in the thicket of bushes and trees, a cast of curious figures resemble a variety of fungi. Crafted by Riitta Ikonen and photographed on film by Annie Collinge (previously), the symbiotic project aims to nurture the relationship between human beings and fungal species.Disguised as human-sized mushrooms, a troupe of models rest on leafy forest floors, sprout beyond green tufts, and stand upright against fallen tree trunks that would serve as a home to respective species. Each elaborate costume is constructed from upcycled materials, strengthening the projects nod to sustainably connecting with our surrounding environment.Columned stinkhorn (2022)Ikonens relationship with fungi stems from foraging in her early childhood. Our whole family was in the forest for what seemed like ages as a child, and it didnt take long to realize wed be staying until every basket was filled, she shares.You can find more from Ikonen on her website and Instagram, as she is currently working toward the forthcoming Nakanojo Biennale in Japan and continuing the 13-year-old Eyes as Big as Plates series with Karoline Hjorth. Be sure to keep up with Collinge on her website and Instagram, as well.Elegant stinkhorn (2022)Centennial (2017)Reishi (2023)Lions mane (2023)Next article

All images courtesy of Karlotta Freier, shared with permissionKarlotta Freiers Illustrations Relate Dreamy and Surreal NarrativesOctober 30, 2024IllustrationKate MothesDreamily jotting down notes from the comfort of a closet or enjoying an afternoon read in a rowboat are some of the ways Karlotta Freiers characters spend their time. The Brooklyn-based illustrator (previously) taps into human emotions and moods, illuminating atmospheric and sometimes surreal narratives.Freier often plays with the nature of concealment and intrigue, like a half-hidden figure behind a door, the shadow of a bird cast onto a womans face, or a screen of trees framing some activity. Reflections, shadows, and repetition draw our attention to clue-like details.The artist often uses scale to elaborate on the sense of mystery, like a tiny person riding on the back of a giant primate or an enormous, white cat asleep among colorful blooms.Many of the illustrations shown here were commissioned for The New Yorker and The New York Times, and Freier has recently collaborated on projects with global brands like Dior and Herms. The artist is also currently working on her first childrens book, and you can follow updates via her website and Instagram.Previous articleNext article

All images courtesy of ESA WebbA Star Is Born: A Phenomenal New Image Showcases a Stellar Nursery in Stunning DetailOctober 30, 2024NaturePhotographyGrace EbertAbout 200,000 light-years from Earth is the Small Magellanic Cloud, a relatively tiny galaxy containing several hundred million stars. At its edge is a cluster known as NGC 602, which has an environment similar to that of our universe in its early stages. Thanks to the James Webb Telescope, were now able to view this celestial region in stunning detail.Using combined data from the Near-InfraRed Camera and Mid-InfraRed Instrument, astronomers stitched together an incredibly high-resolution composite that boasts the glimmering edges of a galaxy dense with star formation.According to researchers, this region has very low abundances of elements heavier than hydrogen and helium. The existence of dark clouds of dense dust and the fact that the cluster is rich in ionised gas also suggest the presence of ongoing star formation processes. The Small Magellanic Cloud is one of the few intergalactic bodies visible to the naked eye and a close neighbor of our home in the Milky Way. These findings offer astonishing insight into how stars burst into life. As Kottke notes, its worth it to zoom in on the image and explore every reach of this stellar nursery.Previous articleNext article

Photos by Jonathan Leijonhufvud. All images courtesy of One Plus Partnership Ltd., shared with permissionUndulating Bricks Mimic Rolling Waves in a New Cinema and Coffee Shop by One Plus PartnershipOctober 30, 2024DesignKate MothesIn Haikou, Hanan Island, China, a strikingly contemporary, single-material design for a new cinema and coffee shop by One Plus Partnership Ltd. has risen from humble brick. Swooping overhead and swelling up from the foundation, the monochromatic interior of the Haikou Gaoxingli Insun Cinema & Coffee Bar is animated by light and shadow, a jack-on-jack masonry pattern, and elegant curves to invoke movement.Keeping the island location in mind, the architecture firm drew inspiration from the ocean, incorporating rolling wave motifs that extend from both the ceiling and the floor and double as lighting features, tables, and seating.We precisely placed bricks to look like waves, the studio says in a statement. These waves layered in such a way where you can see them all from any angle.Incorporating blocky brick adds a playful tension to the notion of fluidity, giving the interior a sense of solidity and firmness while also suggesting motion or transformation. As a counterpoint to water, the designers chose the material as a nod to the sandy shoreline that surrounds the island.One Plus Partnerships large-scale projects often emphasize clean lines, modern materials, and sculptural forms. Explore more on the studios website and Instagram.Next article

Installation view of Wild Things. All images courtesy of the Denver Art Museum and the Maurice Sendak Foundation, shared with permissionMingle with Maurice Sendaks Wild Things at the Denver Art MuseumOctober 29, 2024ArtIllustrationKate MothesThis holiday season, immerse yourself in the dynamic, theatrical world of Maurice Sendak at the Denver Art Museum in Wild Things. Organized in cooperation with the Columbus Art Museum, where a sibling exhibition was presented two years ago, Wild Things celebrates the characters that have accompanied millions during story time since the mid-20th century.The author and illustrator of perennial classics like In the Night Kitchen (1970), Outside Over There (1981), and, of course, Where the Wild Things Are (1963), Sendak was born in Brooklyn in 1928 and began illustrating childrens titles in 1947. He was largely self-taught and illustrated hundreds of books throughout his six-decade career. The Magic Flute (1980), poster, 24 x 17 1/2 inches. The Maurice Sendak FoundationSendak produced an astounding array of drawings, paintings, mockups, and set designs and costumes for his books, along with their adaptations to stage and screen. He was also an avid collector of other renowned illustrators works, and viewers can see pieces from Sendaks personal collection by the likes of William Blake, Beatrix Potter, Walt Disney, and more.Wild Things continues through February 17. Plan your visit on the Denver Art Museums website.Where the Wild Things Are (1963), watercolor, ink, and graphite on paper, 9 3/4 x 11 inches. TheMaurice Sendak FoundationSketch for The Griffin and the Minor Canon (1963), graphite on tracing paper, 11 13/16 x 8 15/16 inches. The Maurice Sendak FoundationOutside Over There (1981), watercolor and graphite on paper, page: 15 x 26 inches; image: 6 1/8 x 93/16 inches. The Maurice Sendak FoundationPierre (1961-2), ink on paper, 4 1/4 x 3 1/2 inches. The Maurice Sendak FoundationPrevious articleNext article