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    Myriam Dion Weaves Milestones of Women’s History from Vintage Newspapers

    “Carré 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 inches

    Myriam Dion Weaves Milestones of Women’s History from Vintage Newspapers

    November 19, 2024

    ArtCraft

    Kate Mothes

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    From found vintage newspapers and hand-painted designs, Myriam Dion composes remarkably detailed collages. Known for reimagining newspapers into sculptural, geometric works, the Montréal-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 “Carré Fleuri, antique samples of hand-painted flower patterns for dress fabric, France, 1841”

    Through 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 me to 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 women’s 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 inches

    Dion has recently become fascinated by darning samplers, which like other embroidery samplers, were historically used to showcase one’s 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 sampler’s maker was capable of mending a variety of fabrics.

    “These are objects rich in know-how and history—they 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, Québec, in 2027. Another public work will be installed at the Santa-Cabrini Hospital in Montréal next summer.

    Timelines continues through December 14. Find more on Dion’s 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 centimeters

    Detail of “Girl in Knicks on the Links, Miss McMillan, The Brooklyn Daily Eagle, New York, Monday, May 8, 1922”

    “Women 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 inches

    Detail of “Women Workers, Daily Republican Eagle, Red Wing, Minnesota, Friday, October 2, 1942”

    “Marie 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 inches

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    Celestial Forms Erupt and Tumble in Lauren Fensterstock’s Jewel-Encrusted Sculptures

    “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 permission

    Celestial Forms Erupt and Tumble in Lauren Fensterstock’s Jewel-Encrusted Sculptures

    November 18, 2024

    Art

    Kate Mothes

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    Like crystallized meteors or mysterious terrestrial phenomena, Lauren Fensterstock’s jewel-encrusted sculptures (previously) reflect the artist’s 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 inches

    “I 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 imperfections—acknowledging 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 artist’s website and Instagram.

    Detail of “I Arrange the Stars”

    “She is Refuge” (2024), vintage crystal, glass, quartz, obsidian, tourmaline, and mixed media, 14 x 21 x 21 inches

    Detail of “Tender Willingness”

    “The Intimate Vast” (2024), vintage crystal, glass, quartz, obsidian, tourmaline, and mixed media, 15 x 33 x 33 inches

    Detail of “The Intimate Vast”

    Installation view of ‘Some Lands Are Made of Light’

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    Clementine Keith-Roach Unearths Ancient Vessels for Her Motherly Sculptures

    “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 Griffiths

    Clementine Keith-Roach Unearths Ancient Vessels for Her Motherly Sculptures

    November 17, 2024

    Art

    Grace Ebert

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    From 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 Griffiths

    In 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 artist’s 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-Roach’s 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 works—which are on view at PPOW in New York—as “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 they’re the most extraordinary person, they’re born out of a social moment,” the artist adds. “An individual is never isolated. They’re 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 Griffiths

    At 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 l’oeil process, in which she paints and conditions the new additions to mimic the patinaed surfaces of the older components. In the completed sculptures, there’s tension between the body’s inevitable decay and the timeless durability of ceramic, which the artist celebrates:

    My works have this sacred quality to them. There’s raising the domestic vessel up, transforming it into something ceremonial. It’s taking it out of the everyday and making it into an object of reflection. It’s the same with the body parts. It’s looking at these movements and gestures and things we do every day and monumentalizing them. It’s monumentalizing the everyday.

    Keith-Roach’s 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 Griffiths

    “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 Griffiths

    “Herm” (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 Griffiths

    “works and days 2” (2024), plaster, resin clay, paint, 17 7/8 x 17 7/8 x 4 3/8 inches. Photo by Damian Griffiths

    Detail 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 Griffiths

    “works and days 1” (2024), plaster, resin clay, paint, 18 7/8 x 17 7/8 x 5 1/8 inches. Photo by Damian Griffiths

    Detail 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 Griffiths

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    Lush Growths and Classical Architecture Converge in Eva Jospin’s Meticulous Sculptures

    “Forêt” (2024), wood, cardboard, 94 1/2 x 133 7/8 x 19 3/4 inches. All images courtesy of Mariane Ibrahim, shared with permission

    Lush Growths and Classical Architecture Converge in Eva Jospin’s Meticulous Sculptures

    November 16, 2024

    ArtNature

    Grace Ebert

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    Rather 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.

    “Forêt troglodyte” (2024), wood, cardboard, and mixed media, 72 1/2 x 59 x 31 1/2 inches

    As with earlier bodies of work, Jospin’s 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 artist’s works instead depict a convergence between the manufactured and the organic. In the six-foot tall “Forêt 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 you’re in Chicago, see Vanishing Points before January 25.

    Detail of “Forêt troglodyte” (2024), wood, cardboard, and mixed media, 72 1/2 x 59 x 31 1/2 inches

    “Capriccio” (2024), wood, cardboard, and mixed media, 76 3/8 x 41 3/8 x 21 5/8 inches

    Detail of “Capriccio” (2024), wood, cardboard, and mixed media, 76 3/8 x 41 3/8 x 21 5/8 inches

    “Jardin Constantine” (2024), silk thread, silk canvas, wood and cardboard frame,46 x 96 7/8 x 4 inches

    “Jardin Constantine” (2024), silk thread, silk canvas, wood and cardboard frame,46 x 96 7/8 x 4 inches

    “Petit Bois” (2024), wood, cardboard, 28 x 34 1/2 x 9 1/4 inches

    “Treille” (2024), silk thread, silk canvas, wood and cardboard frame, 100 3/4 x 69 1/4 x 4 inches

    Detail of “Forêt” (2024), wood, cardboard, 94 1/2 x 133 7/8 x 19 3/4 inches

    Detail of “Treille” (2024), silk thread, silk canvas, wood, and cardboard frame, 100 3/4 x 69 1/4 x 4 inches

    “Labyrinthe” (2024), wood, cardboard, and mixed media, 41 x 39 3/8 x 27 1/2 inches

    Detail of “Labyrinthe” (2024), wood, cardboard, and mixed media, 41 x 39 3/8 x 27 1/2 inches

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    Marilou Schultz Weaves Computer Processor Patterns in Traditional Navajo Tapestries

    “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 permission

    Marilou Schultz Weaves Computer Processor Patterns in Traditional Navajo Tapestries

    November 14, 2024

    ArtCraftDesignHistory

    Kate Mothes

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    What does Intel’s 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 die

    In the late 17th century, Spanish colonists introduced a breed of sheep called the Iberian Churro to the American Southwest. The Diné—known also as Navajo—who 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, Diné 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 piece—especially its highly accurate layout—the work highlights the alluring patterns of a trailblazing piece of technology.

    Detail of “Replica of a Chip”

    The first Pentium processor was released in 1993. About the size of a fingernail, the die—the material on which the processor is fabricated—contains 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 processors

    “Replica 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 Mexico—within the Navajo Nation—in 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 to 366 Navajo workers,” Schirriff says. Eventually, the company “employed 1,200 workers, and all but 24 were Navajo, making Fairchild the nation’s 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.

    Women’s 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 Chip”

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    Laura Kramer’s Glass Sculptures Intersect Aesthetics and Archaeology

    “Curiosity Box.” All images © Laura Kramer, shared with permission

    Laura Kramer’s Glass Sculptures Intersect Aesthetics and Archaeology

    November 13, 2024

    ArtNature

    Jackie Andres

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    Material 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 excavations—or “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 curiosities—odd objects that may not be easily categorized.”

    “Cinnabar”

    From 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.

    “Marie”

    “Memento Mori”

    “Azurite”

    “Mary”

    “Crystal Bowl”

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    Imagination and Introspection Suffuse Hans Op de Beeck’s Immersive ‘Whispered Tales’

    “Zhai-Liza (Angel).” All images courtesy of Hans Op De Beeck and Templon, shared with permission

    Imagination and Introspection Suffuse Hans Op de Beeck’s Immersive ‘Whispered Tales’

    November 13, 2024

    Art

    Kate Mothes

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    In his characteristically gray, monochrome palette, Hans Op de Beeck‘s 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 Beeck’s 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 (mother’s shoes),” she wears a tutu and oversized high heels.

    Installation view of “Zhai-Lia (mother’s shoes)” in ‘Whispered Tales’ at Templon, New York

    The 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 artist’s website and Instagram.

    “Danse Macabre”

    Detail of “Danse Macabre”

    Detail of “Maurice”

    Installation view of ‘Whispered Tales’ at Templon, New York

    Installation view of ‘Whispered Tales’ at Templon, New York

    Installation view of “Zhai-Liza (Angel)” in ‘Whispered Tales’ at Templon, New York

    “My Uncle’s Country House”

    Installation view of ‘Whispered Tales’ at Templon, New York

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    Cosmic Birds Soar Through New York City Subway Stations in Fred Tomaselli’s New Mosaics

    ‘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 permission

    Cosmic Birds Soar Through New York City Subway Stations in Fred Tomaselli’s New Mosaics

    November 13, 2024

    Art

    Kate Mothes

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    Known 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 City’s 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 station

    Scenes 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 Tomaselli’s 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 artist’s work on Instagram. You might also enjoy Contemporary Art Underground, a celebration of New York City Subway art, Nick Cave’s 360-food “Soundsuit” installation, or Nancy Blum’s sprawling tile blossoms.

    Passageway from 7 Av to 6 Av

    Detail of work in passageway from 7 Av to 6 Av

    Mosaic located in 14 St-6 Av

    Mosaic located in 14 St-6 Av

    Detail of mosaic located in 14 St-6 Av

    Mosaic located in 14 St-6 Av

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