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From Fire to Wind, JiSook Jung’s Ceramic Sculptures Animate the Elements
2 October 2024, 13:15
“Animal in the Wind” (2014), clay, 36.7 x 20.8 x 30 centimeters. All images courtesy of JiSook Jung, shared with permission
From Fire to Wind, JiSook Jung’s Ceramic Sculptures Animate the Elements
October 2, 2024
Art
Kate Mothes
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JiSook Jung has long been drawn to clay for its inherent malleability. “Clay has the advantage of being able to quickly mold an image in my head into a visual form because it is soft and plastic,” the Seoul-based artist tells Colossal. “In that sense, I think clay is an intuitive and instinctive material.”
Jung’s pensive, abstracted beings sprout limbs and minimal—if any—facial features. Each piece is vaguely animalistic and evocative of weather, the elements, and organic textures. A cloud walks on four legs, a green flame looks back at us with two beady eyes, or a wavy, blue being takes on the physical persona of wind.
“Walking Daydream” (2024), clay and foam clay, 49 x 36 x 46.5 centimeters
Many of Jung’s works tap into universal human experiences and concerns, like dreams, possibilities, and ego. “Potential,” for example, highlights a slightly bulbous, pink form that stands on four legs, as if preparing to metamorphose into something altogether new.
Jung’s work has recently shifted from an emphasis on figures to more abstracted creatures, focusing on textures and color. After an experience that deeply impacted her personal life, she felt encouraged to explore new directions in her work. “I’m coming out of an old shell and welcoming a new world,” she says.
Jung will open a solo exhibition on November 16 at Simple Object in Taipei. Find more on Instagram.
“Mass of Ego” (2024), clay and synthetic resin, 14 x 19.3 x 34.5 centimeters
“Burn Green” (2024), clay, 29.5 x 14 x 47.2 centimeters
“Potential” (2019), clay, 17 x 12 x 32 centimeters
“Free Animal” (2024), clay, 43.5 x 16.3 x 38 centimeters
“Wind” (2024), clay, 18.5 x 14 x 54.5 centimeters
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Frosted Works by Yvette Mayorga Divulge Issues That Are Anything but Saccharine
1 October 2024, 18:00
Installation view of ‘La Jaula de Oro’ at Museo de Arte de Zapopan. Photo by Lazarillo. All images courtesy of the artist and Museo de Arte de Zapopan, shared with permission
Frosted Works by Yvette Mayorga Divulge Issues That Are Anything but Saccharine
October 1, 2024
Art Social Issues
Kate Mothes
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In a pink, glowing Rococo setting, Yvette Mayorga’s first solo exhibition in Mexico dives into nostalgia, teenage dreams, and how sometimes a sugary coating can conceal crucial truths.
For La Jaula de Oro—The Golden Cage—at Museo de Arte de Zapopan, the Chicago-based artist (previously) has created four acrylic-piped paintings on canvas and a series of mixed-media sculptures. These include a 1974 Datsun coated in crochet, plush and plastic toys, acrylic nails, faux fur, rosaries, and other ephemera. Pop singer Selena’s song “Dreaming of You” wafts from the car stereo.
“Bien chiqueada” (2024), acrylic nails, nail charms, toy snake, toy scorpion, clock, scorpion belt, collage, and acrylic piping on canvas, 91.44 x 121.92 centimeters
At first glance, Mayorga’s compositions appear like delicate, frosted confections, glittering with nail charms and predominantly made in various shades of pink. But upon closer inspection, reminders of a slightly more unsettling reality begin to emerge, such as scorpions, clocks, or mirrors—nods to our relationship with time, others, and our mortality.
The artist draws on the tradition of vanitas painting, a style popularized during the Dutch Golden Age, often in the form of still lifes brimming with visual cues that power and glory mean nothing when confronted with the inevitability of death.
For Mayorga, the supple forms of piped bows, rosettes, and borders belie important messages centered around border control, immigrant labor, rampant capitalism, and pop culture.
Akin to the way cookies or cakes are created to be literally consumed, the artist toys with the notion of fleetingness. “La princesa (Ride or Die),” for example, captures a sense of ephemerality and impermanence: “here today and gone tomorrow,” says curator Maya Renée Escárcega.
Detail of “Bien chiqueada”
The artist invites viewers into a seemingly carefree, saccharine space evocative of the opulence of the late 18th century—the era of Marie Antoinette and her famous—if mythical—quote: “Let them eat cake.” Considered the “Rococo Queen,” she is associated with luxury and frivolity, and she came to symbolize the excesses of the wealthy during a period when many people couldn’t afford bread, let alone the delicacies of cake.
Mayorga’s primary medium is acrylic applied using a pastry bag. She references women workers—especially women of color—from whom colonial discourse stripped notions of femininity assigned to white women. She expands upon the framework of Rococo to analyze 21st-century issues, simultaneously serving us a reminder of the sacrifices and toil required to produce what capitalist society consumes.
La Jaula de Oro and continues in Zapopan through January 5. Find more on Mayorga’s website and Instagram.
Detail of “Banquete (Banquet)” (2024), hi-temperature ceramics, resin candle holders, bronze figures, and candles, dimensions variable. Photo by Lazarillo
Installation view of La Jaula de Oro
“Capitalist Clown” (2024), collage, acrylic marker, pastel, toy scorpion, and acrylic piping on canvas, 91. 44 x 121.92 centimeters
Detail of “La princesa (Ride or Die)” (2024), crochet, plush toys, plastic toys, acrylic nails, rosaries, faux fur, belt buckles, vinyl stickers, ceramic tchotchkes, clock, toy cell phone, found license plate, trophy, wood, 161 acrylic roses, and acrylic piping on a 1974 Nissan Datsun, 4 x 1.6 meters. Photo by Lazarillo
Detail of “La princesa (Ride or Die).” Photo by Lazarillo
“Made in Mexico (Fecit Mexici)” (2024), mirror, hand mirror, acrylic nails, nail charms, clock, toy scorpion, collage, and acrylic piping on canvas, 91.44 x 121.92 centimeters
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Titus Kaphar Paints Memories, Family, and Grief into ‘Exhibiting Forgiveness’
1 October 2024, 13:33
“I hear you in my head” (2023), oil on canvas, 72 x 84 inches. Photos by Owen Conway. All images © Titus Kaphar, courtesy of Gagosian, shared with permission
Titus Kaphar Paints Memories, Family, and Grief into ‘Exhibiting Forgiveness’
October 1, 2024
Art Film
Kate Mothes
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From a makeshift bike ramp to an uphill struggle with a lawn mower, the scenes in Titus Kaphar’s oil paintings are simultaneously familiar and personal. Drawing on memories, he contemplates the meaning of family, community, loss, grief, and everyday life in working-class America.
These works, shown in a gallery setting for the first time at Gagosian, were made for the artist’s semi-autobiographical, debut film, Exhibiting Forgiveness, which screened at Sundance earlier this year and comprises the centerpiece of the presentation.
“Some things can’t be worked out on canvas” (2023), oil on canvas, 120 x 108 inches
Featuring André Holland (Moonlight and Passing) alongside Andra Day and Aunjanue Ellis-Taylor, the film was written and directed by Kaphar and follows the story of an accomplished painter whose life is upended by an unexpected reunion with his estranged father.
Springing “from the same personal, emotional and psychological well” that provides the source for all of his work, Kaphar portrays neighborhood houses, figures, and personal objects that transport us to both the artist’s childhood and the universal experiences associated with coming of age.
In “So vulnerable,” for example, two of the three figures scaling a fence have been rubbed out, as if time or unknown events have erased all but their ghostly impressions. In “I hear you in my head,” a figure cutting the lawn has been removed from the canvas altogether, leaving only a void.
Exhibiting Forgiveness continues through November 2 at Gagosian Beverly Hills, and the film is slated for release in theaters nationwide on October 18. Find more on the artist’s website.
“La’Ron” (2023), oil on canvas, 91 x 75 1/2 inches
Installation view of Exhibiting Forgiveness
“So vulnerable” (2023), oil on canvas, 120 x 108 inches
“Smoldering embers” (2023), oil on canvas, 72 x 83 inches
Actor Andre Holland in Exhibiting Forgiveness. Image courtesy of Roadside Attractions
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Honeybees Have the Final Say in Ava Roth’s Collaborative Sculptures
30 September 2024, 19:33
Detail of “Horseshoe, Quills and Thorns,” encaustic, Japanese paper, horseshoe, porcupine quills, thorns, embroidery floss, metallic thread, seed beads, natural honeycomb, and local Ontario maple frame, 17.5 x 17.5 inches. All images courtesy of Ava Roth, shared with permission
Honeybees Have the Final Say in Ava Roth’s Collaborative Sculptures
September 30, 2024
Art Nature
Kate Mothes
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Bees get a bad rap a lot of the time, despite the immense benefits they provide—and those go way beyond honey. Responsible for pollinating one-third of the world’s food supply, the buzzing insects ensure we’re able to enjoy coffee, tomatoes, strawberries, vanilla, and myriad other kinds of produce.
The climate crisis, habitat destruction, pesticides, and invasive species are among numerous factors that have led to an unprecedented decline in honeybee populations during the past two decades. But for Toronto-based artist Ava Roth (previously), visibility is a major tenet of her unique, collaborative practice.
“Kintsugi Platter, Black,” 21 x 21 inches
Within concentric wooden frames, Roth embroiders patterns with thread and beads, creating the groundwork for the next phase of her process: inserting individual works into her hive and inviting the bees to determine the final composition.
The human relationship to nature, mirrored by what Roth describes as the”tension between control and wildness,” considers our role in shaping nature to our own needs and the consequences of our actions.
Bees instinctively build walls of prismatic cells to protect their brood and store honey and pollen, and the organic geometry doubles in Roth’s pieces not only as an iconic aesthetic but also as a reminder of the creatures’ remarkable abilities.
Recently, the artist has been experimenting with three-dimensional structures and round frames, departing from the rectangular format traditionally associated with hives. She’s also embarked on a new kintsugi-style series in which the bees “mend” broken shards of pottery with their comb.
Find more on Roth’s website and Instagram.
Detail of “Broken Pottery, Mended,” 21 x 21 inches
Detail of “Kintsugi Platter, Robin’s Egg Blue,” 21 x 21 inches
“Broken Pottery, Mended,” 21 x 21 inches
“White Beaded Lace, Circle,” encaustic, Japanese paper, Japanese lace, embroidery floss, seed beads, natural honeycomb, and local Ontario maple frame, 17.5 x 17.5 inches
Honeycomb objects made from rock, deer antler, basket, and egg with pine needles, wrapped in waxed metallic cord
“Horseshoe, Quills and Thorns”
Detail of “Japanese Lace, Gold and Black,” encaustic, Japanese paper, Japanese ribbon, metallic thread, seed beads, natural honeycomb, and local Ontario maple frame, 17.5 x 17.5 inches
“Deer Antler and Honeycomb,” deer antler, waxed cord, and honeycomb
“Sea and Sky, Blue Kyanite Encaustic,” Japanese paper, blue kyanite crystals, gold leaf, embroidery floss, and natural honeycomb on wood panel, 17.5 x 17.5 inches
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In YoYo Lander’s Dynamic Portraits, Layers of Stained Paper Capture Light and Shadow
27 September 2024, 16:46
Detail of “Hold That Thought #1” (2021), stained, washed and collaged watercolor paper on watercolor paper, 20 x 16 inches. All images courtesy of YoYo Lander, shared with permission
In YoYo Lander’s Dynamic Portraits, Layers of Stained Paper Capture Light and Shadow
September 27, 2024
Art
Grace Ebert
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From individually stained snippets of watercolor paper, YoYo Lander collages elaborate portraits.
Each work begins with a photo session during which the artist focuses on capturing the sitter’s unique gestures, poses, and expressions. She then combines the reference images into a singular composition that conveys a particular emotion or experience.
“Kara”
In a recent body of work, Lander dresses her sitters in the same green sweater, the kindred knit signifying personal and collective growth and transformation. Similar to earlier pieces like “Hold That Thought #1” and “The Parts of Me That Get No Applause #2,” the more recent portraits are dynamic and impeccably constructed to convey light hitting a cheekbone or the shadow of a garment fold. Viewed up close, the textured, layered paper adds immense intricacy and depth to the already lively compositions.
Many works shown here are included in Lander’s solo show Yesterday Was Hard, which is curated by Superposition Gallery for Phillips Los Angeles and on view until October 11. The artist frequently shares glimpses into her process on Instagram, so head there for more.
“Hold That Thought #1” (2021), stained, washed, and collaged watercolor paper on watercolor paper, 20 x 16 inches
Detail of “Naty”
“The Parts of Me That Get No Applause #2” (2022), stained, washed and collaged watercolor paper on watercolor paper, 24 x 15.5 inches
Detail of “Helen”
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Jessica Drenk Transforms Thousands of Pencils into Organic Vessels
27 September 2024, 14:21
All images © Jessica Drenk, shared with permission
Jessica Drenk Transforms Thousands of Pencils into Organic Vessels
September 27, 2024
Art
Kate Mothes
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Undulating, organic sculptures emerge from thousands of drawing utensils in Jessica Drenk’s ongoing Implements series. Fascinated by the aesthetics and behavior of multiples of mass-produced objects, the artist (previously) chose pencils because of their stackable shape and “the thought that, if I sanded them, I could make a sculpture that drew on itself in the making: sandpaper would smear the graphite while the piece was being shaped,” she tells Colossal.
Implements explores the relationship between interior and exterior, the container and the contained. The inside of each work showcases the out-of-the-box objects, while the outside has been cut and smoothed to reveal lengths of graphite and bare wood.
Detail of “Implement 36”
Drenk has been making sculptures with pencils for several years, and the shapes continue to evolve. One of the challenges of working with the material is the difficulty of gluing pre-painted, non-porous surfaces together. “In response to this, I once ordered 30,000 unpainted pencils to make larger sculptures that could be glued into more dynamic shapes,” she says.
Over time, the Implements series has influenced further sculptures, such as “Speleothem” and “Formation,” in which the pencils compose larger dynamic forms. “In a sense, both aspects of the pieces resemble nature,” Drenk says. “Even the hexagon is found in nature, from beehives to columnar basalt rocks.”
Drenk is currently working on a geology-inspired series called Aggregate that puts junk mail to use, along with wall sculptures made from books. Explore more on the artist’s website and Instagram.
“Speleothem”
“Implement 44”
“Implement 73”
Detail of “Formation”
Implements series
“Formation” in progress
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An A.I. Model Helped Uncover 303 Previously Unseen Nazca Lines in Peru
26 September 2024, 21:02
All images courtesy of Masato Sakai et al.
An A.I. Model Helped Uncover 303 Previously Unseen Nazca Lines in Peru
September 26, 2024
Art History
Grace Ebert
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In 2022, we shared news of a monumental discovery at Peru’s Nazca Pampa, a UNESCO World Heritage site once home to pre-Inca Indigenous peoples who were fond of etching gargantuan artworks into the earth’s surface. Discovered in 1927, archaeologists spent nearly a century uncovering 430 figurative glyphs depicting animals, people, and hybrid creatures.
But thanks to a new A.I.-trained system, researchers have identified an additional 303 drawings in just six months as detailed in a study published this week in the Proceedings of the National Academy of Sciences. Included in the findings are various birds, cats, ceremonial acts, and even a killer whale wielding a weapon.
Dating back at least 2,000 years, the works offer insight into the cultural and spiritual practices of the ancient civilization. Although theories about the purpose of the lines range from calendars to agriculture and human migration, researchers know they were made by removing darker stones to reveal lighter, desert sand below.
Whereas drones have helped to identify the giant line drawings that stretch across the desert, the A.I. model has been adept at detecting the smaller, relief-type renderings that mainly portray wild animals and are more difficult to find.
The larger of the glyphs depict primarily humans, domesticated animals, and lone heads and “are typically located within viewing distance (on average 43 meters) of ancient trails that crisscross the Nazca Pampa and were most likely built and viewed at the individual or small-group level,” researchers say, noting that the smaller “are found an average of 34 meters from the elaborate linear/trapezoidal network of geoglyphs, which suggests that they were probably built and used on a community level for ritual activities.”
Using aerial and satellite images of the site along with LIDAR data, archeologists trained the A.I. model to identify the sometimes imperceptible lines. The team then reviewed and confirmed the results by traveling to the location. They estimate that the A.I. model is 21 times faster at perceiving the works than humans. (via Smithsonian Magazine)
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Mysterious Orbs Illuminate Deserted Landscapes in Andrew McIntosh’s New Paintings
25 September 2024, 22:01
Detail of “Brighid” (2024), oil on canvas, 100 x 130 centimeters. All images courtesy of Andrew McIntosh, shared with permission
Mysterious Orbs Illuminate Deserted Landscapes in Andrew McIntosh’s New Paintings
September 25, 2024
Art
Grace Ebert
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Nested in rusted caravans or hovering above vast landscapes, small glowing orbs reminiscent of the sun, stars, and otherworldly technologies populate Andrew McIntosh’s latest body of work.
On view with James Freeman Gallery for the British Art Fair, The Calling conjures McIntosh’s interest in mystery and magic. The London-based Scottish artist often evokes the lush, dramatic landscapes of Romantic paintings, which he recasts with a supernatural bent.
“Étaín” (2024), oil on canvas, 170 x 130 centimeters
Pieces like “Étaín” and “Brighid” recall McIntosh’s earlier works that tuck entrancing portals into travel trailers, a symbol of the adventurous spirit. These newer paintings similarly position wide ocean views inside the mobile homes, contrasting the immense scale of the sea with the tiny confines of the caravan.
The Calling also steps back to take a broad look at natural wonders. Expansive landforms like the St. Kilda archipelago in Scotland and Mount Everest are veiled in a hazy wash of oranges and pinks, and the illuminated orbs float along their edges.
These works explore “how the wilderness worldwide, such as the mountain faces of Everest and K2, has the power to act as host for the inexplicable and the mysterious,” McIntosh shares, adding that they “speak to (a) need to engage with something greater, something beyond our physical substance.”
The Calling is on view from September 26 to 29. Find more from McIntosh on his website and Instagram.
“Plate II: Suilven” (2024), oil on canvas, 110 x 130 centimeters
“St Kilda Lights” (2024), oil on board, 42 x 23 centimeters
“Brighid” (2024), oil on canvas, 100 x 130 centimeters
“Everest Lights” (2024), oil on linen, 35 x 40 centimeters
“St Kilda Caves” (2024), oil on linen,53 x 33 centimeters
“Meant to climb” (2024), oil on linen, 50 x 30 centimeters
“Odyssey” (2024), oil on canvas, 100 x 130 centimeters
“K2 Lights” (2024), oil on linen, 35 x 40 centimeters
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Aurelia Butler

More stories

From Fire to Wind, JiSook Jung’s Ceramic Sculptures Animate the Elements

Titus Kaphar Paints Memories, Family, and Grief into ‘Exhibiting Forgiveness’

Honeybees Have the Final Say in Ava Roth’s Collaborative Sculptures

In YoYo Lander’s Dynamic Portraits, Layers of Stained Paper Capture Light and Shadow

Jessica Drenk Transforms Thousands of Pencils into Organic Vessels

An A.I. Model Helped Uncover 303 Previously Unseen Nazca Lines in Peru

Mysterious Orbs Illuminate Deserted Landscapes in Andrew McIntosh’s New Paintings

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