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A Swarm of Blocks Flocks to Human Presence in DRIFT’s Interactive Installation
11 September 2024, 16:31
All images courtesy of LUMA Arles, shared with permission
A Swarm of Blocks Flocks to Human Presence in DRIFT’s Interactive Installation
September 11, 2024
Art Nature
Grace Ebert
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Working as DRIFT, Dutch artists Lonneke Gordijn and Ralph Nauta (previously) have built their practice around excavating the intersection between nature and technology. In “Murmuring Minds,” a new installation on view at LUMA Arles, the pair utilizes the swarming patterns of birds, bees, and other social organisms to create an interactive work that responds to movement.
Representing the human desire for cohesion, clarity, and organization, sixty compact rectangular blocks scuttle across the gallery floor. Each component is autonomous and algorithmically programmed to follow the viewer or scatter in their presence. The mechanical installation highlights an ever-changing interplay between the viewer and the collective, exploring how one informs the other.
“Murmuring Minds” is part of DRIFT’s Living Landscape exhibition, which features a large-scale digital work that similarly responds to human motion. As viewers walk in front of the screen, a flock responds to them as predators, first coming together and then rapidly flying toward the audience The artists said in a statement:
We developed the interactive dynamics into four types that we have observed in both nature and human society: The Leader, The Hunter, The Vortex, The Machine. The installation is an experiment and a question on how we generate choices, what our decisions are, and how these affect larger structures. How do we define leadership and control in a contemporary context?
If you’re in Arles, you can experience the works through September 29. Otherwise, find more from DRIFT on Instagram. (via designboom)
“Murmuring Minds” (2024). Photo © Finn Bech
“Coded Nature” (2022). Photo © Finn Bech
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Volcanic Ash and Lush Tropics Inspire Brian Rochefort’s Unearthly Ceramics
10 September 2024, 21:44
“Beni River” (2024), ceramic, glaze, glass fragments, 24 x 22 x 21 inches. All images © Brian Rochefort, courtesy of the artist and Sean Kelly, New York/Los Angeles, shared with permission
Volcanic Ash and Lush Tropics Inspire Brian Rochefort’s Unearthly Ceramics
September 10, 2024
Art Craft
Grace Ebert
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When Brian Rochefort travels, he’s inclined to visit remote parts of the planet. The depths of the Amazon, the volcanic island cluster of the Galápagos, and the immensely diverse ecosystem of Tanzania’s Ngorongoro Crater have all drawn him in and once back in his Los Angeles studio, inspired the artist’s lushly textured sculptures.
Rochefort (previously) is known for his gloopy, chunky vessels that appear to ooze and gurgle with vivid color. A new body of work debuting at Sean Kelly, Los Angeles this month continues the artist’s interest in how abstract forms can translate the myriad textures and compositions of the natural world.
Detail of “Wet Season” (2024), ceramic, glaze, glass fragments, 24 x 22 x 21 inches
Staring at the Moon presents Rochefort’s visions of barrier reefs, tropical forests, and volcanic matter into fantastic works. Cloaked in crackled, drippy, and rough chunks of color, each piece emerges through multiple applications of texture followed by as many firings, and sometimes, the glazes remain thicker than the ceramic base.
“One of the things I try to do is remove the hand. There are no brushstrokes. There are no fingerprints,” he said in a short film about the series. “It’s as if the piece came from outer space… or the depths of the ocean.”
Staring at the Moon runs from September 14 to November 2. Explore an archive of Rochefort’s work on Instagram.
“Wet Season” (2024), ceramic, glaze, glass fragments, 24 x 22 x 21 inches
“The Whale” (2024), ceramic, glaze, glass fragments, 24 x 22 x 21 inches
“Goddess” (2024), ceramic, glaze, glass fragments, 24 x 22 x 21 inches
“Summer” (2024), ceramic, glaze, glass fragments, 24 x 22 x 21 inches
Detail of “Goddess” (2024), ceramic, glaze, glass fragments, 24 x 22 x 21 inches
“Belizian Swim” (2024), ceramic, glaze, glass fragments, 24 x 22 x 21 inches
“Spray Ash” (2024), ceramic, glaze, glass fragments, 24 x 22 x 21 inches
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Debra Broz Merges Humor and Kitsch in a Nod to Our ‘Strange World’
10 September 2024, 16:03
Left: “Collie Pheasant” (2023). Right: “St. Bernard Pheasant” (2023). Both mixed media on secondhand ceramics, 10.5 x 8 x 3.5 inches. All images © Debra Broz, courtesy of Track 16 Gallery, shared with permission
Debra Broz Merges Humor and Kitsch in a Nod to Our ‘Strange World’
September 10, 2024
Art Craft
Kate Mothes
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Vintage, mass-produced porcelain knick-knacks take on new life in Debra Broz’s intricate and uncanny hybrids (previously). Collies and St. Bernards with the bodies of pheasants meet rabbits with curiously long appendages and woodland creatures with human arms.
In her solo exhibition Strange World at Track 16, Broz continues to explore the subversive and absurd through the leitmotif of midcentury kitsch. Whether merging two small sculptures or creating elaborate amalgamations, the artist finds the humor—and just a tinge of unease—in busyness, cuteness, and perplexity.
“Weight of the World” (2024), mixed media on secondhand ceramics, 34 x 18 x 18 inches
Strange World, which incorporates dozens of sculptures and glazed platters, revolves around three maximalist assemblages made of hundreds of individual figurines Broz collected during the past decade. Clusters of adorable animals like big-eyed bunnies, ducks, and cows emerge from bases as if blossoming with energy.
In a statement for the show, Track 16 describes the pieces as “darkly optimistic, synthesizing the confusion of limitless information.” Chaotic and idiosyncratically beautiful, Broz’s pieces tap into our contemporary social reality, balancing tension and overwhelm with moments of levity and clarity.
Strange World continues through October 12 in Los Angeles. Find more on Broz’s website and Instagram.
Detail of “Weight of the World”
“Slightly Human: Cat & Skunk” (2024), mixed media on secondhand ceramics, 4 x 5 x 3 inches
“Slightly Human: Squirrels” (2024), mixed media on secondhand ceramics, 5.25 x 7.5 x 4 inches
“Galaxy Brain” (2024), mixed media on secondhand ceramics, 25 x 22 x 18 inches
Detail of “Galaxy Brain”
“Slightly Human: Horse (The Champion)” (2024), mixed media on secondhand ceramics, 8.5 x 7 x 4 inches
“White Rabbit No. 33” (2024), mixed media on secondhand ceramics, 6 x 4 x 2 inches
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Thomas Trum’s Paint Machines Radiate Monumental Geometric Gradients
10 September 2024, 10:00
“Looping Line” in progress. All images © Thomas Trum, shared with permission
Thomas Trum’s Paint Machines Radiate Monumental Geometric Gradients
September 10, 2024
Art
Kate Mothes
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For Thomas Trum, the methods artists use to apply a medium to a substrate is as much a source of fascination as the finished work. Around 2008, when he was painting graffiti, he began experimenting with different techniques and tools—a readymade paintbrush or spray can only accomplish so much.
“The thing I like most about humans is how they constantly strive to improve efficiency in everything they do,” Trum tells Colossal. “Just as farmers invent tools to make their work more efficient, I observed the same drive in the painting world, where various innovations have made life easier or work faster.”
“Duotone Shaped Line 18” (2024) in progress
Trum began devising his own machines that could achieve a new level of precision at a large scale. “By 2014, I shifted my focus to monochrome paintings, concentrating on creating shapes and working exclusively with lines,” he says.
On canvases, along walls, and across floors, Trum uses a variety of handmade machines that assist in applying fields or lines of color to sprawling surfaces. Paint is laid down with the assistance of modified hand-held sprayers and elaborate motorized mechanisms that rotate to apply perfect arcs and gradients.
The transparency of the paint reveals numerous layers and points to the meticulous preparations required for Trum to complete a piece in one attempt.
The artist’s often monumental works require a small team that brings different strengths to each project, pushing the boundaries of what they can make. His latest project was a collaboration with Porsche titled The Art of Dreams, which transferred his vibrant geometric motifs to boat sails, a pool, and a large-scale series of canvases.
The artist is currently working on a project incorporating video and photography to capture the element of motion in his work, which will be presented in the spring at Gerhard Hofland Gallery in Amsterdam. Find more on Trum’s website, and follow updates on Instagram.
“Two Fan Shaped Lines in Yellow and Pink” (2023) in progress
Installation view of ‘Porsche — The Art of Dreams’ (2024). Photo by Thomas Lohr
Test in the studio for “Multiple Lines” (2023)
“Loops” (2022). Photo Arturo Sanchez
Trum painting copies of his book
“Two Fan Shaped Lines in Yellow and Pink” (2023), HNBM
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Vibrant Life Emanantes from Meggan Joy’s Magical Collaged Silhouettes
9 September 2024, 18:49
“Try One’s Luck.” All images courtesy of J. Rinehart Gallery, shared with permission
Vibrant Life Emanantes from Meggan Joy’s Magical Collaged Silhouettes
September 9, 2024
Art Nature Photography
Grace Ebert
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Thousands of individual flowers and plants grown in Meggan Joy’s Seattle garden form the contours of her ethereal figures. The artist (previously) collages perfectly trimmed photographs of each specimen into silhouettes lush with color and texture.
In her most recent body of work titled Fever Dream, Joy draws on fear, loss, and the immense potential for pain. “Wide and Wild,” for example, depicts a woman cradling a Eurasian Eagle Owl near her heart. “She’s a piece for when you find your person (whether that be a lover, friend, kids, whatever), and once you have them, you know that if they disappear in any way, you also will be gone,” the artist shares in a statement.
“Wide and Wild”
Others relate to bad decisions yielding positive experiences and how etermal bonds require patience and understanding. Each work, Joy shares, “whisper(s) the components of the stories that tested us and, instead of condemning our faults, reveal that those moments left us the most exciting scars.
Fever Dream is on view through September 25 at J. Rinehart Gallery. Follow Joy’s work on Instagram.
“Thick As Thieves”
“Thick As Thieves”
“Try One’s Luck”
“Icarus”
“Tyche”
Detail of “Wide and Wild”
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In the Wake of Tragedy, Thinkspace Projects Launches a Benefit Auction
9 September 2024, 14:13
Shawn & Andrew Hosner of Thinkspace Gallery
In the Wake of Tragedy, Thinkspace Projects Launches a Benefit Auction
September 9, 2024
Art
Kate Mothes
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In 2005, Shawn and Andrew Hosner founded Thinkspace Projects in Los Angeles’s West Adams District before rapidly expanding its program and collaborating with numerous projects nationally and internationally. The gallery showcases the best in New Contemporary art—or lowbrow—a movement that emerged in the 1990s on the West Coast partly in response to what was seen as a “high-brow” conceptual turn on the East Coast.
The New Contemporary moveent rejected what the Hosners describe as an “inaccessible garrison of ‘high culture,’” instead focusing on subjects often often overlooked in the art world like pop culture and the subcultural. The couple’s personal collection, accrued for decades, reflects a deep-seated love for the genre. Now, hundreds of paintings, sculptures, and collectibles by acclaimed artists are up for auction.
ROA, “Mouse in a Cage,” steel, ink, and acrylic on wood
In February, Shawn Hosner died from breast cancer. The “ultimate gallery mom,” as Andrew described her, she was a fierce champion of artists and viewed the gallery as a family. Unfortunately, her battle with the illness wiped out the couple’s savings, which also served as the gallery’s safety net. In an effort to stay afloat, Andrew has organized the auction as a fundraiser to continue Shawn’s vision and legacy for Thinkspace.
The auction takes place in two parts over two days: September 12 launches the main auction at 10 a.m. Pacific Time, in person, at Los Angeles Modern Auctions. On September 13, a separate online-only auction launches at 10 a.m.
If you’re in the area, you can preview the works from today through September 13. See and bid on pieces by numerous artists Colossal has featured over the years, like ROA, Kazuhito Kawai, Lisa Ericson, Banksy, En Iwamura, Brian Rochefort, and many more.
In memory of Shawn, a portion of proceeds from the auction will benefit the Keep A Breast Foundation. Bid now on LAMA’s website.
Lisa Ericson, “Safe Passage” (2018), acrylic on panel
James Cauty, “Riot Shield (Dismaland)” (2015), acrylic on polycarbonite riot shield
Pejac, “Four Bees” (2020), acrylic and oil pastel on cardboard
Hebru Brantley, “Untitled” (2020), acrylic and pastel on canvas
Kazuhito Kawai, “The Magic Mirror” (2022), glazed stoneware
Taylor Lee, “Giant Happy” (2020), glazed stoneware
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Cubist Figures Wade into the Shadowy Depths of Connor Addison’s Allegories
6 September 2024, 15:21
“In the Loving Care of Animal Spirits” (2022), oil and acrylic on linen, 200 x 300 centimeters. All images © Connor Addison, shared with permission
Cubist Figures Wade into the Shadowy Depths of Connor Addison’s Allegories
September 6, 2024
Art
Grace Ebert
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With light inevitably comes darkness, a dualism Barcelona-based artist Connor Addison (previously) finds endlessly intriguing. “We so often forget to embrace the shadow as it’s presumed unloveable or is invisible,” he says.
Addison pulls at what he finds “in the space between our joy, passion, conscious thought and our fear…what lies in the shadows of our mind.” He often begins a painting with an inquiry or thought that turns into an allegory. “Brothers II,” for example, came from the following questions: “What is a sibling relationship? How do play and manipulation function between siblings?”
“Brothers II” (2024), 260 x 161 centimeters
“Visualisation can be so spontaneous,” he adds. “The whole painting just emerges while brushing my teeth for example.”
Working in muted palettes of earth tones, Addison renders cubist figures with pointed flesh and geometric limbs. Stripping away clothing and distinctive facial features appeals to universal feelings and emotions, like unconditional love, anguish, and curiosity. He adds:
I like the idea that someone 2,000 years in the future or past would still find a work meaningful and intelligible, perhaps even on an alien planet! Allegory is a powerful thing. Its popularity died as religion fell out of vogue, and we became more literate, but I love a story captured in image. It can say so much more than the word.
Addison is preparing for his next solo show with Aktion Art in 2026. Follow his work on Instagram.
“How Long Must This Silence Echo” (2021), oil on linen, 140 x 89 centimeters
“Mother, Mother” (2021), oil on linen, 150 x 150 centimeters
“The Conversation” (2023), oil on Linen, 260 x 183 centimeters
“Becoming Myself Without Any End” (2024), 263 x 142 centimeters
“Something From Nothing” (2023), oil and watercolor on linen, 400 x 200 centimeters
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In ‘Spirit Level,’ Tau Lewis’s Monumental Figures Usher in an Unearthly World
6 September 2024, 13:21
Installation view of ‘Tau Lewis: Spirit Level’ (2024) at the Institute of Contemporary Art/Boston. Photo by Mel Taing. All images courtesy of ICA Boston, shared with permission
In ‘Spirit Level,’ Tau Lewis’s Monumental Figures Usher in an Unearthly World
September 6, 2024
Art
Grace Ebert
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At the Institute of Contemporary Art in Boston, Tau Lewis (previously) presents a vast cosmology in which monumental, mythic beings herald in a new world. Five figures stand nearly 11 feet tall in draping garments, their hands positioned in distinctive gestures. With titles like “The Doula” and “The Reaper,” each bears a particular role as they loom over a large circular quilt at the center of the gallery floor.
From found fabrics and objects, Lewis created the towering sculptures for Spirit Level, her first solo museum show in the U.S. The Toronto-born artist maintains a robust collection of materials in her Brooklyn studio, which she painstakingly stitches and sculpts into unearthly beings. These works continue her interest in how objects hold meaning and memory.
“Mutasis Moon” (2021), recycled leather, seashells, sand dollars, acrylic paint, PVC pipe, galvanized steel, muslin, and recycled poly fibers, 40 x 40 x 25 inches. Photo by Pierre Le Hors, courtesy of the artist and Sadie Coles HQ, London, © Tau Lewis
Her 2021 figure “Mutasis Moon,” for example, is an alien-like creature with four eyes and turquoise hands. Wrapped around a galvanized steel and PVC armature, the friendly painted-leather figure stands with arms outstretched as if welcoming the viewer.
In Spirit Level, remnants of clothing, muslin scraps dyed with rust, snakeskin, conch shells, and coral bone merge, transposing the materials’ origins into new contexts. “The Doula,” for instance, wears a dark green, blue, and brown gown of leather and suede and is what the artist calls a “portrait of the sea.” Conjuring the dark depths of the ocean, the sculpture alludes to a space where life and death coexist.
The gold-outfitted figure is titled “The Handle of the Axe,” which references the epigraph of Alice Walker’s 1992 novel Possessing the Secret of Joy that states: “When the axe came into the forest, the trees said, ‘the handle is one of us.’” Arms open for an embrace, the sculpture draws on the tensions between the desire for nonviolence and the struggle for liberation.
At the center of the figures is “The Last Transmission,” the sprawling quilt that radiates outward from a starfish at the center. Small fabric panels adorned with glass, beads, and wire form an elaborate patchwork, appearing as an architectural portal to another universe.
Spirit Level is on view in Boston through January 20, 2025, after which it will travel to David Zwirner in Los Angeles. Find more from the artist on her website and Instagram.
Installation view of ‘Tau Lewis: Spirit Level’ (2024) at the Institute of Contemporary Art/Boston. Photo by Mel Taing
“Harmony” (2019), recycled leather, recycled poly fibers, rebar, wire, hardware, seashells, stones, and acrylic paint, 39 3/4 x 47 x 35 inches. Image © Tau Lewis
“Knot of Pacification” (2021), recycled leather, wool, and suede, 114 x 100 inches. Image courtesy of the artist and Night Gallery, Los Angeles, © Tau Lewis
Installation view of ‘Tau Lewis: Spirit Level’ (2024) at the Institute of Contemporary Art/Boston. Photo by Mel Taing
Installation view of “The Last Transmission” (2024), recycled leather and suede, cotton canvas, acrylic paint and finisher, natural dyes, assorted found metal, wood, ceramic, and glass objects, wire, beads, seashells, coated nylon thread, and coated cotton thread, overall diameter approximately 240 inches. Photo by Mel Taing
Detail of “Mutasis Moon” (2021), recycled leather, seashells, sand dollars, acrylic paint, PVC pipe, galvanized steel, muslin, and recycled poly fibers, 40 x 40 x 25 inches. Photo by Pierre Le Hors, courtesy of the artist and Sadie Coles HQ, London, © Tau Lewis
“Venus in Leo” (2023), steel, wood, enamel paint, acrylic paint, leather dye and finisher, recycled leather and suede, recycled fabric, found jewelry, clam shells, and coated nylon thread, 68 x 18 x 18 inches. Photo by Charles Benton, courtesy of the artist, Night Gallery, Los Angeles, and JTT, New York, © Tau Lewis
Detail of “Venus in Leo” (2023), steel, wood, enamel paint, acrylic paint, leather dye and finisher, recycled leather and suede, recycled fabric, found jewelry, clam shells, and coated nylon thread, 68 x 18 x 18 inches. Photo by Charles Benton, courtesy of the artist, Night Gallery, Los Angeles, and JTT, New York, © Tau Lewis
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Aurelia Butler

More stories

A Swarm of Blocks Flocks to Human Presence in DRIFT’s Interactive Installation

Volcanic Ash and Lush Tropics Inspire Brian Rochefort’s Unearthly Ceramics

Debra Broz Merges Humor and Kitsch in a Nod to Our ‘Strange World’

Thomas Trum’s Paint Machines Radiate Monumental Geometric Gradients

Vibrant Life Emanantes from Meggan Joy’s Magical Collaged Silhouettes

In the Wake of Tragedy, Thinkspace Projects Launches a Benefit Auction

Cubist Figures Wade into the Shadowy Depths of Connor Addison’s Allegories

In ‘Spirit Level,’ Tau Lewis’s Monumental Figures Usher in an Unearthly World

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