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Photo by Steve Kroodsma. All images courtesy of Marc Fornes / THEVERYMANY, shared with permission
A Sculpture Made of Tens of Thousands of Aluminum Facets Writhes in a Knoxville Park
November 25, 2025
ArtDesign
Kate Mothes
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A vibrant new pavilion rises to meet the square’s picturesque trees in Cradle of Country Music Park in Knoxville, Tennessee, connecting the city’s Old Town and its theater district. Made from tens of thousands of individual pieces of painted aluminum, the vivid “Pier 865” provides both a resting place and a vantage point in a reinvigorated public square.
The reptilian sculpture is the work of Marc Fornes / THEVERYMANY, continuing the designer’s interest in high-tech, large-scale installations that involve meticulously assembled elements. Conceived digitally, the structure has a bold, futuristic quality that looks exactly like a 3D model made real—one can imagine its pixel-like pieces puzzling together in a computer program.
Photo by Steve Kroodsma
The pavilion is painted in greenish gradients in a nod to its surrounding trees. “Its organic shape brings to mind different life forms from different angles: from ground level, the sculpture suggests alien flora growing from the concrete—but viewed from the sky, a tensile, reptilian form reveals itself,” a statement says.
See more work by Fornes on his website and Instagram.
Photo by Keith Isaacs
Photo by Steve Kroodsma
Photo by Steve Kroodsma
Photo by Steve Kroodsma
Photo by Keith Isaacs
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Aggression and struggles for power abound in the vivid paintings of Ángela Ferrari.
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“Aurora” (2025), oil on linen, 190 x 363 centimeters. All images courtesy of Povos, shared with permission
Ángela Ferrari’s Dramatic Paintings Tease Out a Passionate Play for Power
November 25, 2025
Art
Grace Ebert
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Aggression and struggles for power abound in the vivid paintings of Ángela Ferrari. The Argentinian artist is keen to explore the limits and consequences of control through scenes rife with antagonism: dogs nip at each other, horses buck and bare their teeth, and birds lie lifeless. Evoking hunting paintings and masculine displays of pride for a kill, Ferrari’s works consider the relationship between predator and prey.
In her most recent body of work, They Shoot Horses, Don’t They?, the artist extends her proclivity for teasing out the tension between life and death. There are tiny works with looser brushstrokes that zero in on singular moments of tension, while a spate of large pieces magnify several tussles with vivid details.
“Aurora IX” (2024), oil on linen, 60 x 80 centimeters
Paintings like “Aurora” stretch nearly 12 feet wide and present a diverse group of fowl with various dispositions, all against a stunning mottled sky. Some creatures appear on the verge of an inevitable battle, while others have already succumbed or go about their lives seemingly unaffected.
Sharing a partial title with the 2024 painting “Aurora IX,” this expansive piece similarly brings together themes of decay and vitality through flowers and vibrant feathers falling to the earth after being plucked. Sensual fabrics and grand spaces complement Ferrari’s rich color palette in several works and cement her self-described “grotesque-passionate baroque” style.
Whereas earlier paintings are set indoors, the pieces in They Shoot Horses, Don’t They? are fully in the wild. This exhibition—which shares a title with the 1969 Sydney Pollack film—brings violence and suffering front and center, a stark contrast to its presence in the background or underfoot in historical genre paintings of hunts. In doing so, Ferrari highlights a ruthless nature in which vying for domination always begets drama. Rather than dismiss such displays of hostility as inevitable, she prompts an urgent investigation into what caused such a commotion in the first place.
They Shoot Horses, Don’t They? is on view through December 14 at Povos in Chicago. Find more of Ferrari’s work on Instagram.
“They shoot horses, don’t they? II” (2025), oil on linen, 450 x 155 centimeters
“Dog” (2025), oil on linen, 15 x 20 centimeters
“Horse diptych no. 1 (1)” (2025), oil on linen, 15 x 20 centimeters
“Vértigo III” (2024), oil on linen, 143 x 102 centimeters
“Horse diptych no. 2. (2)” (2025), oil on linen, 15 x 20 centimeters
“Vértigo” (2024), oil on linen, 140 x 120 centimeters
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Kita imbues seemingly mundane tasks with consequence and emotion, freezing them in time.
Do stories and artists like this matter to you? Become a Colossal Member today and support independent arts publishing for as little as $7 per month. The article Emotions Manifest as Uncanny Scenarios in Ayako Kita’s Tender Sculptures appeared first on Colossal. More
“My boundaries” (2021), Japanese cypress and acrylic resin, 16.5 x 30 x 12 centimeters. All images courtesy of the artist and FUMA Contemporary Tokyo | BUNKYO ART, shared with permission
Emotions Manifest as Uncanny Scenarios in Ayako Kita’s Tender Sculptures
November 24, 2025
Art
Kate Mothes
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Combining hand-carved Japanese cypress with crystal-clear acrylic resin, Ayako Kita sculpts tender, emotive figures. For her current exhibition, The End of the Day Begins at FUMA Contemporary Tokyo, she focuses on the transitional moment of returning home, in which seemingly mundane tasks like switching on a light or opening a curtain are imbued with consequence, frozen in time.
Kita’s work emphasizes an often introspective world, where a young woman or girl’s consciousness, emotions, and anxieties manifest in uncanny scenarios. The titles usually offer important clues, too. In “me & me,” for example, an extra pair of legs is literally tethered to the character’s own limbs, as if another half-formed parallel version of her person is always present. And change is in the air in “Premonition,” where a slightly apprehensive expression is accompanied by a gust of wind.
“Premonition” (2022), Japanese cypress and acrylic resin, 29 x 17 x 11 centimeters
In her most recent work, the figures exhibit expressions of curiosity, thoughtfulness, and faint concern, gazing directly at the viewer, as if seeing us unexpectedly across a room or out a window. “When I began to think about creating a world in which all the pieces would connect as one continuous story, this series naturally came to mind,” Kita says in a statement.
The End of the Day Begins includes works the artist has made throughout the past five years. Her newest pieces combine figures with furnishings and architectural elements, a theme she first explored when she was a student. “Rather than a return to my origins, this production became a time to reaffirm that these scenes still exist vividly within me,” she says.
The End of the Day Begins continues through November 29 in Tokyo. Follow Kita on Instagram for updates. You might also enjoy the multifaceted woodcarvings of Yoshitoshi Kenamaki.
“me & me” (2020), Japanese cypress and acrylic resin, 30 x 22.5 x 15 centimeters
“Night Falls” (2025), Japanese cypress and acrylic resin, 55 x 21.5 x 18.5 centimeters
“Let go of everything” (2024), Japanese cypress and acrylic resin, 33.5 x 20.5 x 14 centimeters
“Causality” (2021), Japanese cypress and acrylic resin, 30 x 30 x 15 centimeters
“Shut Down” (2025), Japanese cypress and acrylic resin, 51 x 30 x 21 centimeters
“Today Ends Here” (2025), Japanese cypress and acrylic resin, 47 x 32 x 26.5 centimters
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Sebastian Foster’s Fall Print Set is the perfect spot to shop for the next piece to add to your collection or meaningful holiday gifts.
Do stories and artists like this matter to you? Become a Colossal Member today and support independent arts publishing for as little as $7 per month. The article Sebastian Foster Releases 20 New Prints for the Holidays appeared first on Colossal. More
Jeremy Miranda, “February.” All images courtesy of Sebestian Foster, shared with permission
Sebastian Foster Releases 20 New Prints for the Holidays
November 24, 2025
ArtSponsor
Sebastian Foster
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Sebastian Foster is thrilled to present its 2025 Fall Print Set, marking the 13th anniversary of the collection since publishing the first set in 2012. The new release features 20 works by well-established illustrators, printmakers, and painters from around the world.
The prints in this set have all been published as relatively small editions, hand-signed, and numbered by the artists. Encompassing an eclectic array of mediums and themes, the collection showcases work from artists previously featured on Colossal, including Jeremy Miranda’s dreamy oil paintings, Kenny Harris’s delicately rendered moka pots, and Grant Haffner’s trippy landscapes in bold color palettes.
Daniel Freaker, “Abode of Promise”
Based in Austin but operating solely online, Sebastian Foster shifted focus from a traditional brick-and-mortar gallery handling original work to working with artists to make their paintings into limited print editions, publishing more than 1,000 editions since opening in the late 2000s.
Whether you’re looking for the next piece to add to your collection or for meaningful holiday gifts, head to the gallery’s site to shop the 2025 Fall Print Set today.
Grant Haffner, “Goodnight”
Michael McGrath, “Bird Repellent”
Hiroki Kawanabe, “Night Drive”
Graham Franciose, “Well Shit”
Mia Bergeron, “Constellation”
Kenny Harris, “Moka With Lemons”
Matte Stephens, “New York”
Susan Abbott, “Blue House in Summer”
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