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Paola Grizi Adds New Meaning to ‘Literary Figures’ in Emotive Bronze Sculptures
14 May 2025, 14:16
“Another Place,” Casart Edition, bronze, 32 x 30 x 35 centimeters
Paola Grizi Adds New Meaning to ‘Literary Figures’ in Emotive Bronze Sculptures
May 14, 2025
Art
Kate Mothes
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In the emotional bronze and terracotta sculptures of Paola Grizi (previously), faces and hands merge with pages of books and manuscripts. Handwriting slides off the leaves onto skin and reliefs of eyes, noses, and mouths peer outward like knowledge and stories personified. Many of her works are scaled to sit on interior surfaces, while others, like “Inner Motion” or “Looking Ahead” take on monumental proportions.
Grizi currently has work permanently on view at Marciano Contemporary in Paris, Bel Air Fine Art in Luxembourg, and Gallery Van Dun in Oisterwijk, The Netherlands. This summer, pieces will also be included in a presentation at Gallery Maner in Port-Aven, France. See more on the artist’s website.
“Looking Ahead,” Casart Edition, bronze, 120 x 110 x 20 centimeters
“Background,” Casart Edition, bronze, 32 x 12 x 15 centimeters
“Inner Motion,” Casart Edition, bronze
“Kiss,” Casart Edition, bronze, 35 x 37 x 20 centimeters
“Boundless,” terracotta
“Composition,” Casart Edition, bronze, 30 x 35 x 25 centimeters
“Multiple Lectures,” Casart Edition, bronze, 35 x 30 x 20 centimeters
Work in progress in the artist’s outdoor studio
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Metaphysical Interactions Unfold in Moonassi’s Surreal ‘Mind Illustrations’
12 May 2025, 18:00
“Same difference” (2024), ink and acrylic on Hanji, 72.7 x 60.6 centimeters. All images courtesy of the artist, shared with permission
Metaphysical Interactions Unfold in Moonassi’s Surreal ‘Mind Illustrations’
May 12, 2025
Art
Kate Mothes
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Through ink on hanji paper that juxtaposes deep blacks with delicate cross-hatching, surreal scenes unfold in the drawings of Seoul-based artist Moonassi (previously). Through the dramatic use of chiaroscuro and simple yet elegantly delineated faces, hands, and limbs, the artist constructs dreamlike worlds in which figures commune and explore.
Moonassi’s use of meok, a traditional Korean inkstick ground with water against a stone to produce a liquid, results in a deep black medium achieved through a meditative process. He refers to his work as “mind illustration,” delving into the emotional and psychological bonds between pairs, small groups, and otherworldly surroundings.
“Meme” (2024), ink and acrylic on Hanji, 130.3 x 193.9 centimeters
Recent pieces like “Same difference” explore dualities like opaqueness and transparency, weight and lightness, and unity and individuality. Moonassi’s compositions are often intrinsically introspective, as the figures interact with others that may or may not be versions of themselves or figments of their own imaginations.
Repetition and scale play significant roles in the artist’s work, like in “Meme,” in which a central figure crouches onto the ground and gently cups another tiny figure in their hands, who in turn does the same. At some point, it dawns on us that the main figure is also framed by enormous hands, akin to an otherworldly Matryoshka nesting doll. Moonassi’s scenes challenges our senses of perspective, presence, care, and the spiritual world.
Find more on the artist’s website.
“Mineral Wait” (2024), ink on Hanji, 76 × 145 centimeters
“Acrobat IV” (2024), ink and acrylic on Hanji, 72.7 x 60.6 centimeters
“Becoming Nature” (2024), ink and acrylic on Hanji, 72.7 x 60.6 centimeters
“The feeling aligned for us” (2024), ink and acrylic on Hanji, 130.3 x 190.4 centimeters
“Rippled and sparkled” (2024), ink on Hanji, 130.3 x 193.9 centimeters
“Feeling Kintsugi” (2024), ink and acrylic on Hanji, 72.7 x 60.6 centimeters
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‘Level Up’ by GAFFA Transports Us to an Uncanny Parking Garage
12 May 2025, 15:30
Installation view of ‘Level Up.’ Photos by Ladina Bischof. All images courtesy of GAFFA and Kunsthalle Arbon, shared with permission
‘Level Up’ by GAFFA Transports Us to an Uncanny Parking Garage
May 12, 2025
Art
Kate Mothes
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When you think of an orange safety cone, you might imagine rows of the small reflective objects placed around temporarily parked vehicles or, say, next to potholes. But a stroll through GAFFA’s recent exhibition, Level Up at Kunsthalle Arbon, and the everyday sight took the form of an unmissably imposing, monumental structure.
GAFFA is a collective founded nine years ago by Wanja Harb, Linus Lutz, Dario Forlin, and Lucian Kunz. Through a signature blend of humor, irony, and an interdisciplinary approach involving zines, collages, photography, sculpture, and installation, the group challenges our perceptions of physical space, history, and society.
In their sometimes absurd installations, GAFFA often brings the outdoors in, like importing a beach chair and umbrella into a concrete room or constructing an enormous brown slug that slid across a gallery floor. In Level Up, traffic serves as the primary focus—both its symbols and the fine line between regulation and chaos.
GAFFA transformed the Swiss art gallery into a parking garage containing an extra-long stretch limo, an entry ticket, orange cone, and double-arrow directional sign. We don’t know to whom the car belongs or where they are.
Viewers are transported into a kind of Alice in Wonderland experience where the scale of everything feels befuddling and incongruent. The car, though life-size, is made of cardboard, and the yellow sign is an oil painting.
“Underground garages and parking garages are places we usually only notice in passing,” the gallery says in a statement. “They are purpose-built ‘non-places’ to which hardly anyone pays attention, yet they have their own aesthetics: the strict geometry of the parking spaces, the rhythmic movement of the barriers, the seemingly random arrangement of the holes on a parking ticket.”
Anyone who has driven into a large garage knows the anxieties of a gate not opening when it’s supposed to or the ticket machine not working. Within the large yet controlled space of the Kunsthalle Arbon, Level Up begged the question: how does one get out of here? Explore more on the collective’s website.
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Gregory Euclide Explores the Anthropocene in Verdant Mixed-Media Collages
12 May 2025, 13:34
“Torn Spin” (2025). All images courtesy of the artist and Hashimoto Contemporary, shared with permission
Gregory Euclide Explores the Anthropocene in Verdant Mixed-Media Collages
May 12, 2025
ArtNature
Kate Mothes
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Smeared, flattened, and rough around the edges, Gregory Euclide’s mixed-media collages explore nature through the lens of human experience. Organically meandering outlines suggest shallow reliefs; foraged prairie botanicals complement human-made materials; and abstracted landscapes emerge from drawings, photographs, ripped paper, paint, and more.
“The artist tears and layers these elements to build a new pictorial space which more accurately resembles the way he takes in the land,” says a gallery statement for Assembled Lands, Euclide’s solo exhibition opening later this week with Hashimoto Contemporary.
“Torn: Double Sun” (2025)
Breaking down his observations of nature into its fundamental parts, Euclide merges overviews of trees, shrubs, meadows, and the horizon with the intimate details of leaves or branches. One might approach his subject matter through the lens of the Anthropocene, which describes our present era of accelerating changes to the environment due to humans’ unrelenting impact.
Each collage (previously) merges recognizable forms and terrain with abstract shapes and compositional spirals or whorls. The effect toys with perception and our understanding of relationships between flatness and depth, land and sky, and nature and ourselves.
Assembled Lands runs from May 17 to June 14 in New York City. See more on the artist’s website.
“Washed Up On The Beach 2” (2025)
“Plat Map” (2025)
“Torn: Silhouette” (2025)
“Random Invader Memory” (2025)
“Torn Landscape Spun” (2025)
“Torn: Forest Silhouette” (2025)
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Celeste’s Immersive Textile Installations Embrace the Warm Intimacy of Home
9 May 2025, 21:18
“Contra el miedo y la oscuridad, la fiesta colorida y feliz” (2024), pigments and acrylic base on dyed cotton canvas, 4.5 x 7.5 meters, installation view at Escuela Primaria Maestra Antonio Caso, Mexico City. Photo by Israel Esparza. All images courtesy of Celeste, shared with permission
Celeste’s Immersive Textile Installations Embrace the Warm Intimacy of Home
May 9, 2025
Art
Grace Ebert
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When María Fernanda Camarena and Gabriel Rosas Alemán aren’t in their Mexico City studio, you might find them pulling weeds or chopping vegetables. “We love cooking and gardening—practices rooted in care, and ones we’d love to weave into our work someday,” they say. “There’s a quiet mindfulness in both that aligns perfectly with what we aim to express.”
This desire to care roots much of the artists’ practice, which they present together under the name Celeste. Thinking of themselves as hosts, Celeste transforms galleries and museums with large-scale textile installations. In warm shades of pinks, oranges, and reds, the translucent cotton often allows light to filter through and cast tinted shadows around the space. Each work becomes a sort of mise-en-scène as viewers are invited to lounge with friends, enjoy a meal, or perform among the textiles.
Installation view of “Melons Covered in Willow Leaves” at the artists’ studio. Photo by Anna Pla Narbona
The earthy color palette—originally inspired by natural dyeing materials like avocado pit and turmeric root—began after the onset of COVID-19, when the artists wanted to create “an atmosphere that felt like an embrace, a much-needed warmth after the isolation of 2020,” they say. “This concept of solace stayed with us, and today, the palette has come to symbolize safe spaces, with the womb as a recurring motif: a protected, intimate interior.”
Projects include “Contra el miedo y la oscuridad, la fiesta colorida y feliz,” or “Against fear and darkness, the colorful and happy party,” made in collaboration with a 4th-grade class from Mexico City’s Granada neighborhood. After adding their own drawings to the cotton panels, the students used the vivid installation as the backdrop for a school festival.
The monumental “Melons Covered in Willow Leaves” is even more immersive, as viewers were invited to wander underneath a tent of draped fabric. And in their most recent exhibition at Rebecca Camacho Presents in San Francisco, the artists have installed a trio of suspended works that bisect the gallery, with arched openings that allow visitors to pass through. Referencing Diego Rivera’s “Agua, el origen de la vida” mural, the triad explores the connections between water and the impact of Mexico City’s colonial history on its landscape.
Later this month at The Bentway in Toronto, the pair will also present “Casting a Net, Casting a Spell,” a quilted canopy of 100 individual panels created as both a suncatcher and a necessary repreieve from the summer rays. It’s their largest project to date.
Installation view of Hacer brotar / To sprout at Rebecca Camacho Presents, San Francisco. Photo by Robert Divers Herrick
With each work, Celeste hopes to “invite the spectator not only in the sense of contemplation but rather in the involvement with the ceremonial… In this setting, the sensorial and emotional realms are recognized as legitimate sources of knowledge and an experience of hospitality and acknowledgment can take place without restrictions.”
Celeste’s Hacer brotar / To sprout is on view through June 14 in San Francisco. Explore much more of the duo’s practice and process on their website and Instagram.
Detail of “¡Qué llueva, qué llueva!” (2025), pigments and acrylic base on dyed cotton canvas, 66 x 109 inches
Installation view of Hacer brotar / To sprout at Rebecca Camacho Presents, San Francisco. Photo by Robert Divers Herrick
“Contra el miedo y la oscuridad, la fiesta colorida y feliz” (2024), pigments and acrylic base on dyed cotton canvas, 4.5 x 7.5 meters, installation view at Escuela Primaria Maestra Antonio Caso, Mexico City. Photo by Israel Esparza
“Hacer olas” (2023), pigments and acrylic base on dyed cotton canvas, 2.7 x .25 x 12 meters, installation view at The Contemporary Austin, Austin, Texas. Photo by Alex Boeschenstein
“Mellons Covered in Willow Leaves” 2024), scale model of the project in the artists’ studio
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Caio Marcolini Weaves Delicate Metal Mesh into Spawning Cellular Sculptures
9 May 2025, 14:59
All images courtesy of Caio Marcolini, shared with permission
Caio Marcolini Weaves Delicate Metal Mesh into Spawning Cellular Sculptures
May 9, 2025
Art
Grace Ebert
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Caio Marcolini’s fascination with organic systems began simply enough. It was “the trail left by the sea on the sand, the intertwined roots of trees within the forest, (and) the flowers falling from trees” that he found enchanting. But then, when his first child was born in 2021, he began investigating how these same winding, looping, knotted patterns appeared inside the body.
What resulted is a series of roving sculptures woven with thin strips of brass, copper, and iron wire. Hollow tubes emerge from delicate bell-like forms secured to a wall, while occasional, long drips drop from the upper area and dangle mid-air.
Trained as a goldsmith, Marcolini incorporates jewelry-making techniques and industrial design principles into his painstaking, entirely hand-powered process. Using a mallet, dowels, and various manual tools, the Brazilian artist creates a perfectly uniform mesh that he then shapes into supple, rounded forms. “I rarely draw—just small sketches—and most of the time, I imagine a shape using initial parameters,” he says. “The compositions are made in an exploratory way, fluid and organic, as I weave the structure and experiment on the studio wall. I can say it’s a very intuitive process.”
As the artist sees it, these individual, linked metal pieces are like single cells or DNA that repeat again and again, spawning new forms. While distinct in shape, the sculptures are still malleable, transparent, and abstract. The works resemble the circuitous systems found in the human body, but also the creatures found in forests and oceans, and occupy a sort of ambiguous, hybrid space.
Marcolini titles his collections with words like colony, system, captured, and bilateral. Referencing the relationship between single components and the larger whole, each body of work becomes a sort of community of organisms that seem to take on a life of their own. Rather than impose a particular interpretation, the artist leaves the exact form of the works open-ended, as if they might morph into new life at any moment.
Not Every Repetition is a Return, Marcolini’s solo exhibition, is on view through May 23 at Galeria Lica Pedrosa in São Paulo. Find more of his work on his website and Instagram.
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Kandy G. Lopez Embroiders Striking, Life-Size Yarn Portraits Highlighting BIPOC Narratives
8 May 2025, 15:30
Detail of “City Girls” (2025), yarn, acrylic, and spray paint on hook mesh canvas, 102 x 168 inches. All images courtesy of the artist and ACA Galleries, shared with permission
Kandy G. Lopez Embroiders Striking, Life-Size Yarn Portraits Highlighting BIPOC Narratives
May 8, 2025
ArtCraft
Kate Mothes
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On large swaths of colorful mesh, Kandy G. Lopez embroiders large-scale portraits of people from historically marginalized communities. “Her works are created out of the necessity to learn something new about her people and culture,” says a statement.
Drawing on her Afro-Caribbean ancestry, the Fort Lauderdale-based artist celebrates the style, culture, and heritage of individuals as a way to build connections and generate dialogue around representation.
“R² – Roscoe and Reggie” (2024), yarn and acrylic paint on hook mesh, 90 x 60 inches
Lopez began working with mesh and fiber almost ten years ago, but she began to approach it more seriously as a major tenet of her practice in 2021 while an artist-in-residence at The Hambidge Center in Georgia. “As a painter, my backgrounds were minimal. Sometimes they would have monochromatic cityscapes,” Lopez tells Colossal, “So, leaving the background rare is something I’m familiar with.”
Visibility, presence, and representation are vital to the artist’s work. In each composition, she centers vibrantly dressed, life-size figures so their gazes directly meet the viewer. Through the use of material and metaphor — like layered threads suggesting how BIPOC individuals “disappear and reappear” — she intertwines notions of community, resilience, and narrative. “I love the connections and stories that the individuals tell but also how the stories narrate the material,” she says.
The gridded backgrounds evoke associations with neighborhood street patterns and the overlapping layers of woven warp and weft. “I also love the metaphor in transparency, layers, and vulnerability,” the artist says, sharing that she sometimes still incorporates cityscapes painted onto the mesh.
Lopez is represented by ACA Galleries. See more on her website and Instagram.
“Reyna” (2025), yarn and spray paint on hook mesh canvas, 96 x 60 inches
“City Girls” (2025), yarn, acrylic, and spray paint on hook mesh canvas, 102 x 168 inches
“Rohan” (2023), yarn and acrylic paint on hook mesh, 96 x 60 inches
“Miami” (2025), yarn and spray paint on hook mesh canvas, 96 x 60 inches
“Rohan” (2023), yarn and acrylic paint on hook mesh, 96 x 60 inches
Detail of “Reyna”
Installation view of “Tayina”
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Ethereal Weavings Merge Architecture and Nature in Élise Peroi’s ‘For Thirsting Flowers’
8 May 2025, 14:09
Installation view of ‘For Thirsting Flowers.’ All images courtesy of the artist and CARVALHO PARK, New York, shared with permission
Ethereal Weavings Merge Architecture and Nature in Élise Peroi’s ‘For Thirsting Flowers’
May 8, 2025
Art
Kate Mothes
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Imagine standing at a window at dawn as the pale yellow morning light filters through the trees, slowly illuminating flower petals and setting the scene for birdsong. As you move around, the light dapples and changes, and details emerge or disappear around other forms. For Élise Peroi, this sensation provides a starting point for elegant textile sculptures.
Onto graceful wooden frames, the French artist weaves ethereal, layered screens evocative of dreamy portals to nature. “The luminosity of Peroi’s woven paintings is such that we might feel ourselves carried outside to watch the sky brighten, the air soft against our skin,” says Dr. Rebecca Birrell in an essay accompanying Peroi’s solo exhibition, For Thirsting Flowers, at CARVALHO PARK.
Detail of “Pensée I” (2025), painted silk and linen, 36 x 28 x 3 inches
The artist taps into the long tradition of European tapestries, which were used for both decoration and to help keep homes and churches insulated. Stitched by hand, the works could reach architectonic proportions and contain highly detailed figurative and narrative scenes. Peroi departs from customary associations with tapestries by removing the pieces from the wall and creating standalone, self-supporting structures.
She also emphasizes a kind of opening-up of the textile itself. The interactions between warp and weft are loose, delicate, and irregular. And each piece’s depth is determined by the wooden framework, details of which often jut outward in gentle yet willful angles.
Peroi’s sculptures appear to subtly morph as one walks around, merging internal and external perspectives. The artist explores relationships between emptiness, form, perception, and the built environment, hinting at recognizable shapes like flowers and foliage set against muted diamond-shaped geometric patterns or open spaces in the weave. And the frames serve both as display devices and looms—the process and finished piece merged into one.
For Thirsting Flowers continues in Brooklyn through May 23. See more on the artist’s website.
Installation view of ‘For Thirsting Flowers’ at CARVALHO PARK, New York
“La lune” (2025), silk, silver leaf, gouache, acrylic, and linen, 64 x 55 x 6 inches
“Pensée I” (2025), painted silk and linen, 36 x 28 x 3 inches
Installation view of ‘For Thirsting Flowers’ at CARVALHO PARK, New York
Installation view of ‘For Thirsting Flowers’ at CARVALHO PARK, New York
“Songes II” (2022), painted silk and linen, 55 x 78 x 6 inches
Detail of “Songes II”
Installation view of ‘For Thirsting Flowers’ at CARVALHO PARK, New York
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Aurelia Butler

More stories

Paola Grizi Adds New Meaning to ‘Literary Figures’ in Emotive Bronze Sculptures

Metaphysical Interactions Unfold in Moonassi’s Surreal ‘Mind Illustrations’

‘Level Up’ by GAFFA Transports Us to an Uncanny Parking Garage

Gregory Euclide Explores the Anthropocene in Verdant Mixed-Media Collages

Celeste’s Immersive Textile Installations Embrace the Warm Intimacy of Home

Caio Marcolini Weaves Delicate Metal Mesh into Spawning Cellular Sculptures

Kandy G. Lopez Embroiders Striking, Life-Size Yarn Portraits Highlighting BIPOC Narratives

Ethereal Weavings Merge Architecture and Nature in Élise Peroi’s ‘For Thirsting Flowers’

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