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In ‘Crewel Intentions,’ Danielle Clough Delves into the Nostalgic World of 1970s Magazines
11 August 2025, 16:00
“Crewel Intentions” (2025), wool, cotton, rayon, and silk on linen, 9.5 x 18 x 2.25 inches framed. All images courtesy of the artist and Paradigm Gallery + Studio, shared with permission
In ‘Crewel Intentions,’ Danielle Clough Delves into the Nostalgic World of 1970s Magazines
August 11, 2025
ArtCraft
Kate Mothes
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Several years ago, Danielle Clough ran across a vintage copy of Playboy at an antique shop. Unbeknownst to her at the time, the 1970s-era film photography, feathered hairstyles, and iconic—if stereotypical—advertising would influence a wide array of large-scale embroidery portraits.
The Cape Town-based artist (previously) scoured the popular magazine’s pages in search of faces and settings she could translate into embroidery. Because of the source, Clough is sensitive to the fact that one might expect the imagery to be hyper-sexualized, but “when they are stripped from context, they can be beautiful and illicit wholesome reactions in their newly recalibrated, woolly world,” she says.
“Dyed in the Wool” (2025), wool, cotton, rayon, and silk on linen, 14.5 x 14.5 x 2.25 inches framed
In her solo exhibition, Crewel Intentions, now on view at Paradigm Gallery + Studio, Clough’s characteristically vibrant fiber compositions tap into a bygone era that, in terms of time, does not seem too distant, but when measured against the technological and socio-political leaps of the past few decades, it can feel like ancient history. Through the historic technique of crewel embroidery, a form of freehand fiber work in which wool yarn is sewn onto cloth, the artist creates a raised and textured surface that can strike virtually any shape or size.
Nostalgia can have a comforting effect when the contemporary world feels overwhelming. In the 1970s, the world was still largely analog—correspondence primarily went through the mail; magazines and newspapers were printed en masse; and the internet as we know it didn’t yet exist, but there were hints (the “modern” internet would emerge in the mid-1980s).
The artist merges new materials and saturated hues with imagery and styles we often associate with an earlier age, both romanticizing and acknowledging outmoded attitudes, styles, and technologies. “Clough’s appreciation of her material and her subject allows her to start a conversation on graceful aging,” the gallery says, “celebrating outdated processes of making and the aesthetics that stand the test of time.”
The 1970s represent a way to explore generational transitions, beauty standards, societal norms, photography, and representation. Through careful cropping and lighting, Clough incorporates a cinematic effect that is most provocative in pieces like “Crewel Intentions” and “The Extra Mile,” in which her characters make eye contact with the viewer, as if they know what’s in store for the future.
Crewel Intentions continues through August 24 in Philadelphia. Explore more on the artist’s website and Instagram.
Detail of “Crewel Intentions”
Installation view of ‘Crewel Intentions’ at Paradigm Gallery + Studio
“The Extra Mile” (2025), wool, cotton, rayon, and silk on linen, 8.25 x 16.25 x 1.5 inches framed
“The Yarn We Spin” (2025), wool, cotton, rayon, and silk on linen, 25 inches diameter
Detail of “What’s a Girl to Do?” (2025), wool, cotton, rayon and silk on linen, 32 inches diameter
Installation view of ‘Crewel Intentions’ at Paradigm Gallery + Studio
“Boy Lollipop” (2025), wool, cotton, and silk on linen, 17 inches diamater
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Through Stacks of Laundry and Humble Vessels, Danym Kwon Cherishes the Mundane
11 August 2025, 13:59
“Dear Moments” (2025), acrylic gouache on canvas, 51 1/4 x 114 1/2 inches. All images courtesy of Hashimoto Contemporary, shared with permission
Through Stacks of Laundry and Humble Vessels, Danym Kwon Cherishes the Mundane
August 11, 2025
Art
Grace Ebert
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For Danym Kwon, the concept of home is mutable. The artist (previously) recently relocated to San Jose from her native Seoul, having spent just a few years back in South Korea before realizing that she longed to return to the Bay Area where she lived while her children were young.
“I may never have had a place to stay forever. But wherever we were together became a home,” Kwon says about her move and the paintings and sculptures that emerged from the experience. “These works are my way of holding onto that—of cherishing the moments that pass too quickly.”
“A Message of Comfort” (2025), acrylic gouache on canvas in cherry wood foldable frame, 22 1/8 x 33 1/2 x 1 1/8 inches
On view at Hashimoto Contemporary in New York, Dear Moments presents Kwon’s tender, pastel-hued recollections of family life. Tucked within her signature stacks of laundry are small vignettes of siblings digging in the sand at the beach, a couple wandering through an art museum, and a parent snuggled up in bed with their child and a book. The artist’s vessels are similar, depicting a woman strolling along a candy-colored path or a young boy playing with blocks and a toy car.
Having worked largely on canvas, she ventures into birch sculpture for this exhibition, plucking the doting characters common within her paintings and presenting them in three dimensions.
Seemingly mundane, these familial scenes become magical and revered in Kwon’s hands. She beckons viewers into a world where even chores like folding clean clothes offer space for reflection and calm. While we might not treasure such simple moments in the present, Kwon suggests, we should hang on dearly to the small embraces and quiet acts of togetherness that ultimately make us feel at home.
Dear Moments is on view through August 30. Find more from Kwon on her website and Instagram.
“Looking together” (2025), acrylic gouache on birch plywood, 9 1/4 x 7 1/4 x 1 1/8 inches
“A Still Life of You” (2025), acrylic gouache on canvas, 35 3/4 x 28 5/8 inches
“Sand, Stories and a Small House” (2025), acrylic gouache on canvas, 17 7/8 x 17 7/8 inches
“Sunday” (2025), acrylic gouache on birch plywood, 12 1/2 x 21 3/4 x 1 1/8 inches
“My Favorite Path” (2024), acrylic gouache on canvas, 35 3/4 x 28 5/8 inches
“Little Reader’s Nest” (2025), acrylic gouache on paper in cherry wood frame, 8 1/2 x 8 1/2 x 1 1/2 inches
Detail of “Dear Moments” (2025), acrylic gouache on canvas, 51 1/4 x 114 1/2 inches
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‘Speak of the Devil’ Conjures the World of Twin Sisters Haylie and Sydnie Jimenez
8 August 2025, 17:36
Sydnie Jimenez, “Prima,” “Lil Shay,” “Big Tone,” “Cali Girl,” and “Malice” (from left). All images courtesy of Joy Machine, shared with permission
‘Speak of the Devil’ Conjures the World of Twin Sisters Haylie and Sydnie Jimenez
August 8, 2025
ArtPartner
Joy Machine
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Joy Machine is thrilled to present Speak of the Devil, a joint exhibition of ceramic and mixed-media works by Chicago artists Haylie and Sydnie Jimenez. The exhibition runs from August 9 to September 20, 2025.
An expression of endearment and surprise, “speak of the devil” is about manifesting what one desires. The idiom connotes a strange, even magical ability to conjure someone’s presence with a mere mention. Simply say their name and wait for them to appear.
Haylie Jimenez, “In the grass with a flower” (2025), found table with grouted tiled image, 24 x 28 x 23 inches
For Haylie and Sydnie Jimenez, making art is also an act of conjuring. Twin sisters with parallel and sometimes collaborative practices, the artists work primarily in ceramics and share a similar aesthetic, one rooted in narrative and rich with tattoos, piercings, and a generally punk style. Where Sydnie focuses on three-dimensions and builds figurative sculptures and totemic heads, Haylie prefers to etch scenes into flat panels. Both artists act as world-builders, depicting their queer, Black and brown friends and neighbors embracing their chosen kin.
“These groups of people we call family and friends are the best of us and should be recognized as such,” the artists say. “We want to fully acknowledge our wonderful communities and depict them as they should be.”
The Jimenez sisters were raised in the South, first in Florida and then in Georgia, with a Catholic mother. Born from religious fear, the phrase “speak of the devil” originated as a 17th-century superstition of summoning evil. The expression has since lost its sinister meaning, although a surface reading still elicits the diabolical.
This contradiction between a superficial interpretation and reality is one Haylie and Sydnie are endlessly interested in teasing out. They have lived in Chicago for nearly a decade and have found commonality between their adopted city and the South: “both places that often get a bad rep but are so rich in culture, shared histories and positive aspects,” they say.
Sydnie Jimenez, “Curtain Hair Guardian” (2025), terracotta and oxide wash
Speak of the Devil invokes the cultural and social similarities between Chicago and the South. Centering people first and foremost, the artists highlight the vibrant communities that thrive in both regions. Architectural details like Sydnie’s gargoyle-esque sculptures and domestic items like Haylie’s lamps and inlay tables reference the very spaces necessary to establishing meaningful relationships and a community of care.
While celebrating their friends, family, and those who might become such in the future, the artists create a warm, welcoming environment–complete with custom-stenciled walls—that offers an alternative to both oppression and violence and enduring stereotypes proliferated through popular culture and the media. This is their own magical act of conjuring. By visualizing a world of radical acceptance, pleasure, and endless joy, the artists lay the foundation to make such a world appear.
Haylie Jimenez, “Lake Vibe” (2025), multiple glazed ceramic tiles, 25 x 18 inches
Haylie and Sydnie Jimenez, “Te Quiero Mucho” (2025), glazed terracotta, 11 x 12 inches
Sydnie Jimenez, “Jimenez Jersey” (2025), glazed stoneware and rhinestones, 39 x 14 x 6.5 inches
Detail of Sydnie Jimenez, “Jimenez Jersey” (2025), glazed stoneware and rhinestones, 39 x 14 x 6.5 inches
Haylie Jimenez, “Tangled Kudzu,” glazed ceramic tile, 7 x 8 inches
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Experimenting with Color and Reflection, Kenny Harris Brews Beautiful Still Lifes
8 August 2025, 16:39
All images © Kenny Harris, shared with permission
Experimenting with Color and Reflection, Kenny Harris Brews Beautiful Still Lifes
August 8, 2025
ArtDesignFood
Kate Mothes
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In 1933, Alfonso Bialetti and his son Renato began to market an aluminum contraption for brewing coffee that would make an indelible mark on Italian culinary culture and beyond. Called a moka pot after the Yemeni city of Mokha, the appliance is still manufactured today by the coffee equipment company Bialetti under the name Moka Express, providing a steam-powered, filterless way to make a rich brew on the stovetop.
For Venice, California-based artist Kenny Harris, the metallic, faceted surface of the iconic maker inspires an ongoing series of lovely still-life oil paintings. Exploring color and form, the artist focuses on reflections and their effects. Delicate gradients and patterns are mirrored across the pot’s surface, sometimes blurring the boundary between the object and its surroundings.
“I find delight in searching for harmonies, lost edges, and texture variation,” the artist says. “In the end, these are color experimentations in the tradition of Joseph Albers or Albert Moore: reiteration of the same forms with different color combinations. Also, I love coffee.”
A solo show of Harris’s work titled Passage opens on September 6 at Galerie Mokum in Amsterdam, and he’s currently working toward another show in early 2026 at Billis Williams Gallery in Los Angeles. Explore more work on the artist’s website and Instagram.
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In ‘Bourdon Street Chippy,’ Lucy Sparrow Celebrates a British Culinary Institution in Felt
7 August 2025, 18:58
Photos by Alun Callender for JBPR. All images courtesy of the artist and Lyndsey Ingram, shared with permission
In ‘Bourdon Street Chippy,’ Lucy Sparrow Celebrates a British Culinary Institution in Felt
August 7, 2025
ArtCraftFood
Kate Mothes
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From fried cod to red saveloy sausage to the carb-lover’s chip butty—a simple sandwich made with chunky fries on a buttered roll—the menu at Bourdon Street Chippy resembles what you’d expect to see at a traditional British fish and chips shop. The only real difference, despite the delectable-looking cones of deep-fried treats and perfectly formed pies, is that everything from the jarred, picked eggs to the battered haddock to the wall decor is made from felt.
The brainchild of artist Lucy Sparrow (previously), Bourdon Street Chippy is the latest in a series of elaborate, large-scale, interactive installations highlighting quotidian places like supermarkets, pharmacies, and bodegas that we visit all the time but rarely think of much in the way of aesthetics. Crafted in soft fiber, many of the artist’s renditions of merchandise and food sport cute, smiling expressions while faithfully replicating iconic dishes and products.
Bourdon Street Chippy is presented by Lyndsey Ingram Gallery, which is located on Bourdon Street in London. While the scampi and chips that Sparrow whips up aren’t edible, they are available for purchase. Visitors are welcome to peruse the menu and order their takeaway directly from the artist. “As much theatre as art, the familiarity of…these spaces disarms the viewer, taking them to a playful, often nostalgic place,” the gallery says.
The exhibition includes handmade banquette seating and a wall-to-wall gallery of sewn portraits of the chippy’s famous patrons. Read fabric menus, have an even tougher time than usual getting ketchup to come out of the Heinz bottles, and be reminded not to feed the seagulls. All in all, the installation includes more than 65,000 individual felt pieces, including 15 chip shapes in different colors.
The exhibition continues through September 14. Find more on the artist’s website and Instagram.
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Xanthe Summers Weaves Themes of Labor and Visibility in Bold Ceramic Vessels
7 August 2025, 16:00
“The Weary Weaver” (2024), glazed stoneware, 39.4 x 28.4 x 28.4 incjes. Photo by Southern Guild and Hayden Phipps. All images courtesy of Xanthe Summers, shared with permission
Xanthe Summers Weaves Themes of Labor and Visibility in Bold Ceramic Vessels
August 7, 2025
ArtCraftSocial Issues
Kate Mothes
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“Clay is an incredible medium to hold narrative,” says Xanthe Summers, who turns to the medium as a way to explore themes around domesticity, craft, and so-called “women’s work” like cleaning, mending, working with textiles, and caregiving. When it comes to clay, she says, “I think mostly I am invigorated by its ability to hold—to hold water, to hold function, to give shape, to carry stories, and to carry meaning.”
Currently based in London, Summers grew up in Zimbabwe, where she observed inequities within the social structure that mirror many places around the world, especially in terms of gendered labor within the domestic sphere that often goes largely unseen and unacknowledged.
“Common Threads” (2025), glazed stoneware, 23.6 x 21.7 x 21.7 inches
She explains that “many homes have cleaners and gardeners who exist within this ‘invisible’ framework: caring for children, cooking their meals, and sometimes traveling for hours—and their work is underpaid, undervalued, and considered unskilled.”
Summers taps into ceramics, especially the archetypal vessel motif, to join the ever-evolving continuum of the medium. Throughout millennia and across myriad distinct cultures, the earthen material has found endless applications in the home, industry, and art.
“Clay has the unique ability to cross the boundaries between functionality, art, craft, class, and culture, and because of this, it is a vital medium to hold stories about humankind,” she says. “I understand clay to be an archive for the stories of humans.”
The vessels often take on figurative proportions, standing tall on plinths and exhibiting saturated hues, bold patterns, and tactile textures. Some of the pieces crumple, especially toward the top, as if hit with something or caving under some invisible weight.
Installation view at Southern Guild, Cape Town. Photo courtesy of Southern Guild
The artist’s vessels tread the boundary between form and function and delve into another craft often associated with women’s labor: weaving. She describes how everything from the sheets we sleep on to the carpets we tread across to the clothes on our back can be “extrapolated to speak more broadly about domesticity, women’s work, and racialized spaces in Zimbabwe and the Global South.” She adds:
Weaving can be used as a wider metaphor for social cohesion—or lack thereof. This predicament is significant in Zimbabwe but is apparent the world over, where women’s work is undervalued.
Next year, Summers embarks on a trip to Guadalajara, Mexico, for a residency at Ceramica Suro, where she will learn from local ceramic artists, glassblowers, and weavers. And this October, you’ll be able to see her work at London’s 1-54, a fair dedicated to contemporary African art, which runs from October 16 to 19. Explore more on the artist’s website and Instagram.
“Woven Tales Stand Tall” (2022). Photo by Deniz Guzel
Detail of “Woven Tales Stand Tall.” Photo by Deniz Guzel
“By the Pricking of My Thumbs” (2025), glazed stoneware, 39.4 x 27.6 x 27.8 inches. Photo by Southern Guild and Hayden Phipps
“Working Class Femininity” (2023), glazed stoneware, 41 x 19.8 x 19.8 inches. Photo by Deniz Guzel
“Weaver’s Woe” (2024,), glazed stoneware, 22.4 x 19.7 x 19.7 inches. Photo by Deniz Guzel
“Of Woof and Woe” (2024), glazed stoneware, 43.3 x 25.3 x 25.3 inches. Photo by Southern Guild and Hayden Phipps
Xanthe Summers in her studio
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Xanthe Somers Weaves Themes of Labor and Visibility in Bold Ceramic Vessels
7 August 2025, 16:00
“The Weary Weaver” (2024), glazed stoneware, 39.4 x 28.4 x 28.4 incjes. Photo by Southern Guild and Hayden Phipps. All images courtesy of Xanthe Summers, shared with permission
Xanthe Somers Weaves Themes of Labor and Visibility in Bold Ceramic Vessels
August 7, 2025
ArtCraftSocial Issues
Kate Mothes
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“Clay is an incredible medium to hold narrative,” says Xanthe Somers, who turns to the medium as a way to explore themes around domesticity, craft, and so-called “women’s work” like cleaning, mending, working with textiles, and caregiving. When it comes to clay, she says, “I think mostly I am invigorated by its ability to hold—to hold water, to hold function, to give shape, to carry stories, and to carry meaning.”
Currently based in London, Somers grew up in Zimbabwe, where she observed inequities within the social structure that mirror many places around the world, especially in terms of gendered labor within the domestic sphere that often goes largely unseen and unacknowledged.
“Common Threads” (2025), glazed stoneware, 23.6 x 21.7 x 21.7 inches
She explains that “many homes have cleaners and gardeners who exist within this ‘invisible’ framework: caring for children, cooking their meals, and sometimes traveling for hours—and their work is underpaid, undervalued, and considered unskilled.”
Somers taps into ceramics, especially the archetypal vessel motif, to join the ever-evolving continuum of the medium. Throughout millennia and across myriad distinct cultures, the earthen material has found endless applications in the home, industry, and art.
“Clay has the unique ability to cross the boundaries between functionality, art, craft, class, and culture, and because of this, it is a vital medium to hold stories about humankind,” she says. “I understand clay to be an archive for the stories of humans.”
The vessels often take on figurative proportions, standing tall on plinths and exhibiting saturated hues, bold patterns, and tactile textures. Some of the pieces crumple, especially toward the top, as if hit with something or caving under some invisible weight.
Installation view at Southern Guild, Cape Town. Photo courtesy of Southern Guild
The artist’s vessels tread the boundary between form and function and delve into another craft often associated with women’s labor: weaving. She describes how everything from the sheets we sleep on to the carpets we tread across to the clothes on our back can be “extrapolated to speak more broadly about domesticity, women’s work, and racialized spaces in Zimbabwe and the Global South.” She adds:
Weaving can be used as a wider metaphor for social cohesion—or lack thereof. This predicament is significant in Zimbabwe but is apparent the world over, where women’s work is undervalued.
Next year, Somers embarks on a trip to Guadalajara, Mexico, for a residency at Ceramica Suro, where she will learn from local ceramic artists, glassblowers, and weavers. And this October, you’ll be able to see her work at London’s 1-54, a fair dedicated to contemporary African art, which runs from October 16 to 19. Explore more on the artist’s website and Instagram.
“Woven Tales Stand Tall” (2022). Photo by Deniz Guzel
Detail of “Woven Tales Stand Tall.” Photo by Deniz Guzel
“By the Pricking of My Thumbs” (2025), glazed stoneware, 39.4 x 27.6 x 27.8 inches. Photo by Southern Guild and Hayden Phipps
“Working Class Femininity” (2023), glazed stoneware, 41 x 19.8 x 19.8 inches. Photo by Deniz Guzel
“Weaver’s Woe” (2024,), glazed stoneware, 22.4 x 19.7 x 19.7 inches. Photo by Deniz Guzel
“Of Woof and Woe” (2024), glazed stoneware, 43.3 x 25.3 x 25.3 inches. Photo by Southern Guild and Hayden Phipps
Xanthe Summers in her studio
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Isabella Mellado Summons Sins and Desire in Her Tarot-Inspired Paintings
7 August 2025, 12:42
“Pride (Temperance).” All images courtesy of the artist and Povos, shared with permission
Isabella Mellado Summons Sins and Desire in Her Tarot-Inspired Paintings
August 7, 2025
Art
Grace Ebert
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What does it mean to sin? In mystical paintings in oil, Isabella Mellado diverges from the Catholic guilt she knows all too well to instead bask in desire and the beauty of transgressions.
The Chicago-based, Puerto Rico-born artist is known for her magical realist works that draw on tarot and the occult to explore queer identities and Latinidad. Mellado’s most recent exhibition, 7 Pecados, presented a collection of vivid paintings that, like much of her practice, reject Christian strictures. Rather, the artist questions how we might see laziness, gluttony, and lust not as wrongs to be avoided but as empowering and essential to our humanity.
“Sloth”
Mellado often begins a piece by staging a photo. She and her accomplices don witchy garments and commune in bodies of water or around fires, their hands occupied with a deck of cards or a chalice. These images serve as the basis for her large-scale paintings, which render the already magical scenes in a dreamy, even mysterious light.
Whereas Western religions like Christianity have left little room for identities and behaviors that don’t conform to their beliefs, Mellado beckons us into an alternative space where figures are free to revel in pleasure. The characters take on the role of witches and conjurers, those who remain anonymous behind their disguises yet engage resolutely in their own empowerment.
Mellado’s previous projects include Te Dire Quien Eres, an exhibition at Povos in Chicago that took its central premise from a line in Miguel Cervantes’s Don Quijote de la Mancha: “Tell me who you surround yourself with, and I’ll tell you who you are.” The paintings reject shame around queerness and what’s often considered monstrous, instead honing in on the intimate relationships that inform one’s life and the sacred spaces offered by a coven.
Find more from Mellado, including the original photos and resulting paintings, on her website and Instagram.
“Lust (The Lovers)”
“The High Priestess’
“Two of Wands”
“Three of Cups”
“The Magician”
“Gluttony (The Emperor Midas)”
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Aurelia Butler

More stories

In ‘Crewel Intentions,’ Danielle Clough Delves into the Nostalgic World of 1970s Magazines

Through Stacks of Laundry and Humble Vessels, Danym Kwon Cherishes the Mundane

‘Speak of the Devil’ Conjures the World of Twin Sisters Haylie and Sydnie Jimenez

Experimenting with Color and Reflection, Kenny Harris Brews Beautiful Still Lifes

In ‘Bourdon Street Chippy,’ Lucy Sparrow Celebrates a British Culinary Institution in Felt

Isabella Mellado Summons Sins and Desire in Her Tarot-Inspired Paintings

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