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Moments of Riotous Unrest Converge in Elmer Guevara’s Dramatic Paintings
27 October 2025, 15:39
“Couple Hours after 3:15pm” (2025), oil and gel transfer on linen, 84 x 72 x 1.25 inches. All photos by Yubo Don, courtesy of the artist and Charlie James Gallery, shared with permission
Moments of Riotous Unrest Converge in Elmer Guevara’s Dramatic Paintings
October 27, 2025
ArtSocial Issues
Grace Ebert
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How do we live when crises compound? Yesterday like today / Ayer cómo hoy is a poignant solo exhibition by Elmer Guevara that collapses time and space into dramatic paintings of unrest and upheaval. Layered with raging fires and warm California light, each work captures a tension between danger and mundanity, peering into the ways people cope amid chaos.
Guevara was born and raised in South Central Los Angeles, the neighborhood where his parents settled after fleeing civil war in El Salvador in the 1980s. When the police officers who beat Rodney King were acquitted in 1992, people took to the streets, and riots spurred looting and arson. These tumultuous and violent events backdropped much of Guevara’s childhood, and in this body of work, they converge into scenes of destruction and quietude.
“Ghetto Bird View” (2025), oil on linen, 32 x 60 x 1.25 inches
“Couple Hours after 3:15pm” references the time the officers’ acquittal was announced and depicts a man seated in front of a vintage, white Volkswagen Beetle while a fire rips through the neighborhood. With a pointed finger and relaxed pose, the figure mimics the theatrical subject of Domenico Fetti’s “Portrait of a Man with a Sheet of Music” (1620), a vanitas piece that speaks to the vacuousness of material possessions. Guevara’s re-interpretation includes his signature newsprint, this issue featuring King’s harrowing experience front and center.
As the artist reflects on the relationship between personal story and collective trauma, he incorporates many of his family members in the series. His mother, for example, appears at her kitchen table with a bottle of Coca-Cola and a newspaper spread out in front of her as she points to the main story of rioters taking over the city. Like others in his paintings, she is both deeply aware of the turmoil that surrounds her and calm in disposition, exemplifying the all-too-relatable need to soldier on amid anxiety and heartbreak.
Yesterday like today / Ayer cómo hoy is on view through December 6 at Charlie James Gallery in Los Angeles. Find more from Guevara on his website and Instagram.
“Updates and Relief” (2025), oil and gel transfer on linen, 42 x 36 x 1.25 inches
“Clapper 2” (2025), oil on linen, 10 x 8 x 1.5 inches
Detail of “Couple Hours after 3:15pm” (2025), oil and gel transfer on linen, 84 x 72 x 1.25 inches
“Playing With Fire” (2025), oil on linen, 72 x 60 x 1.25 inches
“Clapper 3” (2025), oil on linen, 11 x 8 x 1.5 inches
“Casualty” (2025), oil on linen, 24 x 19 x 1.25 inches
“Clapper 1” (2025), oil on linen, 11 x 9 x 1.5 inches
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Dream Worlds Emerge in Yuichi Hirako’s Larger-than-Life Domestic Spaces
27 October 2025, 13:56
All images courtesy of Yuichi Hirako and the Okayama Prefectural Museum of Art, shared with permission
Dream Worlds Emerge in Yuichi Hirako’s Larger-than-Life Domestic Spaces
October 27, 2025
Art
Kate Mothes
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In the uncanny world of Yuichi Hirako, the relationship between humans, nature, and the built environment plays out in vibrant color and unique proportions. The Tokyo-based artist creates large-scale sculptures, paintings, and installations that explore coexistence, often through compositions that appear crowded with domestic objects, food, cats, and figures whose faces are obscured by cartoonish head coverings shaped like trees or antlers.
ORIGIN, Hirako’s expansive solo exhibition at the Okayama Prefectural Museum of Art, invites us to enter a surreal, almost Alice in Wonderland-like realm. From salon-style hangings of numerous paintings and sculptures along an undulating plywood surface to a giant quadriptych—a four-part canvas—the artist’s pieces play with perception and urge us toward curiosity.
Recurring, anonymous characters populate Hirako’s otherworldly settings. In one work, a huge table is laden with a feast, featuring bowls of fruit, bakery items, and possibly still-living sea creatures, along with a number of relaxed cats, stacks of books, and floral arrangements. And a giant bookcase is arranged with potted plants, books, figurines, flowers, and more—objects that in some cases defy the structure of the unit, like a potted tree or shrub that grows up behind the shelves.
ORIGIN spans the indoor galleries, courtyard, and plaza of the museum and is presented as part of the Setouchi Triennale. The show continues through November 9 in Okayama City. Find more on the artist’s website and Instagram.
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Social Realism and the Surreal Converge in Bryce Wymer’s Evocative Sketchbooks
26 October 2025, 10:17
All images © Bryce Wymer, shared with permission
Social Realism and the Surreal Converge in Bryce Wymer’s Evocative Sketchbooks
October 26, 2025
ArtIllustration
Kate Mothes
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Mysterious light sources, geometric puzzles, disjointed figures, and bold hues characterize the diverse, narrative compositions of Bryce Wymer. The Brooklyn-based artist is known for his enigmatic, emotive murals, paintings, and illustrations. Merging the analog and the digital, Wymer’s pieces often explore themes of social interactions and power dynamics, often through a lens tinged with anxiety, mystery, and solitude.
Whether working on large-scale commissions or more intimate drawings, sketchbooks remain Wymer’s primary jumping-off points. “I’ve been keeping sketchbooks since middle school, when I filled them with graffiti tags, local DIY show flyer ideas, and zine layouts,” Wymer tells Colossal. “Over the years, they’ve evolved from casual notebooks into an essential part of my creative process. I carry one with me at all times, and without it, I feel pretty untethered.”
The artist often makes his way through three to four books each year, sometimes experimenting with compositions on grander canvases but often leaving them within their small format. “Some lose their raw energy when translated to a larger scale, which is a tension I enjoy trying to navigate,” he says. “That in-between space, where an idea first lands and where it eventually ends up, is part of what keeps the process so compelling.”
Wymer has recently been focused on figurative motifs that examine what he describes as “quiet tension and emotional complexity.” He positions the figures within minimal environments, highlighting social dynamics with undercurrents of vulnerability and perceptions of control—or lack thereof.
Flat planes of saturated color nod to Social Realism, a movement that emerged between the World Wars and shone a light on everyday people as heroes in the face of especially government-generated adversity. For Wymer, Social Realism is indelibly linked to emotional and collective experience, which he channels through a varied and ever-evolving contemporary aesthetic. “More than anything, the sketchbook is my playground, free from expectations or fear of failure,” he says. “In any artistic practice, it’s important to have a space where very few rules exist.”
See more on Wymer’s website and Instagram, and watch even more timelapses on his Vimeo channel.
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Brandon Morris’ Ghostly Fiberglass Gowns Float Through a Paris Gallery
22 October 2025, 17:09
All photos by Zeshan Ahmed, courtesy of Europa, shared with permission
Brandon Morris’ Ghostly Fiberglass Gowns Float Through a Paris Gallery
October 22, 2025
Art
Grace Ebert
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During a month in which hauntings and ghastly cosutmes are a ubiquitous sight, Brandon Morris presents a new body of work that taps into a shared sense of unease. The New York-based artist makes his Paris debut with Tissu Expansé, a collection of five fiberglass and resin gowns that appear as though they’ve come to life.
Constructed in pale blue, the spectral works are part of Morris’ Ghost Dresses, a series that stitches together fashion and sculpture through garments that materialize without a body. Bodices are full, while skirts angle as if they’re moving with an invisible owner. One piece even lunges forward, the arms reaching out with what seems like a kick of the back leg that lifts the hem upward.
Tissu Expansé is more lively than the artist’s earlier collection, which saw hunched shoulders and bent postures suggestive of monstrous occupiers. While similarly haunting, these pieces appear less sinister, arising more as whimsical apparitions than supernatural villains.
Morris’ exhibition is on view through October 30 with Europa. Keep up with his practice on Instagram.
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A Japanese Exhibition Places Contemporary Woodcarving Within the Continuum of Art History
22 October 2025, 13:50
Ikuo Inada, “Some things aren’t ‘whatever’” (2025), camphor wood, 58 x 18.5 x 18 centimeters. All images courtesy of the artists and FUMA Contemporary Tokyo, shared with permission
A Japanese Exhibition Places Contemporary Woodcarving Within the Continuum of Art History
October 22, 2025
Art
Kate Mothes
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Japan is an island nation rich in timber, from cypress (Hinoki) to cedar (Sugi) to larch (Karamatsu). Its renowned woodworking heritage dates back centuries, taking the form of immaculately carved wooden beams in houses, ornate storage boxes, and revered religious statuary. For some artists working today, this timeless tradition translates perfectly into contemporary expressions.
Hand-hewn from timber, expressive faces and dynamic motifs emerge in the sculptures of Kigaku – Re(a)lize – at FUMA Contemporary Tokyo. Colossal readers may be familiar with the work of Ikuo Inada and Yoshitoshi Kanemaki, and the show also includes recent pieces by Kosuke Ikeshima, Ayako Kita, Yuta Nakazato, and Ryo Matsumoto.
Ayako Kita, “Let Go of Everything” (2024), Japanese cypress and acrylic resin, 33.5 x 20.5 x 14 centimeters
Inada’s recognizable figurative sculptures, for example, feature sleepy people, their faces often obscured by sweatshirts or blankets, as if they are wandering back to bed after a midnight snack. Kanemaki’s characteristically glitchy portraits reveal numerous faces belonging to one personality, and Kita’s bold pieces combine carved wood with clear resin, creating an optical element with dresses one can see right through.
The exhibition furthers a project initiated in 2018 called Kigaku – XYLOLOGY, which highlighted the technique of wood carving and aimed to shine a light on contemporary artists working with the medium. Kigaku – Re(a)lize – is a continuation of this mission, showcasing the work of six Japanese artists creating today.
Alongside pieces made within the past few years, Kigaku – Re(a)lize – includes examples of carved sacred sculptures from the Early Edo period (1603-1690) and the Heian period (794-1185). The exhibition continues through November 1. Find more on the gallery’s website.
Yoshitoshi Kanemaki, “Tiny Caprice” (2025), painted Japanese boxwood, 13.2 x 4.5 x 4.5 centimeters
Kosuke Ikeshima, “Vanitas” (2025), camphor wood, 29 x 27 x 11.5 centimeters
Ayako Kita, two views of “Public Self” (2023), Japanese cypress and acrylic resin, 33.5 x 20 x 16 centimeters
Yuta Nakazato, “Princess’s Whereabouts” (2025), Japanese cypress, 37 x 35 x 60 centimeters
Ryo Matsumoto, “kyojitsuhiniku, offering, broken skull-shinenshisou, kyojitsuhiniku, offering, mask” (2025), maple and camphor wood, 19 x 15 x 22 centimeters and 16 x 13 x 5 centimeters
Ikuo Inada, “Some things aren’t ‘whatever’” (2025), camphor wood, 58 x 18.5 x 18 centimeters
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Through Lush Embellisment, Anne von Freyburg Depicts Monstrous Women Who Revel in Excess
21 October 2025, 22:07
Detail of “Soft Blush (After Fragonard, The Progress of Love: The Reverie)” (2025), textile wall installation painting: acrylic ink, synthetic fabrics, PVC fabric, tapestry-fabric, sequin fabrics, hand-embroidery, polyester wadding and hand-dyed tassel fringes on canvas, 220 x 200 centimeters. All images courtesy of Anne von Freyburg, shared with permission
Through Lush Embellisment, Anne von Freyburg Depicts Monstrous Women Who Revel in Excess
October 21, 2025
Art
Grace Ebert
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In monumental installations teeming with sequins, brocades, fringe, and shiny vinyl, Anne von Freyburg stakes a bold claim about excess and freedom.
The artist (previously) is known for her “textile paintings,” large-scale tapestries that appear to drip, bleed, and cascade down the wall. Gaudy and yet rooted in elegance, the works draw on Dutch Golden Age and Rococo painting traditions, incoporating lush flowers and dramatic ornamentation.
“Soft Blush (After Fragonard, The Progress of Love: The Reverie)” (2025), textile wall installation painting: acrylic ink, synthetic fabrics, PVC fabric, tapestry-fabric, sequin fabrics, hand-embroidery, polyester wadding and hand-dyed tassel fringes on canvas, 220 x 200 centimeters
Von Freyburg continues to explore extravagance as it relates to traditional gender roles, romance, and saccharine expressions of love. She draws on Lauren Elkin’s recent book, Art Monsters, which posits that women who reject the role of wife and mother—and the societal expectations of beauty and kindness—are often seen as villains.
The tension between the feminine and the monstrous is evident in several of the artist’s works, including “Soft Blush (After Fragonard, The Progress of Love: The Reverie),” as pop culture symbols and text bubbles mar a central figure trapped in a chaotic blur of material. Distorted by the mass of embellishments, the woman appears grotesque and uncontainable as her form bulges and falls in a deluge of pink string. Von Freyburg adds:
I approached this body of work as a declaration of the love and care necessary for all of us to thrive. It gives us permission to do the things we love doing. It’s about being free and choosing your own path to happiness in relationships. No more fairy tales about men saving women; instead, it’s about women being the heroines in their own life stories.
The vibrant pieces shown here will be on view in Amour Toujours, which runs from November 8 to December 27 at K Contemporary in Denver. Find more from the artist on Instagram.
“Something in the Air has Changed (After Fragonard, the Progress of Love: the Meeting)” (2025),textile wall installation painting: acrylic ink, synthetic fabrics, PVC fabric, tapestry-fabric, sequin fabrics, hand-embroidery, polyester wadding and hand-dyed tassel fringes on canvas, 350 x 250 centimeters
Detail of “Soft Blush (After Fragonard, The Progress of Love: The Reverie)” (2025), textile wall installation painting: acrylic ink, synthetic fabrics, PVC fabric, tapestry-fabric, sequin fabrics, hand-embroidery, polyester wadding and hand-dyed tassel fringes on canvas, 220 x 200 centimeters
Detail of “Something in the Air has Changed (After Fragonard, the Progress of Love: the Meeting)” (2025), textile wall installation painting: acrylic ink, synthetic fabrics, PVC fabric, tapestry-fabric, sequin fabrics, hand-embroidery, polyester wadding and hand-dyed tassel fringes on canvas, 350 x 250 centimeters
Detail of “Soft Blush (After Fragonard, The Progress of Love: The Reverie)” (2025), textile wall installation painting: acrylic ink, synthetic fabrics, PVC fabric, tapestry-fabric, sequin fabrics, hand-embroidery, polyester wadding and hand-dyed tassel fringes on canvas, 220 x 200 centimeters
“Spellbound (After Fragonard, The Progress of Love: Love letters)” (2025), textile wall installation painting: acrylic ink, synthetic fabrics, PVC fabric, tapestry-fabric, sequin fabrics, hand-embroidery, polyester wadding and hand-dyed tassel fringes on canvas, 285 x 150 centimeters
“Spellbound (After Fragonard, The Progress of Love: Love letters)” (2025), textile wall installation painting: acrylic ink, synthetic fabrics, PVC fabric, tapestry-fabric, sequin fabrics, hand-embroidery, polyester wadding and hand-dyed tassel fringes on canvas, 285 x 150 centimeters
Detail of “Spellbound (After Fragonard, The Progress of Love: Love letters)” (2025), textile wall installation painting: acrylic ink, synthetic fabrics, PVC fabric, tapestry-fabric, sequin fabrics, hand-embroidery, polyester wadding and hand-dyed tassel fringes on canvas, 285 x 150 centimeters
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Shae Bishop Bucks Cowboy Traditions with Floral Ceramic Garments
21 October 2025, 17:10
Detail of “Eternal Cowboy” (2021), ceramic, underglaze, glaze, PE braid, canvas, leather, brass. Photo by Myles Pettengill. All images courtesy of Shae Bishop, shared with permission
Shae Bishop Bucks Cowboy Traditions with Floral Ceramic Garments
October 21, 2025
ArtCraftDesign
Grace Ebert
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Ceramics and textiles share several traditions. Both media have long occupied the realm of craft, are often functional, and tend to be tied to narrative and storytelling, whether sharing in family lore or communicating something about their owner.
For Shae Bishop, combining the two offers a way to tether the enduring and universal with the intimate and personal. The Richmond-based artist has spent more than a decade creating innumerable ceramic tiles that he stitches together into bandanas, suits, and other garments. “By merging the materials and fitting them to my body, I was seeking to merge the personal with the historical, to locate myself and my individual narrative within the larger story of human culture,” he tells Colossal.
“Waistcoat of Earthly Delights” (2021), ceramic, underglaze, wool, poly satin, PE braid, wire. Photo by Loam
Bishop’s garments have evolved in complexity and embellishment during the last 14 years, as he gravitates toward art historical narratives and the self-mythologizing associated with cowboy culture. Pieces like “Waistcoat of Earthly Delights” reference Hieronymus Bosch’s famous triptych and its alternative realities. Long interested in the human-nature relationship, Bishop draws on Bosch’s biblical retelling as a way to “reimagine our fraught interactions with strange and misunderstood creatures like giant salamanders and venomous snakes,” as he adorns a vest with a pair of white serpents and vivid flowers.
A peek at Bishop’s Instagram reveals a deep reverence for snakes—there are several images of the artist with the reptiles draped around his neck and arms— and an interest in reinventing the fear and animosity associated with the creatures, which he hopes to present instead as “a hero, an icon, and an ecological ambassador.”
This intention emerges, in part, through more performative works like the turquoise, fringe-lined “Rhinestone Rattlesnakeboy Suit.” Bishop often wears the elaborate getup while stationed inside a booth and handling a snake, a performance evoking entertainment ventures like Buffalo Bill’s Wild West Show and the Roy Rogers Show.
The artist also frequently photographs himself out in the wild, whether knee-deep in a swampy landscape or perched atop a horse. These immersive images add another layer to the performative aspect of the project and reinforce the world-building and storytelling capacity that fashion has.
“Rhinestone Rattlesnakeboy Suit.” Photo by Jack Mauch
Of course, cowboy and Western culture are deeply entwined with American identity and masculinity, and Bishop reflects on these influences as he creates floral chaps and fringed hats. He adds:
I like the tension between utility and conservatism on one hand and idiosyncratic flamboyance on the other hand. The colorful floral outfits of country music history and the high heels and ornate leatherwork of cowboy boots are such unique expressions of culture. And I look at darker elements like toxic masculinity and a gleeful love of fossil fuels. I also put myself into this work. I try to be self-critical and interrogate my own love-hate relationship with these cowboy tropes, while still keeping a sense of humor.
“Rhinestone Rattlesnakeboy Suit” is on view through next September at the Renwick Gallery of the Smithsonian American Art Museum in an exhibition devoted to state fairs. This winter, Bishop will show pieces at Belger Arts in Kansas City and the Houston Center for Contemporary Craft, and he’s currently working on a collection of ceramic diving helmets, along with leather shoes. Find more on his website.
Detail of “Waistcoat of Earthly Delights” (2021), ceramic, underglaze, wool, poly satin, PE braid, wire. Photo by Loam
Detail of “Eternal Cowboy” (2021), ceramic, underglaze, glaze, PE braid, canvas, leather, brass. Photo by Myles Pettengill
“A Swimsuit To Wear While Looking For Hellbenders” (2020), ceramic, wool, PE braid. Photo by Myles Pettengill
“Bandana” (2022), ceramic, underglaze, PE fiber. Photo by Loam
Detail of “Rhinestone Rattlesnakeboy Suit.” Photo by Jack Mauch
“Shorts To Wear While Looking For Pythons” (2019), ceramic, underglaze, glaze, PE fiber, cotton, leather, brass. Photo by Hannah Patterson
“Eternal Cowboy” (2021), ceramic, underglaze, glaze, PE braid, canvas, leather, brass. Photo by Myles Pettengill
“Shirt” (2016), porcelain, underglaze, glaze, canvas, PE fiber, 32 x 18 x 9 inches. Photo by Mercedes Jelinek
Detail of “Shirt” (2016),porcelain, underglaze, glaze, canvas, PE fiber, 32 x 18 x 9 inches. Photo by Mercedes Jelinek
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Through Fractured Forms, Kat Kristof Renders the Architecture of the Mind
20 October 2025, 17:07
“Echo” (2025), oil on canvas, 230 x 230 centimeters. All images courtesy of Beers London, shared with permission
Through Fractured Forms, Kat Kristof Renders the Architecture of the Mind
October 20, 2025
Art
Grace Ebert
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As we spend much of our lives online and find ourselves ensnared in an increasingly dystopian reality, glitches and fractures seem all the more apt in rendering the contemporary mind. Kat Kristof (previously) attends to this disjointed—and even duplicitous—feeling in her vivid portraiture. Visible brushstrokes invoke gestures past and the memories that scaffold our lives, while layered patches build upon one another, forming complex structures within each piece.
“My work explores the architecture of the mind. These are scattered, fragmented, and riotous projections of self,” Kristof says, referring to her latest body of work, Exhale. Co-presented by BEERS London and Saatchi Gallery, the exhibition plumbs the artist’s formal training in architecture, which she undertook in her native Hungary before moving to Folkestone, Kent. Likening the abstract shapes that form a face or torso to a hallway or room, the artist invites viewers into the intimate interiors of her subjects.
“Doubt I” (2025), oil on canvas, 180 x 180 centimeters
While each portrait contains some level of psychological distortion, Kristof expands and contracts their surreal qualities. “Echo,” for example, features a mirrored subject looking directly at the viewer, although the figure on the right peers out from a face turned upside down. The gltich in “Alone” is much more jarring, as two faces stare at each other through a central stripe bisecting the work.
For Kristof, there’s endless space for our minds to break into new territories, although like the walls that protect our homes, there are barriers we have to cross to step outside ourselves. “What we long for remains elusive, not because it doesn’t exist, but because we carry our mindset with us,” she adds.
Exhale runs from October 23 to November 16 at Saatchi Gallery in London. Find more from Kristof on her website and Instagram.
“Alone” (2025), oil on canvas, 125 x 145 centimeters
“Drift” (2025), oil on canvas, 220 x 175 centimeters
“Blur” (2025), oil on board, 80 x 60 centimeters
“Breathe” (2025), oil on canvas, 220 x 115 centimeters
“Crave” (2025), oil on canvas, 150 x 100 centimeters
“Exhale” (2025), oil on canvas, 170 x 145 centimeters
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Aurelia Butler

More stories

Dream Worlds Emerge in Yuichi Hirako’s Larger-than-Life Domestic Spaces

Social Realism and the Surreal Converge in Bryce Wymer’s Evocative Sketchbooks

Brandon Morris’ Ghostly Fiberglass Gowns Float Through a Paris Gallery

A Japanese Exhibition Places Contemporary Woodcarving Within the Continuum of Art History

Through Lush Embellisment, Anne von Freyburg Depicts Monstrous Women Who Revel in Excess

Shae Bishop Bucks Cowboy Traditions with Floral Ceramic Garments

Through Fractured Forms, Kat Kristof Renders the Architecture of the Mind

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