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Literary Citations Abound in Andrew Salgado’s Vibrantly Layered Portraits
4 June 2025, 19:38
“When We Cease To Understand The World (Grothendieck’s Ghost)”(2025), oil and oil pastel on linen, 180 x 160 centimeters. All images courtesy of Damian Griffiths and BEERS London, shared with permission
Literary Citations Abound in Andrew Salgado’s Vibrantly Layered Portraits
June 4, 2025
Art
Grace Ebert
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A new body of work by Andrew Salgado (previously) unfurls from a central premise: we are the books we read. The artist, who works between London and New Brunswick, Canada, is literarily insatiable and considers every unread tome an opportunity of “infinite possibility.”
At BEERS London, Salgado’s Self-Portrait as a Stack of Books presents a series of paintings that open like chapters and together, build a larger narrative. “My Year Of Rest And Relaxation” directly references Ottessa Moshfegh’s bleary novel of the same name and depicts a young protagonist inert and detached. There’s also “Véra (Please Come Over, You’re Always Welcome),” which portrays a resolute Véra Nabokov writing what might be one of her since destroyed letters.
“Véra (Please Come Over, You’re Always Welcome)” (2025), oil and oil pastel on linen, 76 x 61 centimeters
Salgado is continually interested in citation and the ways that memories and experiences layer atop and mold one another. Many of the authors he’s drawn to—Virgina Woolf, Jorge Luis Borges, and Margaret Atwood among them— “are influenced by art. By music and painting. They write about it all the time. The word is ekphrasis,” he adds. “Nabokov lists over 150 paintings in his collected works. So why shouldn’t the inverse also be true?”
Intuitive marks of oil paint and pastel characterize Salgado’s works and seem to build up over time. Irregular stripes and circles add greater depth and dimension to patches of color delineating a dress or facial feature, leaving each scene with a certain indeterminacy. Allowing for interpretation and an array of personal references is essential to the artist’s thinking: “It’s ready for the taking. And whatever you take from it—from the books, or the paintings, or the ideas within—it’s all right. It’s all correct. There are no wrong answers,” he says.
Self-Portrait as a Stack of Books is on view through June 28. Find more on Salgado’s website and Instagram.
“My Year Of Rest And Relaxation” (2025), oil and oil pastel on linen, 90 x 100 centimeters
“St. Augustine’s Confessions” (2025), oil and oil pastel on linen, 160 x 125 centimeters
“Hotel Du Lac” (2025), oil and oil pastel on linen, 152 x 117 centimeters
“Meditations” (Sayings, Speeches, Notes) (2025), oil and oil pastel on linen, 150 x 120 centimeters
“The Last Evening On Earth” (2025), oil and oil pastel on linen, 125 x 100 centimeters
“Beware of Pity” (2025), oil and oil pastel on linen, 80 x 75 centimeters
“The Aleph & Other Stories” (2025), oil and oil pastel on linen, 216 x 164 centimeters
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Mario Moore’s Oil Paintings Bridge Past and Present to Spotlight Black Resilience and Style
4 June 2025, 17:00
“Pillars” (2024), oil on linen, 84 x 96 inches. All images courtesy of Mario Moore and Library Street Collective, shared with permission
Mario Moore’s Oil Paintings Bridge Past and Present to Spotlight Black Resilience and Style
June 4, 2025
ArtHistorySocial Issues
Kate Mothes
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In large-scale works in oil, Detroit-based artist Mario Moore taps into the legacy of European painting traditions to create bold portraits exploring the nature of veneration, self-determination, and the continuum of history.
Moore’s work is currently on view in Beneath Our Feet at Library Street Collective alongside fellow Detroiter LaKela Brown. His new pieces nod to the Dutch and Flemish tradition of devotional painting, particularly religious garland paintings. Within elegant arrangements of flowers and foliage, he highlights Black figures relaxing or tending to gardens.
“The Patron Saint of Urban Farming” (2025), oil on linen, 72 x 48 inches
In “Watermelon Man,” a stone altar is surrounded by hibiscus and watermelons, both symbols of resilience. Historically, the latter represented self-sufficiency and freedom for Southern African Americans following Emancipation, but whites flipped the narrative into a stereotypical exemplar of poverty. Moore reclaims the fruit in the spirit of refined 17th-century still-lifes.
The artist has long drawn on the culture and legacies of both Detroit and the U.S. more broadly through the lens of the Black diaspora. Earlier works like “Pillars” position Black figures in elegant dress within the vast wildernesses of the American frontier, bridging the past to explore how racial divisions continue to shape the present.
An exhibition last summer at Grand Rapids Art Museum titled Revolutionary Times took his series A New Republic as a starting point, revisiting the history of Black Union soldiers during the Civil War.
Moore learned that one of his ancestors, who had been enslaved as a child, later enlisted in the Union Army, spurring the artist’s exploration of the seminal mid-19th-century period of conflict and Western colonization. He positions present-day figures in contemporary dress within historical contexts, interrogating political and racial segregations.
“Watermelon Man” (2025), oil on linen, 51 1/2 x 42 inches
Through tropes of European painting like a self-portrait of the artist in mirrored reflections and poses in three-quarter profile, Moore renders individuals whose direct, confident gazes and elegant dress invoke Detroit style and pride.
For Beneath Our Feet, Brown and Moore collaborated on a five-foot-wide bas-relief bronze coin. Each artist completed one side, with Mario’s contribution taking the form of a portrait of Brown. “Her profile echoes the conventional format of traditional American coinage, confronting the historic absence of Black women in national symbolism and positions of authority,” the gallery says. On the opposite side, Brown depicts a bouquet of collard greens symbolic of nourishment and community.
For this exhibition, Brown and Moore “reflect on the wealth held in the earth beneath us—and the enduring question of who holds the rights to till, own, and shape that land,” says an exhibition statement. Detroit is home to ambitious urban gardening initiatives that aim for local food sovereignty, mirroring the resourcefulness of Black farmers throughout history. The artists “consider land not just as property but as history, inheritance, and possibility,” the gallery says.
Beneath Our Feet continues through July 30 in Detroit. See more on Moore’s website and Instagram.
“International Detroit Playa: Sheefy” (2022), oil on linen, 108 x 96 inches
“These Are Not Yams But They Are Damn Good” (2025), oil on linen, 51 1/2 x 42 inches
“Creation of a Revolutionary (Helen Moore)” (2023), oil on linen, 76 x 52 inches
“Black” (2023), oil on linen, 48 x 48 inches
“Garland of Resilience” (2025), oil on linen, 51 1/2 x 42 inches
“Birth of Cool” (2023), oil on linen, 72 x 48 inches
Installation view of ‘LaKela Brown and Mario Moore: Beneath Our Feet’ at Library Street Collective, Detroit
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Order an Object at the New V&A East Storehouse to Get Up-Close to 5,000 Years of Cultural Heritage
3 June 2025, 19:24
The Weston Collections Hall at V&A East
Storehouse, including over 100 mini
curated displays in the ends and sides of the storage racking. The
space is anchored by six large-scale objects, including a building section from the now-demolished Robin Hood
Gardens, a former residential estate in
Poplar, east London. Photo by Hufton +
Crow for V&A. All images courtesy of V&A, shared with permission
Order an Object at the New V&A East Storehouse to Get Up-Close to 5,000 Years of Cultural Heritage
June 3, 2025
ArtDesignHistory
Kate Mothes
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What do the largest Picasso painting in the world, punky Vivienne Westwood apparel, pins for securing a 17th-century ruff, and a complete Frank Lloyd Wright interior have in common? That’ll be the U.K.’s Victoria and Albert Museum, or the V&A, the world’s largest collection of design and applied and decorative arts.
In South Kensington, the palatial museum has awed visitors since 1852, and in recent decades, the institution has greatly expanded, with locations like the Young V&A in Bethnal Green, the Wedgwood Collection in Stoke-on-Trent, the ship-like V&A Dundee in Scotland, and the brand new V&A East Storehouse in Queen Elizabeth Olympic Park.
The largest Picasso work in the world, the 1924 front stage cloth for the Ballets Russes’ production, ‘Le Train Bleu,’ at V&A East Storehouse. Photo by David Parry/PA Media Assignments. Pablo Picasso, “Le Train Bleu front stage cloth” (1924) © The estate of Pablo Picasso
Spanning 5,000 years of human creativity through hundreds of thousands of objects requires a lot of space. Rather than hiding it all away in a dark warehouse, the new Storehouse takes over a portion of the former 2012 London Olympics Media Centre, providing a purpose-built home for more than 250,000 objects, 350,000 library books, and 1,000 archives from across the V&A’s diverse collections.
The best part? You can visit! Storehouse hosts workshops, screenings, performances, and pop-up displays of special collections, along with the opportunity to observe conservators at work preserving a wide range of cultural heritage objects.
Peruse more than 100 curated mini-displays throughout the building, and book in advance to get up-close and personal through the Order an Object experience. Pick any object in storage, and a member of the Collections Access team will assist you in interacting safely with everything from artworks to textiles to musical instruments.
Plan your visit on the V&A website.
The 17th-century Agra Colonnade, an extraordinary example of Mughal architecture from the bathhouse at the fort of Agra, visible through the Weston Collections Hall glass floor, and accessible via Object Encounters at V&A East Storehouse. Photo by Hufton + Crow for V&A
View of Weston Collections Hall, which features more than 100 mini curated displays, at V&A East Storehouse. Photo by Kemka Ajoku for V&A
Welcome area at V&A East Storehouse with pull-out framed textiles to explore. Photo by Kemka Ajoku for V&A
Mesh roll-out storage racking at V&A East Storehouse. Available via Object Encounters visits. Photo by Hufton + Crow for V&A
Multi-purpose conservation studio, visible from the Conservation Overlook at V&A East Storehouse. Photo by David Parry/PA Media Assignments
View of the Weston Collections Hall at V&A East Storehouse. Photo by David Parry/PA Media Assignments
Order an Object appointment at V&A East Storehouse. Photo by Bet Bettencourt forV&A Object pictured is Althea McNish, “Rubra” (1961), furnishing fabric
View of a section of Robin Hood Gardens, a former residential estate in Poplar, east London, at V&A East Storehouse. Photo by David Parry/PA Media Assignments
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Chinese Herbs Suspended in Resin Usher in Healing in Wen Liu’s Skeletal Sculptures
3 June 2025, 17:14
“Ouroflora” (2025),
prescribed herbal medicine, epoxy clay, resin, acrylic, varnish, 34 x 46 x 1 1/2 inches. All images courtesy of Wen Liu, shared with permission
Chinese Herbs Suspended in Resin Usher in Healing in Wen Liu’s Skeletal Sculptures
June 3, 2025
Art
Grace Ebert
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“In traditional Chinese medicine, treatments are prescribed through dialogue—how well one can communicate internal pain becomes a condition for healing,” says Wen Liu. Particularly difficult in moments of agony and discomfort, accurately describing our bodily sensations is essential for receiving treatment, and yet, as Liu points out, it’s also an act of translation that can feel nearly impossible while suffering and speaking a second or third language.
The Shanghai-born artist, who is now based in Brooklyn, draws on this reality for her sculptural works that suspend dried herbs in tinted resin. Liu began incorporating these natural prescriptions into her practice when her father died “as a way to metabolize grief and explore healing through cultural connection,” she adds.
“In Light, Where Edges Yield” (2025), prescribed herbal medicine, epoxy clay, resin, acrylic, varnish, stainless steel, 65 x 65 x 3 1/2 inches
Painted in pale purples and greens or silver, the molded-clay structures are architectural and skeletal, while the herbal portions evoke both stained-glass windows often seen in churches and cathedrals and vulnerable membranes of the body. Many works are affixed to the wall, although the human-sized “In Light, Where Edges Yield” stands freely on four legs with a spinal column at its center.
Liu is intrigued by the way light filters through these surfaces and appears on the other side as a sacred, distorted beam of color. “This refracted illumination offers a sensory language beyond speech, mirroring the project’s exploration of emotions like grief, the processes of healing, and the inadequacy of language in capturing lived experience,” she adds.
Continually mixing Eastern and Western traditions, Liu instills a sense of harmony and balance in her works. She gravitates toward symmetry and presents her sculptures almost like a Rorschach test, inviting viewers into a delicate dialogue of healing.
Antidote is on view through June 21 at Gaa Gallery in New York. Liu is currently working toward an exhibition opening this month at Tang Contemporary Art Beijing, and you can explore more on her website and Instagram. (via Young Space)
“Inarticulate Trace No1.” (2023), prescribed herbal medicine, epoxy clay, resin, paint, UV resistant varnish, 37 x 32 x 1.5 inches
“Silhouette of a Dose” (2022), prescribed herbal medicine, epoxy clay, resin, paint, UV resistant varnish, 43 x 41 x 1.5 inches
Detail of “Silhouette of a Dose” (2022), prescribed herbal medicine, epoxy clay, resin, paint, UV resistant varnish, 43 x 41 x 1.5 inches
Detail of “In Light, Where Edges Yield” (2025), prescribed herbal medicine, epoxy clay, resin, acrylic, varnish, stainless steel, 65 x 65 x 3 1/2 inches
“Inarticulate Trace No2.” (2024), prescribed herbal medicine, epoxy clay, resin, paint, UV resistant varnish, 40 x 43 x 1.5 inches
“Inarticulate Trace No3.” (2024), prescribed herbal medicine, epoxy clay, resin, paint, UV resistant varnish, 43.5 x 40.5 x 1.5 inches
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Enigmatic Phenomena and Galactic Shapes Revolve in Shane Drinkwater’s Cosmic Systems
2 June 2025, 17:58
All images © Shane Drinkwater, shared with permission
Enigmatic Phenomena and Galactic Shapes Revolve in Shane Drinkwater’s Cosmic Systems
June 2, 2025
Art
Kate Mothes
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For Queensland-based artist Shane Drinkwater, self-imposed restrictions provide a key starting point for works he creates in ink, pen, acrylic, and collage—always in a square format measuring about 50 by 50 centimeters. Arrows, crosses, dots, and numbers build linear elements and patterns, while primary colors provide the foundation for the occasional green or gradient.
Drawing on a lifelong love for maps, ciphers, and astronomical charts, Drinkwater continues to explore the possibilities of fictional cosmic networks (previously). In some pieces, concentric circles resemble diagrams of the Solar System, while in others, references to comets or esoteric systems suggest the imaginary workings of atomic phenomena or alchemical experiments.
Drinkwater’s work was recently included in the book Elements: Chaos, Order and the Five Elemental Forces, published by Thames & Hudson. He is currently preparing work for art fairs this fall in Copenhagen and Paris, along with a group show at Gagné Contemporary in Toronto. Find more on the artist’s website and Instagram.
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In ‘Passing Time,’ Seth Clark’s Jumbled Old Houses Play, Leap, and Explore
2 June 2025, 14:58
All images courtesy of Seth Clark and Paradigm Gallery + Studio, Philadelphia, shared with permission
In ‘Passing Time,’ Seth Clark’s Jumbled Old Houses Play, Leap, and Explore
June 2, 2025
Art
Kate Mothes
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Crumbling shingle roofs, peeling plywood, and fragmented framing characterize much of Seth Clark’s recent work, in which spheres or mounds of dilapidated houses serve as studies of texture, material, time, and neglect. In new work on view this week in his solo exhibition Passing Through at Paradigm Gallery + Studios, he’s made one mindful addition: limbs.
The Pittsburgh-based artist’s collaged paper paintings, pastel and ink transfer drawings, and sculptures reflect his interest in the chaotic aesthetic of collapsing houses. More recently, his jumbled compositions have sprouted legs, strolling or running and adding a sense of both urgency and playfulness to the architectural forms.
Drawing on daily observations and photographs, especially of Pittsburgh’s suburban row houses, Clark assembles references for window frames, siding, gables, roof lines, and more to emphasize various states of deterioration. Found materials and papers provide the paintings’ layered textures, which he then ages with ink washes, charcoal, graphite, pastel, and acrylic. His new works are dollhouse-like and a smidge brighter than in the past, with the addition of cheerful pinks, yellows, and purples to complement darker browns and grays.
Clark’s anthropomorphized constructions suggest the nature of inhabiting—something akin to the soul of a place in addition to its physical makeup. The artist “attributes this change to recently becoming a father and developing an urge to instill hope into crumbling houses and broken window panes,” the gallery says. “What was first a sobering reminder of mortality has now become a message of how, even in states of chaos and decay, there can still be enough joy found in dark places to pick up the pieces and create something new.”
Passing Through runs from June 6 to June 29 in Philadelphia. See more on the artist’s website and Instagram.
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Dr. Ella Hawkins Reimagines Ancient Artifacts and Prized Objects as Edible Replicas
31 May 2025, 18:28
William Morris Biscuit Set. All images courtesy of Ella Hawkins, shared with permission
Dr. Ella Hawkins Reimagines Ancient Artifacts and Prized Objects as Edible Replicas
May 31, 2025
ArtDesignFoodIllustration
Grace Ebert
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Academic research is notoriously niche and often opaque, but Dr. Ella Hawkins has found a crowd-pleasing way to share her studies. The Birmingham-based artist and design historian translates her interests in Shakespeare performance, costume, and matieral culture into edible replicas.
Hawkins bakes batches of cookies that she tops with royal icing. Decorating takes a scholarly turn, as she uses tiny paintbrushes and a mini projector to help trace imagery of William Morris’ ornate floral motifs or coastal scenes from English delftware. Rendering a design on a single cookie can take anywhere between two and four hours, depending on the complexity. Unsurprisingly, minuscule calligraphy and portraits are most demanding.
Ancient Greek Pottery Sherds
Hawkins first merged baking and her research about a decade ago while studying undergraduate costume design at the University of Warwick. She decided to bake cupcakes based on Shakespeare productions that her class examined. “It felt like a fun way to look back at all the different design styles we’d covered through the year,” she tells Colossal, adding:
I carried on decorating cakes and cookies based on costume design through my PhD (mainly as goodies to give out during talks, or as gifts for designers that I interviewed), then branched out and spent lots of time doing cookie versions of other artefacts to keep busy during the pandemic.
She has since published an academic book on the topic and is a senior lecturer at Royal Welsh College of Music and Drama. But she also continues to translate artifacts and prized objects held within museum collections into delicious canvases.
There’s a set made in collaboration with Milton’s Cottage, a museum in the country house where John Milton finished his epic Paradise Lost. Anchored by a delicately crosshatched portrait evoking that of the frontispiece, the collection contains typographic titles and signs that appear straight from a 17th-century book.
Delftware Tiles
Hawkins ventures farther back in history to ancient Greece with a collection of pottery sherds inspired by objects within the Ashmolean Museum. With a bowed surface to mimic a vessel’s curvature, the irregular shapes feature fragments of various motifs and figures to which she applied a sgraffito technique, a Renaissance method of scratching a surface to reveal the layer below.
The weathered appearance is the result of blotting a base of pale brown-grey before using a scribe tool to scratch and crack the royal icing coating the surface. She then lined these etchings with a mix of vodka and black food coloring to mimic dirt and wear. (It’s worth taking a look at this process video.)
Other than a select few preserved for talks and events, Hawkins assures us that the rest of her cookies are eaten. Find more of her work on her website and Instagram.
Medieval Tiles, inspired by The Tristram Tiles, Chertsey, Surrey, England (c. 1260s-70s)
Milton’s Cottage Biscuit Set developed in collaboration with Milton’s Cottage
Outlander Biscuit Set
Elizabethan Gauntlet Biscuit Set
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In ‘Of the Oak,’ a Magnificent Tree at Kew Gardens Gets an Immersive ‘Digital Double’
30 May 2025, 14:30
All images courtesy of Marshmallow Laser Feast, courtesy of Royal Botanic Gardens, Kew, shared with permission
In ‘Of the Oak,’ a Magnificent Tree at Kew Gardens Gets an Immersive ‘Digital Double’
May 30, 2025
ArtDesignNatureScience
Kate Mothes
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“We believe in the power of stories to tickle senses and shift perceptions,” says Marshmallow Laser Feast, an experiential artist collective merging art, extended reality (XR), and film into large-scale, immersive exhibitions.
MLF’s latest work, Of the Oak, situates a monumental, six-meter-tall, double-sided video of the titular tree in London’s Royal Botanic Gardens, Kew. The piece focuses on the garden’s Lucombe oak, portraying a “digital double” using real-world data.
Photo by Barney Steel
MLF collaborated with researchers from Kew to create a vibrant, scientific rendering, blending advanced technologies with artistic imagery. The team stitched together thousands of images, used LiDAR to map the tree’s form with laser pulses, CT-scanned soil samples, employed ground-penetrating radar to trace the root system, and recorded a series of 24-hour soundtracks.
“Of the Oak is a celebration for the oak tree as a living monument of vital ecological relationships and species interdependence,” MLF says. “It is an invitation to witness the oak as a keystone in the web of life, majestic and unassuming, stretching its branches skyward and its roots deep into the soil, embodying both quiet strength and boundless generosity.”
Visitors can access a stunning digital field guide on their phones or via desktop from anywhere, featuring a series of meditations that “tune into the invisible bond between humans and trees.” The app also includes an interactive species guide highlighting the diverse range of birds, insects, fungi, and other inhabitants that rely on oak trees for survival.
Of the Oak continues at Kew through September 28. Marshmallow Laser Feast is also currently presenting an immersive, seven-room exhibition titled YOU:MATTER at the National Science and Media Museum as part of Bradford 2025 U.K. City of Culture. See more projects on the collective’s website.
Photo by Sandra Ciampon
Photo by Barney Steel
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Aurelia Butler

More stories

Literary Citations Abound in Andrew Salgado’s Vibrantly Layered Portraits

Order an Object at the New V&A East Storehouse to Get Up-Close to 5,000 Years of Cultural Heritage

Chinese Herbs Suspended in Resin Usher in Healing in Wen Liu’s Skeletal Sculptures

Enigmatic Phenomena and Galactic Shapes Revolve in Shane Drinkwater’s Cosmic Systems

In ‘Passing Time,’ Seth Clark’s Jumbled Old Houses Play, Leap, and Explore

Dr. Ella Hawkins Reimagines Ancient Artifacts and Prized Objects as Edible Replicas

In ‘Of the Oak,’ a Magnificent Tree at Kew Gardens Gets an Immersive ‘Digital Double’

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