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Through Surreal Paintings, Shyama Golden Reincarnates a Mythic Narrative
26 April 2025, 12:00
“Too Bad, So Sad, Maybe Next Birth” (2025), oil on linen, 42 x 80 inches. All images courtesy of PM/AM, shared with permission
Through Surreal Paintings, Shyama Golden Reincarnates a Mythic Narrative
April 26, 2025
Art
Grace Ebert
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When Shyama Golden would find herself disappointed as a child, her parents would often respond with “too bad, so sad, maybe next birth.” Invoking reincarnation and the possibilities of an alternative life, this phrase continues to reinvent itself in Golden’s practice.
On view next month at PM/AM, Too Bad, So Sad, Maybe Next Birth presents a collection of lush paintings filled with surreal details, earthly textures, and a recurring blue-faced character. As with earlier series, the artist invents a vast, magical narrative that flows through each of the works, this time as a four-act performance.
“Bevis Bawa Garden, 1936” (2025), oil on linen, 72 x 60 inches
The mythical storyline unfolds with a collection of diptychs comprised of a large-scale scene and a close-up companion offering another perspective. These pairings visualize a sort of alternative past for the artist as she explores the inexorable twining of personal agency and larger forces like fate and collective experiences that shape our identities.
In Too Bad, So Sad, Maybe Next Birth, Golden opens with her blue-faced alter ego named Maya, a rendition of the Sri Lankan folklore tricksters known as yakkas. Dressed in a fur suit, the character lies in the roadway, her chest split open to reveal a bright red wound. A bag of oranges is littered nearby.
The counterpart to this titular work is a self-portrait of the artist barefoot, posed against the rocky roadside. She stands atop cracked pavement while oranges spill blood-red juice on the ground. Introspective yet invoking the universal, the pair grasps at the tension between unexpected violence and death, whether metaphoric or real, and the ability to find resilience in the face of adversity.
Golden’s series continues to unravel as a series of contrasts. She considers fame, erasure, and where freedom resides within the two, along with the notion of sole creative geniuses mistakenly thought to operate outside the whole. And in “Mexican Texas, 1862,” the artist tackles the porous, if not arbitrarily drawn, boundaries that tie us to states and nations and ultimately, change over time.
“Stories of My Death Have Been Greatly Exaggerated” (2025), oil on linen, 72 x 36 inches
In addition to her oil paintings for this exhibition, Golden is collaborating on an animated video project with her husband, the director Paul Trillo, who will build an AI model trained exclusively on Golden’s paintings. Given the hesitation by many artists about the role of artificial intelligence and intellectual property, the pair is interested in confronting the issue from the perspective of influence and the myth of the lone genius. Golden writes:
Many artists who are canonized are actually working in a style that they didn’t invent but that was part of a movement arising out of their time and location. AI is deeply unsettling to artists in the West because we romanticise the artist as a singular figure, who is only influenced by one to three other clearly defined artists, giving them a lineage of artistic inheritance and perceived value.
Golden also ties this idea to “the clout needed to command a price for our work,” which she suggests is simply another narrative device in the act of self-mythologizing.
If you’re in London, Too Bad, So Sad, Maybe Next Birth runs from May 23 to July 1. Find more from Golden on her website and Instagram.
“Mexican Texas, 1862” (2025), oil on linen, 72 x 60 inches
“A Myth of My Own Creation” (2025), oil on linen, 66 x 48 inches
“You Seeing What I’m Seeing” (2025), oil on linen, 48 x 48 inches
“The Sound of One Bird Colliding” (2025), oil on linen, 24 x 30 inches
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A Bold Metaphysical Portal by Hilma’s Ghost Stretches 600 Feet Across Grand Central Station
25 April 2025, 19:01
Hilma’s Ghost, “Abstract Futures” (2025), NYC Transit 42 St-Grand Central Station, commissioned by MTA Arts & Design. All photos by Etienne Frossard, courtesy of the artists and MTA, shared with permission
A Bold Metaphysical Portal by Hilma’s Ghost Stretches 600 Feet Across Grand Central Station
April 25, 2025
Art
Grace Ebert
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A glass mosaic covering 600 square feet of the 2nd Street entrance to the 7 train in Grand Central Station greets commuters with a bold, cosmic map. The work of Sharmistha Ray and Dannielle Tegeder, of the feminist collective Hilma’s Ghost, “Abstract Futures” is a vibrant, three-part portal to transformation.
Named after the visionary artist and mystic Hilma af Klint(1862–1944), the collective formed in 2020 and typically pairs innovative contemporary art practices with spirituality. Their tarot deck has amassed a cult following and shares a name with this new MTA Arts & Design-commissioned project (previously), the group’s first public artwork.
Abstract Futures opens with “The Fool,” a tarot card representing an embrace of new beginnings. Brilliant reds, pinks, and oranges nest together in entrancing, angular forms to invoke courageous, creative intuition at the start of a journey.
In the center is “The Wheel of Fortune,” which is intended to bring this passionate, if not naive, energy back to Earth. Here, grounding greens and browns form a cyclical pattern that reflects a natural rhythm. Concentric orbs and a string of ochre diamonds propel the viewer toward the future.
The last piece in the trio is also the largest, beginning with a celestial blue triangle met by an inverted plane in orange. This pairing draws on “The World,” creating a harmonious, unified relationship between the shadows and wisdom that exist within all of us.
Red, horizontal bars at the far right call on tarot’s suit of wands. Generally associated with fire and primal energy, this final segment symbolizes regeneration and the ability to begin again.
In a statement, the artists say they hope the work inspires a new way of looking at the city:
Abstract Futures is about the connection between people, spaces, and time, and intended to provide a powerful reflection of what New York represents to us all. The city is at once a sprawling metropolis with millions of people but also a dynamic network of interconnectivity. As we make our way through a single day in New York, we connect with so many people from so many walks of life. The density of the mural’s imagery, pattern, and color is a metaphor for the endless diversity of the city that is its heartbeat.
Miotto Mosaic Art Studios fabricated the work, and you can explore Hilma’s Ghost’s collaborative projects on its website. (via Hyperallergic)
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Get ‘H.A.P.P.Y’ with Liz West’s Immersive Installation Made of More Than 700 Colorful Discs
24 April 2025, 17:00
“H.A.P.P.Y.” All images courtesy of Liz West and Mercer Art Gallery, shared with permission
Get ‘H.A.P.P.Y’ with Liz West’s Immersive Installation Made of More Than 700 Colorful Discs
April 24, 2025
Art
Kate Mothes
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Spanning nearly the entire floor of the main space of Mercer Art Gallery in Harrogate, Liz West’s expansive new installation invites viewers to revel in color and brightness. The artist has reimagined the historic early-19th-century spa promenade room as a vibrant, sensory immersion.
West’s solo exhibition, H.A.P.P.Y, takes inspiration from a common malady known as seasonal affective disorder, or S.A.D., which is a form of depression that often manifests in the fall or winter when the days are shorter and the temperatures drop. It typically recedes in the summer and spring.
Continuing her interest in the effects of light, reflections, and chromatic relationships (previously), the artist created “Our Colour Reflection,” the centerpiece of H.A.P.P.Y, to highlight the emotional, psychological, and physical power of vibrancy and hue.
Composed of 765 multi-colored discs layered in low relief across the floor, the piece transforms the environment into a luminous experience that interacts with natural and artificial light and evolves throughout the day.
H.A.P.P.Y also includes a selection of paintings, drawings, and models for “Our Colour Reflection,” and the exhibition continues through October 5. See more on the artist’s website and Instagram.
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Hundreds of Huge Flowers Spring Forth in Carly Glovinski’s Monumental ‘Almanac’
24 April 2025, 14:56
“Almanac” (2024), installation view, acrylic on Mylar. Photos by Julia Featheringill. All images courtesy of Carly Glovinski, Morgan Lehman Gallery, and MASS MoCA, shared with permission
Hundreds of Huge Flowers Spring Forth in Carly Glovinski’s Monumental ‘Almanac’
April 24, 2025
ArtNature
Kate Mothes
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“Gardening gives one back a sense of proportion about everything—except itself,” author May Sarton (1912-1995) wrote in her book Plant Dreaming Deep (1968), a journal about discovering a love of tending to the land. For Carly Glovinski (previously), the sentiment incidentally frames something of a raison d’être for the artist’s remarkable large-scale floral installation at MASS MoCA.
Glovinski was especially moved by Sarton’s book The House by the Sea (1977), which traces the author’s move from New Hampshire to the seacoast of Maine. The vibrancy of gardens spurred the artist’s fascination with flowers, culminating recently in an expansive work titled “Almanac.”
Celebrating the diversity and dynamism of blooms, the piece explores ideas around placemaking and the passage of time. “For Glovinski, the garden is a metaphor for collapsed time and perishable memories,” says an exhibition statement. Along with Sarton, the artist also draws on poet Emily Dickinson’s love for plants, channeling literary reflections on connecting with the simple pleasures—and sublime chaos—of nature.
“Almanac” takes its name from the annual guide that forecasts weather and a provides calendars for astronomical events, tides, and planting. The piece took more than a year to complete and comprises hundreds of pressed flower paintings made with washy acrylic paint applied to both sides of semi-transparent mylar. The gestural brushstrokes on translucent material evoke a sense of lightness and delicacy, like real petals blown up to larger-than-life size. Above the installation, she’s labeled segments with the months the blooms appear.
Glovinski references pressed blossoms that she has grown, harvested, or collected from friends, nodding to Emily Dickinson’s love of the practice. (The poet created a stunning herbarium containing 424 specimens collected around her home in Amherst, Massachusetts.) “By observing, tending, and preserving flowers, ‘Almanac’ becomes both a visual record of the seasons and a commentary on the labor of care,” the museum says.
See more on Glovinski’s website and Instagram.
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‘Of Salt and Spirit’ Celebrates the Legacy of Black Southern Quilters
23 April 2025, 19:42
Hystercine Rankin (1929–
2010), “Memory Quilt” (ca. 1994), fabric; appliquéd, hand-embroidered, and hand-quilted, 88 x 82 inches. All images courtesy of Mississippi Museum of Art, shared with permission
‘Of Salt and Spirit’ Celebrates the Legacy of Black Southern Quilters
April 23, 2025
ArtCraft
Kate Mothes
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You may have heard of the remarkable quilters of Gee’s Bend, but do you know about the Crossroads Quilters, like Gustina Atlas? Or Hystercine Rankin? Mary Mayfair Matthews? You’re in luck if you have a chance to visit Of Salt and Spirit: Black Quilters in the American South at the Mississippi Museum of Art, which shines a light on dozens of incredible Black Southern quilters and takes a celebratory approach to showcasing their myriad styles and techniques.
MMA is home to one of the South’s largest collections of quilts, from which more than 50 handmade and machine-stitched examples were drawn for this expansive exhibition. Merging research, interpretation, and community engagement, curator Dr. Sharbreon Plummer aimed for “a cohesive, experiential study of American art through a Black feminist lens.” The show parses cultural narratives around the art form, spotlighting the impact of the craft across generations and geography.
Emma Russell, “Star Quilt” (1978), cotton blend; hand-pieced, appliquéd, and hand-quilted, 81 x 77 inches
A wide range of contemporary and historic pieces converge in Of Salt and Spirit, including figurative and narrative works alongside vibrant geometric compositions. Many of the works were acquired by the museum from Roland L. Freeman (1936-2023), a photographer who documented African-American craftspeople and guilds in his work as a stringer for Time magazine and Magnum Photos.
Freeman collected more than 100 quilts, made several of his own, and published a couple of books on the subject. “Quilts have the power to create a virtual web of connections—individual, generational, professional, physical, spiritual, cultural, and historical,” he says in his second book, A Communion of the Spirits (1996).
In conjunction with the exhibition, the museum also highlights the large-scale, ongoing AIDS Memorial Quilt project, which was initiated in 1985 at the height of the epidemic. Paralleling Of Salt and Spirit’s focus on creative expression, identity, and strength, the AIDS quilt—which will be on display at MMA for a two-week period beginning May 5—honors quilting for its role in resistance and remembrance.
Of Salt and Spirit continues through May 18 in Jackson. Plan your visit on the museum’s website. You may also enjoy a look back at Souls Grown Deep Like the Rivers, a monumental survey recognizing the artistic traditions of Black artists.
Mary Mayfair Matthews, “Folk Scenes Quilt” (1992), rayon, cotton polyester blend, lace, lamé, and buttons; hand-pieced and appliquéd, 86 1/4 x 74 inches
Annie Dennis (designed by Roland L. Freeman), “Voodoo Quilt” (1987), fabric; hand-pieced, appliquéd, hand-embroidered, and hand-quilted, 83 1/2 x 64 inches
Detail of “Voodoo Quilt”
Gustina Atlas, “Variation on Dresden Plate Quilt” (1998), cotton; machine- pieced and hand-quilted, 81 1/2 x 80 inches
Clancy McGrew, quilted and appliquéd by Jeraline Nicholas, “Storytime at the Library” (2004), fabric; machine-pieced, appliquéd, embroidered, and hand-quilted, 41 3/4 x 83 1/8 inches
Mabel Williams, “Improvisational Strip Quilt” (1968), cotton, polyester, wool, twill; hand-pieced and hand- quilted with appliquéd and embroidered backing, 85 x 65 inches
Clancy McGrew, quilted by Tammy McGrew, “Clancy’s Beauty Salon” (2004), fabric; machine-pieced, appliquéd, and hand-quilted, 67 5/8 x 49 1/2 inches
Roland Freeman, “Maya Angelou, Author, Educator, and Quilter (top left and bottom right); Dolly McPherson, Maya Angelou, and Beverly Guy-Sheftall (top right and bottom left), Winston-Salem, North Carolina, November 1992” (1992), Chromogenic print with quilted mat (1996) by Anita Knox, 36 x 36 inches
Roland Freeman, “Catherine Gill with Sunburst Quilt (left) Made by Her Mother, Classy Blaylock, fromDecatur, Mississippi, Flagstaff, Arizona, April 1993″ (1993), Chromogenic print, 27 x 38 inches
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Tiff Massey Celebrates Detroit Culture and Style in Monumental Mixed-Media Installations
23 April 2025, 14:20
“I’ve Got Bundles and I Got Flewed Out (Green)” (2023). All images courtesy of the artist and Detroit Institute of Arts, shared with permission
Tiff Massey Celebrates Detroit Culture and Style in Monumental Mixed-Media Installations
April 23, 2025
Art
Kate Mothes
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From larger-than-life double-bobble hair bands to a wall of elaborate braids, Tiff Massey spotlights distinctive Detroit style. Trained as a metalsmith, the artist employs the power of material and scale to highlight the city’s neighborhoods and Black identity and culture.
7 Mile + Livernois, Massey’s solo exhibition at the Detroit Institute of Arts, takes inspiration from the crossroads at the heart of the city’s Black business and fashion district, where the artist grew up. The area will soon be home to a new arts and community space that Massey is spearheading in an effort to guide and celebrate local kinship.
“Everyday Arsenal” (2018)
Personal adornment is central to the artist’s expression, which she channels through jewelry, sculptures, and mixed-media assemblages to underscore Black style with a focus on her hometown. “Whatupdoe” and “Everyday Arsenal,” for example, respectively transform a contemporary chain necklace and silver rings into monumental installations, creating terrains of portal-like tunnels and interlocked angles.
The “ancestral flyness” of the artist’s parents and previous generations also provides a limitless well of inspiration. “How they adorned themselves has definitely been influential not only to how I adorn myself but also to the ideas that I have within the works,” Massey says in an interview for the DIA exhibition catalogue. “Detroiters, when we step outside, we step outside. We want people to see it. We want people to see us. And that has left a tremendous impression on me.”
7 Mile + Livernois continues through May 11. Find more on the artist’s website and Instagram.
“Baby Bling” (2023)
“Whatupdoe” (2024)
Detail of “I’ve Got Bundles and I Got Flewed Out (Green)”
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In Luminous Portraits, Florence Solis Invokes Feminine Power Amid Constraint
22 April 2025, 20:09
“Makahiya IX” (2025),
acrylic on canvas, 20 x 16 inches. All photos by Julieta Christy Sarmiento, courtesy of The Mission Projects, shared with permission
In Luminous Portraits, Florence Solis Invokes Feminine Power Amid Constraint
April 22, 2025
Art
Grace Ebert
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When touched, the hypersensitive makahiya plant folds its minuscule leaflets inward, protecting itself from any potential threat.
Florence Solis draws on this defensive response in an ethereal collection of portraits. Beginning with digital collages that meld figures and delicate, organic ornaments, the Filipino-Canadian artist translates the imagined forms to the canvas. Shrouded in dainty, beaded veils or entwined with botanicals, each protagonist appears bound and concealed, their bodies and faces obscured by hair or grass.
“Sirena” (2025), acrylic on canvas, 30 x 24 inches
As Solis sees it, the figures may be restricted, but they’re also able to find strength and transformation. “Filipino women, much like the makahiya, have been taught to yield, to soften, to take up less space,” she says. “And yet, beneath this quietness lies an undeniable force—one that persists, adapts, and reclaims space in its own way.”
Working in saturated, often single-color palettes, Solis renders figures who appear to harness magical powers. She references Filipino folklore and the belief in the power of the everyday to lead to the divine, painting women rooted in tradition and myth, yet determined to see their transformation through.
The vivid portraits shown here will be on view at EXPO CHICAGO this week with The Mission Projects. Find more from Solis on Instagram.
“Sa Lupa (On Ground)” (2025), acrylic on canvas, 30 x 24 inches
“Totem” (2025), acrylic on canvas, 30 x 24 inches
“Makahiya VIII” (2025), acrylic on canvas, 20 x 16 inches
“Makahiya VII” (2025), acrylic on canvas, 48 x 36 inches
“Alay (Offering)” (2025), acrylic on canvas, 48 x 36 inches
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Reviving an Ancestral Hawaiian Tradition, Lehuauakea Reimagines Kapa in Bold Textile Works
22 April 2025, 15:06
“Since the Beginning and End of Time” (2024), hand-embroidery, bells, and shell buttons
on hand-stitched indigo-dyed kapa (barkcloth) garment, approx. 50 x 44
inches. All images courtesy of Lehuauakea, shared with permission
Reviving an Ancestral Hawaiian Tradition, Lehuauakea Reimagines Kapa in Bold Textile Works
April 22, 2025
ArtCraftHistory
Kate Mothes
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“My favorite thing about kapa is that it is simultaneously ancestral, ancient, and contemporary,” says Lehuauakea (Kanaka Maoli), who recently received the Walker Youngbird Foundation grant for emerging Native American artists. Kapa, the Indigenous Hawaiian practice of clothmaking, uses the inner bark of the wauke, or paper mulberry tree, to create garments and textiles. For Lehuauakea, the technique forms the foundation of a practice rooted in the artist’s Hawaiian lineage and material traditions.
Softening the fibers enough to create cloth requires a labor-intensive method of soaking pieces of bark. Through an arduous process of beating and stretching with tools like the iʻe kuku, a thin, pliable fabric emerges. “It is a very malleable material that reflects the current state of the natural environment, and the surrounding community and personal hand of the maker,” Lehuauakea tells Colossal. “It requires a level of patience and perseverance while also paying close attention to the nature of the bark and pigments you are working with.”
“Still Finding My Way Back Home” (2025), kapa (barkcloth), reclaimed Japanese fabrics, indigo and madder root dyes, ceramic beads, bells, earth pigments, hand-embroidery, and metal leaf, approx. 18 x 9 feet
Kapa is derived from ancient Polynesian practices—it’s called tapa in other parts of the Pacific—and Hawaiians elaborated on the custom by incorporating watermarks, natural pigments, and fermentation.
Traditionally, kapa possessed both practical and spiritual qualities, as it was used for everyday apparel and bedding but also served as a carrier of mana, or healing life force. When the U.S. controversially annexed the territory and the import of cotton amped up in the late 19th century, the practice all but died out.
Lehuauakea’s interest in kapa emerged when their family relocated to Oregon when they were young. Over time, the artist felt increasingly disconnected from their home and sought a way to conjure a link to their Hawaiian ancestry.
“I remembered learning about kapa as a child and how we’d use patterns to tell stories, so in my junior year of college I taught myself how to carve ʻohe kāpala, or traditional carved bamboo printing tools used for decorating finished kapa,” the artist says. Then it was onto learning how to make the barkcloth itself, with the help of artisan and mentor Wesley Sen, spurring Lehuauakea’s passion for the medium.
“Puka Komo ʻEkahi: Portal to Grant Permission” (2024), earth pigments and metal leaf on kapa (barkcloth), 28 x 28 inches
Fascinated by the potential to not only continue a time-honored Kanaka Maoli art form but also to experiment and push the boundaries of the material, Lehuauakea makes large-scale installations, hand-stitched garments, mixed-media suspended works, and hand-painted two-dimensional compositions— “in other words, forms that you wouldn’t see in ancestral samples of pre-contact Hawaiian kapa,” they say. The artist continues:
As an Indigenous cultural practitioner and artist, I believe it is important to have a solid foundation in the traditional knowledge of the practice before attempting to expand on it or experiment with more contemporary expressions of the medium because I am not singular in this work; I am simply building on a tradition that was passed down through many generations before me, and I can only hope that I am able to inspire future generations to continue it.
Lehuauakea is currently working toward solo exhibitions at the Center for Contemporary Art Santa Fe and Nunu Fine Art in New York City, exploring ideas around Native Hawaiian cosmology, celestial cycles, and the relationship between Native Hawaiian language and pattern. Find more on the artist’s website.
“Kūmauna” (2024), earth pigments hand-painted on kapa (barkcloth), 26 x 48 inches
Detail of “Still Finding My Way Back Home”
“I Walk With My Ancestors (1 of 2)” (2024), earth pigment and wildfire charcoal hand-painted on kapa (barkcloth), 29 x 61.5 inches
“Night Eyes” (2024), earth pigments and wildfire charcoal hand-painted on kapa (barkcloth), 78 x 18.5 inches
“Mele o Nā Kaukani Wai (Song of a Thousand Waters)” (2018), mixed mulberry papers, handmade plant dyes and mineral pigments, gouache, ceramic beads, and thread, approx. 11 x 8 feet
Detail of “Mele o Nā Kaukani Wai (Song of a Thousand Waters)”
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Aurelia Butler

More stories

Through Surreal Paintings, Shyama Golden Reincarnates a Mythic Narrative

A Bold Metaphysical Portal by Hilma’s Ghost Stretches 600 Feet Across Grand Central Station

Get ‘H.A.P.P.Y’ with Liz West’s Immersive Installation Made of More Than 700 Colorful Discs

Hundreds of Huge Flowers Spring Forth in Carly Glovinski’s Monumental ‘Almanac’

‘Of Salt and Spirit’ Celebrates the Legacy of Black Southern Quilters

Tiff Massey Celebrates Detroit Culture and Style in Monumental Mixed-Media Installations

In Luminous Portraits, Florence Solis Invokes Feminine Power Amid Constraint

Reviving an Ancestral Hawaiian Tradition, Lehuauakea Reimagines Kapa in Bold Textile Works

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