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    Reen Barrera’s Expressive ‘Ohlala’ Characters Evoke Emotions and Empowerment

    All images courtesy of Reen Barrera, shared with permission

    Reen Barrera’s Expressive ‘Ohlala’ Characters Evoke Emotions and Empowerment

    January 23, 2025

    Art

    Kate Mothes

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    Sporting colorful garments and richly patterned faces, Reen Barrera’s doll sculptures (previously) evoke an expressive, make-believe world. Often dressed in striped tops and hand-stitched hoods with animalistic ears, his imaginative Ohlala characters represent the universality of human emotions while emphasizing every individual’s unique qualities.

    Barrera creates the sculptures from wood and patchwork textiles, and he also makes paintings depicting Ohlala figures in pensive moments or expressing a sense of empowerment. Find his work at Art Central Hong Kong in March, and see more on his website and Instagram.

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    Asya Marakulina Sculpts Poignant Ceramic Portraits of Demolished Homes

    All images courtesy of Asya Marakulina, shared with permission

    Asya Marakulina Sculpts Poignant Ceramic Portraits of Demolished Homes

    January 22, 2025

    ArtSocial Issues

    Kate Mothes

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    Prior to the 20th century, apartment buildings and row houses were often built with shared walls between adjoining properties. Intrigued by these aging structures, Vienna-based artist Asya Marakulina began cataloging examples she first noticed on walks around her former home in St. Petersburg, Russia.

    “Since houses in the 19th century were built without gaps between them, when one house is torn down, the neighboring house often bears traces of the demolished one,” Marakulina tells Colossal. These remnants of decor, plumbing, and other signs of human habitation form the basis of her ongoing ceramic series, There Was a Home.

    When Marakulina moved to Vienna, she noticed a similar phenomenon in the remains of older buildings that had been demolished there, too. Fragments of floor still clung to the walls and the outlines of painted or papered rooms were suddenly—somewhat uncomfortably—external. The ease of a warm interior and its associated domesticity was upended.

    “What touches and affects me the most in images of ruined houses are the traces of wallpaper, tiles, and children’s rooms, which suddenly become visible to the entire street,” the artist says, sharing that the sight evokes a deep sadness. “These spaces were never meant to be seen in such a way.”

    Marakulina likens houses to the bodies of living organisms, imbued with emotions, memories, and layered histories. The ceramic cross-sections take on a portrait-like quality, capturing straightforward views of multistory edifices that are simultaneously immediate and intimate. “Maybe that’s why these images captivate me so much because a part of someone’s inner, domestic life is suddenly turned inside-out and put on public display,” she says.

    The houses in There Was a Home are typically drawn from real buildings, photographs of which she captures herself or finds on the internet. Marakulina also considers the impacts of war and is profoundly moved by the current conflicts in Ukraine and the Middle East, where thousands of homes have been destroyed and their inhabitants killed or displaced. The half-standing homes simultaneously represent lives lost and the hope of one day being able to rebuild.

    Rather than straightforward copies of the buildings she encounters, Marakulina takes liberties with wall colors, sometimes adding graffiti or words she sees on the streets or derives from the news. She scores the clay to create the textures of tile and concrete or delineate lintels and former doorways. The resulting reliefs become collage-like, merging locations and motifs.

    If you’re in Belgium, you can see the artist’s work in Ceramic Brussels, which opens today and continues through January 26. In London, Marakulina created a site-specific installation for a solo show at The Smallest Gallery in Soho, which continues through mid-February, and later that month, she will exhibit with Vienna Collectors Club. Find more on the artist’s website and Instagram.

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    Uncanny Objects by Joyce Lin Blur Distinctions Between Reality and the Fantastical

    “Fir Mignon” (2023), wood, epoxy clay, oil paint, 8.75 x 8.75 x 3 inches. All images courtesy of Joyce Lin, shared with permission

    Uncanny Objects by Joyce Lin Blur Distinctions Between Reality and the Fantastical

    January 21, 2025

    ArtDesign

    Kate Mothes

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    Whether enclosed in clear acrylic or seemingly sliced from a single tree, Joyce Lin’s sculptures examine themes of interconnectedness and the Anthropocene, which describes our planet’s most recent epoch and the way humans significantly impact its ecosystems and climate.

    “I am both disturbed and captivated by the paradoxes of industrialized society,” Lin says in a statement, “where modes of production and disposal are often obscured to the public, yet people have more technology than ever to make their imagined worlds a reality.”

    “Wood Chair in Fir” (2024), oil paint, epoxy clay, plywood, MDF, and wood, 16.5 x 16.25 x 34.75 inches

    Lin’s uncanny pieces meld form and function, taking the recognizable shapes of furniture and food and transforming them into playful meditations on mass production and consumption. She often uses organic materials like wood, augmenting the surfaces with synthetic mediums like epoxy, resin, and oil paint to preserve their appearance in perpetuity. Some works, like the Wooden Chair series, are entirely composed of engineered materials.

    “I love to dissect and understand things, and my works often feature objects—usually a chair—sliced open to expose an inner structure; to express an inner truth, so to speak,” Lin tells Colossal. She manipulates the structures extensively, blurring the reality of what she describes as the “insides” and the “outsides,” so the composition takes on a fantastical quality.

    “I don’t think they’re so convincing when you really zoom in, so it’s interesting to see people assume they’re somehow grown or AI-generated, even though they take an incredible amount of manual labor and time to create,” Linn adds. “I often think about distortions in our perception of reality, (which is) probably why people keep sending me those is-it-cake videos.”

    The artist is currently working toward a solo exhibition later this year at R & Company, and you can explore more on her website and Instagram.

    “Exploded Chair” (2019), maple and acrylic, 16 x 16 x 35 inches

    “Woodnanas” (2024) wood, steel, polyester resin, and epoxy clay

    “Wood Chair in Ash” (2024), oil paint, epoxy clay, plywood, MDF, and wood. Beetles: epoxy, wire, 16.5 x 16.25 x 34.75 inches

    Detail of “Wood Chair in Ash”

    “Root Chair” (2023), found driftwood and walnut stain, 29 x 30 x 34 inches

    “Wood Stool”

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    Dinosaurs Overrun a World Post Climate Disaster in Michael Kerbow’s Paintings

    “Late Capitalism.” All images © Michael Kerbow, shared with permission

    Dinosaurs Overrun a World Post Climate Disaster in Michael Kerbow’s Paintings

    January 17, 2025

    ArtClimateNature

    Jackie Andres

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    After ending another year of record-breaking climate statistics, we stand at the precipice of 2025, which has already revealed its own devastating challenges. As the window for meaningful change continues to narrow during the next several years, we’re left to wonder what the world might look like if we stay on this path. Through the lens of hyper-consumerism, San Francisco-based artist Michael Kerbow (previously) envisions the future in his wry and imaginative landscape paintings.

    Swarming decayed gas station roofs, perching atop abandoned vehicles in forests, and sauntering past crumbling highways and fast food joints, the dinosaurs in Kerbow’s paintings govern a world overrun by the effects of late-stage capitalism. Hints of climate devastation reveal themselves through small details in the background, such as volcano eruptions, dense, hazy skies, and pools of floodwater.

    “Bypass”

    Kerbow scatters familiar signage and advertisements from recognizable chains within his scenes to introduce humor and make his work more approachable. However, the artist emphasizes the gravity of the issue at hand:

    We like to believe everything we currently have will always be there for us, but I suspect it could just as easily fall apart and slip away.  I try to stay optimistic about the future, but the truth is I am troubled by where I see things appear to be headed, specifically with the health of our ecosystem. Each passing year seems to bring more alarming statistics, and this comfortable place we call home seems to grow more precarious.  It is sobering to consider my artwork as foreshadowing a future reality.

    As Kerbow continues to make new paintings, you can follow along on Instagram and see his website for more.

    “Adaptive Reuse”

    “Vestige (Golden Arches)”

    “Black Monday”

    “Highwater”

    “Glade”

    “Economic Decline”

    “Siren Song”

    “Shadowplay”

    “Oasis”

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    The Dog Did It! Stephen Morrison’s Trompe-l’œils Brim with Canine Character

    “Housework Won’t Kill You, But Why Take a Chance” (2024), oil on canvas, 48 x 48 inches. All images courtesy of Stephen Morrison and Hashimoto Contemporary, shared with permission

    The Dog Did It! Stephen Morrison’s Trompe-l’œils Brim with Canine Character

    January 16, 2025

    Art

    Kate Mothes

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    To say that Stephen Morrison’s work is inspired by dogs would be an understatement. Through sculptural assemblages and paintings of puppy faces tucked in foliage or morphing from household items, Morrison evokes the timeless love for our pets.

    “I think I’ve always been a bit of a hedonist and kind of set up to love the life of a dog, of doing whatever you want when you want to do it,” Morrison recently told Hyperallergic in an interview. “That’s why making work with dogs feels so natural because it’s deeply a part of my character.”

    “Every Direction at Once” (2025), oil on panel, 20 x 16 inches

    Morrison also draws inspiration from his beloved pit bull mix, Tilly, who was the ring bearer at his wedding and died three years ago. Her curious visage lives on in the artist’s idiosyncratic compositions, bringing expressive life to everything from birdhouses to table lamps.

    In the artist’s forthcoming solo exhibition at Hashimoto Contemporary, Morrison continues to channel canine personalities in Dog Show #4: House Broken.

    Trompe-l’œil paintings portray the supports on the backs of canvases, teeming with botanicals, stuffed animals, magazine clippings, and fruit. Likewise, a series of sculptures made from epoxy clay, resin, paper, and oil paint appear like assemblages of seemingly disparate items.

    In “Clump Spirit #5 (Study),” for example, a puppy’s face emerges from the front of a violin hanging from a hook, and “Clump Spirit #1 (Living Room)” displays a happy dog on a TV screen, stacked high with other objects that also feature distinctive eyes and snouts. Everything appears in a state of joyful yet barely contained disarray.

    “Clump Spirit #1 (Living Room)” (2024), television, silicone, textile, resin, and epoxy clay, 12 x 21 x 12 inches

    “This show reflects on the chaotic messiness of home life, inspired by the lively and dysfunctional environment I grew up in,” Morrison says. “Our house was filled with dancing, yelling, slapdash crafting, and a constant swirl of half-finished projects. Amid all the noise, there was an odd harmony—moments where the chaos seemed to hum along just right, as if disorder itself had a rhythm.”

    Dog Show #4: House Broken runs from January 18 to February 8 in New York City. Find more on the artist’s website and Instagram.

    “Build a Little Birdhouse in Your Soul” (2024), oil on panel, 24 x 24 inches

    “Clump Spirit #4 (Study)” (2025), epoxy clay, paper, resin, and oil paint, 26 x 10 x 5 1/2 inches

    “The Council of Plastic Limbs” (2025), oil on panel, 24 x 36 inches

    “Clump Spirit #3 (Bedroom)” (2025), epoxy clay and oil paint, 15 x 8 x 7 inches

    “Thank You for Your Business” (2025), oil on panel, 48 x 36 inches

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    At Ceramic Brussels, an Eclectic Array of Works Offers a State of the Medium

    Eirik Falckner, Kiosken. All images courtesy of Ceramic Brussels, shared with permission

    At Ceramic Brussels, an Eclectic Array of Works Offers a State of the Medium

    January 16, 2025

    ArtCraft

    Grace Ebert

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    From Nobuhito Nishigawara’s gilded drips to Andrés Anza’s spiny forms that could seemingly scuttle away at any moment, an eclectic array of works go on view this month for Ceramic Brussels.

    In its second year, the annual gathering is the only international art fair devoted entirely to the medium. The 2025 edition will feature works by more than 200 artists around the globe, with a particular focus on contemporary Norwegian makers.

    Andres Anza, Galleria Anna Marra

    Spanning myriad aesthetics and processes, the fair presents a wide variety of approaches to and a sort of state of the medium. Some artists, like Eirik Falckner, push the boundaries of ceramic art even further by collaborating with bees to layer thick chunks of honeycomb atop a raw armature.

    Find some works slated to be exhibited at the fair, which runs from January 23 to 26, below.

    Nobuhito Nishigawara, Almine Rech

    Marianne Huotari, Holster Burrows

    Daphne de Gheldere, Spax Projects

    Andres Anza, Galleria Anna Marra

    Nellie Jonsson, QB Gallery

    Nellie Jonsson, QB Gallery

    Samuel Yal, Galerie Ariane C-Y

    Laszlo Borsody, ACB Gallery

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    In Saqqara, Archaeologists Uncover the Sumptuous 4,100-Year-Old Tomb of a Royal Physician

    All images courtesy of Mission Archéologique Franco-Suisse de Saqqâra, shared with permission

    In Saqqara, Archaeologists Uncover the Sumptuous 4,100-Year-Old Tomb of a Royal Physician

    January 15, 2025

    ArtHistoryScience

    Kate Mothes

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    For ancient Egyptians, the afterlife—also called Duat, among other names—was a mystical realm overseen by the god Osiris, who personified rebirth and life after death. But entry to Duat was anything but guaranteed; when a person died, their spirit traveled across vast, challenging terrain and deposited them at the Hall of Final Judgment, where their heart was weighed against a feather from Ma’at, the goddess of justice and truth.

    In preparation for the afterlife, royals, dignitaries, and the wealthy elite constructed great tombs. The most elaborate among them were painted with ornamental murals that shared one’s accomplishments, packed with artwork and riches to demonstrate each individual’s status and accompany them to Duat.

    Expansive ancient necropolises complemented large cities, where society’s upper crust commissioned tombs, temples, and pyramids. For the capital of Memphis, the final resting place was typically Saqqara, which contains some of Egypt’s oldest monuments, some of which date back to the First Dynasty around 5,000 years ago.

    Scholars continue to unfurl millennia-old mysteries as archaeological excavations carry on in Saqqara. And sometimes, as researchers from the Mission Archéologique Franco-Suisse de Saqqâra (MAFS) recently found out, marvelous and unexpected discoveries still emerge from the sand.

    During the 2024 season, as the team excavated near a mastaba—a large-scale, rectangular, flat-roofed tomb—they discovered a number of smaller burials, including a “kiln” tomb. Also known as “oven” tombs, these burials are “made of raw bricks that are characterized by their vaulted ceiling,” says a statement from MAFS. “They are built several meters below the ground, and the only way to access them is through the burial shaft, always placed to the north of the entrance.”

    Typically, kiln tombs are “fairly simple mud brick monuments, sometimes with limestone walls, and even less often decorations,” MAFS says. Today, they are also often empty as a result of looting throughout the centuries. But instead of a basic, unadorned room, the team found vibrant wall paintings commemorating a doctor who died around 4,000 years ago.

    Archaeologists uncovered a stone tablet bearing the doctor’s name, Tetinebefou, near the entrance. A stele is a stone slab featuring text, imagery, or both, and in ancient Egypt, a false door stele represented a portal for the deceased’s spirit pass through into the afterlife. As researchers explored farther, the physician’s name was represented in other locations, confirming it to be his tomb.

    As reported in Live Science, Tetinebefou was known as a “dean of the palace physicians,” with inscriptions referring to him also as “conjurer of the goddess Serqet,” who was associated with protection from scorpion stings. He was also prescribed the titles of “director of medicinal plants” and “chief dentist,” both of which are unusual designations in ancient Egypt. It’s unclear which pharaoh he may have served, but MAFS’s lead Egyptologist Philippe Collombert suggests Tetinebefou may have worked under Pepi II, who reigned between approximately 2246 and 2152 B.C.E.

    Inside the tomb, relief carvings of urns, furniture, hieroglyphs, and garments are complemented by colorful patterns and richly textured ceiling. At some point in the past, the doctor’s tomb had indeed been looted, and only tiny fragments of objects remained. The decorations, however, mark an exceptional discovery.

    A documentary slated for 2026, directed by Frédéric Wilner, will take a deeper dive into the details of this excavation. In the meantime, explore more on the MAFS website.

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    Vibrant, Immersive Installations by Poh Sin Studio Emphasize Vulnerability as a Strength

    “Projection: Kite” (2019) at night. Photo by David Yeow. All images courtesy of Poh Sin Studio, shared with permission

    Vibrant, Immersive Installations by Poh Sin Studio Emphasize Vulnerability as a Strength

    January 15, 2025

    ArtDesign

    Kate Mothes

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    From vibrant rope to metal frames to acrylic panels, the chromatic installations of Poh Sin Studio invite viewers into glowing thoroughfares and sprawling pavilions. Founded by Pamela Poh Sin Tan, the studio emphasizes public art as a means of fostering relationships between people, their communities, and their surroundings.

    Tan’s immersive works blur the boundaries between disciplines, evoking a sense of curiosity and discovery. “I’m particularly drawn to engaging the public through art and creating experiences that inspire dialogue and connection,” she tells Colossal. “I believe public art is a powerful catalyst for urban renewal and psychological well-being, providing moments of reflection, joy, and connection.”

    Detail of “Crimson Cloud”

    For example, the artist shares that her most recent installation, “Structural Resonance,” explores the interplay between art and architecture, embodying layers of spatial and experiential narratives.” She is interested in how physical spaces interact with their environment and affect us visually and emotionally.

    Embracing fragility as a form of strength is central to Tan’s practice, manifesting in the way soft materials, like rope, complement those associated with resilience and permanence, like metal. “I find inspiration in overlooked details, such as plant veins, diatoms, mechanical and electrical systems, or even the skeletal framework of objects like a piano,” she says. “These hidden elements hold quiet beauty and complexity that I love to bring to light.”

    Art and architecture are inherently intertwined in Tan’s view. Design and engineering provides structure, context, and utility, while the artistic aspect adds compelling narrative and emotion. “Together, they reveal hidden dimensions, evoke movement, and connect deeply with viewers,” she says.

    Explore more on Poh Sin Studio’s website and Instagram.

    “Structural Resonance” (2024)

    “Projection: Kite.” Photo by David Yeow

    Detail of “Projection: Kite” (2019). Photo by David Yeow

    “Sunnyside Up” (2023) at MRT Pasar Seni, Kuala Lumpur, Malaysia

    “Sunnyside Up” (2023)

    “Crimson Cloud” (2022), at Pavilion Kuala Lumpur, Malaysia

    Detail of “Crimson Cloud”

    “Eden”

    “Structural Resonance”

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