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    On Canvas and Shell, Alexis Trice Paints Ethereal Scenes Gleaming with Energy

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    “High Spirits II.” All images courtesy of Arch Enemy Arts, shared with permission

    On Canvas and Shell, Alexis Trice Paints Ethereal Scenes Gleaming with Energy

    October 22, 2024

    ArtNature

    Grace Ebert

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    For Alexis Trice, water is about moving energy and emotion. The native New Yorker (previously) paints gleaming tears that gush from an animal’s eyes or green-tinged seas with roiling waves to “release and recycle.” She adds, “I wanted to make work that could be felt without fully being seen.”

    Earthy color palettes and glinting light recur in Trice’s works, along with shaggy brown dogs that “represent the ideal conduit to bridge the gap of shared emotion between wild animals and humans.” One such creature appears in “Hay Fever,” which features the canine surrounded by thick grass with broken strands of pearls in its mouth.

    “Deep Sea, Deep Sea, Swallow Me”

    Trice frequently returns to these naturally lustrous gems to convey the passage of time, and in her latest exhibition Dust & Brine, mollusks appear as substrates in addition to subject matter. Twenty scallop shells hold ethereal scenes in miniature, whether a diptych of a bisected blue whale or three fish swirling in a lucky trinity.

    Atmospheric and ethereal, this body of work ventures further into the surreal. The artist writes about “High Spirits II,” which depicts a pair of taper candles embedded in a pink fish: “Soft flaky scales and iridescence achieved through many glazes, trial, and error. Juicy wet flesh, and flashes of candlelight peering through astigmatism eyes.”

    If you’re in Philadelphia, stop by Arch Enemy Arts to see Trice’s work through October 27. Otherwise, find more on her website and Instagram.

    “Fortune II”

    “My Heart is a Lonesome Hunter”

    “Low Tide”

    “The Old Dog”

    “A Fly”

    “Hay Fever”

    “The Sun Gets in Your Eyes”

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    • 150 Shares14 Views

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      From Reviled to Revered, an Enormous Pigeon Perches Atop the High Line

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      “Dinosaur.” All photos by Timothy Schneck, courtesy of the High Line, shared with permission

      From Reviled to Revered, an Enormous Pigeon Perches Atop the High Line

      October 21, 2024

      ArtNature

      Grace Ebert

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      The latest sculpture to grace New York City’s High Line is a monumental tribute to an unlikely creature.

      Perched above 10th Avenue, a hyper-realistic pigeon stops to rest in the outdoor pavilion. The work of artist Iván Argote (previously), the hand-painted, aluminum bird is titled “Dinosaur” and looms 21 feet in the air, rivaling the enormous proportions of some of its ancestors.

      Argote is known for questioning the role of monuments and statues, particularly as they relate to colonial histories and power imbalances. For this work, he upends the human-animal relationship and notions of migration and value as the common street bird is vaulted into a glorified figure, peering down on pedestrians and drivers. The artist says in a statement:

      The name “Dinosaur” makes reference to the sculpture’s scale and to the pigeon’s ancestors who millions of years ago dominated the globe, as we humans do today… the name also serves as a reference to the dinosaur’s extinction. Like them, one day we won’t be around anymore, but perhaps a remnant of humanity will live on—as pigeons do—in the dark corners and gaps of future worlds.

      Despite their ubiquity throughout North American cities, pigeons aren’t native to the continent. The birds were initially brought from Europe as a barnyard animal and food source, but as they escaped into the wild, they grew into the scavenging flocks they are today. No longer domesticated and not quite wild, pigeons occupy a unique position.

      Argote’s work is a cheeky nod to the birds and suggests they’re more deserving of appreciation than some of the figures we’ve collectively honored in the past. Standing tall and confident atop a concrete plinth, the sculpture also serves as a reminder that “everyone is an immigrant,” a statement says. “Even the pigeon, a New York fixture, initially migrated here and made the city their home, like millions of other ‘native’ New Yorkers.”

      “Dinosaur” will be on view through spring. Find more from Argote on Instagram.

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    • 138 Shares27 Views

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      Emily Van Hoff Sculpts Facets of Color in Vibrant, Dimensional Quilts

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      All images courtesy of Emily Van Hoff, shared with permission

      Emily Van Hoff Sculpts Facets of Color in Vibrant, Dimensional Quilts

      October 21, 2024

      ArtCraftDesign

      Kate Mothes

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      For Emily Van Hoff (previously), the possibilities of quilts extend far beyond two dimensions. From geometric tapestries to faceted weavings and sculptural constructions, the artist traverses a wide array of textile forms.

      “I love giving my quilts more visual weight,” Van Hoff tells Colossal. “I like when they feel more chunky and object-like… So I’ve been exploring a variety of ways to accomplish that.”

      Van Hoff often revisits original sketches and offcuts of earlier pieces, puzzling together new works with a variety of textures, hues, and configurations. One striking recent experiment takes the shape of three chain links, which can be displayed in various orientations by sliding the components around, revealing unique angles and color combinations.

      “Some of my wall hangings have also used pieces that sort of overlap and weave through each other,” Van Hoff says, “and the chain link is the continuation of that idea as well.”

      The artist recently announced a line of quilting fabric she designed for Moda Fabrics titled Groove, which will be available in stores starting in May next year. The collection expands on her vibrant palette and playful, squiggly motifs.

      “My background is in graphic design,” Van Hoff says. “I’ve always loved textile design, and I worked in a fabric shop in high school, so this is a real dream-come-true moment!”

      Explore more on the artist’s website, where she adds pieces to her shop from time to time, and follow updates on Instagram.

      ‘Groove’ series of designs for Moda Fabrics

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    • 138 Shares51 Views

      in Art

      In ‘Hidden Portraits,’ Volker Hermes Reimagines Historical Figures in Overwhelming Frippery

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      “Hidden van Mierevelt IV” (2022), from “Portrait of a Man in a White Frill” (1620s) by Michiel Jansz. van Mierevelt

      In ‘Hidden Portraits,’ Volker Hermes Reimagines Historical Figures in Overwhelming Frippery

      October 18, 2024

      ArtBooksHistory

      Kate Mothes

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      Engulfed in their own finery, the subjects of Volker Hermes’ portraits epitomize a bygone era. From the Italian High Renaissance to French Rococo, his digital reinterpretations playfully hide the faces of wealthy and aristocratic sitters.

      Hidden Portraits: Old Masters Reimagined, a new book forthcoming this month, gathers a quintessential selection of Hermes’ works into one volume. Highlighting the artist’s wry commentary on luxury, social status, and fame, the selection delves into the history of portraiture through a humorous lens.

      “Hidden Wright of Derby” (2023), from “Portrait of Dorothy Beridge, née Gladwin” (1777) by Joseph Wright of Derby

      Hermes expands upon the ornate silk gowns, brocade, and lace ruffs that characterized elite fashion through the centuries (previously). An enormous bow cocoons a woman in “Hidden Wright of Derby,” for example, elaborating on a portrait of a wealthy woman painted by Joseph Wright of Derby, now in the collection of the Minneapolis Institute of Art.

      In striking profile, strings of pearls and a green, helmet-like hood envelop Bianca Maria Sforza, Empress of the Holy Roman Empire, in “Hidden de Predis,” the 15th-century inspiration for which can be viewed at the National Gallery of Art.

      Explore more of Hermes’ work on his website, and snag a copy of Hidden Portraits on Bookshop.

      “Hidden de Predis” (2023), from “Portrait Bianca Maria Sforza” (1493-95) by the workshop of Ambrogio de Predis

      “Hidden Titian II” (2021), from “Portrait of a Man with a Quilted Sleeve” (1511) by Titian

      “Hidden de Bray” (2022), from “Portrait of a Young Woman” (1667) by Jan de Bray

      “Hidden Cornelius Johnson” (2023), from “Portrait of Thomas, 1st Baron Coventry” (1631) by Cornelius Johnson

      “Hidden de Keyser” (2019), from “Portrait of a Gentleman” (c. 1626) by Thomas de Keyser

      “Hidden Pourbus VIII” (2023), from “Portrait of a Nobleman” (1593) by Frans Pourbus the Younger

      “Hidden Anonymous (Munich Court Painter)” (2023), from “Portrait of a Young Lady” (1623), by an unknown artist

      Cover of ‘Hidden Portraits: Old Masters Reimagined,’ featuring “Hidden Jacometto” (2019), from “Portrait of a Young Man” (1480s) by Jacometto Veneziano

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    • 150 Shares45 Views

      in Art

      From Gossamer Objects to Monumental Architecture, Do Ho Suh Embraces the Process

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      Photo by Anthony Rathbun. All images courtesy of Moody Center for the Arts, shared with permission

      From Gossamer Objects to Monumental Architecture, Do Ho Suh Embraces the Process

      October 18, 2024

      Art

      Grace Ebert

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      For Do Ho Suh, the process of making work is as important as the outcome. Individual sculptures and installations are all part of a larger project that allows the South Korean artist to return to and iterate on earlier ideas, materials, and structures, each time pushing the work in a different direction.

      At Moody Center for the Arts, Suh puts his process on full display, recreating parts of his studio and charting the course for his sprawling practice in which he explores ideas of home, memory, and how we relate to physical space. Rubbermaids full of string and fabric, shelves lined with toy dinosaurs and action figures, and small maquettes of architectural sculptures offer insight into Suh’s influences and creative exercises, while completed projects reveal the final steps.

      Installation view of ‘Do Ho Suh: In Process.’ Photo by Anthony Rathbun

      Included in In Process are several fundamental works like “Inverted Monument,” which suspends an upside-down figure in a dense mesh of string. Also on view is a collection of fabric sculptures that recreate everyday objects like water faucets, doorknobs, and keyholes in gauzy, translucent fabric. Arranged by color, these delicate pieces draw attention to our attachments to and reliance on such mundane items.

      Part of exposing the inner workings of his process also involves what Suh refers to as “dismantling the myth of the artist as an individual genius.” Ongoing in various forms since 2016, “Artland” is a vibrant landscape that welcomes various groups—first Suh’s daughters, followed by communities across several continents—to add bits of malleable clay to the otherworldly terrain.

      Detail of “Artland”

      “For me, ‘Artland’ is an extension of so much of my practice,” the artist told Colossal, adding:

      When I had children, I had to let go of a lot of the control I was used to having in my life. Nothing’s wilder or freer than the child’s mind, and I’ve learnt so much from parenting. “Artland” grew from that small-scale family collaboration, but it’s been so validating involving visitors from Seoul to Brooklyn and Houston—the results are always more fantastical than expected and completely joyous.

      If you’re in Houston, see In Process through December 21. Otherwise, find more from the artist via Lehmann Maupin and Instagram.

      Installation view of ‘Do Ho Suh: In Process.’ Photo by Frank Hernandez

      Installation view of ‘Do Ho Suh: In Process.’ Photo by Anthony Rathbun

      Installation view of ‘Do Ho Suh: In Process.’ Photo by Anthony Rathbun

      “Artland.” Photo by Anthony Rathbun

      Installation view of ‘Do Ho Suh: In Process.’ Photo by Anthony Rathbun

      Photo by Anthony Rathbun

      Installation view of ‘Do Ho Suh: In Process.’ Photo by Frank Hernandez

      Installation view of ‘Do Ho Suh: In Process.’ Photo by Anthony Rathbun

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    • 175 Shares62 Views

      in Art

      Eight Pairs of Woven Shoes Fit for Cranes Roost in a Field of Pebbles

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      All photos by Ahina, courtesy of the artist and Real DMZ Project, shared with permission

      Eight Pairs of Woven Shoes Fit for Cranes Roost in a Field of Pebbles

      October 17, 2024

      ArtCraftNature

      Grace Ebert

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      If a white crane were to choose a pair of boots, would he gravitate toward knee-high lace-ups or balance his talons in yellow tabi stilettos?

      Young In Hong fashioned a collection of shoes with these long-legged birds in mind. Titled “White Cranes and Snowfall,” the playful sculptures are made from woven sedges and nested in a shallow field of pebbles, intertwining references to avian life and endangered craft traditions.

      Based in Bristol, Hong visited Korea in the winter of 2023 and witnessed a flock of rare cranes migrating to the demilitarized zone dividing the peninsula. “The once blood-stained DMZ has now become an ecological paradise for the cranes,” she shares. “When nature is left alone it can replenish its lives, and when we as humans observe other species more carefully, we can learn something from them that alters our way of being in the world.”

      Researchers estimate that in the seven decades since the zone was established, about “1,200 plant species, 83 fish varieties, 51 different mammals, and numerous birds, insects, and microorganisms” have thrived in the area, many of which were previously endangered or threatened.

      Observing the birds inspired the latest series in Hong’s growing collection of avian footwear. Each references jipsin, flat sandals woven from straw and largely worn by farmers and the working class throughout Korea. Affordable and widely available, the shoes would wear down quickly—a long day’s walk could burn through a pair—and people across the socioeconomic order knew how to make them. Straw is biodegradable, too, making jipsin naturally sustainable.

      To learn the craft practiced for generations, Hong began working with Choong Kyung Lee, a straw-weaving master from Asan in 2021. Together, they created numerous projects, including shoes fit for a baby elephant, giraffe, kangaroo, heron, gorilla, and bear. “For me, the collaboration with Lee was a journey to open up my eyes towards natural fibre weaving, a part of the history of Korea that has not been thoroughly written about,” Hong shared.

      For “White Cranes and Snowfall,” the artist pulled out specific personalities to inspire each design rather than thinking of the birds as anonymous entities. Displayed together, the sculptures become a stand-in for community and gathering—and perhaps a cheeky and yet urgent plea to imagine oneself in another’s shoes, even if those shoes belong to another species. The artist adds:

      For me, fictionalising the collective white cranes, and visualising them through humorously designed shoes, is to remind us of the fact that birds are like us, expressing tastes and preferences, also by having individually different characters and personalities.

      “White Cranes and Snowfall” is on view through November 7 at Secession in Vienna. Two of Hong’s textile works are also on view this month as part of the 7th Changwon Sculpture Biennale, and she’s currently preparing for two solo shows, one opening at Art Sonje Center in May and another at PKM Gallery in September. Peruse an archive of her works on her website and Instagram.

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    • 188 Shares66 Views

      in Art

      In ‘Seeking an Exit,’ Gretchen Scherer Escapes to Grand Homes and Galleries of the Past

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      “Lanhydrock, Morning Room” (2024), oil and acrylic on panel, 18 x 24 inches. All images courtesy of Gretchen Scherer and Monya Rowe Gallery, shared with permission

      In ‘Seeking an Exit,’ Gretchen Scherer Escapes to Grand Homes and Galleries of the Past

      October 17, 2024

      Art

      Kate Mothes

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      Many of what are now public museums were once the private homes and collections of the wealthy and titled. From the Palace of Aranjuez—still a royal residence in Spain—to the baroque art and gardens of Isola Bella in Italy, Gretchen Scherer captures stunning salon-style galleries and historical interiors in vibrant, intricately detailed paintings (previously).

      In her solo exhibition, Seeking an Exit at Monya Rowe Gallery, Scherer continues to explore art historical destinations around the world. Calling on memory, escapism, and the romance of grand buildings, she transforms ornate halls, drawing rooms, and wunderkammers into inviting, enlivened spaces.

      “Trubetskoy Palace, Dining Room, 1914” (2024), oil and acrylic on panel, 24 x 30 inches

      Scherer references photographs of museums, sometimes re-imagining historical, black-and-white imagery into colorful compositions, such as the 1914 dining room at Trubetskoy Palace, Moscow.

      The works lining the hall comprise the holdings of Sergei Skchukin, a Russian businessman, whose art collection was nationalized after the 1917 Bolshevik uprising. Today, these pieces are distributed among state museums.

      Scherer’s paintings welcome us to remarkable places around the globe, many of which we may no longer be able to visit. Through intimate details, like a napkin draped over the edge of a table or a chair pulled out as if someone has just left, the artist draws foremost upon each location’s identity as a lived-in place.

      Seeking an Exit opens today and continues through November 23. Find more on the artist’s website and Instagram.

      “Palace of Aranjuez, Porcelain Room” (2024), oil and acrylic on panel, 18 x 24 inches

      “Palazzo Borromeo, Isola Bella, Berthier Gallery” (2024), oil and acrylic on panel, 18 x 24 inches

      “Sir John Soane’s Museum, Drawing Office” (2024), oil and acrylic on panel, 24 x 30 inches

      “Sanssouci Palace, Library and Picture Gallery” (2024), oil and acrylic on panel, 18 x 24 inches

      “Dom Quartier Cathedral Museum, Art and Wonder Chamber” (2024), oil and acrylic on panel, 14 x 18 inches

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    • 138 Shares63 Views

      in Art

      Under Lock and Key, Ant Hamlyn’s Synthetic Flowers Scramble for Space

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      “Toy Garden 1” (2024), hand-sewn and machined polyurethane coated fabrics, stuffing, sealed acrylic vitrine, and stainless steel, 20 x 20 x 20 centimeters. All images courtesy of Ant Hamlyn, shared with permission

      Under Lock and Key, Ant Hamlyn’s Synthetic Flowers Scramble for Space

      October 16, 2024

      Art

      Kate Mothes

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      Encased in transparent cubes and smushed behind panes of acrylic, Ant Hamlyn’s (previously) brilliant blooms and verdant stems are perpetually preserved. Polyurethane-coated fabrics, which he hand-sews and then stuffs, shape a cartoonish view of our predilection to try to harness and preserve things of beauty.

      Often focusing on bright botanicals and fungi, Hamlyn’s playful sculptures crush fabric flowers into cases secured with wing nuts or locked with soft padlocks. Captive blossoms, leaves, and terracotta pots appear just barely contained but with no means of escape.

      “Vase 4” (2024), hand-sewn and machined polyurethane coated fabrics, stuffing, laser cut acrylic, cnc-routed plywood, gloss paint, and fixings, 55 x 40 x 10 centimeters

      Two ongoing series, Vases and Toy Garden, examine the relationship between hard and soft, synthetic and organic, and fragility and play. Mashed up against their enclosures, the blooms appear incredibly uncomfortable while also exuding brightness and cheer.

      Explore more of the artist’s work on his website and Instagram.

      Selection from the series Toy Garden

      “Vase 2” (2024), hand-sewn and machined polyurethane coated fabrics, stuffing, laser cut acrylic, cnc-routed plywood, gloss paint, and fixings, 55 x 40 x 10 centimeters

      “Vase 6” (2024), hand-sewn and machined polyurethane coated fabrics, stuffing, laser cut acrylic, cnc-routed plywood, gloss paint, and fixings, 55 x 40 x 10 centimeters

      “Vase 3” (2024), hand-sewn and machined polyurethane coated fabrics, stuffing, laser cut acrylic, cnc routed plywood, gloss paint, and fixings, 55 x 40 x 10 centimeters

      “Toy Garden 5” (2024), hand-sewn and machined polyurethane coated fabrics, stuffing, sealed acrylic vitrine, and stainless steel, 20 x 20 x 20 centimeters

      Detail of “Vase 6”

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    • 125 Shares48 Views

      in Art

      Mulyana Transforms Plastic Yarn and Netting into Arresting Ocean Textures

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      Photo by Ign Raditya Bramantya. All images courtesy of Mulyana and Sapar Contemporary, shared with permission

      Mulyana Transforms Plastic Yarn and Netting into Arresting Ocean Textures

      October 16, 2024

      ArtClimatePhotography

      Kate Mothes

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      From thousands of plastic bags, nets, and hanks of yarn, Indonesian artist Mulyana (previously) illuminates the fragility of marine ecosystems.

      In his solo exhibition Remembering Our Collective Future at Sapar Contemporary, the artist has incorporated recyclable materials and distilled the palette to white, evoking a symbol of purity and drawing attention to the consequences of human impact on our oceans, such as coral bleaching.

      “Betty 21” (2024), plastic yarn, plastic net, and cable wire, 82 5/8 x 76 3/4 x 13 3/4 inches

      Curated by John Silvis, the show invites viewers to reflect on the effects of the climate crisis and the critical importance of environmental preservation. Photographs by Ign Raditya Bramantya highlight a living, breathing embodiment of coral as it traverses the city streets, bringing the ocean to daily life.

      Mulyana painstakingly twists, knots, and wraps plastic netting, cable wire, and plastic yarn into sculptures and wall hangings resembling coral and cartoonish sea creatures.

      Running concurrently at the Charles B. Wang Center at SUNY Stony Brook, an exhibition of the artist’s vibrant yarn works showcases costumes and characters inspired by marine life. Yarnscapes: Mulyana’s Environmental Tapestries presents a playful counterpoint to the monochrome pieces, nevertheless urging us to remember and evaluate our relationship to our oceans.

      Remembering Our Collective Future runs from October 22 to November 20 in New York City, coinciding with Yarnscapes in Stony Brook through December 10. Find more on the artist’s website and Instagram.

      Photo by Ign Raditya Bramantya

      Photo by Ign Raditya Bramantya

      Detail of “Betty 25” (2024), plastic yarn, plastic net, and cable wire, 74 3/4 x 78 3/4 x 13 3/4 inches

      “Betty 28” (2024), plastic yarn, plastic net, and cable wire, 86 5/8 x 86 5/8 x 13 3/4 inches

      Photo by Ign Raditya Bramantya

      Detail of “Betty 26” (2024), plastic yarn, plastic net, and cable wire, 65 x 51 1/8 x 13 3/4 inches

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