Art Archivi ~ Page 10 of 252 ~ art-news.space - All about the world of art and culture!

More stories

100 Shares189 Views
in Art
Signe Emdal’s Chromatic Weavings Manifest Wonder and Joy
by Aurelia Butler 10 February 2025, 15:10
Detail of “Fantasia” (2023). All artwork photos by Kristine Funch, courtesy of the artist, shared with permission
Signe Emdal’s Chromatic Weavings Manifest Wonder and Joy
February 10, 2025
ArtCraft
Kate Mothes
Share
Pin
Email
Bookmark
Twenty years ago, Signe Emdal founded a business that focused on making unique textile objects and garments, drawing on her background in jacquard weaving, fabric printing, and a range of other techniques. By 2021, though, she was feeling hemmed in and longed for a way to express herself through a more intuitive, less functional creative direction.
“It was time to free myself from a frame I no longer fit and make a new one,” she tells Colossal. “I had no idea what the new frame would look like, but I trusted that life would bring me something better if I said goodbye to a setup that didn’t bring me joy anymore.”
“Maison” (2023)
A self-described “textile composer,” Emdal views the loom as a window where warp and weft interact to create storage vessels for memories. She is also deeply influenced by exploring new locations. “Art allows me to travel in a completely new way because I get to be in a creation process while spending time with or (being) in other cultures,” she says. Many works she makes on-site, influenced by her surroundings.
Process is central to Emdal’s artistic education and continues to be the primary influence in her practice. “Everything is process, and everything is changing all the time,” she says. “Nothing is ever going to be finished!” She shares that through textiles, she learned to hone her concentration on both physical and metaphysical levels, finding that the meditative methodology of weaving echoes how she views art-making and life more broadly.
Emdal’s related series Touch and Loop comprise sculptural, loom-woven wool in vibrant colors. From radiating puffs of vibrating color to elegant, draping details, her pieces are inspired by science fiction, feminism, art history, and music. “The sculptures are layers of delicate memories,” she says, embodying fragility, resilience, sophistication, and joy.
Emdal’s work will be included in the Textile Art Biennial Slovenia, which runs from May 31 to August 14 across five cities. Find more on Emdal’s website and Instagram.
“Dreams of Gaia” (2024)
Detail of “Dreams of Gaia”
“Heart of Nebula” (2024)
“Fantasia” (2023)
“Acqua 4 ever/Evigheden” (2024)
“Spirit of Green” (2024)
Detail of “Spirit of Green”
“Murex 4ever” (2023)
“Silky Way” (2023)
Do stories and artists like this matter to you? Become a Colossal Member now, and support independent arts publishing.
Hide advertising
Save your favorite articles
Get 15% off in the Colossal Shop
Receive members-only newsletter
Give 1% for art supplies in K-12 classrooms
Join us today!
$7/month
$75/year
Explore membership options
Previous articleNext article More
113 Shares129 Views
in Art
Announcing Joy Machine, a New Art Gallery in Chicago
by Aurelia Butler 10 February 2025, 10:00
Abi Castillo, “Blooming” and “Blue Caterpillar” (2025), ceramic
Announcing Joy Machine, a New Art Gallery in Chicago
February 10, 2025
Art
Grace Ebert and Christopher Jobson
Share
Pin
Email
Bookmark
As Colossal prepares to turn 15 this year, we’ve been thinking a lot about what it means to be part of a creative community. During the last decade and a half, we’ve spoken with thousands of artists, designers, and makers and cultivated a vast network of friends and colleagues around the globe. Publishing has been one of the greatest joys of our lives and demonstrated again and again how art can connect us all.
We’re incredibly excited to share that we’re expanding our footprint right here in our home of Chicago. Our new art gallery, Joy Machine, opens on February 21.
Michael McGrath, “Night Ride, Spring Gods” (2025), colored pencil on wood panel, 10 x 8 inches
A year in the making, Joy Machine is built around the belief that amid deep uncertainty and upheaval, joy becomes an indispensable gateway to hope. As we navigate this incredibly difficult time, we’re interested in coming together to expand our power to feel and process experiences good and bad.
Our first exhibition, Light Preserver, features nine artists who cultivate and ritualize joy through humor, nostalgia, vibrancy, and excitement for new possibilities. Whether reflecting on childhood fun or invoking art’s ability to rescue us from depression, each artist taps into our shared humanity—not to evade difficult realities but to find meaning and purpose amid chaos. In this way, joy becomes an essential antidote to despair and a fundamental lifeline to keep us all afloat.
Light Preserver features work by many artists you’re probably familiar with, including Moises Salazar Tlatenchi, David Heo, Liz Flores, Peter Frederiksen, Danym Kwon, Lisa Congdon, Michael McGrath, Jeff Rubio, and Abi Castillo.
Colossal will continue publishing independently as it always has, and when Joy Machine’s projects fit Colossal’s mission, we’ll be sure to share them with you all here.
If you’re in Chicago, please join us to celebrate Joy Machine’s opening on February 21. You can follow the gallery on Instagram, and sign up for the newsletter on the website.
Danym Kwon, “When Small Happiness Found Us” (2025), acrylic and acrylic gouache on canvas, 18 x 18 inches
David Heo, “Mamihlapinatapai” (2024), mixed media on paper mounted on panel, 11 x 28 inches
“Red Boots” (2025), acrylic on wood, framed in hemlock, 18 x 24 inches
Peter Frederiksen, “Sharing Secrets” (2022), freehand machine embroidery on linen, 6 x 8 inches
Do stories and artists like this matter to you? Become a Colossal Member now, and support independent arts publishing.
Hide advertising
Save your favorite articles
Get 15% off in the Colossal Shop
Receive members-only newsletter
Give 1% for art supplies in K-12 classrooms
Join us today!
$7/month
$75/year
Explore membership options
Previous articleNext article More
138 Shares179 Views
in Art
Bees and Irridescent Bubbles Infiltrate Still-Life Traditions in Marc Dennis’ Paintings
by Aurelia Butler 7 February 2025, 19:11
Detail of “Happily Ever After” (2024), oil on linen, 70.5 x 57.25 inches. All images courtesy of Harper’s, New York, shared with permisison
Bees and Irridescent Bubbles Infiltrate Still-Life Traditions in Marc Dennis’ Paintings
February 7, 2025
Art
Grace Ebert
Share
Pin
Email
Bookmark
During the Dutch Golden Age, vanitas grew in popularity as a genre of memento mori that emphasized life’s transience. The opulent paintings were steeped in symbolism and foregrounded the futility of ambition and worldly pleasures.
Marc Dennis draws on this 17th-century tradition as he refashions the still life for a contemporary audience. In a recent oil painting, “Happily Ever After,” hordes of honeybees and hornets descend on a lush bouquet. Kaleidoscopic bubbles float across the five-foot canvas, reflecting the surrounding colors and distorting clear viewers of nearby flowers and fruit.
“Happily Ever After” (2024), oil on linen, 70.5 x 57.25 inches
The insects and glossy orbs add another layer of impermanence to the already fleeting imagery, while also reflecting on the tenuous relationship between the organic and human-made. Similar tensions appear in “Allegory of the Readymade,” which suffocates and warps a seemingly vibrant painting with thick layers of plastic wrap. Each of the works clings to a brief moment in time, capturing both life at its prime and serving as a bold reminder of its inevitable end.
Dennis’ paintings are on view in I’m Happy You’re Here through March 1 at Harper’s Gallery in New York. Find more from the artist on Instagram.
“Based on a True Story” (2024), oil on linen, 70.75 x 55 inches
Detail of “Based on a True Story” (2024), oil on linen, 70.75 x 55 inches
“Superstar” (2024), oil on linen, 70.5 x 55 inches
“Portrait of the Artist as a Juvenile Delinquent” (2024), oil on linen, 72 x 58 inches
“Allegory of the Readymade” (2024), oil on linen, 48.75 x 37 inches
“Giotto’s Fly” (2024), oil on linen, 72.5 x 96 inches
“Dracula” (2024), oil on linen, 71.5 x 56 in
Do stories and artists like this matter to you? Become a Colossal Member now, and support independent arts publishing.
Hide advertising
Save your favorite articles
Get 15% off in the Colossal Shop
Receive members-only newsletter
Give 1% for art supplies in K-12 classrooms
Join us today!
$7/month
$75/year
Explore membership options
Next article More
163 Shares189 Views
in Art
Paradise and Precarity Merge in Jessica Taylor Bellamy’s Paintings of Los Angeles Life
by Aurelia Butler 7 February 2025, 14:57
“American Airlines Passenger Ticket 1 (after Warhol)” (2023), oil on canvas, 32 x 59 inches
Paradise and Precarity Merge in Jessica Taylor Bellamy’s Paintings of Los Angeles Life
February 7, 2025
ArtClimate
Kate Mothes
Share
Pin
Email
Bookmark
For Jessica Taylor Bellamy, juxtapositions, transparency, and layers shape a way of working that evokes her family history and notions of home and landscape. Born to an Ashkenazi Jewish mother and an Afro-Cuban Jamaican father, Bellamy was raised in Whittier, just southeast of Los Angeles.
In glowing oil paintings, she draws from personal mementos like photographs, sales receipts, and newspaper clippings to explore the relationships between utopia and dystopia, humans and nature, image and text, and fantasy and reality.
“Did She Nail It?” (2025), oil on canvas, 26 x 20 inches
Bellamy portrays sunsets, landscapes, trees, urban streets, flora, animals, and cloud formations in a kind of dreamy washiness, adding patterns like chainlink fences, gates, and lace curtains suggestive of boundaries. Horizontal landscapes overlaid with American Airlines tickets echo Andy Warhol’s 1960s silkscreen prints of SAS airline tickets merged with floral motifs.
“Bellamy’s observations are rooted in her experiences of the sprawling urban landscape of Los Angeles—a meeting of nature and civilization at the edge of a precarious paradise, formed by fire, drought, flood, and wind,” says a statement from Anat Ebgi, which represents the artist and opens her new solo exhibition, Temperature Check.
A few works shown here, like “Did She Nail It?,” appear in the show, which merges landscapes and atmospheric lighting effects with references to DIY culture, what’s gendered as “men’s work,” and car and motorcycle culture. The Home Depot receipt, which typically uses the slogan “Did we nail it?,” is combined with an image of a rear-view mirror depicted so close that it initially appears abstract.
Bellamy examines the dualities and precarity of life in Southern California—a seeming paradise we’ve witnessed can be swiftly devastated by fire and drought. The title Temperature Change is also a double entendre, suggesting meteorological readings and a figurative expression used when measuring a group mood or opinion. Through surreal imagery and echoes of mass production and consumerism, the artist invokes a noir reverie.
Temperature Check runs from February 8 to March 22 in Los Angeles. Find more on the artist’s website and Instagram.
“Box Fan (AM)” (2025), oil on canvas, 57 1/2 x 32 inches
“American Airlines Passenger Ticket 2 (after Warhol)” (2023), oil on canvas, 32 x 60 inches
“Playa Larga (Coquina Combination Pill Pack)” (2023), oil on canvas, 23 3/4 x 42 1/2 inches
“A Subspecies of Journalism” (2023), oil on canvas, 59 x 43 1/2 inches
“A Splendid Paradox” (2022), oil on canvas, 70 x 52 inches
“Curtain of Sky” (2024), oil on canvas, 57 1/2 x 48 inches
“Horizontal Thrust I (Blue graffiti highway)” (2025), oil on canvas, 26 x 70 inches
“Driveway Moment” (2025), oil on canvas, 57 1/2 x 47 inches
Do stories and artists like this matter to you? Become a Colossal Member now, and support independent arts publishing.
Hide advertising
Save your favorite articles
Get 15% off in the Colossal Shop
Receive members-only newsletter
Give 1% for art supplies in K-12 classrooms
Join us today!
$7/month
$75/year
Explore membership options
Previous articleNext article More
150 Shares189 Views
in Art
Visit Dozens of Incredible Artist-Built Environments, Homes, and Studios Around the U.S.
by Aurelia Butler 6 February 2025, 19:15
Prophet Isaiah Robertson’s Second Coming House, Niagara Falls, New York. All images courtesy of the artists, foundations, and the National Trust for Historic Preservation, shared with permission
Visit Dozens of Incredible Artist-Built Environments, Homes, and Studios Around the U.S.
February 6, 2025
ArtDesignHistory
Kate Mothes
Share
Pin
Email
Bookmark
Whether a self-taught artisan or a contemporary art titan, one can make artwork just about anywhere. As the saying goes, the only limit is your imagination. And when art and life intersect, sometimes the distinction between the two disappears.
As the National Trust for Historic Preservation can tell you, homes and studios from rural Kansas to the hubbub of Manhattan have been the locus of eclectic, quirky, and innovative ideas that illustrate how creativity and daily existence are one and the same.
Grandma Prisbrey’s Bottle Village, Simi Valley, California
Last month, the NTHP announced the addition of 19 new property members to its Historic Artists’ Homes and Studios program. Comprising locations that range from houses and workspaces to quarries and hand-assembled fantasylands, the new spaces bring the total number of network participants to 61 across the U.S.
Colossal readers might be familiar with one of last month’s additions, the Kosciusko, Mississippi, home of L.V. Hull (1942–2008), which was included in the National Register of Historic Places last summer. The designation was the first to honor the residence of an African American woman visual artist, and it was also the first time a home art environment by any African American was on the list.
Women feature prominently in this year’s announcement, including Pope’s Museum in Ochlocknee, Georgia, which is distinguished as the oldest surviving artist-built environment by a woman in the U.S. A self-taught maker, Laura Pope Forester (1873–1953) created elaborate exterior installations, including murals and other works that pay tribute to women’s achievements, military veterans, and literary figures. The crochet-like white facade is composed of sewing machine parts.
Additional places include the homes of groundbreaking women artists Louise Bourgeois and Carolee Schneemann, along with remarkable creations like Grandma Prisbey’s Bottle Village in Simi Valley, California, and Mary Nohl’s unique environment in Fox Point, Wisconsin.
Plan your visits on the Historic Artists’ Homes and Studios website.
Pope’s Museum, Ochlocknee, Georgia
Shigeko Kubota Video Art Foundation, New York City
Spiral House Park, Saugerties, New York
“Enchanted Garden” and entrance to the “Troglodyte Cavern” at Valley of the Moon, Tucson, Arizona
Mary Nohl Art Environment, Fox Point, Wisconsin
Interior of the Mary Nohl Art Environment, Fox Point, Wisconsin
Dog Mountain, Home of Stephen Huneck Gallery, St. Johnsbury, Vermont
Interior of Reuben Hale House, West Palm Beach, Florida
Interior of Prophet Isaiah Robertson’s Second Coming House, Niagara Falls, New York
Interior view of Grandma Prisbrey’s Bottle Village, Simi Valley, California
Do stories and artists like this matter to you? Become a Colossal Member now, and support independent arts publishing.
Hide advertising
Save your favorite articles
Get 15% off in the Colossal Shop
Receive members-only newsletter
Give 1% for art supplies in K-12 classrooms
Join us today!
$7/month
$75/year
Explore membership options
Next article More
150 Shares199 Views
in Art
Whimsical Ceramic Sculptures by En Iwamura Evoke Ancient Traditions and Childlike Curiosity
by Aurelia Butler 6 February 2025, 16:07
“Neo Jomon: Green Mask” (2024), glazed ceramic, 35 3/8 x 30 1/4 x 28 3/4 inches. Photos by Grace Dodds. All images courtesy of the artist and Ross + Kramer, Gallery, New York, shared with permission
Whimsical Ceramic Sculptures by En Iwamura Evoke Ancient Traditions and Childlike Curiosity
February 6, 2025
Art
Kate Mothes
Share
Pin
Email
Bookmark
In Japanese philosophy, the concept of Ma emphasizes the relationships between time and space and how moments, intervals, and distance provide the basis for how we experience the world around us. Derived from the word Ma, or “間,” which translates to “pause” or “gap,” the idea of negative space is viewed as a fundamental element of art and architecture.
For En Iwamura, who lives and works near Kyoto, working from the perspective of Ma forms a significant tenet of his sculpture practice (previously). He examines scale, the sense of one’s surroundings, and comfort in proximity to others. “People constantly read and measure different Ma between themselves, and finding the proper or comfortable Ma between people or places can provide a specific relationship at a given moment,” the artist says in a statement.
“Neo Jomon: Black/White Mask” (2024), glazed ceramic, 38 1/4 x 34 5/8 x 29 1/2 inches
In Mask, Iwamura’s solo exhibition at Ross+Kramer Gallery, he delves into the cultural, conceptual, and symbolic significance of the titular objects. Drawing on childhood memories of visiting the National Museum of Ethnology in Osaka, where he saw masks from around the world, the artist evokes the sense of mystery he felt upon viewing the works and curiosity about their origins.
Masks have been used for centuries in cultures all around the globe, predominantly associated with religious ceremonies, funerary customs, festivals, dramatic performances, and other rituals of social importance. We don masks to protect us from inclement weather or to provide a layer of safety in certain sports or recreational activities. In 2020, the mask took on a new significance in the global effort to prevent the spread of coronavirus.
Iwamura’s playful, gentle, sometimes wistful ceramic sculptures reference the historical nature of masks while reflecting their role in our contemporary world. “A driving force behind this collection of work is a reconnection to child-like senses of curiosity, wonderment, and creativity,” says an exhibition statement.
In this exhibition, Iwamura presents numerous sculptures from his ongoing Neo Jomon series, drawing on details characterizing earthenware of the ancient Jōmon culture, which existed in what is modern-day Japan from around 14,000 to 300 B.C.E. The name literally means “cord-marking” after a style of pottery scholars attribute to the period.
“Neo Jomon: Mask and Eyes” (2024), glazed ceramic, 31 7/8 x 31 7/8 x 28 inches
Soft forms complement vibrant hues and a variety of textures in Iwamura’s sculptures, which range in size from a little over a foot tall to more than five feet. “To achieve these intricate surfaces, the artist allows his hand-built forms to air dry slightly before drawing various tools across the surface of the clay,” the gallery says. The textures recall rake-like patterns of Buddhist Zen gardens and cord-marking, a technique of pressing a twisted cord into wet clay.
“While serving as a meditation on parenthood, this series is also an encouragement to reunite with one’s inner child,” the gallery says. Mask continues through March 26 in New York City. Find more on the artist’s website and Instagram.
“Neo Jomon: Red Mask” (2024), glazed ceramic, 46 x 46 1/2 x 31 1/8 inches
“Neo Jomon: Stacking Neighbor” (2024), glazed ceramic, 20 1/8 x 7 7/8 x 7 7/8 inches
“Neo Jomon: Pink Mask (Beret)” (2024), glazed ceramic, 36 x 40 x 7 1/4 inches
“Neo Jomon: Stacking Neighbor” (2024), glazed ceramic, 16 7/8 x 11 3/4 x 11 3/4 inches
“Neo Jomon: Black Mask (Crack)” (2024), glazed ceramic and gold, 31 x 31 x 9 inches
“Neo Jomon: Stacking Neighbor” (2024), glazed ceramic, 15 x 9 7/8 x 6 3/4 inches
“Neo Jomon: Blue Mask” (2024), glazed ceramic and gold, 23 x 36 x 14 5/8 inches
Do stories and artists like this matter to you? Become a Colossal Member now, and support independent arts publishing.
Hide advertising
Save your favorite articles
Get 15% off in the Colossal Shop
Receive members-only newsletter
Give 1% for art supplies in K-12 classrooms
Join us today!
$7/month
$75/year
Explore membership options
Previous articleNext article More
125 Shares199 Views
in Art
Order and Chaos Entwine in Abstract Embroideries by Kristine Stattin
by Aurelia Butler 5 February 2025, 19:49
All images courtesy of Kristine Stattin, shared with permission
Order and Chaos Entwine in Abstract Embroideries by Kristine Stattin
February 5, 2025
ArtCraft
Grace Ebert
Share
Pin
Email
Bookmark
Where someone might see opposition, Kristine Stattin finds fitting companions. Working in her studio in the Occitanie region of southern France, the artist alternates between hand and machine embroidery as she layers long, sweeping lines and tiny, tufted French knots. The contrasts create tension and intrigue and ensure that Stattin doesn’t get too comfortable with any one mode.
“My work is all about the process, being in and surrendering to the moment, embracing the unknown, not being attached to outcomes and expectations, and bringing the threads to life,” she says.
Bursting with color and texture, Stattin’s abstract embroideries evoke movement and energy through several layers of thin, sewing thread stitched atop one another. There’s tension between orderly rows and chaotic smatterings. “Each new piece is an internal journey, a sort of enigma that asks to be solved, and I use the needle and threads to capture a feeling, movement, and life itself,” she shares.
Occasionally, appliqué, screen-printing, and acrylic-painted details appear in her pieces, and decisions to incorporate new materials are part of an instinctive process guided by the work itself. Color is similar, with combinations of pastel hues and bold, saturated palettes derived from nature, the artist’s surroundings, or even the way sewing thread falls on her table.
“I am interested in an intuitive, yet mindful process, to see where the threads will take me, to see and respond to what happens, and to work with eventual mistakes,” she says. “I embrace those mistakes as they often lead to new ideas that I bring into future work.”
Follow Stattin on Instagram for updates and glimpses into her process.
Do stories and artists like this matter to you? Become a Colossal Member now, and support independent arts publishing.
Hide advertising
Save your favorite articles
Get 15% off in the Colossal Shop
Receive members-only newsletter
Give 1% for art supplies in K-12 classrooms
Join us today!
$7/month
$75/year
Explore membership options
Next article More
113 Shares159 Views
in Art
Timo Fahler’s Stained-Glass Sculptures Question Symbols and Curtailed Freedoms
by Aurelia Butler 5 February 2025, 17:41
“give me your tired, your poor, your huddled masses yearning to breathe free, the wretched refuse of your teeming shore. send these, the homeless, tempest-tossed to me, I lift my lamp beside the golden door” (2023), chain-link fence, steel, stained glass, lead, and aluminum, 48 x 38 x 6 inches. All images courtesy of the artist and Sebastian Gladstone Gallery, shared with permission
Timo Fahler’s Stained-Glass Sculptures Question Symbols and Curtailed Freedoms
February 5, 2025
ArtSocial Issues
Kate Mothes
Share
Pin
Email
Bookmark
The creation of stained glass can be traced back to ancient Egypt and Rome, but we most often associate it with its popularity in Western Christianity, as in the biblical narratives adorning chapels and cathedrals. For Timo Fahler, this tradition forms the foundation of a multimedia practice influenced by Mesoamerican codice imagery, national symbols, and motifs found in older European churches.
Stained glass is a “storytelling medium in which I get to draw from everything I experience, everything I study, read, believe in, and even distrust,” Fahler tells Colossal. “We are floating in a unique era of questioning reality, the last gasp of the living generation before automation integrates itself via AI, ChatGPT, and digital interface.” He views his practice as depicting this era and even, in a way, immortalizing it.
“topos haliaíetos for the bald eagle; topos chrysaetos for the gold eagle/Mexico” (2023), steel, cast iron, stained glass, lead, tin, and obsidian, 27 x 41 x 2 inches
Fahler first worked with lampworking glass while studying ceramics at the Kansas City Art Institute, which sparked an ongoing interest in the medium. Recently, he began incorporating it into what he calls “rebar drawings,” which form the foundation of much of his work. “I was curious about letting the unpredictability of light become a part of the ‘materials’ I work with,” the artist says.
Many of Fahler’s sculptures are framed or supported by heavy-duty metals like rusted steel, iron fences, and gates. Stained glass hovers a few inches from the wall, casting colorful shadows. For his most recent works, Fahler places barriers atop the glass to consider not only the viewer’s relationship to the image but also the implications of people being barred from freedoms and knowledge. “I draw from a lot of different sources—historical, mythological, and fantastical—all of which encompass my ‘heritage,’” the artist says.
In a piece titled after the poem “New Colossus” by Emma Lazarus, which is carved in bronze on the Statue of Liberty’s pedestal, Fahler uses a gate to frame a detail of Lady Liberty’s arm constructed of tiny glass squares soldered to the facets of a chain-link fence. Historically a potent symbol of welcome, amnesty, and inclusiveness, the statue in this context references how today, new immigrants’ access is more troubled and often blocked.
Serpents, dragons, eagles, and landscapes merge with realistic portraits and references to historical moments and national emblems, like Mexico’s crest featuring a golden eagle on a cactus with a snake in its talons. The image centers on the nation’s flag, representing the resilience, bravery, and spirit of the Mexican people. Echoing his representation of the Statue of Liberty, the icon is barricaded, merging with iron bars.
“I against i” (2024), found fence, steel, stained glass, grisaille, glass, and lead, 53.5 x 53 x 7 inches. Photo by Nick Massey
Fahler is currently working on a solo presentation with Sebastian Gladstone this autumn. He and his family just moved to Amsterdam, where he shares he’s beginning from a “zero-point/clean canvas” in a new studio, and he plans to explore ideas around the complexities of sovereignty, expatriation, and a quickly evolving global society.
“The world is changing so quickly that we cannot collectively understand, let alone keep up with it!” he says. “I’m excited to be working on all of that and look forward to the body of work that depicts it.”
Find more on Fahler’s website and Instagram.
“two-headed serpent” (2023), mirror steel, cast iron, stained glass, copper, and lead, 30 x 45 x 4 inches
“fever dream” (2024), found gate, steal, stained glass, grisaille, and lead, 32 x 84 x 6 inches. Photo by Nick Massey
“twin serpents” (2024), steel, stained glass, lead, and rebar, 70 x 64 x 64 inches. Photo by Nick Massey
“Space Shuttle Challenger (OV-099)” (2023), fence, steel, stained glass, and lead, 64 x 59.5 x 3.5 inches
“copper zen mountain” (2023), rebar steel, stained glass, lead, and copper, 30 x 40 x 6 inches
“code switching” (2024), found chain-link fence, steel, stained glass, and lead, 64 x 48 x 8 inches
Do stories and artists like this matter to you? Become a Colossal Member now, and support independent arts publishing.
Hide advertising
Save your favorite articles
Get 15% off in the Colossal Shop
Receive members-only newsletter
Give 1% for art supplies in K-12 classrooms
Join us today!
$7/month
$75/year
Explore membership options
Previous articleNext article More

Art

More stories

Signe Emdal’s Chromatic Weavings Manifest Wonder and Joy

Announcing Joy Machine, a New Art Gallery in Chicago

Bees and Irridescent Bubbles Infiltrate Still-Life Traditions in Marc Dennis’ Paintings

Paradise and Precarity Merge in Jessica Taylor Bellamy’s Paintings of Los Angeles Life

Visit Dozens of Incredible Artist-Built Environments, Homes, and Studios Around the U.S.

Whimsical Ceramic Sculptures by En Iwamura Evoke Ancient Traditions and Childlike Curiosity

Order and Chaos Entwine in Abstract Embroideries by Kristine Stattin

ITALIAN LANGUAGE

ENGLISH LANGUAGE