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      Wood and Ceramic ‘Guardian’ Assemblages by Expanded Eye Emphasize Earthy Materials

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      Casa Mahala installation. All images courtesy of Expanded Eye, shared with permission

      Wood and Ceramic ‘Guardian’ Assemblages by Expanded Eye Emphasize Earthy Materials

      July 9, 2025

      ArtCraft

      Kate Mothes

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      Blurring the distinction between abstraction and figuration, Expanded Eye’s recent works explore themes of the divine feminine and “the peaceful power of the Earthmother,” the duo says. Comprising Lisbon-based artists Jade Tomlinson and Kevin James, Expanded Eye is known for characteristically geometric, figurative tattoos and assemblages (previously) that incorporate wood and repurposed materials into bold compositions. Through large-scale installations and framed pieces, the artists explore the possibilities of texture, pattern, and color.

      Tomlinson and James have put their tattoo practice on hold to focus on sculptural reliefs. Ceramic, in particular, has become a central tenet of their practice, inspired by the rich tile tradition of Portugal, known as azulejo—an exemplification of cross-cultural exchange. The artists are interested in “using this grounding, ancient material from the earth to depict serene guardians in earth tone colors, to evoke stillness and calm in this fast-paced world.”

      “Earth Flow” (2025), glazed hand-cut tiles in wooden tray frame, 58 x 48 centimeters

      Past and present converge in Expanded Eye’s compositions, channeling an interest in timelessness and the continuum of clay, carving, and building methods. The graphic elements and fragmented features also call to early 20th-century art historical Modernism, especially the Cubist movement. It’s this “fusion of traditional materials with a unique modern approach that excites us—connecting the past to the present,” the artists tell Colossal.

      Expanded Eye is currently working on their largest tile commission to date and plans to further merge ceramics with other facets of their practice. Explore more on the artists’ website and Instagram.

      Casa Mahala installation

      Detail of Casa Mahala installation

      “Earth Mother” (2024), glazed and hand-cut tile panel in wooden tray frame, 117 x 71 centimeters

      “Lunar Guardian” (2024), glazed and hand-cut tiles in wooden tray frame, 34.5 x 24 / 13 x 24 centimeters

      “Guardians series 3” (2024), glazed and hand-cut tiles in wooden tray frame, 54.5 x 24 centimeters

      “Earth Dance” (2025), glazed ceramic tile panel in wooden tray frame, 128 x 71 centimeters

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      JR’s Tree of 10,000 Hands Takes Root in a Former Montpellier Church

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      JR’s Tree of 10,000 Hands Takes Root in a Former Montpellier Church

      July 9, 2025

      Art

      Grace Ebert

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      Known for his large-scale participatory art projects, French artist JR has embarked on a new project that breathes life into a historic venue. A tree of 10,000 scanned and printed hands has sprouted in Carré Sainte-Anne, a Catholic church built in 1869 in the largely Protestant city of Montpellier as a call for unity. The venue in the south of France became an art center in 1991 and just recently reopened following seven years of renovations.

      JR’s exhibition Adventice is the first commission in the revitalized space and takes its name from the Latin “ad venire,” which translates to “come from outside.” In botanical terms, the word often refers to weeds and specimens that spring up where they had not been intentionally planted.

      Montpellier’s landscape is a direct result of travelers, trade, and the proliferation of opportunistic plants, according to Carré Sainte-Anne:

      When the first drapery mills appeared along the banks of the Lez in the Middle Ages, unidentified flora started growing here and there. Fleece imported from Spain, North Africa, Constantinople, and Smyrna was washed in the waters, releasing these seeds from faraway lands, which grew thanks to the fertile conditions of the Mediterranean river.

      Today, French gardens and landscapes pride themselves on the beauty of such diverse species living in harmony.

      Always interested in drawing connections between individuals and broader social issues, JR draws on this history and contemporary issues of migration and displacement. Adventice suspends 10,000 hands from people within the local community and includes smaller wall works with similar depictions.

      Set among the cavernous neo-Gothic architecture and stained-glass windows, the monumental installation celebrates the multitude of people necessary for an ecosystem to thrive. Each hand is presented as both a leaf and a seed, a sign of life and vitality and the essential component in the tree’s future.

      Adventice will be on view through December 7, and visitors can contribute their hands to the work throughout the run of the exhibition.

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    • 138 Shares169 Views

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      Blackburn’s National Festival of Making Celebrates Collaborations Between Art and Industry

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      Morag Myerscough in collaboration with Crown Paints. Photos by Robin Zahler. All images courtesy of the artists and the National Festival of Making, shared with permission

      Blackburn’s National Festival of Making Celebrates Collaborations Between Art and Industry

      July 9, 2025

      ArtCraftDesign

      Kate Mothes

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      Every year, in the town of Blackburn, Lancashire, a vibrant festival erupts with creativity in a celebration of art, craft, and industry. This year marked the seventh edition of the National Festival of Making, organized along the theme of “Art in Manufacturing.” Acclaimed artists and designers teamed up with industry leaders to create works using a variety of materials, from Morag Myerscough’s collaboration with Crown Paints for a vibrant new mural to Liaqat Rasul’s partnership with textile producer Herbert Parkinson for an optical installation.

      Locality played a central role in the festival, as artists were paired with manufacturers in Lancashire. Matter at hand, the design practice of Lewis Jones, teamed up with Darwen Terracotta and Faience, which focuses on traditional glazed earthenware for home products and restoration (faience is a type of tin-glazed pottery).

      Liaqat Rasul in collaboration with Herbert Parkinson, “Umeed (Oh-meed) امید – Gobaith – Hope”

      Matter at hand created a large-scale installation titled “Poured Earth,” which takes an architectural approach to materials in the northern transept of Blackburn Cathedral. The piece invites visitors to walk through an archway of wooden crates and around cast elements in various shapes and sizes, emphasizing the timelessness and continuity of earthen building materials and styles.

      Morag Myerscough transformed a corner building into a characteristically vivid, geometric floral mural with complementary garden boxes and a water tank. Rasul’s piece, a multifaceted textile assemblage suspended in the Blackburn Cathedral crypt, features a friendly face made of independent elements that merge into a full visage when viewed from the front.

      Titled “Umeed (Oh-meed) امید – Gobaith – Hope,” the piece was created from scraps salvaged from Herbert Parkinson’s factory floor in addition to the artist’s own archive. Rasul tenderly embroidered the Urdu, Hindu, and Welsh words for “hope” amid various found elements like cord and safety pins.

      The National Festival of Making features a program of more than 100 workshops, performances, artist talks, markets, and more across more than 20 Blackburn venues. Emphasizing the power of collaboration, cross-disciplinary exploration, and community, the festival aims to empower people of all ages to lean into curiosity and get making.

      Rasul and Lewis’s work will be on view through July 12, with Myerscough’s mural intended for long-term display. Find more on the festival’s website.

      Matter at hand in collaboration with Darwen Terracotta, “Poured Earth”

      Matter at hand in collaboration with Darwen Terracotta, “Poured Earth” (detail)

      Morag Myerscough in collaboration with Crown Paints

      Liaqat Rasul in collaboration with Herbert Parkinson, “Umeed (Oh-meed) امید – Gobaith – Hope” (detail)

      Matter at hand in collaboration with Darwen Terracotta, “Poured Earth” (detail)

      Detail of a mural by Morag Myerscough in collaboration with Crown Paints

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    • 150 Shares129 Views

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      Raqib Shaw’s 100-Foot-Wide Autobiographical Painting Traces a Journey of Exile and Self-Discovery

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      Detail of “Paradise Lost” (2009–25). All images courtesy of the Art Institute of Chicago, shared with permission

      Raqib Shaw’s 100-Foot-Wide Autobiographical Painting Traces a Journey of Exile and Self-Discovery

      July 8, 2025

      Art

      Grace Ebert

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      In 1999, Raqib Shaw began pulling at the threads of what would become an autobiographical painting of loss and beauty. He had recently fled his native Kashmir for New Delhi and later London, where he enrolled at Central Saint Martins. Political upheaval sparked his departure and sent him into permanent exile, a destabilizing event that left him longing for home and required a courageous act of self-reinvention.

      As epic as the 17th-century poem that shares its name, “Paradise Lost” is the culmination of these experiences. Composed of 21 panels that stretch 100 feet wide, the monumental work traces four chapters of the artist’s life, from childhood to 2015. Although Shaw first began thinking about the painting in 1999, he didn’t begin working on it in earnest until 2009. Today, the allegorical piece is on view for the first time in its entirety at the Art Institute of Chicago.

      “Paradise Lost” (2009–25)

      In an essay about the work, Shaw describes metaphor as central to the painting’s narrative. “In Kashmir, metaphor is intrinsic to the way people speak and think,” he says. “Metaphor, rather than directness, conveys meaning with the greatest precision and depth.”

      The painting begins on the left, with a seated figure howling at the moon. Set in the Karakoram mountain ranges of Shaw’s youth, the scene reflects the innocence, solitude, and inner calm the artist associates with his childhood. Moving right reveals a bird being freed from its cage, a figure tied up while surrounded by ferocious snakes, and finally, a small hut devoid of all luxuries. This robe-clad subject is a self-portrait of the artist with his beloved dog, although he points out that he considers the painting to be more universal, writing:

      It is a story of the many paradises we inevitably lose as we move through life: the paradise of childhood, of innocence, of excitement and anticipation, of novelty. We lose the ease of belonging and the calm of that mental stillness that comes from lack of anxiety. And while these losses are deeply personal, they are surely universally felt. We all carry such losses as we move through life and construct inner worlds in response.

      To create such dazzling scenes with immense precision, Shaw utilizes syringes and porcupine quills to apply enamel paints typically used by the auto industry. Acrylic liner on gesso creates “a golden line almost like the leading of a stained glass window,” and inlaid stones and other small materials add glittering depth.

      While “Paradise Lost” deals with heavy themes of displacement and grief, Shaw shares that beauty is at its center. “Not beauty as ornament but as necessity. I believe deeply that art has the power to transform sorrow into meaning, and it has this wonderful quality to alchemize personal pain into something luminous and enduring,” he writes.

      “Paradise Lost” is on view through January 19, 2026. Find more from Shaw on his website and Instagram.

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    • 100 Shares199 Views

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      Magical Realism Permeates Christian Ruiz Berman’s Labyrinthine Paintings

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      “Tesseract” acrylic on panel, 11 x17 inches. All images courtesy of Christian Ruiz Berman, shared with permission

      Magical Realism Permeates Christian Ruiz Berman’s Labyrinthine Paintings

      July 7, 2025

      Art

      Grace Ebert

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      “I grew up in the magical realist tradition, not only in terms of literature and painting but as a school of thought and culture,” Christian Ruiz Berman says. Endlessly interested in “the surreal nature of being stuck between two worlds,” the Mexican artist channels his experiences of immigration and adapting to new environments—including his current home in upstate New York—through his painting practice.

      For Ruiz Berman, magical realism is a way to translate his realities into dense, surreal compositions that become a constellation of references and memories. His influences are broad, from Mexican muralist traditions and Latin American folk art to Taoism and Buddhism to poetry and Japanese printmaking, all of which converge in his work.

      “God giving god to god” (2023), acrylic on panel, 30 x 40 inches

      The resulting paintings become a place to encounter unexpected pairings and mystical associations free of hierarchies. Layering, in Ruiz Berman’s work, isn’t to privilege the objects and textures of the foreground but a manner of depicting the relationships between all elements.

      “Ultimately, my work very much reflects the collision of Eastern and Latin American culture, art, (and) thought, as much as it does my personal amalgamation of Mexico and the U.S.,” he tells Colossal. “The existence of high intentionality and care, but also playfulness and strangeness, is something that has always made me feel connected to East Asian culture, and particularly to places like Japan and Tibet.”

      Although Ruiz Berman offers many entry points to a single painting, his compositions provide an exacting path, however labyrinthine it might be. The eager raccoons in “God giving god to god” might catch the viewer’s eye first, for example, but they soon lead to the sleek lilies they offer up and the Mesoamerican stone statue that’s the object of their reverence. Another seated figure hovers to their left, against woodgrain, granite, and vibrant, swirling agate.

      “Mixcoatl Merkaba” (2025), acrylic on panel, 16 x 20 inches

      Combined with clean lines and exacting geometric shapes, this melange of symbols is undeniably eclectic and in service of a larger narrative. He shares:

      I examine the notion that each person, animal, and object is not only an essential component of the present moment but an entangled element in a greater apparatus of constant change and adaptation…Magic and surprise always happen as a result of shared experience, cross-cultural inspiration, and the subversion of established tropes and identities. I paint because I am fascinated by the way it can draw from the endless diversity and inherent tension of life’s web.

      Animals are often incorporated as “stewards of human culture,” the artist says. For example, Mesoamerican mythology tends to position jaguars as revered protectors able to move between worlds: those of the trees and water, day and night, and sites of the living and dead. Birds, too, are often seen as messengers and guides. Depicting these creatures not in their natural habitats but embedded in unusual compositions, Ruiz Berman seeks to recontextualize their meanings and expand the narratives each has come to symbolize.

      If you’re in Miami, you can see some of Ruiz Berman’s work this summer at Mindy Solomon Gallery. Next spring, he will show at Art Basel Hong Kong with Proyectos Monclov and Harper’s Gallery in New York. Until then, head to his website and Instagram for more.

      “Ursa Gevurah” (2025), acrylic on panel, 50 x 60 inches

      “Grackles of grace” (2023), acrylic on panel, 18 x 24 inches

      “Xacozelotl oz lat” (2025), acrylic on panel, 16 x 20 inches

      “Life cycle” (2024), acrylic on panel, 24 x 36 inches

      “Honeycreeper Harbingers” (2024), acrylic on panels, 15 x 11 inches

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    • 163 Shares139 Views

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      Site-Specific Textiles by Rachel B. Hayes Radiate Within Vast Landscapes and Sunlit Interiors

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      Mirror Lake, Bottomless Lakes State Park, New Mexico, 2015. All images courtesy of Rachel B. Hayes, shared with permission

      Site-Specific Textiles by Rachel B. Hayes Radiate Within Vast Landscapes and Sunlit Interiors

      July 7, 2025

      ArtCraftDesign

      Kate Mothes

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      From myriad swaths of vivid, translucent fabric, Rachel B. Hayes conjures striking installations that transform our experiences of both interior spaces and expansive natural landscapes. The Tulsa-based artist suspends large-scale patchwork compositions in spaces ranging from barns and greenhouses to open fields and lakes, experimenting with scale, color, pattern, light, and movement in joyful installations.

      Hayes’ works have been exhibited extensively around the U.S. and Europe, often stretched like quilted sun sails over courtyards. Her recent piece “Horizon Drift,” in collaboration with Black Cube in Denver, comprises a series of overlapping triangular elements that cast colorful shadows onto the pavement, similar to “A Moment in Time” in Capri.

      “Horizon Drift” (2024) Denver, Colorado. Photo by Third Dune, courtesy of Black Cube Nomadic Art Museum

      Usually installed for just a few weeks or months, Hayes’ installations temporarily merge with their surroundings, a nod to Jeanne-Claude and Christo’s monumentally ambitious fabric interventions. Richly patchworked or woven, the pieces also emphasize a joyful experience of light, breeze, and time-honored American quilting practices.

      Hayes always enjoys looking back at earlier works and in situ experiments to inform new pieces. “I still get so much inspiration and energy from my temporary experiments…I keep coming back to my favorite sites that I know like the back of my hand but also learn and see new things every time I visit,” she says. She often returns to various sites in South Dakota, Missouri, and New Mexico to document work multiple times. The light, weather, and changes in the landscape always “read” differently, and she thinks of many of these pieces as part of a “long vision” within her practice.

      Sometimes, Hayes’ works remain installed for a while longer, and she has embraced becoming something of a “fabric engineer.” Several long-term projects will likely be installed outdoors for at least five years, challenging the artist to select materials that will be both visually effective and endure the elements. “It is truly exhilarating to try and find ways to make my outdoor experiments last for longer periods of time,” she says.

      Light, especially sunlight, plays a significant role in Hayes’ compositions and site selection, particularly indoors where architecture and prescribed routes influence how people move around and can view the work. “I am usually chasing the sun to see where it peeks through the space and plays with reflections and color-casted shadows, so it’s really important that I make the appropriate choice for the site,” she says. While the artist uses software like Photoshop or Procreate to compose the overall pattern, she primarily focuses on the physicality of the material and its unique interactions with different places.

      Installation at Foreland, Catskill, New York. Photo by Adam T. Deen

      Hayes’ installations are on view in Patterned by Nature at the Chicago Botanic Garden throughout the summer. You can also see her work in Soft Structures through August 8 at Jane Lombard Gallery in New York City and Body’s First Architecture through August 10 at Ely Center of Contemporary Art in New Haven, Connecticut.

      Her semi-permanent exhibitions can be seen at the International Quilt Museum in Lincoln, Nebraska, and The Gathering Place in Tulsa. And if you find yourself in West Texas, Hayes’ flag is currently flown outside Ballroom Marfa during the gallery’s opening hours. Explore more on the artist’s website and Instagram.

      You might also enjoy Wally Dion’s translucent quilts that honor Indigenous traditions.

      Fruitlands Museum, Harvard, Massachusetts, 2023

      “Garden Loom” (2015), Roswell, New Mexico

      Menlo Park, California

      “A Moment in Time” (2022), Capri, Italy. Photo by Istanbul’74

      Detail of installation at Mirror Lake, Bottomless Lakes State Park, New Mexico, 2015

      “Cloud Report” (2021), South Dakota

      South Dakota

      Fairfield, Iowa

      Flint Hills, Kansas

      Greenwood, Missouri

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      From Velvet and Vintage Textiles, Larysa Bernhardt Embroiders Otherworldly Moths

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      All images courtesy of Larysa Bernhardt, shared with permission

      From Velvet and Vintage Textiles, Larysa Bernhardt Embroiders Otherworldly Moths

      July 7, 2025

      ArtCraftNature

      Kate Mothes

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      “Mythology and folklore surrounding moths and butterflies carries complex and sometimes contradictory symbolism,” artist Larysa Bernhardt says. “I was always attracted to their paradoxical nature.” While on one hand, she dreads certain types of the winged creatures turning up in her house because of the risk they pose to textiles, she is fascinated by their variations and loves to see them thrive.

      Dualities abound in Bernhardt’s sculptural, embroidered textile moths. Her creative process begins outdoors in a seemingly unrelated aspect of the studio—her garden. The artist tends to a “moon garden” every summer, comprising fragrant botanicals like tobacco, moonflower, datura, and jasmine that perfume the air and blossom with small white flowers that “glow in the dark like stars,” the artist says. Sphinx and luna moths often visit, accompanied by thousands of fireflies.

      When the sun comes up, the garden transforms into a riot of color, with zinnias, poppies, and roses attracting daytime pollinators like butterflies and bees. “It’s the duality of it—night and day, sun and moon, moths and butterflies” that fascinates Bernhardt. She adds, “It’s an incredibly complex balancing act I am forever mesmerized by.”

      Mirroring the supple fuzziness of the insects’ wings, the artist enjoys working with velvet to achieve the moths’ elegance and whimsy. It’s a challenging material because the pile can be unforgiving; make a mistake and the ghost of the stitch will remain as a mark on the fabric. Bernhardt stitches freehand when applying motifs to the wings, starting with a loose sketch but allowing intuition to guide her in creating star-like patterns and symbolic objects like vases or eyes.

      Bernhardt also loves working with vintage needlepoints and old tapestries. “I find textile pieces in dusty corners of antique stores; I love these discoveries,” she says. “And I love giving them another chance to go back up on a wall and be admired again, cherished.”

      The artist’s work is currently included in Daughters of Eve at Quirky Fox in Taranaki, New Zealand, and Beyond the Sea at Nanny Goat Gallery in Petaluma, California. In August, Bernhardt will be part of a show with Beinart Gallery in Melbourne, and she’s currently working toward a solo exhibition at Haven Gallery in Long Island, New York. Find more on her website and Instagram.

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    • 138 Shares179 Views

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      Vibrant Patterns in Frances Priest’s Ceramics Emanate Historical and International Influences

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      “Byzantine.” Photos by Shannon Toft. All images courtesy of Frances Priest, shared with permission

      Vibrant Patterns in Frances Priest’s Ceramics Emanate Historical and International Influences

      July 3, 2025

      ArtCraft

      Kate Mothes

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      In vibrant effusions of color, Frances Priest creates ceramic vessels, tiles, and sculptural forms that explore the possibilities of pattern. The Edinburgh-based artist’s interest in decorative motifs stems from a book she received as a child, The Grammar of Ornament by Owen Jones, originally published in 1856.

      Jones compiled elaborate documentation of decorative motifs around Europe, the Middle East, and other regions represented in British museum collections of the time. An international focus has long inspired Priest, who incorporates a wide range of visual languages into her pieces.

      Jar with a chevron pattern

      Priest (previously) emphasizes geometry and color, merging ideas of precision with organic movement—some of the elements appear to be floating away or overlapping playfully with others rather than remaining in perfect alignment. She also continues the patterns across the bottoms of the pieces, emphasizing an all-around completeness.

      Recent works include a series of cylindrical vessels with lids influenced by Chinese ginger jars. The artist recently completed a large-scale tile commission for Theatre Clwyd in North Wales titled “Stellar,” and a series of encaustic floral tiles dotted the floor of a garden at London’s 2025 RHS Chelsea Flower Show.

      If you’re in Edinburgh, see Priest’s work at &Gallery in the forthcoming group exhibition Fragments, which runs from July 5 to 30. Find more on the artist’s Instagram and website, where some of the pieces shown here are available for purchase in her shop.

      Jars with (L-R) triangle, chevron, and bow patterns

      Detail of the triangle-patterned jar

      “Wait”

      Installation view of “Byzantine”

      Detail of “Byzantine”

      “Pace”

      Jar with a bow pattern

      Detail of “Byzantine”

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