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      From Aluminum and Acrylic, Mariko Mori Conjures the Metaphysical and Otherworldly in ‘Radiance’

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      “Unity IX” (2024), UV-cured pigment, Dibond, and aluminum, 63 1/2 inches diameter, edition of 5 with 2 AP. All images courtesy of the artist and Sean Kelly, shared with permission

      From Aluminum and Acrylic, Mariko Mori Conjures the Metaphysical and Otherworldly in ‘Radiance’

      November 5, 2025

      Art

      Kate Mothes

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      Where technology, time, the cosmos, and perception meet, you’ll find the work of Japanese artist Mariko Mori. The artist has long been interested in the relationship between the individual and the universe—existence itself—which she explores through a range of mediums and immersive experiences. She also draws from the Buddhist philosophy of interconnectedness, which centers around the idea that no living being, object, or event exists in isolation. Everything is linked.

      A recent series of dreamy tondos and luminescent acrylic sculptures make up the artist’s current solo exhibition, Radiance, at Sean Kelly. Comprising abstract, symmetrical, metaphysical forms in bright pastel hues, Mori’s circular Unity compositions emphasize beauty, interdependence, and transcendence.

      “Love II” (2025), Dichroic-coated layered acrylic in two parts with Corian base, 70 7/8 x 29 11/16 x 23 3/8 inches, edition of 1 with 1 AP

      This body of work delves into Japan’s ancient cultures, especially prehistoric and early historic eras. Mori extensively researched a number of ancient periods during which artistic, philosophical, and social advances took place, like the Jomon era (14,000 to 300 B.C.E.) and Yayoi period (300 B.C.E. to 300 C.E.). She also delved into relatively more recent eras, like the Kofun (250 to 538 C.E.) and Asuka (538 to 710 C.E.) periods.

      “Informed by site visits to sacred geological formations across the Japanese archipelago, including the storied rocks of Okinoshima Island and the shrines of Izumo and Awaji, Mori focuses on these ancestral sites through a contemporary lens,” the gallery says. On Okinoshima, Mori observed sacred rocks known as iwakura, which are believed to contain kami—deities or spirits.

      Mori’s Stone series, like “Love II,” re-envision iwakura within the context of the gallery. Made of solid, translucent acrylic that reflects and diffracts light in an almost prismatic effect, visitors are invited into a contemplative experience. “Their dichroic surfaces shift with ambient light and the viewer’s movement, reimagining invisible energies that recall the stones’ original function as portals to the sacred,” says a statement.

      Radiance continues through December 20 in New York. Find more on Mori’s website and Instagram.

      “Unity II” (2024), UV-cured pigment, Dibond, and aluminum, 63 1/2 inches diameter, edition of 5 with 2 AP

      “Kamitate Stone I” (2025), Dichroic-coated layered acrylic and Corian base, 70 7/8 x 28 7/8 x 24 5/8 inches, edition of 1 with 1 AP

      “Unity VII” (2024), UV-cured pigment, Dibond, and aluminum, 63.5 inches diameter, edition of 5 with 2 AP

      “Unity VIII” (2024), UV-cured pigment, Dibond, and aluminum, 63 1/2 inches diameter, edition of 5 with 2 AP

      Installation view of “Shrine” (2025), silk, aluminum, wood, two Dichroic-coated acrylic sculptures, and Corian bases, approx. 74 13/16 x 362 3/16 x 189 inches. Photo by Jason Wyche

      “Unity I” (2024), UV-cured pigment, Dibond, and aluminum, 63 1/2 inches diameter, edition of 5 with 2 AP

      “Oshito Stone III” (2025), Dichroic-coated layered acrylic and Corian base, 43 5/16 x 34 7/16 x 35 13/16 inches, edition of 3 with 1 AP

      Installation view of ‘Radiance’ at Sean Kelly. New York. Photo by Jason Wyche

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    • 150 Shares83 Views

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      In ‘Nesting’ and ‘Wrapped,’ Natalie Ciccoricco Collages Reflections on Nature and Grief

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      Pieces from the ‘Nesting’ series. All images courtesy of Natalie Ciccoricco, shared with permission

      In ‘Nesting’ and ‘Wrapped,’ Natalie Ciccoricco Collages Reflections on Nature and Grief

      November 4, 2025

      ArtCraft

      Kate Mothes

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      Delicate geometries and organic forms combine in the elegant works of Natalie Ciccoricco. Often working with found materials, the artist threads multicolored string through handmade paper. In her ongoing Nesting series, the fiber envelops small twigs that gently interrupt the otherwise meticulous shapes—redolent of the way that trees themselves have the ability to grow around fences and other obstacles in their way.

      Ciccoricco has also recently been working on a series called Wrapped, a poignant exploration of loss and grief. Small panels collaged with colorful imagery are then wrapped tightly with bands of thin yarn.

      The collection emerged as a deeply personal response to the sudden loss of her son, literally encompassing emotions and experiences that art makes it possible to describe. “These are not somber artworks, but rather an expression of radical acceptance and a surrender to both love and grief,” she says in a statement.

      The artist has long been interested in the wide variety of ways that paper and fiber interact, from collaging found photographs with yarn details to hand-making paper in bespoke shapes. Lately, she has been focusing primarily on commissions, including pieces from the Nesting series at a Big Sur, California, hotel called Alila Ventana.

      “Between my own personal grief and the state of the world, I feel my art practice has become an important anchor in my life,” Ciccoricco shares. Her practice—and by extension, her pieces—channel a sense of calm, order, and harmony. “It’s both a tether to something beautiful and familiar, as well as a quiet resistance against all the fear, hate, and violence we are witnessing right now.”

      Find more on Ciccoricco’s website and Instagram.

      Pieces from the ‘Wrapped’ series

      “They Are the Sun and the Moon”

      “Still Silently Watching”

      Details of the ‘Nesting’ series

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    • 138 Shares80 Views

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      Jacquard Weavings by Malaika Temba Explore Material, Community, and Global Trade

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      “Etched in Soil” (2025), part of ‘She Weaves White Gold’ at the North Carolina Museum of Art, Raleigh. All images courtesy of Malaika Temba, shared with permission

      Jacquard Weavings by Malaika Temba Explore Material, Community, and Global Trade

      November 4, 2025

      Art

      Kate Mothes

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      “My practice exists in the tension between rest and labor, between the intimacy of touch and the vast systems that shape our world,” says artist Malaika Temba. “Whether I am working on a small weaving or a large-scale installation, I am always asking what materials remember and who gets remembered through them.”

      Merging digital and analog processes, Temba creates layered textile pieces in an exploration of migration, labor, gender, global trade, and daily life. Using a Jacquard loom, she renders tender portraits of people and quotidian urban scenes, from friends seated together to deliveries being made to the hustle and bustle of daily life in the city.

      “Carry Home” (2024), Jacquard woven fabric, acrylic paint, and fabric dye, 49 x 64 inches

      Growing up, Temba lived in Saudi Arabia, Uganda, South Africa, Morocco, and the United States. In moving between countries, the Tanzanian-American artist tells Colossal, “I was always struck by how fabric marks culture, and how pattern, texture, and material can tell you where you are by what people wear, how they use cloth, and what materials are available to them—whether found in nature, brought through trade, or produced by industry.”

      In art school, Temba learned to use a Jacquard loom, which enables weavers to create intricate patterns using an automated method. Invented in the early 19th century by Joseph Marie Jacquard, the machines originally used a punch card system. By the 1980s, electronic versions reflected advances in computing, and today, these intricate mechanisms can be programmed to create virtually any design.

      “I learned to use a Jacquard loom and became fascinated by its duality: the loom as one of the oldest forms of human-coded technology and the Jacquard as a machine capable of extraordinary innovation,” Temba says. The method itself parallels the artist’s interest in material and systems. Recently, she has been interested specifically in sisal, a cultivated plant and fiber deeply entwined with labor and trade in Tanzania. Sisal is often used to make durable products like rugs, rope, bags, and more.

      The artist currently has an installation titled She Weaves White Gold on view at the North Carolina Museum of Art, comprising three pieces set against ornate wallpaper. In this work, Temba employs sisal as both the primary material and the concept, as she portrays individuals and communities “carrying stories of work, migration, and endurance across geographies and through systems of production and exchange.”

      “(Aunties Patterned Dresses)” (2025), Jacquard woven fabric, 60.5 x 51.5 inches.

      After creating the main textile element, Temba often hand-manipulates the fabric by unravelling areas, adding paint, and silkscreening. These layered elements add to a sense that the work is always in a state of flux—simultaneously constructed and undone. “Over time, these pieces have grown larger, more collaged, and richer in texture, capturing multiple moments within a single woven scene,” she says.

      Temba’s work honors the lives and labor of especially people in East Africa. “With tense elections in Tanzania and the ongoing war in Sudan, I am thinking a lot about visibility, dignity, and what it means to represent ordinary people at a time when their stories are often reduced to headlines or statistics,” she says. “Creating these works is a way of slowing down that narrative, of insisting that daily life—the gestures of care, the rhythm of work, and the persistence of women—has value and deserves to be seen.”

      She Weaves White Gold remains on view through autumn 2026 in Raleigh. Find more on the artist’s website and Instagram.

      “Beauty Salon” (2023), Jacquard woven fabric, silkscreen ink, painting, and sewing machine embroidery, 50 x 70 inches

      “Blue Diana (I don’t know what lighter feels like)” (2025), Jacquard woven fabric and paint, 69 x 51 3/4 inches

      Detail of “Blue Diana (I don’t know what lighter feels like)”

      “Preparing Dinner” (2025), Jacquard woven fabric and paint, 61 x 52 inches

      “Veggie Market” (2025), Jacquard woven fabric and paint, 57.5 x 51.75 inches

      “Bismillah Auto Repair” (2024), Jacquard woven fabric, chalk, and sewing thread, 60 x 46 inches

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    • 138 Shares104 Views

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      Ceramics Mimic Cardboard in Jacques Monneraud’s Trompe-l’œil Ode to Giorgio Morandi

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      Photos by Natacha Nikouline. All images courtesy of Jacques Monneraud, shared with permission

      Ceramics Mimic Cardboard in Jacques Monneraud’s Trompe-l’œil Ode to Giorgio Morandi

      November 3, 2025

      ArtCraftDesign

      Kate Mothes

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      A quick glimpse of Jacques Monneraud’s vessels give the impression of lighthearted craft time, with cardboard tubes and layered cutouts affixed with pieces of clear tape. Perhaps they’re maquettes for larger pieces or simply playful experiments with an inexpensive material. But look closer, and you’ll discover there’s a lot more to these vessels than they first let on. Namely, they’re actually ceramic.

      Monneraud’s ongoing CARTON series explores the relationship between material and perception. He blends three types of clay, then uses a potter’s wheel to throw the core shapes. When the form has dried to a leather-hard consistency, he trims where needed and refines the contours and edges, creating minute details that give the illusion of cut paper.

      Achieving the corrugated detail is one of the most time-consuming and labor-intensive processes, which Monneraud accomplishes by pressing a handmade wooden tool into the clay to create a series of triangular impressions. When all of the pieces come together, it appears as though a few pieces of cardboard were patched together with adhesive. In fact, each container is totally water-tight, and they certainly won’t wrinkle or warp!

      The artist recently conceived of a series of groupings in an ode to the subtle and playful oil paintings of Giorgio Morandi (1890-1964). The Italian artist is known for his muted still lifes of ceramics in which perspective, light, and shadow create nuanced compositions. He paid particular attention to the relationship between volume and line, often organizing items so that their tops all aligned or various elements appear to merge into other vessels’ details.

      In Monneraud’s current exhibition Life, still., on view in Brussels, Morandi’s compositions provide a jumping-off point for the trompe-l’œil ceramics. Pitchers, vases, jars, and other shapes mimic those Morandi rendered in oil, revisiting the painter’s approach to “cosiddetta realtà,” or “so-called reality.” He was interested in “the notion that meaning lies not in the subject itself, but in the way it is observed,” says a statement for Monneraud’s show.

      Life, still. is open on Saturdays through November at 38 Quai du Commerce in Brussels. Find more on Monneraud’s Instagram.

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    • 125 Shares93 Views

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      Irene Saputra Invents Elaborate, Playful Outfits in Her Vibrant Embroideries

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      Composite from the series ‘Arak Arakan Sepi.’ All images courtesy of Irene Seputra, shared with permission

      Irene Saputra Invents Elaborate, Playful Outfits in Her Vibrant Embroideries

      November 3, 2025

      ArtCraftDesign

      Kate Mothes

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      Flowers, stars, leaves, eyes, and countless patterns transform into billowing garments in Irene Saputra’s vibrant embroideries. The South Jakarta-based artist, who also goes by Nengiren, repeats the playful motif of nona kecil, which means “little woman” in Indonesian.

      Saputra’s fashion-forward character might be described as a clotheshorse who dons numerous bold outfits, some of which seem to have personalities of their own. Saputra has often referred to these styles as OOTD’s, or outfits of the day, borrowing from a hashtag historically used by fashion influencers on social media.

      “Arak Arakan Sepi 2”

      The faceless figure’s cropped bob and black boots are the only commonality, as always-symmetrical wide-leg trousers or dresses vary widely. Through color, scale, and repetition, Saputra’s hand-stitched characters also coordinate and complement one another. Some, like the Arak Arakan Sepi series—meaning “quiet procession” in Indonesian—are more abstract and bulbous, while others, like “ARTSUBS,” depict more realistic outfits.

      Saputra draws on a background in graphic design and illustration, which she applies to her fiber compositions. Through the lens of women’s fashion and personal expression, she channels optimism and her own journey of motherhood. Find more on Instagram.

      “ARTSUBS”

      “Soft Spot”

      Detail of “Soft Spot”

      “Kebun Tengah Malam”

      Detail of “Kebun Tengah Malam”

      Arak Arakan Sepi 1

      “Melankoli Biru”

      “Musim Menyapa Kembali”

      Arak Arakan Sepi 3

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    • 150 Shares106 Views

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      Vibrant Beaded Compositions by Renée Condo Convey the Mi’gmaq Spirit of Empathy

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      “Naan” (2023), wood beads, acrylic paint, transparent epoxy resin on wood panel, 60 × 60 inches. All images courtesy of the artist, GAVLAK, West Palm Beach and Blouin Division, Montreal, shared with permission

      Vibrant Beaded Compositions by Renée Condo Convey the Mi’gmaq Spirit of Empathy

      October 30, 2025

      Art

      Grace Ebert

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      Throughout her practice, Renée Condo draws on the philosophical tenets of her Mi’gmaq ancestry. The Montreal-based artist works with wooden beads that she sands, paints in bold acrylic, and nests into energetic compositions depicting juicy fruits, raindrops, and brilliant, golden suns.

      Condo is interested in mntu, or spirit, and what she refers to as heart knowledge, acts that emerge from empathy and love. Through sculptural pieces that emphasize interconnection and flow, the artist draws on Indigenous creation stories and myths, considering her beadwork a reimagining of various traditions.

      “Giju’” (2024), wood beads, acrylic paint, epoxy on wood panel, 72 × 60 inches

      Condo often engages the relationship between the component and composition, emphasizing the ways in which a singular piece would appear abstract without a broader context. “The bead as fundamental entity, as infinite potentiality, can appear as divided, as unit, as part,” she says, “but is at once whole and all-encompassing, holding secrets of the world and to the nature of reality.”

      This fall, Condo will have work on view at GAVLAK, where she’s represented. You can find more of her practice on Instagram.

      “Newt” (2023), wood beads, acrylic paint, transparent epoxy resin on wood panel, 60 × 60 inches

      “Welgwija’latl V” (2023), wood beads, acrylic paint, epoxy on wood panel, 44 × 44 inches

      Detail of “Gesiangam’tg 2” (2025), wood beads, acrylic paint, epoxy on wood panel, 60 x 25 inches

      “Gesiangam’tg 3” (2025), wood beads, acrylic paint, epoxy on wood panel, 60 x 25 inches

      “Pgumane’get / Go to get (pick) Blueberries” (2022), wood beads, acrylic paint, transparent epoxy resin on wood panel, 60 × 60 × 2 inches

      “Ne’talqigwat: Between Worldviews (a,b)” (2024), wood beads, acrylic paint, epoxy on wood panel, 72 x 60 inches each

      A studio view of “Ne’talqigwat: Between Worldviews (a,b)” (2024), wood beads, acrylic paint, epoxy on wood panel, 72 x 60 inches each

      “Untitled” (2025), wood panel, wood beads, acrylic paint, resin, 72 x 48 inches each

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    • 150 Shares118 Views

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      A Stop-Motion Fairytale and Oracle Deck by Swoon Conjure an Artist’s Magic

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      All images courtesy of Swoon, shared with permission

      A Stop-Motion Fairytale and Oracle Deck by Swoon Conjure an Artist’s Magic

      October 30, 2025

      AnimationArtFilm

      Grace Ebert

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      Caledonia Curry’s story of the Sibylant Sisters starts like many others in the fairytale genre, although it takes just a few words to realize that something is off: “Once upon a swampy ol’ dirt road, two sisters, Caelum and Terra, were growing up under the care of a spindly little witch by the name of Katarina.” The narrative continues with the sorcerous mother beginning to unravel, prompting the siblings to rely on the younger Caelum’s magical powers to survive.

      “This story is drawn from my own childhood growing up at the end of a dirt road with a mother who was in the midst of a psychotic breakdown, and a lifetime spent teasing out the relationship between creativity, intuition, magic, and madness,” the artist says.

      Curry, who’s better known as Swoon (previously), has taken a sort of narrative turn in her practice as of late, translating her interest in family and intergenerational trauma into a sprawling, mythical tale. Seven years in the making, the project is multi-disciplinary and spans sculpture, installation, costume, film, and more. Many of the works can be seen in a four-part read-aloud, and they’ve also spawned an 88-card deck called “The Oracle of the Sibylants,” complete with symbolic imagery distinct to the artist’s practice.

      Included are renderings common in divination, including stars and smoking cauldrons, along with more idiosyncratic objects like a glowing Skee Ball machine and flailing garden hose. “Suffused with joy and tenderness amidst the hardship, these cards speak the language of fairytale, because there are some truths that can only be told by witches and unicorns, ogres and toads,” Swoon adds.

      “The Oracle of the Sibylants” is currently funding on Kickstarter, which features a video glimpsing some of the live-action and animated films to come. Stay up to date with the entire project—which Swoon envisions as a traveling exhibition, films, novella, and theatrical production—on Instagram.

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    • 175 Shares130 Views

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      Tarka Kings Renders Intimate Portraits of a Morning Routine in Graphite and Colored Pencil

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      “The Changing Room III” (2025), graphite and colored pencil on Arches paper, 34.5 x 28.5 centimeters. Photo by Matthew Hollow. All images courtesy of the artist and Offer Waterman, shared with permission

      Tarka Kings Renders Intimate Portraits of a Morning Routine in Graphite and Colored Pencil

      October 28, 2025

      Art

      Kate Mothes

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      Along Britain’s sea coasts, an iconic summertime scene unfolds in outdoor pools known as lidos, where the swimming area is often built right into the beach. Some are more developed with fresh water, chlorinated like indoor pools, while others may be less formal, with the tides pushing saltwater over low walls.

      The tradition is closely related to another beloved pastime, “wild swimming,” where enthusiasts take a dip in lakes, rivers, and seashores. It’s often social, further benefiting people’s mental and physical wellbeing, and wild swimming clubs have become increasingly popular. For British artist Tarka Kings, the routine of these timeless recreational attractions lays the groundwork for a series of intimate drawings.

      “Swans” (2024), graphite and colored pencil on gesso panel, 26 x 26 centimeters. Photo by Matthew Hollow

      Mornings at the Lido, the artist’s recent solo exhibition at Offer Waterman, highlights Kings’ use of graphite and colored pencil to create quiet, pensive, and relatable compositions. From getting dressed in a changing room to sitting at a cafe along the Serpentine lake in London’s Hyde Park, which features its own lido, King observes everyday yet transitional moments between interior and exterior, action and stillness, and community and solitude.

      Since 2008, Kings has worked almost exclusively with graphite and colored pencil. Her pieces pull from experience, with the addition of models and photographic references, as the artist swims almost daily and looks over the River Thames from her studio. “Kings’ relationship with water, and its dynamic within the city of London, is an integral part of her work,” the gallery says.

      Follow updates on the artist’s Instagram.

      Detail of “The Changing Room III”

      “Bath Mat II” (2024), graphite and colored pencil on gesso panel, 41 x 51 centimeters. Photo by Matthew Hollow

      “By the Lake” (2025), graphite and colored pencil on Arches paper, 67 x 102 centimeters. Photo by Matthew Hollow

      “Red Flag” (2025), graphite and colored pencil on Arches paper, 66 x 95 centimeters. Photo by Prudence Cuming Associates

      “The Changing Room IV” (2025), graphite and colored pencil on Arches paper, 34.5 x 28.5 centimeters. Photo by Matthew Hollow

      Detail of “Swans”

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