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Laser-Cut Steel Forms Radiate Ornate Patterns in Anila Quayyum Agha’s Immersive Installations
by Aurelia Butler 6 August 2025, 14:38
“A Beautiful Despair (Blue)” (2021), lacquered steel and halogen bulb, 60 x 60 x 60 inches. Image courtesy of Sundaram Tagore Gallery, NYC, © the artist. Photo by Steve Watson / Amon Carter Museum of American Art, Fort Worth. All images courtesy of Seattle Asian Art Museum, shared with permission
Laser-Cut Steel Forms Radiate Ornate Patterns in Anila Quayyum Agha’s Immersive Installations
August 6, 2025
Art
Kate Mothes
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Influenced by the ornate decor of Islamic mosaics and architecture, Anila Quayyum Agha creates large-scale installations that utilize the power of light and shadow to transform a room. Laser-cut steel structures, like her seminal work “Intersections,” take a simple cube as a starting point. The artist incises elaborate patterns from the surface, then situates a light inside, which casts shadows onto the surrounding walls.
Anila Quayyum Agha: Geometry of Light, which opens later this month at the Seattle Asian Art Museum, marks the first time the Pakistani-American artist’s work has been exhibited in the Pacific Northwest. Based in Indianapolis, she is known for exploring the ever-evolving relationships between cultural identity, gender, art, and spirituality.
“A Beautiful Despair (Blue)” (2021), lacquered steel and halogen bulb, 60 x 60 x 60 inches. Image courtesy of Sundaram Tagore Gallery, NYC, © the artist. Photo courtesy of Masterpiece Art Fair, London
“Through the use of light and color, the artist’s ornate designs have the ability to turn spaces into ethereal environments reminiscent of traditional sacred spaces through the use of lanterns or mashrabiya, wooden lattice screens that diffuse light, casting intricate shadows while allowing for the flow of air and creating intimacy,” the museum says.
Geometry of Light will include three of Agha’s space-transforming installations, plus a number of framed, mixed-media paper works. The exhibition runs from August 27 to April 19, 2026, and you can find more on the artist’s website and Instagram.
“This is Not a refuge! (2)” (2019), laser-cut, resin-coated aluminum and light bulb, 93 x 58 x 72 inches. Courtesy of Sundaram Tagore Gallery, NYC, © the artist. Photo courtesy of Columbia Museum, Columbia, North Carolina
“A Beautiful Despair (Blue)” (2021), lacquered steel and halogen bulb, 60 x 60 x 60 inches. Image courtesy of Sundaram Tagore Gallery, NYC, © the artist. Photo by Steve Watson / Amon Carter Museum of American Art, Fort Worth
“Liminal Space” (2021), laser-cut and lacquered steel, 65 x 65 inches. Image courtesy of Sundaram Tagore Gallery, NYC, © the artist. Photo by Steve Watson / Amon Carter Museum of American Art, Fort Worth
Detail of “Liminal Space” (2021). Photo by Steve Watson / Amon Carter Museum of American Art, Fort Worth
“This is Not a refuge! (2)” (2019), laser-cut, resin-coated aluminum and light bulb, 93 x 58 x 72 inches. Courtesy of Sundaram Tagore Gallery, NYC, © the artist. Photo courtesy of Masterpiece Art Fair, London
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Terracotta and Gold Figures by Vipoo Srivilasa Conjure Joy and the Divine
by Aurelia Butler 5 August 2025, 21:09
“Serene Spirit” (2025), terracotta, glaze, overglaze, and gold lustre, 39 x 28 x 15 centimeters. All images courtesy of Edwina Corlette, shared with permission
Terracotta and Gold Figures by Vipoo Srivilasa Conjure Joy and the Divine
August 5, 2025
Art
Grace Ebert
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Joy and the possibilities of creative communion ground the practice of Vipoo Srivilasa (previously). The artist, who lives and works between Australia and Thailand, is known for his ceramic sculptures that take an ebullient approach to life.
Standing between one and two feet tall, Srivilasa’s figures are clad in floral baubles, mandala-like motifs, and gold details, often with their fingers shaped like a V. The lively characters invoke both the mundane and the divine as they portray aspects of the spiritual world while firmly rooted on the earth.
“Inner Goddess” (2025), terracotta, glaze, and gold lustre, 60 x 25 x 13 centimeters
A collection of Srivilasa’s sculptures opens this month at Edwina Corlette in a solo exhibition titled Iconic Figures: Devas, Deities and Divas. Bringing together 15 years of the artist’s practice, the show features both his signature white and blue materials, along with a more recent foray into terracotta, a mix that bridges Srivilasa’s cultural heritages.
Iconic Figures runs from August 20 to September 16 in New Farm, Queensland. Find more from Srivilasa on his website and Instagram.
“Guardian Light” (2025), earthenware glazed and gold lustre, 100 x 50 centimeters
“Heavenly Bloom” (2025), terracotta, earthenware glazed, and gold lustre, 100 x 50 x 60 centimeters
Back of “Heavenly Bloom” (2025), terracotta, earthenware glazed, and gold lustre, 100 x 50 x 60 centimeters
Back of “Serene Spirit” (2025), terracotta, glaze, overglaze, and gold lustre, 39 x 28 x 15 centimeters
“Majestic Grace” (2025), terracotta glazed and gold lustre, 70 x 42 x 15 centimeters
Back of “Majestic Grace” (2025), terracotta glazed and gold lustre, 70 x 42 x 15 centimeters
“Dancing Diva” (2025), terracotta, glaze, and gold lustre, 29 x 14 x 18 centimeters
“Radiant Bloom” (2025), terracotta glaze and gold lustre, 53 x 34 x 20 centimeters
Back of “Radiant Bloom” (2025), terracotta glaze and gold lustre, 53 x 34 x 20 centimeters
“Golden Aura” (2025), terracotta, glaze, and gold lustre, 66 x 33 x 19 centimeters
“Sacred Flame” (2025), terracotta, glaze, and gold lustre, 69 x 37 x 24 centimeters
Back of “Sacred Flame” (2025), terracotta, glaze, and gold lustre, 69 x 37 x 24 centimeters
“Joyful Deity” (2025), earthenware glazed and gold lustre, 62 x 45 x 28 centimeters
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In ‘Little Italy,’ Dina Brodsky and Lorraine Loots Collaborate on a Tiny Scale
by Aurelia Butler 5 August 2025, 18:20
Lorraine Loots, “Pasta Amatriciana.” All images courtesy of the artists and Paradigm Gallery + Studio, shared with permission
In ‘Little Italy,’ Dina Brodsky and Lorraine Loots Collaborate on a Tiny Scale
August 5, 2025
Art
Kate Mothes
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From Manhattan to San Diego to Cleveland, neighborhoods known for their Italian-American populations have endearingly been called Little Italy, where facets of the Mediterranean nation’s culture and cuisine are preserved and celebrated. For artists Lorraine Loots and Dina Brodsky, who both create work on a very small scale, a trip to Italy and a collaborative body of work proved to be a wonderful way to explore this theme quite literally.
Little Italy, Brodsky and Loots’ duo exhibition on view now at Paradigm Gallery + Studio, chronicles the artists’ trip to the country through itty bitty paintings. Loots works in watercolor, while Brodsky composes in oil, and each draws upon the landscapes, architecture, food, and cultural icons—think Vespas, pizza, spritzes, and the Colosseum—that we associate with La Dolce Vita. Framed, Loots’ works are only five inches across, while Brodsky’s tiny tondos encapsulate vast landscapes within a three-inch diameter surface.
Dina Brodsky, “Florence, Ponte Vecchio”
Brodsky and Loots—based in Massachusetts and South Africa, respectively—first connected during the pandemic, inspired by each other’s interest in working in a tiny format. During the trip, they each experienced the place through their unique lens, tapping into memories and associations. Brodsky, who was born in Belarus and whose family traveled as refugees from the Soviet Union to the U.S. in the 1980s, spent a brief period in Italy during this relocation. The nation’s bucolic countryside and ancient architecture stuck with her over time.
Loots was long fascinated by Italy’s architectural and cultural heritage, and during the trip, she wandered the cobbled streets and plazas with two heirloom film cameras, snapping photos which she then developed once she returned home and used as reference for tiny watercolor paintings.
In Little Italy, some of Loots’ photographs, along with some of Brodsky’s sketchbooks, illustrate the two artists’ approaches to recording their experiences. The exhibition continues through August 24 in Philadelphia, and you can find more on the gallery’s website.
Lorraine Loots, “Vespa”
Dina Brodsky, “Bagnoregio”
Lorraine Loots, “Bialetti”
Dina Brodsky, “Rome, Golden Hour”
Lorraine Loots, “Fontana di Trevi”
Dina Brodsky, “Orvieto, Dawn”
Lorraine Loots, “Colosseo”
Dina Brodsky, “Siena, Dawn”
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‘Quiver’ Surveys Twenty Years of Striking Feather Sculptures by Kate MccGwire
by Aurelia Butler 5 August 2025, 14:51
“Circe” (2023). Photo by JP Bland. All images courtesy of Kate MccGwire, shared with permission
‘Quiver’ Surveys Twenty Years of Striking Feather Sculptures by Kate MccGwire
August 5, 2025
ArtNature
Kate Mothes
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Although we’re familiar with numerous birds displaying bright blue hues, from the aptly named blue jays to indigo buntings to various species of heron, this color in avians’ feathers is actually a trick of physics. While hues like red and yellow are produced from pigments, blue results from the way light interacts with molecules inherent to the structure of the feathers. And it’s this delightful, elusive luster that lends itself so well to Kate MccGwire’s striking sculptures.
Next month, MccGwire (previously) opens a solo exhibition at the Djanogly Gallery at Lakeside Arts titled Quiver, surveying two decades of the artist’s work with ethically sourced feathers. Striking, framed wall pieces meet undulating specimens in freestanding vitrines and large-scale, site-specific installations. The vintage glass cases and domes nod to the 19th-century fascination with taxidermied trophy animals that adorned museum walls and grand private homes.
“Quiver” (2012). Photo by Ian Stuart
Working from a converted Dutch barge in West London, MccGwire’s studio mirrors her interest in nature. Like water, her compositions shimmer in the light and appear to swirl and roil, whether pool-like in frames or serpentine and encased in glass. Plumbing the inherent tensions between themes of beauty and revulsion, life and death, and wildness and captivity, the artist encourages us to consider our emotional and ever-evolving relationship with nature.
Quiver runs from September 20 to January 4 in Nottingham. If you’re in Sag Harbor, you can also see MccGwire’s work in The Ark at The Church, curated by Eric Fischl, which continues through September 1. And a piece is also included in Iris Van Herpen: Sculpting the Senses, which runs through August 10 at the ArtScience Museum in Singapore before traveling to the Kunsthal, Rotterdam, where it opens on September 27. Find more on the MccGwire’s website and Instagram.
“Flex”
“Cavort (West)”
“Host.” Photo by Tessa Angus
“Reel” (2015). Photo by JP Bland
“Stifle.” Photo by Tessa Angus
“Gyrus” (2019). Photo by JP Bland
“Surge (Columba).” Photo by Tessa Angus
“Gag”
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Acrobatic Poses in Monumental Murals by Artez Invigorate Urban Buildings
by Aurelia Butler 4 August 2025, 17:14
“Dancer” (2024), Bourgoin-Jallieu, France. All images courtesy of Artez, shared with permission
Acrobatic Poses in Monumental Murals by Artez Invigorate Urban Buildings
August 4, 2025
Art
Kate Mothes
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With acrobatic finesse, the figures in Artez’s large-scale murals interpret the boundaries of the walls themselves through contemporary dance and moments of repose.
Currently working on an ongoing series titled Simple Acrobatics, the artist explains that he aims to “break away from the conventional approach of depicting the human figure on a mural and offer a fresh perspective on how the human form can be portrayed in public spaces.” Dancers fill the sides of buildings, sometimes using a chair as a prop, stretching around the confines of the wall as if challenging its boundaries.
“Simple Acrobatics” (2025), Wuppertal, Germany
Another recent theme, Thirst, portrays people drinking from vases of flowers. The unusual gesture nods to a sense of awareness, inviting viewers to consider society—its conventions and expectations—and contemplate the world around them anew.
Artez is currently in Gothenburg, Sweden, working on a new Simple Acrobatics mural. Find more on Instagram.
Patras (2024). Photo by KLE
“Thirst (Milena)” (2024), Aalborg, Denmark
Cerzeto, Italy (2024)
“Simple Acrobatics” (2024), Bristol, U.K.
“Simple Acrobatics” (2024), Boulogne Sur Mer, France
“Sleepers” (2023), Cacak, Serbia
“Simple Acrobatics” (2024), Zagreb, Croatia
“Thirst For Nature “(2024), Belgrade, Serbia
“Simple Acrobatics” (2024), Cheltenham, U.K.
“Moving Residents” (2023), Deventer, The Netherlands
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Christina Bothwell Taps into Dream Worlds in Surreal Glass and Ceramic Sculptures
by Aurelia Butler 4 August 2025, 15:10
All images courtesy of Christina Bothwell and Heller Gallery, shared with permission
Christina Bothwell Taps into Dream Worlds in Surreal Glass and Ceramic Sculptures
August 4, 2025
ArtCraft
Kate Mothes
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Youthful and mysterious figures emerge from glass and ceramic in the uncanny sculptures of Christina Bothwell (previously). Animals and children form the artist’s primary focus, often embellished with painted florals, nestled in shells, or encapsulated within bird cages. Her husband and collaborator, Robert Bender, often adds wood elements like deer antlers or spider-esque legs. Tender and also occasionally unsettling, the pieces hint at the surreal stuff of dreams, memories, and the spirit world.
Bothwell’s solo exhibition, Screen Memories, just opened at UrbanGlass’s Robert Lehman Gallery. Presented by Heller Gallery, the show brings together a wide selection of new and recent pieces and continues through September 12 in New York City. Find more on the artist’s website and Instagram.
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Kirsty Elson’s Spirited Creatures Breathe New Life into Weathered Driftwood
by Aurelia Butler 1 August 2025, 18:46
All images courtesy of Kirsty Elson, shared with permission
Kirsty Elson’s Spirited Creatures Breathe New Life into Weathered Driftwood
August 1, 2025
ArtCraft
Grace Ebert
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Wander into Kirsty Elson’s Cornwall studio, and you’ll likely greet a menagerie of creatures alongside scraps of driftwood and rusted bits of metal. Scouring local beaches and embankments, the artist (previously) has an impeccable ability to envision a piglet’s ear or a dog’s snout from a weathered hunk of timber. Once in her studio, quirky characters emerge from scratched and worn materials, their lively personalities shining through the signs of age.
Elson sells some of her sculptures on her website, and you can follow her work on Instagram.
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An Ornate Stenciled Rug by Mateo Complements a Cultural Center’s Communal Rooftop in Dakar
by Aurelia Butler 1 August 2025, 13:59
All images courtesy of Mateo, shared with permission
An Ornate Stenciled Rug by Mateo Complements a Cultural Center’s Communal Rooftop in Dakar
August 1, 2025
Art
Kate Mothes
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On the rooftop of TRAMES, an artistic and cultural center in Dakar, Senegal, a vibrant new installation by Mateo creates a welcoming atmosphere above the hustle and bustle of the city. Using paint and stencils, the artist incorporated motifs familiar in Senegal culture, like traditional wrestling, bird tracks, fish, and wax fabrics.
Mateo was also inspired by teraanga, a word in the Wolof language that loosely translates to “hospitality” but is also characterized by a much more holistic philosophy of generosity and acceptance. For hundreds of years, teraanga has shaped communities’ openness and exchange with one another, continuing today as an integral and defining facet of the Senegalese way of life.
Mateo was invited to TRAMES for a residency, where he initially planned to paint a mural. But he was inspired by the communal rooftop space of the center and conceived instead of a large patterned carpet that evokes the teraanga ethos and celebrates Senegalese culture.
“Rather than painting a wall, I chose to work on the rooftop terrace, a vibrant space used for gatherings, celebrations, and dance rituals,” the artist says. Painting on the carpet directly onto the ground facilitated, he adds, “a symbolic, open-air space for connection and ritual.”
Find more on the artist’s website and Instagram.
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Art

More stories

Laser-Cut Steel Forms Radiate Ornate Patterns in Anila Quayyum Agha’s Immersive Installations

Terracotta and Gold Figures by Vipoo Srivilasa Conjure Joy and the Divine

In ‘Little Italy,’ Dina Brodsky and Lorraine Loots Collaborate on a Tiny Scale

‘Quiver’ Surveys Twenty Years of Striking Feather Sculptures by Kate MccGwire

Acrobatic Poses in Monumental Murals by Artez Invigorate Urban Buildings

Christina Bothwell Taps into Dream Worlds in Surreal Glass and Ceramic Sculptures

Kirsty Elson’s Spirited Creatures Breathe New Life into Weathered Driftwood

An Ornate Stenciled Rug by Mateo Complements a Cultural Center’s Communal Rooftop in Dakar

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