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Matt Bua’s ‘Repurposed City’ in Upstate New York Just Hit the Market
by Aurelia Butler 13 February 2025, 19:30
The interior of Matt Bua’s cabin in Catskill, New York. Photo by Photo by Kevin Witte Productions. All images courtesy of Matt Bua, shared with permission
Matt Bua’s ‘Repurposed City’ in Upstate New York Just Hit the Market
February 13, 2025
ArtDesign
Kate Mothes
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On nearly 27 wooded acres outside the town of Catskill, New York, artist Matt Bua has been hard at work on a creative compound like no other. For two decades, he has constructed an artist-built environment from salvaged materials comprising numerous living spaces and work areas. Recently listed for sale for $269,000, the off-grid property known as “B-Home” could be yours.
Bua’s project originated with the idea to “build one of every type of dwelling we could with materials that were easily at hand,” the artist tells Colossal. From repurposed vinyl records, bottles, and reclaimed wood, a sprawling “repurposed city” emerged as painted signs, sculptures, and one-of-a-kind structures popped up over time.
Bua describes his approach as “intuitive building,” working in response to the natural terrain, found materials, and vernacular structures of the northeast. He wrote a book titled Talking Walls, which focuses on the region’s tens of thousands of miles of historic stone walls and considers history and material culture merge in the ways we understand “place.”
Bua lived in Brooklyn when he purchased the property. “All I wanted to do was go up there and build,” he recently told Artnet. He was inspired by self-sustaining communities like Drop City in Colorado, an artists’ commune formed in 1960 with a reputation for remarkable hand-built homes. Incidentally, he also used to maintain Catskill’s quirky Catamount People’s Museum, an installation of an enormous bobcat made from scraps of wood.
Along with a cohort of friends who have contributed freestanding artworks and functional structures over the years, Bua approached “B-Home” as a collaborative experiment “informed by the needs and desires of our surrounding community.”
Learn more about Bua’s work on his website.
All images courtesy of Matt Bua, shared with permission
Map of “B-Home” More
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A New Documentary Traces How a Faith Ringgold Mural at Rikers Island Helped Women Break Free
by Aurelia Butler 13 February 2025, 14:10
Detail of “For the Women’s House” (1972). All images from ‘Paint Me a Road Out of Here’
A New Documentary Traces How a Faith Ringgold Mural at Rikers Island Helped Women Break Free
February 13, 2025
ArtFilmHistorySocial Issues
Grace Ebert
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In 1971, Faith Ringgold (1930-2024) received her first public art commission. New York City offered the late artist a $3,000 grant to paint a mural at the Women’s House of Detention on Rikers Island. After going inside and speaking with those incarcerated in the notorious prison, Ringgold decided to base the work around a request from one of the women about what she hoped the piece would depict: “I want to see a road leading out of here.”
In Ringgold’s characteristically bold palette, the resulting mural features more than a dozen figures, many of whom are employed in professions unavailable to women at the time. Vibrant and sliced into eight sections, “For the Women’s House” portrays doctors, bus drivers, basketball players, and the yet-to-be-realized vision of a woman as president. The large-scale work was a tribute to the deferred dreams of those who were locked up and a directive to reimagine the stereotypes put on incarcerated people.
According to ArtNet, the artist continued her relationship with the detained women and returned to the facility each month to provide “courses in subjects ranging from mask-making and theater to career counseling and drug addiction prevention.”
When Rikers Island transitioned to housing men in 1998, though, the Department of Corrections painted over the work, concealing it under a thick layer of white paint.
A new documentary directed by Catherine Gund chronicles Ringgold’s fight to regain control over the mural as it tells a broader story about the injustices of the U.S. justice system. Paint Me a Road Out of Here, released by Aubin Pictures, features conversations with Ringgold before her death last year, along with artist Mary Enoch Elizabeth Baxter, who has been commissioned to create a new work to replace “For the Women’s House.”
The film comes at a time when more artists who were formerly incarcerated are gaining attention as they point out the dehumanization and cruelty at the heart of the prison system. Jesse Krimes, for example, interrogates the material conditions of life inside as he incorporates soap bars, playing cards, newspapers, and bedsheets into his practice. And at a similarly infamous facility, artist Moath al-Alwi sculpts ships from cardboard, dental floss, and threads from his prayer cap while detained at Guantánamo Bay.
“For the Women’s House” (1972)
While the film shares the story of Ringgold’s nearly lost mural—which was relocated in 2022—it also speaks to the power of community and connection through art and making, particularly in places where despair and degradation are rampant. “Art gives us permission to imagine a world beyond what currently exists,” one interviewee in the film says.
Paint Me a Road Out of Here is currently screening at the Film Forum in New York. Keep an eye on Aubin Pictures’ website and Instagram for additional locations.
The artist with the mural
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Nøne Futbol Club’s ‘Hot Wheels’ Drive at the Dualities of Systems and Society
by Aurelia Butler 13 February 2025, 10:00
Detail of “Work n°144 : Hot Wheels” from the series ‘Wheeling and dealing’ (2017), charred plane wood, 59 x 59 x 21 centimeters each. All images © ADAGP, Paris, 2025, courtesy of Nøne Futbol Club, shared with permission
Nøne Futbol Club’s ‘Hot Wheels’ Drive at the Dualities of Systems and Society
February 13, 2025
Art
Kate Mothes
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Combining sculpture and performative interventions, Nøne Futbol Club—sometimes referred to as Nonefutbolclub—expresses conceptual messages through ephemeral objects and time-based actions. The name is the alias of Colas Claisse, who co-founded the project as a collective but now works solo under the moniker. The initiative continues to delve into potent dichotomies like tragedy and humor, vulnerability and security, disruption and calm, and politics and fiction.
“Nøne Futbol Club’s work may sometimes make you smile, but it can also be serious,” says a statement. “It highlights the violence inherent in our world, where speed and productivity are seen as all-powerful.” The artist describes the project’s role as one that “takes hold of our immediate environment,” expressing social divides and examining socio-political issues with a spark of wry humor.
Installation view of “Work n°144 : Hot Wheels” from the series ‘Wheeling and dealing’ (2017), charred plane wood, 59 x 59 x 21 centimeters each
An ongoing series of sculptures assume the form of tires fashioned from wooden rings. Scorched with fire, the series Wheeling and dealing includes multimedia works all titled “Work nº144: Hot Wheels.” The pieces appear in the guise of Cooper or Pirelli racing tires, yet upon closer inspection, they reveal their surprising composition. Layered meanings emerge through the flames, which initially create, and in some cases destroy, the works.
Each life-size wooden object is made from sliced tree trunks that have been carbonized, producing the rich, black texture and facets redolent of treads. “Since a tree does not grow from its core but from the periphery of its trunk, the cracks resulting from combustion are created concentrically,” the artist says, describing how the resulting patterns mimic brand new, rubber car tires.
A double entendre in the sense that the sculptures refer to the American toy brand of the same name and the literal temperature of the pieces as they burn, the artist plays with perception by creating a material that pretends to be another.
Nøne Futbol Club continues to revel in this subtle deception, trapping the spectator in the simulacrum: “Subjected to form but destroying function, Wheeling and dealing introduces the silent unease of a double game: real tire or wood? Voluntary combustion or fatal car accident?”
Detail of “Work n°144 : Hot Wheels”
The series also spawns drawings made from charcoal chipped off of the sculptures when handled. Video works, such as the half-hour piece included below, chronicle the tires’ destruction in atmospheric landscapes. Bespoke molds cast tire shapes in plaster, aluminum, and—coming full circle—rubber. And later pieces incorporate puddles of metal underneath the tires, symbolizing overheating as the rims melt and serve as a display pedestal. Literally and figuratively a loop, the pieces define the cyclical nature of much of Nøne Futbol Club’s practice.
The artist describes his approach as a “systematic hijacking or reversal of the system,” tapping into the powerful symbolism of objects that are burned or smashed amidst revolt. “Faced with a sense of powerlessness, car vandals and rioters seek an accessible way to convey a radical message,” he says. “As the embodiment of a comfortable and cushioned system, the car is a perfect target.”
Nøne Futbol Club is slated to show work at Iconoscope Gallery in May in Montpellier and at MacBar in September in Lyon. Find more on his website and Instagram.
“Work nº144: Hot Wheels” from the series ‘Wheeling and dealing’ (2017), burnt wood on paper, 100 x 77 centimeters
“Work n°144 : Hot Wheels” from the series ‘Wheeling and dealing’ (2017), charred plane wood, 59 x 59 x 21 centimeters each
“Work n°144 : Hot Wheels” from the series ‘Wheeling and dealing’ (2017), charred plane wood, 59 x 59 x 21 centimeters
“Work nº144: Hot Wheels” from the series ‘Wheeling and dealing’ (2017), burnt wood on paper, 100 x 77 centimeters
Still from “Work nº144: Hot wheels (Dompcevrin I)” (2017), video, 18 minutes, 23 seconds
“Work nº144: Hot Wheels” from the series ‘Wheeling and dealing’ (2017), burnt wood, 28 x 82 x 103 centimeters
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An Otherworldly Garden of Lights Emerges from Hemp and Resin by Ross Hansen
by Aurelia Butler 12 February 2025, 23:17
‘Of Human Feelings’ installation view. All images courtesy of the artist and Volume Gallery, shared with permission
An Otherworldly Garden of Lights Emerges from Hemp and Resin by Ross Hansen
February 12, 2025
ArtDesign
Kate Mothes
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Evoking marigolds, prairie clover, and milk thistle, Ross Hansen’s ongoing series of ethereal lighting fixtures dissect assumptions about design and function. The Los Angeles-based artist and designer’s unique sculptural forms combine hemp, bio-resin, and aluminum to create otherworldly floor lamps.
Hansen draws on a background in landscape design, inspired by organic textures and forms found in nature. In his recent exhibition Of Human Feelings at Volume Gallery, clusters of lights resemble larger-than-life fungi or microscopic organisms. Strips of cloth are enrobed in plant-based resin for rigidity, and the illuminated bulbs diffuse within the fabric.
Volume Gallery will present Hansen’s work at Felix Art Fair in Los Angeles next weekend. Find more on the artist’s website.
Detail of “Milk Thistle”
‘Of Human Feelings’ installation view
“Dalea” (2024), hemp, bio-resin, wood, epoxy resin, paint, and lighting components, 70 x 16 x 16 inches
‘Of Human Feelings’ installation view
‘Of Human Feelings’ installation view
“Marigold” (2024), hemp, bio-resin, aluminum, and lighting components, 85 x 18 x 18 inches
Detail of “Marigold”
Base detail of “Dalea”
“Milk Thistle” (2024), hemp, bio-resin, aluminum, and lighting components, 81 x 18 x 18 inches
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Lena Guberman’s Emotive Sculptures Call Upon Childhood Social Anxiety
by Aurelia Butler 12 February 2025, 17:00
All images courtesy of Lena Guberman, shared with permission
Lena Guberman’s Emotive Sculptures Call Upon Childhood Social Anxiety
February 12, 2025
ArtCraft
Kate Mothes
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For any of us who are shy or anxious about interacting with others in the outside world, we might think of the face we “put on” that enable us to feel less fearful. For Lena Guberman (previously), a recent series of ceramic sculptures titled INS_IDE_OUT delves into her childhood experiences with social anxiety and the uncertainties of the unknown.
“The mask provides a protective shell and presents a ‘perfect’ appearance to the outside world but fails to stop the fears and emotions from bursting out,” Guberman tells Colossal.
Each piece is modeled on the same melancholy face of a young, brown-haired girl, with painted and sculpted elements that range from spikes to arrows to a dead bird. Emotionally evocative and sometimes slightly unsettling, her sculptures explore the spectrum of feelings associated with anxiety.
Guberman is currently planning a project that expands upon her use of ceramics by adding other materials. See more work on her website, Instagram, and Behance.
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Joan Clare Brown Juxtaposes Anatomy and Memories in Poignant Porcelain Sculptures
by Aurelia Butler 11 February 2025, 18:48
“Ed #13” (2023), porcelain and mason stain, 7 x 6 x 8 inches. Photos edited by Nash Quinn. All images courtesy of Joan Clare Brown, shared with permission
Joan Clare Brown Juxtaposes Anatomy and Memories in Poignant Porcelain Sculptures
February 11, 2025
ArtCraft
Kate Mothes
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Depending on how you look at them, the tendrils seemingly growing from Joan Clare Brown’s porcelain bases could be perceived as soft and delicate or spiny, defensive, and slightly unsettling. Dualities lie at the heart of the artist’s approach to ceramics, especially in her ongoing series Ed, which takes personal experience and human anatomy as starting points for a poignant study of grief.
“I started this series as a response to my father’s sudden passing,” Brown tells Colossal. “He was diagnosed with widespread pancreatic cancer and passed away the same day, ultimately of sepsis from complications of a perforated bowel.” In the Ed works, the cinched base, which mimics a frilly-edged textile cushion or pouch, represents a perforated organ, and the long, growing blades or tendrils emblematize infection.
“Ed #5” (2023), porcelain and mason stain, 6 x 4 x 5 inches
The inherent hardness and brittleness of porcelain juxtapose with the softness of textile-like surfaces and organic, plant-like fronds. Each color reflects specific childhood memories of Brown’s father, like the blue and green hues drawn from his favorite flannel shirt or light pinks and purples redolent of a tablecloth used at her family dinners.
“Through the permanence of the ceramic form, my hope was to turn something menacing and insidious into a nostalgic and meaningful reminder,” Brown says. “And by making these pieces, in a way, I feel that he is still present.”
Explore more on the artist’s website and Instagram.
“Ed #16” (2023), porcelain, mason stain, glaze, and luster, 7 x 6 x 4 inches
Detail of “Ed #13”
“Ed #10” (2023), porcelain and mason stain, 7 x 5 x 5 inches
“Ed #11” (2023), porcelain and mason stain, 7 x 8 x 7 inches
“Ed #12” (2023), porcelain and mason stain, 7 x 5 x 4 inches
Detail of “Ed #11”
“Ed #4” (2022), porcelain and mason stain, 7 x 4 x 4 inches
“Ed #3” (2022), porcelain, mason stain, glaze, and luster, 8 x 6 x 4 inches
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Intimacy Centers in Nia Winslow’s Nostalgic Paper Collages Highlighting Black Experiences
by Aurelia Butler 11 February 2025, 17:39
“Child’s Olay” (2023), paper collage, 32 x 40 inches. All images courtesy of the artist and SHEER, shared with permission
Intimacy Centers in Nia Winslow’s Nostalgic Paper Collages Highlighting Black Experiences
February 11, 2025
Art
Kate Mothes
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From torn pieces of paper, Nia Winslow constructs vibrant scenes that evoke togetherness and nostalgia, often harkening back to the mid-20th century. The Brooklyn-based artist taught herself to create mixed-media collages using paper adhered to wood panels, which draw on narratives, moods, and memories.
Winslow predominantly focuses on the African diaspora, tracing stories of the lives of Black individuals in America. Through collages made with a variety of textures, cuttings, and clippings, she illuminates young people playing outdoors, sitting with their parents, and spending time with one another.
“Steady” (2025), paper collage on birchwood panel, 40 x 30 inches
The artist enjoys combining her passion for style with storytelling. She draws inspiration from artists like Romare Bearden, Kerry James Marshall, Faith Ringgold, and Jacob Lawrence, often portraying Black figures during everyday activities and in informal, leisurely settings.
“Mundane or complex, each piece is created to capture the essence of life through the lens of someone who experiences it,” she says in a statement. Cars, urban architecture, garments, and hairstyles emerge in vivid, intimate portraits of community, support, and self-love.
Winslow’s work “Steady” will be on view at Affordable Art Fair from March 19 to 23 in New York City, presented by SHEER. Find more on the artist’s website and Instagram.
“Secret Keeper” (2023), paper collage, 24 x 36 inches
“Muvah” (2022), paper collage, 40 x 30 inches
“License to Loiter” (2021), paper collage on birchwood, 24 x 36 inches
“Muvah & Me” (2024), paper collage on birchwood panel, 30 x 24 inches
“The Fainting Couch” (2022), mixed media paper collage on birchwood panel, 24 x 36 inches
“We Real Cool” (2024), paper collage on birchwood panel, 40 x 30 inches
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Join Us for a Colossal x Joy Machine Workshop with Peter Frederiksen
by Aurelia Butler 11 February 2025, 13:33
“Not Taking Any Chances” (2022), freehand machine embroidery on linen, 8 x 6 inches
Join Us for a Colossal x Joy Machine Workshop with Peter Frederiksen
February 11, 2025
ArtColossalWorkshops
Grace Ebert
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We’re excited to share that we’re hosting an embroidery workshop next month with Chicago-based artist Peter Frederiksen. Join us at Joy Machine on March 2 for Frederiksen’s signature Stitch Circle.
The three-hour workshop will unpack his unique approach to image-making and teach the basics of embroidery. All skill levels are welcome.
This workshop coincides with Joy Machine’s inaugural exhibition, Light Preserver, which features Frederiksen’s embroideries alongside works by eight artists who cultivate and ritualize joy.
There are only a handful of tickets left, so get yours before they sell out. And if you’re a Colossal Member, don’t forget to use the discount code in your account for $5 off.
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Art

More stories

Matt Bua’s ‘Repurposed City’ in Upstate New York Just Hit the Market

Nøne Futbol Club’s ‘Hot Wheels’ Drive at the Dualities of Systems and Society

An Otherworldly Garden of Lights Emerges from Hemp and Resin by Ross Hansen

Lena Guberman’s Emotive Sculptures Call Upon Childhood Social Anxiety

Joan Clare Brown Juxtaposes Anatomy and Memories in Poignant Porcelain Sculptures

Intimacy Centers in Nia Winslow’s Nostalgic Paper Collages Highlighting Black Experiences

Join Us for a Colossal x Joy Machine Workshop with Peter Frederiksen

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