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From Early Computers to Ships at Sea, Lola Dupre Warps Everyday Objects
by Aurelia Butler 9 October 2024, 10:00
From Early Computers to Ships at Sea, Lola Dupre Warps Everyday Objects
October 9, 2024
ArtPhotography
Grace Ebert
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How would you find home row in fourth-grade typing class if there were 1,700 keys in front of you? Lola Dupre’s latest collages would be intimidating to even the most ambitious student.
The artist (previously) continues her disorienting manipulations with a pair of early Apple desktops, ships with enough stories to rival a high-rise, and a cow so bloated she needs eight legs to stand. Each work pushes the limits of legibility as limbs and common objects undergo exaggerated distortions.
Dupre’s work is on view through November 23 at Prescription Art in Brighton, and she has another show slated for April at Corey Helford Gallery in Los Angeles. Until then, find more on Instagram.
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Temporary Interventions by Kobra Convey the Critical Impacts of Increasing Wildfires
by Aurelia Butler 8 October 2024, 15:30
All images courtesy of Kobra, shared with permission
Temporary Interventions by Kobra Convey the Critical Impacts of Increasing Wildfires
October 8, 2024
ArtClimate
Kate Mothes
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Around the world, rising temperatures and ecosystem imbalances due the climate crisis have spurred an increasing number of wildfires annually. Brazil, for example, has seen more than 180,000 hot spots this year as of mid-September, the most since 2010. As deforestation reduces rainfall, a catastrophic cycle of drought and wildfires has only strengthened.
For Eduardo Kobra, the unprecedented number of uncontrolled blazes spurred a new series of artworks drawing attention to this troubling reality. As fires impacted rural and urban areas alike, including the city of Araçariguama—a little more than 30 miles from São Paulo—the artist chose a local area scorched by flames to document a collection of temporary interventions.
Drawing attention to the wildlife and habitats being destroyed, Kobra portrays birds, monkeys, anteaters, and other creatures surrounded by burned forest. In one piece, a firefighter assists a baby jaguar, and in another—a sign of hope—a child waters a sprouting plant.
Kobra is known for his large-scale murals on buildings around the world, which emphasize vibrant portraits and nods to pop culture through characteristically bright, geometric patterns. Using biodegradable materials, his new series of cutout panels uses a relatively smaller scale to address an enormously critical issue.
See more on his website and Instagram.
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Collaged Portraits by Emma Odumade Draw on the Past to Face the Future
by Aurelia Butler 8 October 2024, 12:31
“Call of Duty (A New Anthem)” (2024), charcoal, acrylic, ink, vintage photos, and black tea on canvas, 101.6 x 101.6 centimeters. All images courtesy of the artist and Unit London, shared with permission
Collaged Portraits by Emma Odumade Draw on the Past to Face the Future
October 8, 2024
ArtPhotography
Kate Mothes
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Growing up in Lagos, Emma Odumade always drew cartoons and created collages on paper. As he continued to make work, his interest grew in highlighting the world around him, especially young people in his community.
Odumade’s vibrant portraits and self-portraits, the latter of which he makes toward the end of every year, reflect a sense of unity, a search for self, love, and anticipation of the future. These particular works arose as “an attempt to have a diary—I never had one,” he says. “I needed to rediscover myself; see myself from an angle—from a third eye. My art became a mirror, through which I was a reflection.”
“Mister Fly” (2024), charcoal, acrylic, vintage photos, ink, graphite, colored pencil, and black tea on canvas, 147.32 x 119.38 centimeters
Portraits serve as records of activities and experiences, documenting the artist’s observations and referencing history and culture to tell personal stories. He combines images with other mediums like charcoal, acrylic, ink, and repurposed earlier sketches, invoking what he calls “stamps of moments”—a collection of memories viewed through the spectrum of past, present, and future.
“I love that I can reference historical events, stolen African artifacts, and my humble beginnings through a photo,” Odumade tells Colossal. He collages the backgrounds of many compositions with numerous black-and-white images dyed with tea to give an antique appearance. “The vintage brown look of the old photos is to remind viewers about [the] past and to give a ‘test of time’ feeling.”
Five new works will be presented by Unit London at 1-54 Contemporary African Art Fair in London, which runs from October 10 to 13. Explore more of Odumade’s practice on Instagram.
“My Favorite Albert’s Theory” (2020-2021), charcoal, acrylic, ink, black tea, and sketch paper on canvas, 163 x 148 centimeters. Additional credit to Lekan Abatan
“Seth; Why Run Away From Light Equals Infin9s” (2021-2022), charcoal, graphite, acrylic, ink, sketches, old photos, and black tea on paper. Additional credit to Ken Nwadiogbu
“A Wave to Remember” (2024), charcoal, acrylic, black tea, and vintage photos on canvas, 146.05 x 119.38 centimeters
“Three Sequences” (2021), charcoal, acrylic, black tea, ink, and old photos on canvas, 124 x 97 centimeters. Additional credit to Eshinlokun Wasiu
“First Motion to Fly (Mr. Professor)” (2024), charcoal, acrylic, ink, vintage photos, feather, and black tea on canvas, 147.32 x 119.38 centimeters
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An Expanded Edition of JR’s Monograph Recounts the Power of Socially Engaged Art
by Aurelia Butler 4 October 2024, 18:37
All images © JR, courtesy of Phaidon, shared with permission
An Expanded Edition of JR’s Monograph Recounts the Power of Socially Engaged Art
October 4, 2024
ArtBooksSocial Issues
Jackie Andres
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Traveling to different regions across the globe, French artist JR envisions grand projects that call to humanitarian issues and collective action. At the forefront of his practice is a persistent query, rooted in a palpable yearning for change and strong belief in the power of art.
JR: Can Art Change the World? chronicles the artist’s phenomenal range of participatory efforts, from mural-laden buildings to photographic installations to performance art. Originally published in 2015 and later updated in 2019, an even newer edition featuring a half-decade of JR’s latest works is slated for release by Phaidon later this month. The 2024 version includes a whopping 390 photos and illustrations, as well as a foreword by George Lucas.
Among the four new chapters included in the expansion, you might recognize more recent projects such as “Tehachapi,” a poignant collection of murals focused on the lives of incarcerated individuals, and impressive optical illusions from the artist’s ongoing “Trompe l’œil” series.
Pre-order JR: Can Art Change the World? in the Colossal Shop to be one of the first to page through the monograph.
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Symmetric Paper Collages by Haegue Yang Commune with the Spiritual
by Aurelia Butler 2 October 2024, 19:08
“Splashing Volcano Ash Gaze–
Mesmerizing Mesh #140” (2022), Hanji on alu-dibond, framed, 62 x 62 centimeters. All photos by Studio Haegue Yang, courtesy of the artist and The Arts Club of Chicago, shared with permission
Symmetric Paper Collages by Haegue Yang Commune with the Spiritual
October 2, 2024
Art
Grace Ebert
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Known for immersive sculptures and installations that engage the senses, Seoul-born artist Haegue Yang looks toward common materials and traditional craft techniques to explore pressing issues. She often transforms domestic objects like Venetian blinds, electrical fans, and even cans of Spam into dynamic, abstract works that comment on sociopolitical topics like migration, labor, and exile.
Although the artist has risen to international recognition for her three-dimensional pieces, an exhibition at The Arts Club of Chicago peers into another side of her practice. Flat Works surveys two decades of Yang’s paintings, prints, and collages, including her captivating series, Mesmerizing Mesh.
“Flower Explosion Radial Folds–Mesmerizing Mesh #124” (2022), Hanji, graph paper on alu-dibond
Geometric, floral motifs characterize the alluring compositions made from cut and folded hanji, paper derived from mulberry bark. Mesmerizing Mesh references shamanistic traditions, particularly in Korea, Japan, China, and Slavic regions, and what comes from communing with the spirit world.
According to a statement about the series, the symmetric works allude to “sumun, a sheet hung from the ceiling in rituals…to keep away evil spirits,” while the more figurative, anthropomorphic pieces “resemble soul sheets (nukjeon), in which the shaman blows a spirit treated as the identical entity of the deceased being honored.”
Like her sculptures, these collages similarly recontextualize a humble, everyday material. Although they’re two-dimensional, the layered works convey depth, each appearing as a kind of portal guiding viewers into an entrancing, mystical realm.
Flat Works continues through December 20 in Chicago.
“Fluoroscopic-Powered Fire Bird-Mesmerizing Mesh #130” (2022), Hanji on alu-dibond, framed, 62 x 62 centimeters
“Blood Moon Finger-Pulling Bloom Formation–Mesmerizing Mesh #107” (2022), Hanji on alu-dibond
“Rainbow Mist Germination Soul Sheet–Mesmerizing Mesh #184” (2023), Hanji, washi on alu-dibond
“Thunder-Powered Ash Entrails Soul Streamers–Mesmerizing Mesh #148” (2022), Hanji on alu-dibond
“Head Altar Formation–Mesmerizing Mesh #49” (2021), Hanji, graph paper on alu-dibond
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Papier Mâché Bat Masks by Jym Davis Take Wing in Bold Portraits
by Aurelia Butler 2 October 2024, 16:00
White bat, Florida. All images courtesy of Jym Davis, shared with permission
Papier Mâché Bat Masks by Jym Davis Take Wing in Bold Portraits
October 2, 2024
Art Craft Nature Photography
Kate Mothes
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Atlanta-based artist Jym Davis, who also goes by False Face, has a thing for bats. He began making masks of the winged mammals during a series of residencies at national parks in the American West. In Arizona, he learned about Townsend’s big-eared bat and critically threatened species like the pallid bat in Northern California, Oregon, and Idaho.
“(The Townsend’s big-eared bat’s) scrunched up, wrinkly faces, and huge ears seemed so sculptural and beautifully grotesque to me,” Davis tells Colossal. “The more strange and exotic bats I discovered, the more I was inspired to push my sculpting and painting techniques.”
Pallid bat, Idaho
When entering the caves or lava tubes that the bats call home, Davis takes precautions to help protect the animals from contagious diseases and fungi that visitors can track in on their shoes. “In the past century, bats were villainized and intentionally eradicated,” he says. “I think I have a particular fondness for bats because they are so historically misunderstood.”
Drawn to ancient European festival traditions and materials used for centuries, Davis began making masks as a way to connect his work to history and the land.
“For instance, I really love sculpting with papier mâché because it goes back hundreds of years,” he says. “I sew bells and ribbons into my outfits because it is another old festival element—even referenced by Shakespeare.” He typically avoids modern materials, especially anything made of plastic.
Townsend’s big-eared bat, Arizona
While Davis’s designs are based on real creatures, he often embellishes the masks with bold patterns, colors, and geometries. The pieces are part of a broader, ongoing body of work that he describes as a “menagerie of mythological characters,” which include a series of otherworldly avian creatures called Flood Birds and a grouping inspired by moths and butterflies titled Morph Angels, among others.
Davis dons the masks amid natural settings and captures each personality in striking photographs and performances. This month, he is headed to Joshua Tree, California, for some photo sessions in preparation for his forthcoming book focused on Morph Angels.
The artist currently has an albatross mask on view in FORAGE: OCEANS at Dorado 806 Projects in Los Angeles through October 12. Some of his masks are also available for sale on his website, and you can follow updates on Instagram.
You might also enjoy Ashley Suszczynski’s ongoing documentation of ancient masked traditions.
Bat, Florida
Red bat, California
Bat, Florida
Pallid bat, Idaho
White bat, Florida
Red bat, Idaho
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From Fire to Wind, JiSook Jung’s Ceramic Sculptures Animate the Elements
by Aurelia Butler 2 October 2024, 13:15
“Animal in the Wind” (2014), clay, 36.7 x 20.8 x 30 centimeters. All images courtesy of JiSook Jung, shared with permission
From Fire to Wind, JiSook Jung’s Ceramic Sculptures Animate the Elements
October 2, 2024
Art
Kate Mothes
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JiSook Jung has long been drawn to clay for its inherent malleability. “Clay has the advantage of being able to quickly mold an image in my head into a visual form because it is soft and plastic,” the Seoul-based artist tells Colossal. “In that sense, I think clay is an intuitive and instinctive material.”
Jung’s pensive, abstracted beings sprout limbs and minimal—if any—facial features. Each piece is vaguely animalistic and evocative of weather, the elements, and organic textures. A cloud walks on four legs, a green flame looks back at us with two beady eyes, or a wavy, blue being takes on the physical persona of wind.
“Walking Daydream” (2024), clay and foam clay, 49 x 36 x 46.5 centimeters
Many of Jung’s works tap into universal human experiences and concerns, like dreams, possibilities, and ego. “Potential,” for example, highlights a slightly bulbous, pink form that stands on four legs, as if preparing to metamorphose into something altogether new.
Jung’s work has recently shifted from an emphasis on figures to more abstracted creatures, focusing on textures and color. After an experience that deeply impacted her personal life, she felt encouraged to explore new directions in her work. “I’m coming out of an old shell and welcoming a new world,” she says.
Jung will open a solo exhibition on November 16 at Simple Object in Taipei. Find more on Instagram.
“Mass of Ego” (2024), clay and synthetic resin, 14 x 19.3 x 34.5 centimeters
“Burn Green” (2024), clay, 29.5 x 14 x 47.2 centimeters
“Potential” (2019), clay, 17 x 12 x 32 centimeters
“Free Animal” (2024), clay, 43.5 x 16.3 x 38 centimeters
“Wind” (2024), clay, 18.5 x 14 x 54.5 centimeters
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Frosted Works by Yvette Mayorga Divulge Issues That Are Anything but Saccharine
by Aurelia Butler 1 October 2024, 18:00
Installation view of ‘La Jaula de Oro’ at Museo de Arte de Zapopan. Photo by Lazarillo. All images courtesy of the artist and Museo de Arte de Zapopan, shared with permission
Frosted Works by Yvette Mayorga Divulge Issues That Are Anything but Saccharine
October 1, 2024
Art Social Issues
Kate Mothes
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In a pink, glowing Rococo setting, Yvette Mayorga’s first solo exhibition in Mexico dives into nostalgia, teenage dreams, and how sometimes a sugary coating can conceal crucial truths.
For La Jaula de Oro—The Golden Cage—at Museo de Arte de Zapopan, the Chicago-based artist (previously) has created four acrylic-piped paintings on canvas and a series of mixed-media sculptures. These include a 1974 Datsun coated in crochet, plush and plastic toys, acrylic nails, faux fur, rosaries, and other ephemera. Pop singer Selena’s song “Dreaming of You” wafts from the car stereo.
“Bien chiqueada” (2024), acrylic nails, nail charms, toy snake, toy scorpion, clock, scorpion belt, collage, and acrylic piping on canvas, 91.44 x 121.92 centimeters
At first glance, Mayorga’s compositions appear like delicate, frosted confections, glittering with nail charms and predominantly made in various shades of pink. But upon closer inspection, reminders of a slightly more unsettling reality begin to emerge, such as scorpions, clocks, or mirrors—nods to our relationship with time, others, and our mortality.
The artist draws on the tradition of vanitas painting, a style popularized during the Dutch Golden Age, often in the form of still lifes brimming with visual cues that power and glory mean nothing when confronted with the inevitability of death.
For Mayorga, the supple forms of piped bows, rosettes, and borders belie important messages centered around border control, immigrant labor, rampant capitalism, and pop culture.
Akin to the way cookies or cakes are created to be literally consumed, the artist toys with the notion of fleetingness. “La princesa (Ride or Die),” for example, captures a sense of ephemerality and impermanence: “here today and gone tomorrow,” says curator Maya Renée Escárcega.
Detail of “Bien chiqueada”
The artist invites viewers into a seemingly carefree, saccharine space evocative of the opulence of the late 18th century—the era of Marie Antoinette and her famous—if mythical—quote: “Let them eat cake.” Considered the “Rococo Queen,” she is associated with luxury and frivolity, and she came to symbolize the excesses of the wealthy during a period when many people couldn’t afford bread, let alone the delicacies of cake.
Mayorga’s primary medium is acrylic applied using a pastry bag. She references women workers—especially women of color—from whom colonial discourse stripped notions of femininity assigned to white women. She expands upon the framework of Rococo to analyze 21st-century issues, simultaneously serving us a reminder of the sacrifices and toil required to produce what capitalist society consumes.
La Jaula de Oro and continues in Zapopan through January 5. Find more on Mayorga’s website and Instagram.
Detail of “Banquete (Banquet)” (2024), hi-temperature ceramics, resin candle holders, bronze figures, and candles, dimensions variable. Photo by Lazarillo
Installation view of La Jaula de Oro
“Capitalist Clown” (2024), collage, acrylic marker, pastel, toy scorpion, and acrylic piping on canvas, 91. 44 x 121.92 centimeters
Detail of “La princesa (Ride or Die)” (2024), crochet, plush toys, plastic toys, acrylic nails, rosaries, faux fur, belt buckles, vinyl stickers, ceramic tchotchkes, clock, toy cell phone, found license plate, trophy, wood, 161 acrylic roses, and acrylic piping on a 1974 Nissan Datsun, 4 x 1.6 meters. Photo by Lazarillo
Detail of “La princesa (Ride or Die).” Photo by Lazarillo
“Made in Mexico (Fecit Mexici)” (2024), mirror, hand mirror, acrylic nails, nail charms, clock, toy scorpion, collage, and acrylic piping on canvas, 91.44 x 121.92 centimeters
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Art

More stories

From Early Computers to Ships at Sea, Lola Dupre Warps Everyday Objects

Temporary Interventions by Kobra Convey the Critical Impacts of Increasing Wildfires

Collaged Portraits by Emma Odumade Draw on the Past to Face the Future

Symmetric Paper Collages by Haegue Yang Commune with the Spiritual

Papier Mâché Bat Masks by Jym Davis Take Wing in Bold Portraits

From Fire to Wind, JiSook Jung’s Ceramic Sculptures Animate the Elements

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