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Keita Morimoto Lingers in the Artificial Light of Urban Nights
by Aurelia Butler 12 March 2025, 22:02
“Green Room” (2025),
acrylic and oil on linen, 162 x 194 x 3 centimeters. Photos by Shin Inaba, courtesy of Keita Morimoto and Almine Rech, shared with permission
Keita Morimoto Lingers in the Artificial Light of Urban Nights
March 12, 2025
Art
Grace Ebert
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Cities are constantly in flux, but Keita Morimoto (previously) invites us to linger in their transitions a little longer. The artist renders corner stores, vending machines, and lampposts that illuminate spaces that might otherwise go unnoticed. Either unoccupied or inhabited by just one or two people, Morimoto’s scenes are dimly lit but not eerie and invoke the environments most of us engage with for just a moment.
“The anonymous, liminal spaces in my paintings echo the feeling of never fully belonging,” Morimoto says in a statement. “I’m drawn to the way emotions can transform a familiar setting into something entirely different, revealing deeper truths about the human experience.”
“Crossroad” (2025), acrylic and oil on linen, 162 x 130 x 3 centimeters
In a new body of work titled To Nowhere and Back, the artist continues his explorations into the interplay of light and shadow. Drawing on the sights of New York City and Tokyo, he considers how we find connection in a world that’s constantly changing. He shares:
My work reflects a lifetime of navigating conflict, loneliness, and the desire to escape within urban environments. When I moved from Osaka to Canada at 16, I experienced a profound sense of isolation, as though severed from everything familiar. Over time, some connections emerged, but it was always accompanied by subtle discomfort. Returning to Japan in 2021 brought a similar disorientation—moments when even my birthplace felt unfamiliar, as if reality itself had shifted.
Rather than translate streets he’s wandered down directly onto the canvas, Morimoto paints with a cinematic quality. This pulls the viewer from the familiar and makes even the most ordinary sidewalk appear intriguing. Zeroing in on light sources further supports this vision, and artificial bulbs become beacons amid scenes shrouded in darkness. The artist considers how these machines create “a robotic harmony in Japanese urban life” and paints them as characters in their own right.
To Nowhere and Back runs from March 14 to April 26 at Almine Rech in Tribeca. Find more from Morimoto on Instagram.
“Last Call” (2025), acrylic and oil on linen, 116.7 x 91 x 2.8 centimeters
“Evening Embers” (2025), acrylic and oil on linen, 162 x 130.3 x 3 centimeters
“Forgotten Path” (2025), acrylic and oil on linen, 162 x 259 x 4 centimeters. Photo by Osamu Sakamoto
“Waiting Hour” (2025), acrylic and oil on linen, 116.7 x 91 x 2.8 centimeters
“No Destination” (2025), acrylic on panel, 27.3 x 22 x 2 centimeters
“Evening Embers” (2025), acrylic and oil on linen, 162 x 130 x 3 centimeters
“Stairs to Nowhere” (2025), acrylic and oil on linen, 162 x 130 x 3 centimeters
“The Way Back” (2025), acrylic and oil on linen, 162 x 194 x 3 centimeters
“Missed Calls” (2025), acrylic and oil on linen, 145.5 x 112 x 3 centimeters
“Gathering” (2025), acrylic on panel, 27.3 x 22 x 2 centimeters
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Regal Portraits Evoke Myth and Power in Simone Elizabeth Saunders’ Hand-Tufted Textiles
by Aurelia Butler 12 March 2025, 13:41
“Girl with Butterflies” (2024), silk and wool yarn on muslin warp, 50 x 40 inches. All images courtesy of the artist and Claire Oliver Gallery, shared with permission
Regal Portraits Evoke Myth and Power in Simone Elizabeth Saunders’ Hand-Tufted Textiles
March 12, 2025
ArtCraft
Kate Mothes
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Emblazoned with vibrant patterns and words like “TRUTH” and “LOVE,” Simone Elizabeth Saunders explores Black identity in relation to kinship, power, and survival. Her hand-tufted textiles (previously) merge cultural narratives and history with mythology, nostalgia, and personal experiences.
Saunders predominantly focuses on women, who she portrays in bold portraits and within fantastical, empowering scenarios. In recent works like “Girl with Butterflies” and “She Manifests Her Destiny,” figures embrace and commune with totem-like snakes, insects, and plants.
“She Reveals” (2022), hand-tufted velvet, acrylic, and wool yarn on rug warp, 65 x 60.5 x 1 inches
Rooted in the myriad histories of the global Black diaspora and rich textile traditions throughout countless cultures, Saunders employs a craft technique historically relegated to a role “beneath” fine art in order to turn the tables on how we comprehend influence, identity, and artistic expression.
Saunders is represented by Claire Oliver Gallery, and you can explore more work on the artist’s Instagram.
“(Be)Longing IV” (2023), hand-tufted acrylic, cotton, wool, and metallic yarn on cotton rug warp, 20 x 1 x 30 inches
“Girl with Hummingbirds” (2024), silk and wool yarn on muslin warp, 50 x 40 inches
“Internal Reflections” (2022), hand-tufted velvet, acrylic, and wool yarn on rug warp, 66 x 62.5 x 1 inches
“(Be)Longing VIII” (2024), hand-tufted acrylic, cotton, wool, and metallic yarn on cotton rug warp, 20 x 1 x 30 inches
“Release in Darkness” (2022), hand-tufted velvet and acrylic yarn on muslin warp, 66 x 55 inches
“She Manifests Her Destiny” (2024), silk and wool yarn on textile backing, 50 x 40 inches
“Break Away at Dawn” (2023), hand-tufted velvet, acrylic, and wool yarn on muslin warp, 66 x 56 x 1 inches
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Lauded Dutch Golden Age Painter Rachel Ruysch Gets Her First Major Survey in the U.S.
by Aurelia Butler 11 March 2025, 21:14
“Flowers in a Glass Vase” (1704), oil on canvas, 33 × 26 3/8 inches. Image courtesy of Detroit Institute of Arts. All images shared with permission
Lauded Dutch Golden Age Painter Rachel Ruysch Gets Her First Major Survey in the U.S.
March 11, 2025
Art
Kate Mothes
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Many of us are familiar with titans of the Dutch Golden Age like Frans Hals, Johannes Vermeer, Rembrandt, Jan Steen, and more. Yet fewer of us have probably heard of Rachel Ruysch (1664-1750), renowned during her lifetime for her original style but under-acknowledged through the centuries in the canon of Western art history.
Co-organized by the Toledo Museum of Art, the Museum of Fine Arts, Boston, and the Alte Pinakothek, Munich, the first major U.S. exhibition of the artist’s work, Rachel Ruysch: Nature into Art, introduces audiences to the breadth of her remarkable paintings.
“Posy of Flowers, with a Beetle, on a Stone Ledge” (1741), oil on canvas, 7 7/8 × 9 5/8 inches. Image courtesy of Kunstmuseum Basel
During her seven-decade career, Ruysch was the first woman admitted to the Confrerie Pictura, The Hague painters’ society, and she was appointed court painter in Düsseldorf to Johann Wilhelm, Elector Palatine. She rose to become one of the highest-paid artists of her day. In a foreword for the exhibition catalog, the directors explain that “Ruysch achieved fame across Europe in her lifetime, but her oeuvre was little studied by art historians in subsequent centuries. She has never been the subject of a major exhibition—until now.”
Art historians consider Ruysch to be among the most talented still life artists of the era, and by the time she died at 86, she had produced hundreds of paintings. Nature into Art includes more than 90 international loans, including 48 of her most significant works.
The artist was born in The Hague, The Netherlands, to parents with backgrounds in science and design. Her father was a professor of botany and anatomy, and her mother was the daughter of an architect. The artist began painting when she was around 15, copying flower and insect specimens from her father’s collection.
As her artistic faculty grew, Ruysch taught her father and her sister Anna how to paint. She merged modern scientific observation with an incredible aptitude for capturing light, composition, and form, and she typically dated her paintings when she signed them, giving art historians a clear record of stylistic shifts and subject matter over time.
“Flowers and Fruit in a Forest” (1714), oil on canvas, 38 × 48 1/2 inches. Image courtesy of Städtische Kunstsammlungen & Museen Augsburg
Ruysch’s success during her lifetime is attributed to both her unmistakable talent and the 17th-century Dutch fondness for flowers and gardening. Still life paintings of floral arrangements and tables heaping with food highlighted the beauty of nature and the gifts of plenty. The vanitas genre also sprung from the style, interpreting memento mori, Latin for “remember you must die,” into subtle, well-versed visual cues.
Motifs like skulls, insects, rotting fruit, or wilting flowers were symbolic reminders of the futility of pleasure, power, or wealth after death. For example, in Ruysch’s “Posy of Flowers, with a Beetle, on a Stone Ledge,” beetles and flies crawl over a spray of peonies and wildflowers that will soon wilt, and water droplets signify purity and the fleetingness of life.
Nature into Art runs from April 12 to July 17 in Toledo, traveling on to Boston afterward, where it opens on August 23.
“Flowers” (1715), oil on canvas, 29 2/3 × 23 3/4 inches. Photo by Photo: Nicole Wilhelms, courtesy of Bayerische Staatsgemäldesammlungen—Alte Pinakothek Munich
Illustration from ‘Observations of a Surinam Toad,’ graphite on paper, 8 x 11 in. Image © The Royal Society, London
Anna Ruysch (Dutch, active from 1685, died after 1741), “A Still Life of Flowers on a Marble Table Ledge” (1685), oil on canvas, 13 × 11 3/4 inches. Photo by Erin Croxton, courtesy of a private collection and Birmingham Museum of Art
“Flower Still Life” (about 1716-20), oil on canvas, 29 3/4 × 23 7/8 inches. Image courtesy of Toledo Museum of Art
Rachel Ruysch and Michiel van Musscher (Dutch, 1645–1705), “Rachel Ruysch (1664–1750)” (1692), oil on canvas, 30 × 25 inches. Image courtesy of the Metropolitan Museum of Art
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Vasilisa Romanenko’s Lush Portraits Wrap Common Birds in Decadent Patterns
by Aurelia Butler 11 March 2025, 17:14
“American Crow” (2025),
acrylic on canvas, 8 x 8 inches. All images courtesy of Vasilisa Romanenko and Arch Enemy Arts, shared with permission
Vasilisa Romanenko’s Lush Portraits Wrap Common Birds in Decadent Patterns
March 11, 2025
ArtNature
Grace Ebert
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Beauty and nature’s resilience are at the core of Vasilisa Romanenko’s work. The Connecticut-based artist paints faithful depictions of common yet dignified birds amid clusters of fruits and flowers, exploring the power of opulence in times of upheaval.
A stately crow poses amid rust-colored roses, a great blue heron poses amid clusters of tangerines and lilies, and a small warbler perches amid pink poppies. Referencing the defiantly decorative works of English textile designer William Morris (1834–1896), Romanenko embraces the entrancing nature of decadent patterns.
“Great Blue Heron” (2025), acrylic on canvas, 22 x 28 inches
“I want my work to feel like an escape from everyday life, like taking a moment to be still and appreciate nature,” she says about her solo exhibition, BIRDS & BLOOMS, at Arch Enemy Arts. Enveloped by flora at full bloom, the winged subjects exude a sense of calm and strength as they perch and prepare for their next flight.
BIRDS & BLOOMS is on view through March 30 in Philadelphia. Find more from Romanenko on her website and Instagram.
“Northern Mockingbird” (2025), acrylic on canvas, 11 x 14 inches
“Black-capped Chickadee” (2025), acrylic on canvas, 5 x 7 inches
“Orange-crowned Warbler” (2025), acrylic on canvas, 5 x 7 inches
“Dark-eyed Juncos” (2025), acrylic on canvas, 9 x 12 inches
“Palm Warbler” (2025), acrylic on canvas, 8 x 10 inches
“Brewer’s Blackbird” (2025), acrylic on canvas, 9 x 12 inches
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Intricate Postage Stamp Tattoos by Ash Aurich Are an Ode to Art History
by Aurelia Butler 10 March 2025, 13:11
All images courtesy of Ash Aurich, shared with permission
Intricate Postage Stamp Tattoos by Ash Aurich Are an Ode to Art History
March 10, 2025
ArtIllustration
Kate Mothes
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As the saying goes, if one knows very little about something, their knowledge could fit on the back of a postage stamp. But for tattoo artist Ash Aurich, the minuscule format provides a readymade canvas and frame ripe for experimentation, intrigue, and beauty.
Using a fine line technique with delicate shading, Aurich outlines the unmistakable scalloped edges of the ubiquitous, tiny adhesives, filling rectangular compositions with Renaissance-inspired romantic and religious figures.
A deep appreciation for iconic artworks inspired Aurich to create tiny odes to art history. “I wanted to be able to capture the essence of these masterpieces in a unique and engaging way,” she tells Colossal. “Having the opportunity to tattoo these designs on others who appreciate art is a rewarding experience.”
Aurich’s preferred subject matter is people, especially the dramatic and often symbolic figures in art historical masterworks by the likes of Johannes Vermeer or Caravaggio. “The attention to detail, use of light and shadow, and mastery of human anatomy create stunning, lifelike representations that translate beautifully into tattoos,” the artist says. She shares that it’s important for the emotions and narratives of each portrait to resonate with the wearer, especially at their small scale.
Currently in residency at Atelier Eva, Aurich has opened her books for March and April in New York City. The tattoos seen here are all flash designs, but she creates custom compositions, too. See more on Instagram.
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Rui Sasaki Encases Spectral Flowers in Intimate Glass Assemblages
by Aurelia Butler 10 March 2025, 09:00
“Residue” (2018). Photo by Ryohei Yanagihara. All images courtesy of Rui Sasaki, shared with permission
Rui Sasaki Encases Spectral Flowers in Intimate Glass Assemblages
March 10, 2025
ArtNature
Kate Mothes
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“What is essential is invisible to the eye,” Antoine de Saint-Exupéry wrote in his 1943 novella The Little Prince, a sentiment that drives Rui Sasaki’s work. From what the artist (previously) describes as a “mysterious and ambiguous material,” botanicals appear to float in frozen cubes of water.
Sasaki employs glass to document and preserve the nature of the present. Works like “Subtle Intimacy” respond to places and experiences where she feels present. “It is vital for me to connect who I am and where I am, especially when I am in unfamiliar spaces,” the artist tells Colossal. She likens intimacy to nostalgia, exploring the depth of feeling associated with memories, comfort, and security.
“Subtle Intimacy 2012-2023” (2023), glass, plants, LED, and aluminum, 253.5 x 310 x 332 centimeters. Collection of 21st Century Museum of Contemporary Art, Kanazawa. Photo by Nik van der Giesen
Sasaki traces her fascination with the medium to childhood, specifically to its visual similarities to the surfaces of ponds or lakes. “I was always wondering how I could make something out of water,” she says. “When I saw molten glass at a glassblowing studio during a summer family trip in Okinawa, I fell in love with it.”
When Sasaki moved to the U.S. from Japan in 2007, she began incorporating plants into her work as a way to “recover my senses from my loss of intimacy and home in my mother country,” she says. When she returned to Japan five years later, she continued to hone her focus on botanicals.
Enchanted by how plants can express experiences of her surroundings, Sasaki portrays individual botanicals in sculptures ranging in size from a few feet wide to room-size installations. She says:
Collecting plants is the most important aspect of the work. I use all my five senses in gathering plants. That helps me to recall my past memories, especially in my childhood, and to connect my feelings of intimacy towards my country, Japan.
Sasaki places collected specimens between two sheets of glass and fires the piece in a kiln. The plant turns to white ash, leaving the impression of petals, leaves, and veins. Air bubbles that naturally emerge in the heat are also preserved in what the artist likes to a time capsule. The original form of the plant no longer exists but its impression endures.
Detail of “Subtle Intimacy 2012-2023″ (2023). Photo by Nik van der Giesen
Dualities like presence and absence, fragility and strength, and transparency and opacity merge with Sasaki’s interest in “befriending” glass while reveling in the knowledge that she will never fully comprehend everything about it.
If you’re in Denmark, you can see Sasaki’s sculptures at Glas from March 22 to September 28 in Ebeltoft. Her work will also be on view later this year at the Aichi Triennale 2025. Explore more on the artist’s website, and follow Instagram for updates.
“Residue” (2018). Photo by Ryohei Yanagihara
“Unforgettable Gardens” (2022). Photo courtesy of Art Court Gallery / Takeru Koroda
“Subtle Intimacy 2012-2023” (2023), glass, plants, LED, and aluminum, 253.5 x 310 x 332 centimeters. Collection of 21st Century Museum of Contemporary Art, Kanazawa. Photo by Nik van der Giesen
Detail of “Subtle Intimacy / Utsuroi” (2024). Photo courtesy of National Crafts Museum (National Museum of Modern Art, Tokyo) / Tomoya Nomura
“Subtle Intimacy / Utsuroi” (2024). Photo courtesy of National Crafts Museum (National Museum of Modern Art, Tokyo) / Tomoya Nomura
Detail of “Dormant Recollections” (2024). Photo courtesy of Northern Alps Art Festival
Detail of “Unforgettable Reminiscences” (2022-2023), installation view at Bellustar One. Photo by Keizo Kioku, ©︎ Tokyu Kabuchiko Tower
Detail of “Unforgettable Reminiscences” (2022-2023), installation view at Bellustar One. Photo by Keizo Kioku, ©︎ Tokyu Kabuchiko Tower
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Through LEGO Compositions, Katherine Duclos Grounds Chaos in Color
by Aurelia Butler 7 March 2025, 18:19
“The fairies will find us if we leave a trail.” All images © Katherine Duclos, shared with permission
Through LEGO Compositions, Katherine Duclos Grounds Chaos in Color
March 7, 2025
Art
Jackie Andres
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Katherine Duclos begins each artwork with a color palette and no plan. Placing modular LEGO bricks one by one, the Vancouver-based artist intuitively builds each dense composition, commencing a repetitive process in which she introduces paint before rearranging again.
Duclos’ most recent solo show, aptly titled The light and color we carry, reinforces the overarching significance of color within the artist’s practice. She created her recent collection during a great shift as she moved to a new home with her family. The neurodivergent artist held onto color as a grounding force, creating connections between the specific hues and lights she would miss in her previous home.
Detail of “Temper your touch please” (2024)
A statement from the Vancouver Art Gallery reads:
Times of transition and upheaval are particularly difficult for autistic families, and Katherine’s need to order her world became more intense as her home became more chaotic and the future seemed unclear. To better prepare herself for the changes, she focused on regulatory work that enabled her to feel a sense of control and order amidst the chaos.
Having disabilities with spatial processing and rotating images causes Duclos to run into some obstacles with the diagrams and instructions that accompany the traditional LEGO kit. “I never enjoyed Lego until my son handed me four flat pieces stuck together when he was 5 and said, ‘I thought you’d like these colors next to each other.’ That was my light bulb moment,” she says. Made to hang at any orientation, each vibrant amalgamation encourages movement and fluctuation despite the stiff, blocky nature of the material.
Duclos is creating work in preparation for a forthcoming solo exhibition in January next year. Keep tabs on her work via Instagram and the artist’s website.
“Fireflies and lilacs” (2024)
“Let your sad light be a beacon (Raincouver)” (2024)
Detail of “I will ahead of you and scaffold the light so you can see the path forward” (2024)
“Sometimes the asymmetry is so subtle it’s subversive” (2024)
“You can make your own plans, the day will make itself” (2024)
“Temper your touch please” (2024)
“I will ahead of you and scaffold the light so you can see the path forward” (2024)
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David Surman’s Gestural Paintings Question How We Understand Animal Emotion
by Aurelia Butler 7 March 2025, 15:21
“Bathers At K’gari” (2024), oil on canvas, 100 x 120 centimeters. All images courtesy of David Surman and Rebecca Hossack Art Gallery, shared with permission
David Surman’s Gestural Paintings Question How We Understand Animal Emotion
March 7, 2025
Art
Grace Ebert
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Now based in London, David Surman was raised in a small coastal village in southwest England. The bucolic scenery and access to animals left an indelible impact on the artist, who plumbs his memory and draws on a vast array of art historical references in his paintings.
Surman’s most recent body of work is on view in his solo exhibition at Rebecca Hassock Art Gallery. In comparison to previous collections, After the Flood is less abstract but similarly gestural, as sweeping brushstrokes delineate a bull’s sinewed musculature or the curled mane of a bashful horse.
“Clarion Call” (2024), oil on canvas, 120 x 100 centimeters
Interested in the ways we project our experiences and ideologies onto the natural world, Surman renders recognizable subjects in a manner that reflects our tendency to ascribe human emotion and feeling to other species. “I like painting animals because they short-circuit people’s interpretive routines and get them looking at paint without the self-consciousness they might bring to abstract painting,” he said in a 2023 interview, adding:
The creatures that I paint are caught up in our human problem, which is the separation from the world caused by consciousness. The way in which my animals look at the viewer deliberately sets up a feeling of intensity, perhaps troubled engagement, a kind of accusation or affection. But in every case, the creature possesses a trace or residue of conscious agency.
In “Old Stew Head,” for example, viewers encounter a deeply troubled fox grasping a limp fish in its jaws. The dog in “Bathers At K’gari” is similarly anxious as it carries a young pup under a bright blue sky.
After the Flood continues in London through March 29. Find more from the artist on his website and Instagram.
“Old Stew Head” (2025), oil on canvas, 60 x 50 centimeters
“Icarus And Daedalus” (2024), oil on canvas, 120 x 100 centimeters
“Kelpie Of Loch Ailort” (2024), oil on canvas, 60 x 50 centimeters
“The Explorers” (2025), oil on canvas, 100 x 120 centimeters
“Leo The Lion (Art For Art’s Sake)” (2025), oil on canvas, 120 x 100 centimeters
“Ostracon” (2025), oil on canvas, 160 x 140 centimeters
“A Frog In An Endless Pond” (2024), oil on canvas, 60 x 50 centimeters
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Art

More stories

Keita Morimoto Lingers in the Artificial Light of Urban Nights

Regal Portraits Evoke Myth and Power in Simone Elizabeth Saunders’ Hand-Tufted Textiles

Lauded Dutch Golden Age Painter Rachel Ruysch Gets Her First Major Survey in the U.S.

Vasilisa Romanenko’s Lush Portraits Wrap Common Birds in Decadent Patterns

Intricate Postage Stamp Tattoos by Ash Aurich Are an Ode to Art History

Rui Sasaki Encases Spectral Flowers in Intimate Glass Assemblages

Through LEGO Compositions, Katherine Duclos Grounds Chaos in Color

David Surman’s Gestural Paintings Question How We Understand Animal Emotion

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