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Jon Ching Advocates for Six Endangered Hawaiian Birds in Vivid Detail
by Aurelia Butler 19 August 2025, 22:32
“I’iwi.” All images courtesy of Jon Ching and American Bird Conservancy, shared with permission
Jon Ching Advocates for Six Endangered Hawaiian Birds in Vivid Detail
August 19, 2025
ArtNature
Grace Ebert
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Paradise for some, Hawai‘i is a place of ecological contradiction. The islands are known for their beautiful beaches and lush forests, and yet, they’re also home to the largest threats to avian populations. Dubbed “the bird extinction capital of the world,” Hawai‘i has witnessed its forest species decline from 50 to just 17 today.
A vivid series of paintings by Kaneohe-born artist Jon Ching zeroes in on the magnificent beauty of six endangered Hawaiian honeycreepers, rare creatures found nowhere else on Earth. Ching is a 2024 Conservation and Justice Fellow for the American Bird Conservancy (ABC), an organization dedicated to supporting wild birds and their habitats throughout the Americas. Teaming up with Birds, Not Mosquitoes, ABC has been working to combat non-native mosquitoes on the islands, which have decimated populations with avian malaria.
“‘Akeke’e”
Like much of Ching’s work, these paintings are hyperrealistic, portraying the subjects’ soft plumes and scaled claws with impeccable, otherworldly detail. Many are set against flat, graphic backdrops reflective of different aspects of Hawaiian culture. The artist writes on Instagram that the ‘Akeke’e has a “specialized crossbill that helps them open up ‘ōhi‘a lehua buds in search of insects,” adding about the work of the same name:
I made a patterned design of the ‘ōhi‘a lehua, almost as a contemporary wallpaper or textile design, but have the flower and leaves transforming from 2D to 3D as the birds perch on them. In this way, their presence gives life to this important native tree like it cares for it in the wild.
Find more about Ching’s work with ABC and the fellowship program on the organization’s website.
“‘Apapane”
“Maui ‘Alauahio”
“Palila”
“‘Akikiki”
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Steve Keister Conjures Mythological Creatures from Clay, Wood, and Cardboard
by Aurelia Butler 19 August 2025, 14:45
“Moondog” (2024), glazed ceramic and acrylic on wood, 16.5 x 11.5 x 28.5 inches. All images courtesy of the artist and Derek Eller Gallery, shared with permission
Steve Keister Conjures Mythological Creatures from Clay, Wood, and Cardboard
August 19, 2025
Art
Kate Mothes
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From glazed ceramic, coated cardboard, wood, and acrylic paint, Steve Keister summons mythical beings and enigmatic animal-human hybrids. The artist’s current exhibition, Split Level at Derek Eller Gallery, is a survey of work made during the past eight years, glimpsing the artist’s ongoing exploration of Pre-Columbian art and architecture.
Keister’s mixed-media sculptures initially emerged from experiments with salvaged styrofoam and cardboard packing cartons, which evoked the bold, blocky forms of Mesoamerican architecture like Aztec stone carvings and Mayan step pyramids.
“Leaf-Nose Bat” (2025), glazed ceramic and acrylic on wood, 23 x 33 x 6.5 inches
Through ongoing series like Bio Meso, Batz, and Masked Figures, Keister merges painting, sculpture, and craft techniques into three-dimensional portrayals of what the gallery describes as “bespoke deities that pay homage to Pre-Columbian myth.” Some creatures, like “Xoloitzcuintle,” represent real animals—in this case, a species of hairless dog.
Hybrid creatures like “Standing Bat II” and “Coyote Man” tap into oral histories and belief systems that span North America. Bats are historically emblematic of the boundary between life and death. And Coyote, a potent character in the folklore of numerous Indigenous North American peoples, is variously a magician, creator, glutton, and trickster.
Keister’s compositions range from wall reliefs to freestanding, monument-like sculptures to sprawling floor pieces. “At the core of his ethos is a profound interest in human and animal consciousness,” the gallery says. “Keister extrapolates his subjects from Central American mythology to develop a complex ecosystem of mystical fauna.”
Split Level continues through August 22 in New York City. Explore more on the artist’s website.
“Coyote Man” (2025), glazed ceramic and acrylic on wood, cement, 66 x 16.5 x 17.5 inches
“Xoloitzcuintle” (2025), glazed ceramic and acrylic on wood with found object, 25 x 20 x 33 inches
“Red Tabby” (2024), glazed ceramic and acrylic on wood, 11 x 14 x 3.5 inches
“Cosmic Crocodile” (2017), coated cardboard, glazed ceramic, cement and acrylic on wood, 5 x 32 x 55 inches
“Contrapposto” (2024), glazed ceramic and acrylic on wood, 30 x 24 x 4 inches
“Standing Bat II” (2022), glazed ceramic and acrylic on wood, cement, 65 x 48 x 12 inches
“Mictlantecuhtli” (2017), coated cardboard and acrylic on masonite on wood, 37.25 x 41 x 6.25 inches
“Lateral Bat” (2024), glazed ceramic and acrylic on wood, 40.25 x 24 x 4.25 inches
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Christopher Herwig Motors Through Southeast Asia to Capture a Vivid Fleet of ‘Trucks and Tuks’
by Aurelia Butler 18 August 2025, 18:32
All images courtesy of FUEL Publishing, shared with permission
Christopher Herwig Motors Through Southeast Asia to Capture a Vivid Fleet of ‘Trucks and Tuks’
August 18, 2025
ArtBooksPhotography
Grace Ebert
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From Pakistan to Sri Lanka, a vibrant tradition zooms down mountain passes and through city streets. The vernacular art form elaborately adorns vehicles with intricate motifs and celebrity portraits, while cabs brim with synthetic flowers, tassels, and dreamcatchers. A common sight on Southeast Asian roadways, these vivid modes of transport are the subject of a new book by photographer Christopher Herwig.
Known for documenting Soviet-era bus stops and metro stations, Herwig’s latest project Trucks and Tuks journeys 10,000 kilometers and 208 pages, capturing the wondrous, idiosyncratic custom. As Riya Raagini writes in the introduction, sajavat, or ornamentation and decoration, is an essential component of culture in the region, found on streets and within homes alike. “Even before modern vehicles appeared in the region, people were decorating every conceivable mode of transport, from bullock carts to boats. Naturally, when trucks, tuk-tuks, and rickshaws began to arrive in the early 20th century, they were embellished in a similar fashion,” Raagini adds.
Today, this tradition is increasingly threatened. Several countries have cracked down on vehicle modifications citing safety concerns, while the proliferation of mass-produced decals and objects overtakes what was a largely hand-crafted art form.
For Herwig, Trucks and Tuks glimpses what he calls “the poetry of the road,” a complex mix of masculinity, creative expression, and hope. He writes:
Alongside the practical elements found in the truckers’ cabs, there was often an abundance of visual imagery in marked contrast to their challenging existence. Decorated with elaborate whimsical flare, dangling good luck charm,s and wallpaper showing idyllic scenes, they revealed a dream life.
Published by FUEL, Trucks and Tuks is available for pre-order from Bookshop.
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In ‘JUJU’s Castle,’ Jean Jullien Reinvents His Childhood Escapes
by Aurelia Butler 15 August 2025, 20:11
All images © Jean Jullien, courtesy of Nanzuka Art Institute, shared with permission
In ‘JUJU’s Castle,’ Jean Jullien Reinvents His Childhood Escapes
August 15, 2025
Art
Grace Ebert
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As a child, Jean Jullien (previously) preferred to spend his time immersed in the pixelated worlds of video games, embarking on adventures with action figures, and reinventing himself in RPGs. Imagining a universe parallel to his own offered a joyful refuge when he needed it most.
Jullien summons this memory for JUJU’s Castle, an enormous, multi-gallery exhibition that invites viewers into the artist’s youthful fantasyland. Rendered in his signature flat, two-dimensional style, monsters, wizards, menacing mushroom creatures, knights, and friendly faces stand ready for play. From tile-esque floors to brightly painted walls to fiery lights lining dungeon walkways, each detail captures Jullien’s exuberant and witty aesthetic. “Years later, as the world seems more and more dire, I’ve decided to visit Juju’s castle once more and to open its doors to the public,” he says.
Eighty small paintings accompany the larger installations and sculptures and are vignettes of make-believe and amusement. There are games of chess, hand-made masks and costumes, and even an elephant slide like those found on the playgrounds of Taiwan.
Although his works often appear lighthearted, Jullien frequently responds to some of today’s most pressing issues, including capitalism’s grip on society and the all-too-relatable feelings of existential dread. JUJU’s Castle is another response to contemporary life. He says:
With constant news of war, global warming, pandemics, and dystopic technological advancements, it seems like our daily lives have become more and more anxiogenic. But there is resistance in the form of escapism, and people have resorted to it in many ways. From video games to role playing games, cosplays, niche literatures, and online communities, people have found means to deviate from the harsh reality.
If you’re in Shanghai, visit Nanzuka Art Institute before October 26 to immerse yourself in Jullien’s world. Otherwise, explore more of his work on his website and Instagram.
“Toshima Playground” (2025), acrylic gouache on canvas, 35.5 x 47.7 x 3.3 centimeters
“Masks” (2025), acrylic gouache on canvas, 35.5 x 47.7 x 3.3 centimeters
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Sthenjwa Luthuli’s Spiritual Paintings Excise Intricate Patterns in Bold Color
by Aurelia Butler 15 August 2025, 17:36
“Marks Of Identity” (2025), hand carved super wood block mix media, and paint, 136 x 92 centimeters. All images courtesy of Unit London, shared with permission
Sthenjwa Luthuli’s Spiritual Paintings Excise Intricate Patterns in Bold Color
August 15, 2025
Art
Grace Ebert
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Through swirling ribbons of color, headless figures dance among densely patterned backdrops, their hands grasping and open. Dressed in tight, form-fitting costumes, these anonymous protagonists are bound by their elaborately carved environments, a metaphor for the experience of South African communities that artist Sthenjwa Luthuli (previously) finds fruitful.
Luthuli is known for his wood-block paintings brimming with vibrant color and texture. Through a meditative, meticulous process of gouging small pieces of MDF, he renders dense, intricate motifs that envelop his figures in a swath of markings. The artist is particularly interested in African spiritualism and the tenuous relationship between freedom and control for minority communities.
“Reborn” (2025), hand-carved super wood block mix media and paint, 138 x 184 centimeters
Next month at Norval Foundation in Cape Town, Luthuli with present a collection of works made between 2010 and 2015. His first institutional solo exhibition, Umkhangu uses African cosmology and symbolism as its guide, considering how a birthmark can be seen as an ancestral presence or a sign of one’s destiny.
Umkhangu opens on September 11. Find more from the artist on Instagram.
“The Genetics” Ulibofuzo (2025), hand-carved super wood block mix media and paint, 138 x 184 centimeters
“Unfinished Business” (2025), hand-carved super wood block mix media and paint, 136 x 92 centimeters
“Stories We Wear” (2025), hand-carved super wood block mix media and paint, 136 x 92 centimeters
“Palmistry” (2025), hand-carved super wood block mix media and paint, 136 x 92 centimeters
“Inner Spark” (2025), hand-carved super wood block mix media and paint, 136 x 92 centimeters
“Reincarnation” Ukphinda Uzalwe (2025), hand-carved super wood block mix media, and paint, 138 x 184 centimeters
“Nature’s Unique Signatures” (2025), hand-carved super wood block mix media and paint, 185 x 185 centimeters
“Past Life Origins” (2025), hand-carved super wood block mix media and paint, 138 x 184 centimeters
“Diverse Nations, Different Calling” (2025), hand-carved super wood block mix media and paint, 275 x 184 centimeters
“Continuous Legacy” Ukuqhubeka Kwefa (2025), hand-carved super wood block mix media and paint, 138 x 184 centimeters
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A Glowing Inflatable Canyon by ENESS Squeezes Inside Melbourne’s Prahran Square
by Aurelia Butler 15 August 2025, 14:08
All images courtesy of ENESS, shared with permission
A Glowing Inflatable Canyon by ENESS Squeezes Inside Melbourne’s Prahran Square
August 15, 2025
Art
Grace Ebert
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Although it appears that thousands of tons of boulders have been dropped into Prahran Square in Melbourne, the enormous rocks are actually as light as air. Art and technology studio ENESS (previously) has installed its inflatable “Iwagumi Air Scape” in the park, creating an immersive canyon for visitors to wander through.
While the 16 massive stones have a grainy, granite-like texture during the day, at night, they glow in otherworldly pinks and yellows, creating a surreal landscape that illuminates the urban environment. Audio of flora and fauna accompanies the work, so that when viewers squeeze through what would be a treacherous pass between real boulders, the soft inflatables and mountain sounds wrap them in a natural embrace.
The outdoor installation is on view through August 17, when it will travel to additional locations. Keep up with its stops on ENESS’s Instagram.
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Sho Shibuya Meditates on Rainy Days and the Fragile Nature of Peace
by Aurelia Butler 14 August 2025, 17:18
All images courtesy of Unit London, shared with permission
Sho Shibuya Meditates on Rainy Days and the Fragile Nature of Peace
August 14, 2025
Art
Grace Ebert
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The ever-observant Sho Shibuya is known for his daily meditations blanketing the covers of The New York Times. From trenchant commentary on global happenings to peaceful gradients depicting the sky, the artist’s paintings are a tactile record of contemporary life, considering elements both in our control and not.
Shibuya returns to Unit London this month with Falling From The Sky, a collection of works covered in trompe l’oeil droplets. Although typically despised more than bright sun and cloudless skies, rain offers endless inspiration for the artist as he watches a downpour “dance and drift across the glass, creating shapeshifting patterns, leaving streaks that track the wind,” he says. “I love the way these patterns never repeat, perpetually unique.”
Spanning 30 paintings in acrylic, Shibuya reminds us of the diversity of wet weather. Sometimes we look out and only see haze, while others surprise us with a vivid rainbow of color. The artist is particularly fond of a damp, gray forecast, though. “I met my wife on such a day. It was pouring when we both stepped into a quiet Japanese restaurant, each carrying an umbrella. Our first words, of course, were about the rain,” he says.
While Shibuya reveres the rain, he’s not one to ignore what it means to enjoy darkened clouds. He says:
In other parts of the world, the sky is not gentle. It’s not rain that falls, but bombs. The same grey clouds that comfort me here cast shadows of fear elsewhere. Where I see beauty, others see smoke. Destruction. Silence broken not by soft drops, but by blasts. That contrast stays with me. These paintings are not just invitations to pause and reflect, but reminders of what peace looks like. And how fragile it is.
Falling From The Sky is on view from August 20 to September 17. Explore an archive of Shibuya’s works on Instagram.
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‘Spirit Worlds’ Illuminates Our Timeless Quest to Comprehend the Supernatural
by Aurelia Butler 13 August 2025, 18:00
Agnes Pelton, “Fountains” (1926), oil on canvas. Photo courtesy of Peter Palladino/The Agnes Pelton Society. All images courtesy of TASCHEN, shared with permission
‘Spirit Worlds’ Illuminates Our Timeless Quest to Comprehend the Supernatural
August 13, 2025
ArtBooksHistoryPhotography
Kate Mothes
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Since time immemorial, humans have been both awed and guided by the power of the unknown. A basis of spiritual beliefs the world over is the abiding question, why?—a probing wonderment often followed closely by, what happens when we die?
Human belief systems provide structure that help us to make sense of the world, and yet the nature of our existence—and how we fit into the context of the cosmos—comprises some of the most beguiling mysteries of all. It’s no surprise that across cultures and throughout millennia, our search for meaning and connection with other worlds has inspired incredible creativity.
Adolf de Meyer, “Fortune Teller” (1921)
Spirit Worlds, forthcoming from TASCHEN on September 15, celebrates art’s relationship to other realms. More than 400 works spanning thousands of years, paired with essays and interviews with scholars and practitioners, illustrate our fascination with supernatural, from angels and celestial beings to darker forces like ghosts and demons.
The title marks the sixth installment in The Library of Esoterica series, which also includes titles like Plant Magick and Sacred Sites. Spirit Worlds clocks in at more than 500 pages, surveying death rites, altars, sacred temples, the messages of prophets, links mediums make with the other side, symbolic statuary, and more.
“In this expansive volume, we board the ferry across the storied river and enter the gloomy passages between lands, stepping across the threshold—to part the most sacred of veils,” the publisher says.
Pre-order your copy in the Colossal Shop.
Mariusz Lewandowski “Soul Hunter” (2015), 40 x 50 centimeters
The Jade Emperor or King of Heaven at Chua On Lang taoist temple, Ho chi Minh City, Vietnam
“Paradiso, Canto 12: The rings of glorified souls in the sun,” illustration from ‘The Divine Comedy’ by Dante Alighieri, 1885. Digitally colored engraving originally by Gustave Doré
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Art

More stories

Jon Ching Advocates for Six Endangered Hawaiian Birds in Vivid Detail

Steve Keister Conjures Mythological Creatures from Clay, Wood, and Cardboard

Christopher Herwig Motors Through Southeast Asia to Capture a Vivid Fleet of ‘Trucks and Tuks’

In ‘JUJU’s Castle,’ Jean Jullien Reinvents His Childhood Escapes

Sthenjwa Luthuli’s Spiritual Paintings Excise Intricate Patterns in Bold Color

A Glowing Inflatable Canyon by ENESS Squeezes Inside Melbourne’s Prahran Square

Sho Shibuya Meditates on Rainy Days and the Fragile Nature of Peace

‘Spirit Worlds’ Illuminates Our Timeless Quest to Comprehend the Supernatural

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