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Idiosyncratic Ceramic Sculptures by Janny Baek Evoke Nature and Desire
by Aurelia Butler 22 November 2024, 10:00
“Flower Power” (2024). All images courtesy of Janny Baek, shared with permission
Idiosyncratic Ceramic Sculptures by Janny Baek Evoke Nature and Desire
November 22, 2024
ArtCraft
Kate Mothes
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“I think of my pieces as life forms that are in the process of transforming in ways that may be both wonderful and strange,” says artist Janny Baek, whose otherworldly ceramics (previously) merge vibrant color, eclectic motifs, and botanical details.
“I’ve been incorporating blooming flowers and puffy clouds into my work to think about our intimate and complicated relationship to the natural world,” the artist tells Colossal. “Changes in shape and color imply tendencies, possibilities, desire. Familiar forms, like the open vessel, plant forms, and heads, are a way for me to connect to the lineage of making and hand-building with clay.”
“Olive” (2024), colored porcelain, 16 x 14 x 11 inches
Baek explores the relationship between nature, science fiction, and fantasy in her sculptures, which are often around a foot tall and wide but sometimes reach up to 20 inches high. Some sprout coral-like appendages or appear to stand on four legs.
The artist has focused on colored porcelain using the nerikomi technique, in which multiple pigmented clays combine to create a marbling or patterned effect. Baek recently began working with rougher, sandy stoneware, which affords more freedom to scale up in size and complexity.
“I love to have the freedom to incorporate different materials and ways of making when it fits the work,” Baek says. “Even if I shift materials or techniques, I’m always drawing from the main foundational ideas that drive my work.”
“Walking Cloudbloom” is included in the Korean International Ceramics Biennale exhibit at the Gyeonggi Museum of Ceramic Design in South Korea. She is also working toward a three-person show at ArtYard in Frenchtown, New Jersey, scheduled to open in February. Find more on Baek’s website and Instagram.
“Walking Cloudbloom” (2024)
Alternate view of “Flower Power”
“Blended Party” (2024)
Detail of “Blended Party”
From the ‘Flowering Vessel’ series (2024)
“Sweater-wearing Beast” (2023)
“Cloudbloom with Small Clouds” (2024)
Detail of “Cloudbloom with Small Clouds”
Work in progress in the studio
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Through Monumental Installations of Soap and Stones, Jesse Krimes Interrogates the Prison System
by Aurelia Butler 21 November 2024, 20:27
Apokaluptein:16389067″ (2010–2013), cotton sheets, ink, hair gel, graphite, and gouache, 15 x 40 feet. All images courtesy of Jesse Krimes, Jack Shainman Gallery, and The Met, shared with permission
Through Monumental Installations of Soap and Stones, Jesse Krimes Interrogates the Prison System
November 21, 2024
ArtSocial Issues
Grace Ebert
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Around 2009, Jesse Krimes was sent to solitary confinement while awaiting trial for a drug charge. He had recently graduated from Millersville University of Pennsylvania with an art degree and spent his first year inside Fairton Federal Correctional Institution making. “The one thing they could not take away or control was my ability to create,” he says.
Like many incarcerated artists, Krimes had to forgo the luxuries of a pristine canvas and set of paints. Instead, he had to be resourceful and utilize the few materials available to him. He began transferring mugshots and small photos printed in The New York Times onto wet remnants of soap bars. He then tucked the blurred, inverse portraits into cut-out decks of playing cards glued together with toothpaste, which created a kind of protective casing that allowed him to smuggle the works out of the facility.
Detail of “Purgatory” (2009), soap, ink, and playing cards
The 292 works became “Purgatory,” which considers how we view criminality and references the unwinnable game of living in a carceral society. Having transferred both photos of people sentenced to prison and celebrities like Naomi Campbell and David Letterman, Krimes points to the ways popularized images can exacerbate power imbalances.
“Purgatory” is currently on view at The Met in Jesse Krimes: Corrections, one of two New York exhibitions of the artist’s work.
Exploring the role of photography in the criminal justice system, Corrections brings together several of Krimes’ large-scale works, including “Apokaluptein: 16389067.” The 40-foot patchwork mural similarly features imagery taken from newspapers that the artist transferred to 39 prison-issue bedsheets using hair gel. Inverted photographic renderings piece together advertisements, snapshots of global strife, and scenes of life from 2010 to 2013, all overlaid with Krimes’ own drawings.
The root of apocalypse, apokaluptein is a Greek word translating to “uncover” and “revelation.” Paired with Krimes’ Bureau of Prisons ID number, the title references mass destruction and the mediated view of the world from inside the justice system.
Detail of “Apokaluptein:16389067” (2010–2013), cotton sheets, ink, hair gel, graphite, and gouache, 15 x 40 feet
Following his release, Krimes co-founded the Center for Art and Advocacy, which supports artists directly impacted by the justice system, and continues to collaborate with people who are incarcerated, often seeking help in sourcing materials for his work.
“Naxos,” for example, suspends 9,000 pebbles from prison yards in a vivid installation as a parallel to “Apokaluptein: 16389067” at The Met. And at Jack Shainman Gallery, where Krimes is represented, the artist’s new body of work repurposes clothing gathered from currently and formerly incarcerated people into sweeping tapestries.
Cells features three abstract works of transferred art historical imagery overlaid with sprawling, network-like embroideries. The webbed pattern is based on microscopic images of cancerous cells, which the artist excised to leave only the healthy tissue intact. By removing these malignancies, he creates an intricate metaphor for the ways the justice system extracts people from society while exploring new pathways toward care and redemption.
Part of Krimes’ intent for his practice is to pay homage to those inside. “It is an absolute honor to have works that were created in such an austere and traumatic environment on display,” he said about Corrections. “To show these works highlights much more than the work of an individual artist, namely the collective value, creativity, and dignity of the millions of people currently behind prison walls.”
Cells is on view through December 21 at Jack Shainman Gallery, while Jesse Krimes: Corrections runs through July 13, 2025, at The Met. Find more from Krimes on his website.
“Unicorn” (2024), used clothing collected from currently and formerly incarcerated people, assorted textiles, embroidery, and image transfer, 109 x 105 x 2 3/4 inches
Detail of “Unicorn” (2024), used clothing collected from currently and formerly incarcerated people, assorted textiles, embroidery, and image transfer, 109 x 105 x 2 3/4 inches
Detail of “Purgatory” (2009), soap, ink, and playing cards
Detail of “Purgatory” (2009), soap, ink, and playing cards
Detail of “Naxos,” installation view of ‘Jesse Krimes: Corrections’
Detail of “Naxos,” installation view of ‘Jesse Krimes: Corrections’
“Stag” (2024), used clothing collected from currently and formerly incarcerated people, assorted textiles, embroidery, image transfer, acrylic paint, 82 x 77 x 2 3/4 inches
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From Single Balls of Clay, Paul S. Briggs ‘Hand-Turns’ Leafy Vessels
by Aurelia Butler 21 November 2024, 17:30
“Oscillation” (2017). All images courtesy of Paul S. Briggs, shared with permission
From Single Balls of Clay, Paul S. Briggs ‘Hand-Turns’ Leafy Vessels
November 21, 2024
ArtCraft
Kate Mothes
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Curling leaves and pinched patterns cloak the bold vessels of artist Paul S. Briggs. Using a slab-building technique, he creates chunky sculptures that nod to nature, mindfulness, and the malleability of his chosen medium.
Briggs approaches his process as a kind of meditation, pinch-forming each piece from a single ball of clay. When sharing his work on social media, he even uses the hashtag #noadditionorsubtraction to illustrate how the form emerges from the precise quantity he begins with.
“Calyx Krater” (2021). Photo by Joe Painter
“It is difficult to see from the finished vessels how the pieces emerge from one piece of clay,” Briggs tells Colossal. “I’m at a stage in the process where to call them pinch-pots doesn’t quite capture the evolution of the form, and so I’ve been using the terminology ‘hand-turned.’”
The artist composes each piece through a kind of two-pronged method: the initial step of building with slabs helps him to think through ideas and “philosophize concretely,” while pinching quiets his mind.
As a teacher at The New York State College of Ceramics at Alfred University, Briggs is interested in how a range of topics—educational theory and policy, art education, theology, and art—coalesce in both the studio process and the finished work. “One of the main tools I ask students to bring to my workshops is patience,” he says. “You cannot rush these pieces; one must slow down. It is a very assertive but tender process, especially when handling six to 12 pounds of clay.”
“Windflower Vase” (2022)
Being psychologically present in the process is central to Briggs’s approach, “which is why I have talked about the work as being a mindful, meditative technique,” he adds. Undulating leaf forms, intimate divots, and rippling edges repeat in infinite circles around each vessel, evocative of a mesmerizing, three-dimensional zoetrope.
“Very recently, I’ve been making pieces with a balance of slow, intentional pinches and very loose, intuitive marks,” Briggs says. These works are still emerging, and he’s interested in the potential of combining different approaches in one form.
Among several other group shows, Briggs will show a few vessels in an exhibition celebrating the 50th anniversary of The Art School at Old Church in Demarest, New Jersey, which runs December 6 to 8. He’s also preparing for his next solo exhibition at Lucy Lacoste Gallery in Concord, Massachusetts, slated for July. Until then, explore more on the artist’s website.
“Wildflower” (2021). Photo by Joe Painter
“Whorl” (2024)
“Calyx Bowl” (2021). Photo by Joe Painter
“Windflower Vase” (2022)
“Calyx Krater” (2021)
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Concentric Forms Escape the Confines of the Ceramic Vessel in Matthew Chambers’s Sculptures
by Aurelia Butler 20 November 2024, 19:34
All images courtesy of Matthew Chambers, shared with permission
Concentric Forms Escape the Confines of the Ceramic Vessel in Matthew Chambers’s Sculptures
November 20, 2024
Art
Grace Ebert
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It’s been almost exactly a decade since we first featured the concentric, ceramic vessels of Matthew Chambers on Colossal, and in that time, we’ve come to find his sculptures no less stupefying.
From his studio in St. Lawrence on the Isle of Wight, Chambers continues to push the boundaries of the medium. The artist is known for nesting meticulously scaled forms inside slightly larger pieces, all of which are thrown on a wheel. Hypnotic and seemingly endless, the dynamic works appear like vast portals that descend into relatively small vessels.
For his most recent pieces though, Chambers has switched his focus from inner to outer, as the aligned forms shift in position to swell outward and upward. Each sculpture is an opportunity to explore a particular pattern, he adds, and now, that process involves extrapolating motifs and the limits of the spherical shapes.
After 18 months of back-to-back exhibitions, Chambers is now slowing down and returning to his studio to experiment and try new methods. His works will be on view with Cavaliero Finn at Collect Art Fair in February 2025, and until then, find more of his sculptures on his website and Instagram.
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Hollie Chastain Lands a Playful Series of Collaged UFOs
by Aurelia Butler 20 November 2024, 13:20
All images courtesy of Hollie Chastain, shared with permission
Hollie Chastain Lands a Playful Series of Collaged UFOs
November 20, 2024
ArtCraft
Kate Mothes
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From paper, thread, and gouache, Chattanooga-based artist Hollie Chastain (previously) combines ephemera and found materials into vibrant collages. Strips of paper are cut, woven, and stitched into playful, abstract compositions.
The artist’s recent extraterrestrial-inspired series emerged somewhat by accident. “I was playing around with scraps and some abstract surface design, and it ended up vaguely UFO-shaped, so I ran with it,” the artist tells Colossal.
“Green Valley”
Chastain’s playful series uses a limited palette of five colors, in addition to vintage printed matter and a thin maple veneer for visual warmth. “Creating such a big collection with limited materials and colors is both challenging and extremely satisfying,” Chastain says. “I am not overwhelmed with options, yet have to stretch myself to make them each unique.”
Some of the pieces of more intentionally UFO-shaped than others, and Chastain titles each one after the name of a global city where UFO activity has been reported. “I blame David Duchovny,” she says.
Chastain is currently working toward a solo exhibition in late 2025 at Townsend Atelier in Chattanooga. And if you’re in Colorado, you can see her work—including several of the UFOs—in Moons Out, Goons Out at Ah Haa School for the Arts in Telluride through November 30. Find more on her website and Instagram.
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Myriam Dion Weaves Milestones of Women’s History from Vintage Newspapers
by Aurelia Butler 19 November 2024, 23:13
“Carré Fleuri, antique samples of hand-painted flower patterns for dress fabric, France, 1841” (2023), collage, hand-cut, Japanese paper, paper weaving, gold leaf, and acrylic painting, 26 x 26 inches
Myriam Dion Weaves Milestones of Women’s History from Vintage Newspapers
November 19, 2024
ArtCraft
Kate Mothes
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From found vintage newspapers and hand-painted designs, Myriam Dion composes remarkably detailed collages. Known for reimagining newspapers into sculptural, geometric works, the Montréal-based artist (previously) has recently begun experimenting with a range of found materials, like gouache-painted samples of antique textile patterns and pages from old garden books.
The stories Dion chooses to highlight often revolve around women and their accomplishments. “It is interesting to see how women are documented in the media,” she says, “especially at a time when newspapers were written by men for men and how this evolves and sometimes regresses depending on the subjects,” the artist says.
Detail of “Carré Fleuri, antique samples of hand-painted flower patterns for dress fabric, France, 1841”
Through a painstaking process of cutting and weaving tiny strips of material, Dion adheres gold leaf and adds drawing and painting details. “I also include folding techniques that allow me to create relief and a textile look to the paper,” she says. “Drawing allows me to develop patterns through repetition and is conducive to larger installations.”
The artist currently has work on view in Timelines, her solo exhibition at Arsenal Contemporary in New York City, which emphasizes her interest in milestones like women’s labor rights and suffrage throughout the 20th century, especially in the U.S.
“These themes are expressed through headlines in a dated language as evocative as the homespun crafts that Dion elevates,” says a gallery statement. “By exploiting the metaphoric potential of ephemera, she underscores the vulnerability of these rights while offering a timely reminder of their importance.”
“Miss Marion Cassidy, Daring Canadian Aviatrix, New Mexico, Wednesday, May 21, 1919” (2024), collage and weaving of newspaper and hand-cut Japanese paper, acrylic paint, pencil drawing, and gold leaf, 47 x 47 inches
Dion has recently become fascinated by darning samplers, which like other embroidery samplers, were historically used to showcase one’s knowledge and skills with different stitches. In terms of darning, a method of mending, the patterns often mimicked different weaves or knitting to show that the sampler’s maker was capable of mending a variety of fabrics.
“These are objects rich in know-how and history—they are magnificent and very inspiring for me, both formally and conceptually,” Dion says. “These objects evoke repair and care, which give a second life to damaged fabrics. They are linked to women, indeed: traditional crafts and artisanal virtuosity, elements to which I am sensitive and which greatly influence my creative process.”
Dion is particularly drawn to the samplers’ geometric characteristics, which she incorporates into her own compositions. Patterns and floral motifs intertwine in meticulously detailed pieces, often transforming into ornate framing devices for intimately scaled photographs of women snipped from the newspaper.
The artist recently won a commission for a large public artwork inspired by darning samplers, which will be installed in a new hospital in Vaudreuil-Soulanges, Québec, in 2027. Another public work will be installed at the Santa-Cabrini Hospital in Montréal next summer.
Timelines continues through December 14. Find more on Dion’s website and Instagram.
“Girl in Knicks on the Links, Miss McMillan, The Brooklyn Daily Eagle, New York, Monday, May 8, 1922” (2024), collage of hand-cut newspaper and Japanese paper, drawing, painting, paper weaving, and gold leaf, 116.5 cm x 108.5 centimeters
Detail of “Girl in Knicks on the Links, Miss McMillan, The Brooklyn Daily Eagle, New York, Monday, May 8, 1922”
“Women Workers, Daily Republican Eagle, Red Wing, Minnesota, Friday, October 2, 1942” (2024), collage and weaving of newspaper and hand-cut Japanese paper, acrylic paint, pencil drawing, and gold leaf, 40 x 40 inches
Detail of “Women Workers, Daily Republican Eagle, Red Wing, Minnesota, Friday, October 2, 1942”
“Marie Curie, Radium discoverer to visit America, February 10, 1921” (2024), collage and weaving of newspaper and hand-cut Japanese paper, acrylic paint, felt, and gold leaf, 42 1/2 x 43 inches
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Celestial Forms Erupt and Tumble in Lauren Fensterstock’s Jewel-Encrusted Sculptures
by Aurelia Butler 18 November 2024, 13:38
“Tender Willingness” (2024), vintage crystal, glass, quartz, obsidian, tourmaline, and mixed media, 16 x 20 x 20 inches. All images courtesy of Lauren Fensterstock and Claire Oliver Gallery, shared with permission
Celestial Forms Erupt and Tumble in Lauren Fensterstock’s Jewel-Encrusted Sculptures
November 18, 2024
Art
Kate Mothes
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Like crystallized meteors or mysterious terrestrial phenomena, Lauren Fensterstock’s jewel-encrusted sculptures (previously) reflect the artist’s interest in sacred symbols of the universe.
In her solo exhibition, Some Lands Are Made of Light at Claire Oliver Gallery, Fensterstock presents a new body of intimate sculptures and Swarovski crystal-coated drawings that reflect moments of introspection and inner peace.
“I Arrange the Stars” (2024), vintage crystal, glass, quartz, obsidian, tourmaline, and mixed media, 14 x 22 x 19 inches
“I see my work as jewelry but not to adorn the body… rather (to) augment the soul,” Fensterstock says in a statement. “I invite viewers to pause and reflect on their place within a collective experience and embrace their perceived imperfections—acknowledging that our differences, flaws, and struggles are what make us uniquely human.”
The artist plays with light and contrast, composing spherical surfaces and dark cavities that glint in the light. She uses natural crystals, like quartz, and repurposed found objects like chandelier parts, Swarovski gems, antique beads, and glass. The resulting works take the form of exploding celestial objects and enigmatic botanicals.
Some Lands Are Made of Light continues through January 18. Find more on the artist’s website and Instagram.
Detail of “I Arrange the Stars”
“She is Refuge” (2024), vintage crystal, glass, quartz, obsidian, tourmaline, and mixed media, 14 x 21 x 21 inches
Detail of “Tender Willingness”
“The Intimate Vast” (2024), vintage crystal, glass, quartz, obsidian, tourmaline, and mixed media, 15 x 33 x 33 inches
Detail of “The Intimate Vast”
Installation view of ‘Some Lands Are Made of Light’
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Clementine Keith-Roach Unearths Ancient Vessels for Her Motherly Sculptures
by Aurelia Butler 17 November 2024, 19:30
“Eternal return” (2024), terracotta vessel, plaster, wood, steel, resin clay modeling paste, and acrylic paint, 23 5/8 x 42 1/2 x 37 3/4 inches. Photo by Damian Griffiths
Clementine Keith-Roach Unearths Ancient Vessels for Her Motherly Sculptures
November 17, 2024
Art
Grace Ebert
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From her studio in Dorset, Clementine Keith-Roach sculpts expressive, bodily forms that appear as if plucked from an ancient cavern or soot-filled cellar.
The terracotta works feature fragments of weathered limbs that crisscross and grasp fingers around hand-built vessels. Dents, cracks, and white patina mark the surfaces of each domestic object and trace their histories and former uses.
“I is another” (2024), terracotta vessel, plaster and resin composite, wood, steel, resin clay,modeling paste, and acrylic paint, 20 1/2 x 58 1/4 x 29 7/8 inches. Photo by Damian Griffiths
In a conversation with Colossal, Keith-Roach frequently references themes of nurturing and communal responsibility and the roles she sees those values playing in a world that strives more earnestly for equality and care. What if we saw mothering as a metaphor, she asks?
The transformative nature of pregnancy, the ways bodies merge, and a mandate of care figure prominently in the artist’s practice. When she became a mother herself, she felt “broken apart,” both psychologically and physically as she responded to the needs of the baby.
This severing between mind and body remains in Keith-Roach’s work, as nude, headless chests buttress a wide, sloping bowl in “Eternal return,” for example. Although she currently enjoys leaving the vessels empty, milk would fill the basins in some of her earlier pieces, directly invoking motherhood.
Keith-Roach refers to her new works—which are on view at PPOW in New York—as “statues,” although she complicates the idea that monuments deify singular people, often men with imperial inclinations. Instead, her sculptures remain anonymous and contain several pairs of hands or limbs that, often literally, elevate a central object.
“A statue boils down to a representation of an individual. Even if they’re the most extraordinary person, they’re born out of a social moment,” the artist adds. “An individual is never isolated. They’re born out of a kind of collective moment.”
Detail of “I is another” (2024), terracotta vessel, plaster and resin composite, wood, steel, resin clay,modeling paste, and acrylic paint, 20 1/2 x 58 1/4 x 29 7/8 inches. Photo by Damian Griffiths
At the center of each work is an antique terracotta amphora the artist sources from second-hand shops and markets. Plaster casts of her own body and those of her friends create a series of detached limbs that, despite retaining the distinctive wrinkles and shapes of a particular person, are unidentifiable as they cradle or reach across the vessel.
For some sculptures, Keith-Roach wanted to have the bodies merge before they were pulled from the cast. When creating “Herm,” for example, she asked her subjects to stand tightly together, allowing their skin to touch so she could create one form from two figures. In many works, she says, “a multitude of people becomes one mass.”
Once she fuses the body parts to the anchoring amphora, Keith-Roach embarks on a deceptive trompe l’oeil process, in which she paints and conditions the new additions to mimic the patinaed surfaces of the older components. In the completed sculptures, there’s tension between the body’s inevitable decay and the timeless durability of ceramic, which the artist celebrates:
My works have this sacred quality to them. There’s raising the domestic vessel up, transforming it into something ceremonial. It’s taking it out of the everyday and making it into an object of reflection. It’s the same with the body parts. It’s looking at these movements and gestures and things we do every day and monumentalizing them. It’s monumentalizing the everyday.
Keith-Roach’s solo exhibition New Statue is on view through December 21. You can find more of her work on Instagram.
“No one” (2024), terracotta vessel, plaster, wood, steel, resin clay modeling paste, and acrylic paint, 18 7/8 x 23 5/8 x 29 1/2 inches. Photo by Damian Griffiths
“Eternal return” (2024), terracotta vessel, plaster, wood, steel, resin clay modeling paste, and acrylic paint, 23 5/8 x 42 1/2 x 37 3/4 inches. Photo by Damian Griffiths
“Herm” (2024), terracotta vessel, plaster, wood, steel, resin clay modeling paste, and acrylic paint, 50 x 20 1/8 x 20 7/8 inches. Photo by Damian Griffiths
“works and days 2” (2024), plaster, resin clay, paint, 17 7/8 x 17 7/8 x 4 3/8 inches. Photo by Damian Griffiths
Detail of “works and days 2” (2024), plaster, resin clay, paint, 17 7/8 x 17 7/8 x 4 3/8 inches. Photo by Damian Griffiths
“works and days 1” (2024), plaster, resin clay, paint, 18 7/8 x 17 7/8 x 5 1/8 inches. Photo by Damian Griffiths
Detail of “works and days 1” (2024), plaster, resin clay, paint, 18 7/8 x 17 7/8 x 5 1/8 inches. Photo by Damian Griffiths
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Art

More stories

Idiosyncratic Ceramic Sculptures by Janny Baek Evoke Nature and Desire

From Single Balls of Clay, Paul S. Briggs ‘Hand-Turns’ Leafy Vessels

Concentric Forms Escape the Confines of the Ceramic Vessel in Matthew Chambers’s Sculptures

Hollie Chastain Lands a Playful Series of Collaged UFOs

Myriam Dion Weaves Milestones of Women’s History from Vintage Newspapers

Celestial Forms Erupt and Tumble in Lauren Fensterstock’s Jewel-Encrusted Sculptures

Clementine Keith-Roach Unearths Ancient Vessels for Her Motherly Sculptures

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