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Filled with ‘Half-Pots,’ Adam Ledford’s Life-Size Room Drawings Reflect Timeless Routines
by Aurelia Butler 1 April 2025, 14:50
Detail of “Don’t Worry About the Government.” All images courtesy of Adam Ledford, shared with permission
Filled with ‘Half-Pots,’ Adam Ledford’s Life-Size Room Drawings Reflect Timeless Routines
April 1, 2025
Art
Kate Mothes
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In Harold and the Purple Crayon, the young protagonist composes a fantasy reality using the deceptively simple power of line. Harold manifests numerous adventures with a single writing instrument, drawing himself into ever more exciting capers. For artist Adam Ledford, Crockett Johnson’s iconic 1955 children’s book provides one reference point for his approach to large-scale installations.
Ledford dots life-size line drawings of domestic spaces with “half pots,” or reliefs of ceramic vessels, which reflect how everyday objects represent individuals’ values, experiences, and projection of identity. Canisters of coffee or cleaning solutions detail vintage packaging design, while other items like cooking utensils or decorative objects highlight personal taste and daily routines.
Detail of “Don’t Worry About the Government”
“I am the person visiting your house, who is eyeing up all the tchotchkes, asking about your tea kettle, and picking up and looking at the bottom of your tableware,” Ledford tells Colossal. He credits his love for pottery for providing the lens through which he also learned America’s historical timeline, describing how “the objects help set a mental stage for the abstract process of thinking about the past.”
In Ledford’s expansive installations, which range from multiple walls to single architectural features, black-and-white outlines represent kitchen cabinets, countertops, or fireplaces—locations where containers and vessels are collected, stored, or displayed. “Theater,” for example, is a replica of his own kitchen. The artist says, “The drawn environments are a stage setting for the objects to play and star.”
Ledford’s work is currently on view in Dinner Table, on view through May 29 at The Delaware Contemporary in Wilmington. Find more on the artist’s website and Instagram. You might also enjoy the hand-drawn installations of Anastasia Parmson and Shantell Martin.
“Theater”
Detail of “Theater”
Detail of “Theater”
“Don’t Worry About the Government”
Detail of “Don’t Worry About the Government”
“A Room with a View”
Detail of “A Room with a View”
Detail of “Don’t Worry About the Government”
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When Banksy Came to Red Hook and Made His Mark
by Evelyn Reynolds 1 April 2025, 09:04
A chunk of wall that bears the work of the graffiti artist will go on display in Manhattan this month.Good morning. It’s Tuesday. Today we’ll find out about what happened to a 7,500-pound chunk of a wall with a Banksy installation from 2013. We’ll also get details on a request from Mayor Eric Adams’s lawyer for a federal judge to hurry a decision on whether to drop corruption charges against the mayor.Guernsey’sA dark-colored van parked down the block from Vassilios Georgiadis’s nondescript warehouse in Red Hook, Brooklyn, one evening in 2013. Georgiadis, a roofing and asbestos abatement contractor, noticed it because he was standing outside, smoking.He told the man who got out of the van that it was not a good idea to leave it in that spot. Tractor-trailers turning the corner too fast could clip the car, Georgiadis said.The man said he would not be there long. He said something about how he just wanted to run to a convenience store nearby for cigarettes and coffee. Georgiadis told him to pull into an empty space in the driveway outside the warehouse. The man did and headed off. The van was still there when Georgiadis left a little while later.Georgiadis worked at home the next day, and then took some paperwork to his son Anastasios, who spent the day on a roofing job on Staten Island, ignoring calls from his mother.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More
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Flowers Entwine Porcelain Animals and Objects in Lizzie Gill’s Surreal Tablescapes
by Aurelia Butler 31 March 2025, 19:57
“Pair of Covered Vases” (2024), acrylic, image transfer and marble dust emulsion on canvas, 56 x 62 inches. All photos by Jenny Gorman, courtesy of Hesse Flatow, shared with permission
Flowers Entwine Porcelain Animals and Objects in Lizzie Gill’s Surreal Tablescapes
March 31, 2025
Art
Grace Ebert
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“To have something be uncanny, you must first introduce the familiar,” says Lizzie Gill. Likening her compositions to a dining table’s place settings, the artist paints elaborate still lifes that explore the matriarchal lineages and how objects passed down shift in meaning over time.
The vivid works feature flat backdrops met by boldly striped or floral linens and a menagerie of animals seized by fresh blooms. A marble and dust emulsion, which Gill layers on the acrylic-painted panel with a baker’s piping tool, adds a life-like texture to the petals. She also utilizes an image-transfer process to translate various pieces from her mother’s porcelain collection, further enmeshing her works in domestic traditions.
“Wedgwood (Nightlines) II” (2025), acrylic, image transfer and marble dust emulsion on panel, 30 x 24 inches
The still life, Gill says, is her preferred platform for exploring the tenets of Surrealism and what it means to be a steward. In “Lunar Still Life (Avec L’hippopotame),” for example, long stems coil around an animated porcelain seal and hippo rendered in delicate blue and white. “Still Life With Four Cerulean Vessels” is similarly lively as a miniature fox with a vine wrapped around its torso wanders across the tablescape.
Decorating the vases are unlikely scenes depicting volcanic eruptions, rocket launches, and even a menacing twister ripping across the terrain. Embellishing antique forms with contemporary imagery, the works juxtapose the calm propriety associated with domestic spaces and world-changing, explosive actions generated by both humans and nature.
Based in Sharon, Connecticut, Gill is currently researching historic textiles for upcoming works, and those shown here are on view in her solo exhibition Paraphernalia through April 26 at Hesse Flatow. Follow the latest on Instagram.
“Lunar Still Life (Avec L’hippopotame)” (2025), acrylic, image transfer and marble dust emulsion on panel, 30 x 40 inches
Detail of “Wedgwood (Nightlines) II” (2025), acrylic, image transfer and marble dust emulsion on panel, 30 x 24 inches
“Still Life With Four Cerulean Vessels” (2025), acrylic, image transfer and marble dust emulsion on canvas, 48 x 40 inches
“Tea For Two (Avec Le Caniche)” (2025), acrylic, image transfer and marble dust emulsion on canvas, 40 x 48 inches
“Wedgwood (Nightlines) III” (2025), acrylic, image transfer and marble dust emulsion on panel, 30 x 24 inches
“Lunar Still Life (Avec le Elephant)” (2025), acrylic, image transfer and marble dust emulsion on canvas, 60 x 80 inches
“Wedgwood (Nightlines)” (2025), acrylic, image transfer and marble dust emulsion on panel, 30 x 24 inches
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A Years-Long Collaboration Sees a Traditional Tlingit Tribal House Return to Glacier Bay
by Aurelia Butler 31 March 2025, 18:00
All images courtesy of the National Park Service
A Years-Long Collaboration Sees a Traditional Tlingit Tribal House Return to Glacier Bay
March 31, 2025
ArtCraftDesignFilmHistory
Kate Mothes
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People have lived in the area around modern-day Glacier Bay National Park, along Alaska’s rugged southern coastline, for at least around 3,000 years. Nearby, in Groundhog Bay, evidence of human habitation extends back a mindboggling 9,000-or-more years.
In the mid-18th century, advancing glaciers forced ancestral Huna Tlingit people to abandon their homes. While they could visit certain areas occasionally to hunt and fish, the evolving conditions and ice prevented them from living there. And when the area was designated a national monument in 1925, it seemed possible the displacement would be permanent.
“I never, ever thought that I would ever see the day, in my lifetime, that Tlingits could return to the Homeland,” says local resident Jeff Skaflestad in the opening of the National Park Service’s short film, “Sanctuary for the Future.” But in 2016, thanks to many years’ work and a collaboration between the National Park Service and the Hoonah Indian Association—the tribal government of the Huna Tlingit clans—Xunaa Shuká Hít marked a momentous homecoming.
Both a space for tribal ceremonies and a nexus of living history, the house is a sacred place for the Indigenous community that also provides visitors the opportunity to learn about Huna Tlingit culture, history, and oral traditions.
Xunaa Shuká Hít, which roughly translates to “Huna Ancestors’ House,” was brought to life by three Tlingit craftsmen: Gordon Greenwald, Owen James, and Herb Sheakley, Sr., who spent countless hours carving their ancestors’ stories into meticulously selected trees and wooden panels.
In a large carving shed in nearby Hoonah, Alaska, the artisans, along with occasional help from friends and neighbors, worked on totem poles, boats, oars, and architectural details. “Having Elders come in and talk with us, just to share with us, that was a highlight of my days,” James says. Sheakley adds that as they began carving, it was an obvious decision to make their own tools, too, as a way of connecting to time-honored traditions. More
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Blasting Books with High-Pressure Water, Guy Laramée Scales Mountains of Knowledge
by Aurelia Butler 31 March 2025, 14:20
“Livros 2” (2025), water-carved books, inks, pigments, acrylic sealer, and metal clip, 12.99 x 10.63 x 8.27 inches. Photos by by Ivan Macedo Dias. All images © Guy Laramée, courtesy of JHB Gallery, New York, shared with permission
Blasting Books with High-Pressure Water, Guy Laramée Scales Mountains of Knowledge
March 31, 2025
Art
Kate Mothes
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From his mountainside studio in Nova Friburgo, Brazil, Guy Laramée (previously) creates otherworldly sculptures that mirror nearby peaks like Pico da Caledônia. Using a unique method of blasting antique books with high-pressure water and stripping them of their covers, he manipulates the bound text blocks into craggy cliff faces and rocky promontories.
When viewed from certain angles, each sculpture’s identity as volumes of text nearly vanishes as we perceive mountains in miniature. As one moves around the pieces, the rigid form of stitched binding appears or printed pages ruffle and hint and the contents.
Detail of “Livros 3”
Laramée’s sculptures tread the line between object and landscape, juxtaposing themes of knowledge, history, and archives with geology, time, and the environment. The artist often employs dictionaries and encyclopedias, which constantly evolve and require updates, exploring the tension between physical representations of information and learning and our relationship with the natural world.
The works shown here are part of Laramée’s online exhibition presented by JHB Gallery, Livros, which continues through May 4. Find more on the artist’s website.
“Livros 3” (2025), waterblasted books, inks, pigments, and acrylic sealer, 9.06 x 10.63 x 8.27 inches
“Livros 6” (2025), waterblasted books, inks, pigments, and acrylic sealer, 7.87 x 14.17 x 5.91 inches
“Livros 6”
“Livros 2” (2025), water-carved books, inks, pigments, acrylic sealer, and metal clip, 12.99 x 10.63 x 8.27 inches
“Livros 1” (2025), water-carved books, inks, pigments, acrylic sealer, and metal clip, 6.66 x 9.84 x 5.91 inches
“Livros 5” (2025), waterblasted books, inks, pigments, and acrylic sealer, 11.4 x 15.75 x 9.06 inches
Detail of “Livros 5”
“Livros 4” (2025), waterblasted books, inks, pigments, and acrylic sealer, 9.84 x 15.75 x 9.06 inches
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In Vivid Reliquaries, Stan Squirewell Layers Anonymous Portraits and Patterned Textiles
by Aurelia Butler 28 March 2025, 15:30
All images courtesy of Stan Squirewell and Claire Oliver Gallery, shared with permission
In Vivid Reliquaries, Stan Squirewell Layers Anonymous Portraits and Patterned Textiles
March 28, 2025
ArtPhotography
Grace Ebert
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Through intimate, mixed-media collages, Stan Squirewell excavates the stories of those who might otherwise be lost in anonymity. The artist gathers images from the Smithsonian’s archives and from friends and family that he then reinterprets with vibrant prints and patterns. Layering unknown pasts with present-day additions, Squirewell explores how everyday traditions and rituals remain through generations.
His new body of work, Robitussin, Hotcombs & Grease, invokes ubiquitous items like the over-the-counter decongestant and hair care. “Growing up, I was shaped by elders around me, and everyday objects like Robitussin, hotcombs, and grease became vessels for the rituals that anchored me to my heritage,” the artist says. “These items transcend their mundane uses: they embody traditions passed down through generations, grounding me in a collective identity.”
“Girls on Saturn” (2025)
Squirewell cuts and collages images and fabrics from his collection before photographing the composition, which then undergoes a digital editing process. An elaborate frame complements each piece with charred shou sugi ban edges—a Japanese burning technique—and hand-carved details. The sides bear various inscriptions connecting past and present, including lines from Langston Hughes’ poems and glyphs from ancestral African languages that have fallen out of use.
Because the identities and histories of many of the subjects are unknown, Squirewell’s work adds a new relevance to their images. How have daily, domestic practices and the legacies of previous generations informed the present? And how do these traditions create a broader collective experience? Rooted in these questions, the dignified works become reliquaries that honor what’s been passed down and how that continues to inform life today.
Robitussin, Hotcombs & Grease is on view through May 24 at Claire Oliver Gallery in Harlem. Find more from Squirewell on Instagram.
“Teddy” (2024), artist-printed photos collaged with paint and glitter in a hand-carved shou sugi ban frame, 43 x 35 x 3 inches
“Teddy’s Lil Sisters” (2024), artist-printed photos collaged with paint and glitter in a hand-carved shou sugi ban frame, 29 x 24 x 2 inches
“Girls on Saturn” (2025)
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Inhabitants of a Fictional World Search for Understanding in Damien Cifelli’s Vibrant Paintings
by Aurelia Butler 28 March 2025, 09:00
“A guide to the Unknown Other.” All images courtesy of Damien Cifelli, shared with permission
Inhabitants of a Fictional World Search for Understanding in Damien Cifelli’s Vibrant Paintings
March 28, 2025
Art
Kate Mothes
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In Tarogramma, the imaginary world conceived by Damien Cifelli (previously) as a setting for his vibrant paintings, plants are plentiful, but animals don’t exist. The landscapes are as diverse and enigmatic as its inhabitants, who commune with bodies of water, traverse the desert in a suit, and size up an enigmatic object on a dinner plate.
Cifelli’s stylish figures investigate their environment to try to understand their place within it. Many of the paintings shown here were recently exhibited at Spinello Projects in Miami, emphasizing the artist’s recent focus on analyzing what life is like in this fictive world.
“I make a map in my mind but each time I raise my head it disappears”
“In Tarogramma, symbols are imbued with disassociated meanings unrelated to what we think they could be,” says a statement for his show. “Iconography, such as flags or emblems, represent regions that exist not as physical places but as ideas or states of mind.” This world is devoid of ethnic, cultural, or gender hierarchies, and identity is fluid and chosen, which encourages constant transformation.
Occasionally, Cifelli’s paintings reference famous artworks like “Wanderer before the Sea of Ice,” which nods to German Romanticist artist Caspar David Friedrich’s 1818 painting, “Wanderer Above a Sea of Fog.” Capturing the solipsism of the 19th-century work, Cifelli translates the view into an arctic scene of jagged ice, with the central figure wearing a coat decorated in symbols evocative of biological forms.
Explore more on Cifelli’s website and Instagram.
“The trick is to know what you are looking for”
“A new route to the interior”
“Everything that happens will happen today”
“Dream Animal”
“Green Fingers, Unit 14”
“Infinite Ground”
“At the foot of the mountain, the land speaks”
“Wanderer before the Sea of Ice”
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Krzysztof Grzybacz’s ‘Floral Compositions’ Are Tender Portrayals of Togetherness
by Aurelia Butler 27 March 2025, 15:00
“Yellow, White, Orange, Pink, Blue, Yellow, White” (2025), diptych, oil on canvas, 200 × 320 centimeters. Photos by Bartosz Zalewski. All images courtesy of Krzysztof Grzybacz and Galeria Dawid Radziszewski, Vienna, shared with permission
Krzysztof Grzybacz’s ‘Floral Compositions’ Are Tender Portrayals of Togetherness
March 27, 2025
Art
Kate Mothes
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Arranged by size and hue, the blooms in Krzysztof Grzybacz’s large-scale oil paintings appear in comfortable togetherness, each individual’s features amplified by its placement next to those that differ. His Floral Compositions series organizes the flowers against swaths of green fabric, exploring their potent symbolism.
Grzybacz taps into the age-old tradition of flowers in oil, rendering their petals and stems in vibrant hues that capture their unique outlines and textures. Rooted in still life, his compositions are underpinned by abstraction and the artist’s fascination with layering and perspective.
“Yellow” (2025), oil on canvas, 200 × 160 centimeters
The works in Grzybacz’s current solo exhibition at Galeria Dawid Radziszewski also reference the queer community. “Flowers are like people: they pose, search for their own space, and mark out boundaries,” says a statement from the gallery. The artist nods to the role of order and systems, while also emphasizing the importance of celebrating diversity.
Grouped together in front of textile folds, oblique grids, or distorted human features, the artist invokes the power of alliances through a sense of tenderness, curiosity, and pliability.
Floral Compositions continues through March 29 in Vienna. Find more on Grzybacz’s website and Instagram.
“Blue, yellow, orange, white, pink” (2025), oil on canvas, 100 × 80 centimeters
“Orange, blue, pink, yellow, white, maroon, purple” (2025), oil on canvas, 200 × 160 centimeters
“White, Yellow, Orange, Blue, Purple” (2025), oil on canvas, 200 × 160 centimeters
“Blue, White, Yellow, Orange, Pink” (2025), oil on canvas, 100 × 80 centimeters
“White, maroon, orange, yellow, blue” (2025), oil on canvas, 70 × 60 centimeters
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Art

More stories

Filled with ‘Half-Pots,’ Adam Ledford’s Life-Size Room Drawings Reflect Timeless Routines

When Banksy Came to Red Hook and Made His Mark

Flowers Entwine Porcelain Animals and Objects in Lizzie Gill’s Surreal Tablescapes

A Years-Long Collaboration Sees a Traditional Tlingit Tribal House Return to Glacier Bay

Blasting Books with High-Pressure Water, Guy Laramée Scales Mountains of Knowledge

In Vivid Reliquaries, Stan Squirewell Layers Anonymous Portraits and Patterned Textiles

Inhabitants of a Fictional World Search for Understanding in Damien Cifelli’s Vibrant Paintings

Krzysztof Grzybacz’s ‘Floral Compositions’ Are Tender Portrayals of Togetherness

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