birds Archivi ~ art-news.space - All about the world of art and culture!

Latest story

100 Shares139 Views

Magical Realism Permeates Christian Ruiz Berman’s Labyrinthine Paintings

by Aurelia Butler 7 July 2025, 20:33

“Tesseract” acrylic on panel, 11 x17 inches. All images courtesy of Christian Ruiz Berman, shared with permission

Magical Realism Permeates Christian Ruiz Berman’s Labyrinthine Paintings

July 7, 2025

Art

Grace Ebert

Bookmark

“I grew up in the magical realist tradition, not only in terms of literature and painting but as a school of thought and culture,” Christian Ruiz Berman says. Endlessly interested in “the surreal nature of being stuck between two worlds,” the Mexican artist channels his experiences of immigration and adapting to new environments—including his current home in upstate New York—through his painting practice.

For Ruiz Berman, magical realism is a way to translate his realities into dense, surreal compositions that become a constellation of references and memories. His influences are broad, from Mexican muralist traditions and Latin American folk art to Taoism and Buddhism to poetry and Japanese printmaking, all of which converge in his work.

“God giving god to god” (2023), acrylic on panel, 30 x 40 inches

The resulting paintings become a place to encounter unexpected pairings and mystical associations free of hierarchies. Layering, in Ruiz Berman’s work, isn’t to privilege the objects and textures of the foreground but a manner of depicting the relationships between all elements.

“Ultimately, my work very much reflects the collision of Eastern and Latin American culture, art, (and) thought, as much as it does my personal amalgamation of Mexico and the U.S.,” he tells Colossal. “The existence of high intentionality and care, but also playfulness and strangeness, is something that has always made me feel connected to East Asian culture, and particularly to places like Japan and Tibet.”

Although Ruiz Berman offers many entry points to a single painting, his compositions provide an exacting path, however labyrinthine it might be. The eager raccoons in “God giving god to god” might catch the viewer’s eye first, for example, but they soon lead to the sleek lilies they offer up and the Mesoamerican stone statue that’s the object of their reverence. Another seated figure hovers to their left, against woodgrain, granite, and vibrant, swirling agate.

“Mixcoatl Merkaba” (2025), acrylic on panel, 16 x 20 inches

Combined with clean lines and exacting geometric shapes, this melange of symbols is undeniably eclectic and in service of a larger narrative. He shares:

I examine the notion that each person, animal, and object is not only an essential component of the present moment but an entangled element in a greater apparatus of constant change and adaptation…Magic and surprise always happen as a result of shared experience, cross-cultural inspiration, and the subversion of established tropes and identities. I paint because I am fascinated by the way it can draw from the endless diversity and inherent tension of life’s web.

Animals are often incorporated as “stewards of human culture,” the artist says. For example, Mesoamerican mythology tends to position jaguars as revered protectors able to move between worlds: those of the trees and water, day and night, and sites of the living and dead. Birds, too, are often seen as messengers and guides. Depicting these creatures not in their natural habitats but embedded in unusual compositions, Ruiz Berman seeks to recontextualize their meanings and expand the narratives each has come to symbolize.

If you’re in Miami, you can see some of Ruiz Berman’s work this summer at Mindy Solomon Gallery. Next spring, he will show at Art Basel Hong Kong with Proyectos Monclov and Harper’s Gallery in New York. Until then, head to his website and Instagram for more.

“Ursa Gevurah” (2025), acrylic on panel, 50 x 60 inches

“Grackles of grace” (2023), acrylic on panel, 18 x 24 inches

“Xacozelotl oz lat” (2025), acrylic on panel, 16 x 20 inches

“Life cycle” (2024), acrylic on panel, 24 x 36 inches

“Honeycreeper Harbingers” (2024), acrylic on panels, 15 x 11 inches

Do stories and artists like this matter to you? Become a Colossal Member now, and support independent arts publishing.

Hide advertising

Save your favorite articles

Get 15% off in the Colossal Shop

Receive members-only newsletter

Give 1% for art supplies in K-12 classrooms

Join us today!

$7/month

$75/year

Explore membership options

Next article More

More stories

138 Shares189 Views
in Art
Natural Motifs Entwine the Monumental Figures of Robert Pruitt’s Divine Portraits
by Aurelia Butler 6 June 2025, 15:51
“Portrait of Herman
Smith from Atlantic
City” (2024), charcoal, conté, pastel, and coffee wash on paper, 84 x 120 inches. All images © Robert Pruitt, courtesy of the artist and Salon 94, New York, shared with permission
Natural Motifs Entwine the Monumental Figures of Robert Pruitt’s Divine Portraits
June 6, 2025
Art
Grace Ebert
Share
Pin
Email
Bookmark
Through tight, circular marks and soft shading, Robert Pruitt creates portraits that invite viewers into a magical world. Rendered in a mix of charcoal, conté, and pastel, his works are rooted in storytelling and how personal narrative offers insight into broader, more collective questions about Southern culture, rituals, and enmeshed identities.
The artist brings models into his Harlem studio and photographs them donning elaborately constructed costumes. His drawings emerge from these sessions, although Pruitt prefers a monumental scale. Rendered on paper dyed with coffee, the portraits stretch upwards of seven feet, their meticulous shading and linework backdropped by washes of the characteristically warm hue.
“Eve hiding in the Garden of Eden” (2024), charcoal, conté, pastel, and coffee wash on paper, 84 x 60 inches
A recent self-portrait presents the artist in his signature novelty glasses, the swirling X-Ray lenses resting on his forehead. His hands, rather than his face, are the subject of this ten-foot-wide work, and each wears gold jewelry, his hometown represented on a Houston Rockets ring. The title nods to the character of Herman Smith, played by Richard Pryor in the 1978 retelling of The Wonderful Wizard of Oz, The Wiz.
Adornment is prominent in Pruitt’s works and serves a dual purpose: it provides a means to excavate questions about identity, culture, place, and time and also offers a chance to find something “fun and weird to draw,” he says. Recurring motifs like lemons, mushrooms, snakes, and birds are a more recent addition to his portraits, and they often envelop the central figure. In “Princess with a plague of Grackles,” for example, the quintessential Texan creature perches on a seated woman’s shoulders and arms.
“Lately, I’ve been thinking more about the body as continuous with the world. Our bodies take things in, let things out—and that process, to me, signals a kind of equality with everything around us,” Pruitt tells Colossal.
“Figure Crowned in T.S.U. Ceramic Headdress (After Roy Vinson Thomas)” (2024), charcoal, conté, coffee wash on paper, 84 x 60 inches
Connecting to nature also invokes the divine and alludes to the artist’s constellation of references, whether it be his interest in science fiction, comic books, music, or his enduring love for “swampy, humid Houston, Texas,” he adds.
I think part of it is nostalgia, especially in contrast to my life now in New York City. I miss home…On some level, these works feel like staging grounds for my own origin story—coming from a complicated metropolis that also feels deeply rural. A kind of Eden, but one filled with mosquitoes and stray dogs. Nature not as cute or comforting but indifferent—and still sacred.
If you’re in New York, you can see Pruitt’s work in a solo exhibition named after a Sun Ra libretto, …Son…Sun…Sin…Syn…zen…Zenith, at Salon 94. Find more from the artist on his website and Instagram.
“Lemon Tree” (2024), conté, pastel, and coffee wash, 84 x 60 inches. Photo by Brica Wilcox, courtesy of the artist and Vielmetter Los Angeles
“Princess with a plague of Grackles” (2024), charcoal, conté, pastel, and coffee wash on paper, 84 x 60 inches
“Y’all Are Just Gon Have to Make Amends” (2021), conté, charcoal, and pastel on coffee wash on paper, 87 1/4 x 63 1/8 x 2 inches. Photo by Dan Bradica
“Man born with a veil” (2024), charcoal, conté, pastel, and fabric dye on paper, 84 x 60 inches
Do stories and artists like this matter to you? Become a Colossal Member now, and support independent arts publishing.
Hide advertising
Save your favorite articles
Get 15% off in the Colossal Shop
Receive members-only newsletter
Give 1% for art supplies in K-12 classrooms
Join us today!
$7/month
$75/year
Explore membership options
Previous articleNext article More
150 Shares159 Views
in Art
Formidable Bronze Crowns by Marianna Simnett Conjure Myth and the Sublime Feminine
by Aurelia Butler 15 April 2025, 16:00
“Megaera” (2023), bronze and velvet, 59 x 17 1/2 x 17 1/2 inches. All images courtesy of Marianna Simnett and SOCIÉTÉ, Berlin, shared with permission
Formidable Bronze Crowns by Marianna Simnett Conjure Myth and the Sublime Feminine
April 15, 2025
Art
Kate Mothes
Share
Pin
Email
Bookmark
For Marianna Simnett, sticking to one medium or theme defies her interpretation of what art can be. She fights the natural proclivity of galleries, collectors, and art enthusiasts to typecast her practice as one thing. “Trying to shed those expectations every time—trying to do something different—it’s exhausting but so worth it,” she says in an interview for Art Basel. “Now the signature is that people don’t know what to expect, and that’s the best outcome possible.”
Among myriad strains of her practice—which include filmmaking, sculpture, installation, painting, and performance—a collection of bronze crowns created between 2022 and 2024 command our attention. Situated on top of bespoke velvet cushions, Simnett’s Crowns are cast in an alloy that would make the elaborate headpieces burdensome or even painful to wear, yet the meticulously formed arches, band, and spikes manifest as delicate mammals and birds.
“Hydra” (2023), bronze and velvet, 55 1/2 x 17 1/2 x 17 1/2 inches
“Simnett uses vivid and visceral means to explore the body as a site of transformation,” says a statement from SOCIÉTÉ, which represents the artist. “In psychologically charged works that challenge both herself and the viewer, Simnett imagines radical new worlds filled with untamed thoughts, strange tales, and desires.”
Named for powerful female figures from ancient lore like Discordia, the Greek goddess of strife, or Lilith, a she-demon in Jewish and Mesopotamian mythology, Simnett’s Crowns examine the power, ferocity, and sublimity of allegorical female figures. One can imagine that only supernatural beings could wear these pieces and feel comfortable.
Simnett’s sculptures were first shown in her exhibition OGRESS in 2022. “In fairy tales and folklore, the ogress is a voracious monster who deceives men and torments children in her quest to ravish them whole,” says an exhibition statement. Simnett wielded “the ogress’ insatiable hunger as a radical force,” illuminating the role of women in myth and legend, especially the symbolic tension between embracing and fearing those who are different.
Simnett’s solo exhibition Charades opens at SOCIÉTÉ on May 1, coinciding with Berlin Gallery Weekend. Explore a wide range of the artist’s multimedia work on her website and Instagram.
“Laverna” (2023), bronze and velvet, 55 1/2 x 17 1/2 x 17 1/2 inches
Detail of “Laverna”
“Discordia” (2023), bronze and velvet, 17 1/2 x 17 1/2 x 16 inches
“Maniae” (2022), bronze and velvet, 17 1/2 x 17 1/2 x 16 inches
“Lilith” (2024), bronze and velvet, 57 1/2 x 17 1/2 x 17 1/2 inches
Detail of “Lilith”
“Astraea” (2023), bronze and velvet, 55 1/2 x 17 1/2 x 17 1/2 inches
Do stories and artists like this matter to you? Become a Colossal Member now, and support independent arts publishing.
Hide advertising
Save your favorite articles
Get 15% off in the Colossal Shop
Receive members-only newsletter
Give 1% for art supplies in K-12 classrooms
Join us today!
$7/month
$75/year
Explore membership options
Previous articleNext article More
125 Shares169 Views
in Art
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
Share
Pin
Email
Bookmark
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
Do stories and artists like this matter to you? Become a Colossal Member now, and support independent arts publishing.
Hide advertising
Save your favorite articles
Get 15% off in the Colossal Shop
Receive members-only newsletter
Give 1% for art supplies in K-12 classrooms
Join us today!
$7/month
$75/year
Explore membership options
Previous articleNext article More
175 Shares199 Views
in Art
Tropical Birds Burst to Life in the Intricate Paper Cutouts of ‘The Parrot Project’
by Aurelia Butler 18 December 2024, 14:45
All images courtesy of The Paper Ark, shared with permission
Tropical Birds Burst to Life in the Intricate Paper Cutouts of ‘The Parrot Project’
December 18, 2024
ArtCraftNature
Kate Mothes
Share
Pin
Email
Bookmark
The Paper Ark, a collaboration between Nayan Shrimali and Venus Bird (previously), celebrates the diverse beauty of our planet’s wildlife. In The Parrot Project, a new series of intricate paper-cut pieces, the striking creatures take center stage in vivid color.
“This series focuses on the vibrant beauty of parrots and their contribution to the ecosystem,” say the Ahmedabad, India-based artists, who created 40 different species during the course of one year. Each piece is meticulously hand-cut and painted, realistically depicting the feathered beings.
The Paper Ark’s collection captures the vibrancy of myriad tropical avian varieties, from the bright blue, yellow, and red of the macaw to the dramatic flash of color in the red-tailed black cockatoo.
“We want our audience to not just appreciate the beauty of this wonderful species but also understand its importance in nature,” the pair says. Ten percent of proceeds from sales of this series will be donated to a parrot conservation organization.
See more on The Paper Ark’s website and Behance, and follow updates on Instagram.
Do stories and artists like this matter to you? Become a Colossal Member now, and support independent arts publishing.
Hide advertising
Save your favorite articles
Get 15% off in the Colossal Shop
Receive members-only newsletter
Give 1% for art supplies in K-12 classrooms
Join us today!
$7/month
$75/year
Explore membership options
Previous articleNext article More
138 Shares199 Views
in Art
Swans, Plants, and Fragmented Figures Warmly Embrace in Yool Kim’s Paintings
by Aurelia Butler 28 November 2024, 10:00
“Sitting on the Couch.” All images courtesy of Yool Kim, shared with permission
Swans, Plants, and Fragmented Figures Warmly Embrace in Yool Kim’s Paintings
November 28, 2024
Art
Grace Ebert
Share
Pin
Email
Bookmark
Warmth permeates Yool Kim’s most recent body of work, which portrays tangled masses of limbs and swans in rich palettes of reds, pinks, and oranges.
Laying dense lines in acrylic paint, the Seoul-based artist examines the interactions between living things and their sometimes contradictory desires. Her new paintings entwine fragmented iterations of human figures with graceful black and white birds, monsteras, and ferns to explore peace and equality.
“A Peaceful Afternoon”
“I wanted to express the beauty of being able to care (for) the weak and taking care of each other, without a sense of superiority and inferiority in living things that are set by the world,” Kim tells Colossal. “By hugging, touching, or leaning on each other, I highlighted the meaning of connection and warmth.”
As with earlier bodies of work, this series similarly explores the fractured nature of the self. Kim shares that she’s feeling calmer and more tranquil these days, which is reflected in the ways figures stretch to embrace one another.
“I also wanted to express that I have many egos and personalities within me; I am a human being full of complexity who cannot grasp existence as a single disposition,” she adds. “I’m always considering myself.”
Kim will show paintings in several exhibitions this spring, the first of which opens in March at Hall Spassov in Seattle. Find more of her work on Instagram.
“An Autumn Night”
“Cozy & Silent”
“Dream”
“Let Me Shine, Let You Shine”
Do stories and artists like this matter to you? Become a Colossal Member now, and support independent arts publishing.
Hide advertising
Save your favorite articles
Get 15% off in the Colossal Shop
Receive members-only newsletter
Give 1% for art supplies in K-12 classrooms
Join us today!
$7/month
$75/year
Explore membership options
Next article More
100 Shares139 Views
in Art
Energetic Characters Collide in Roco’s Bold, Cartoonish Jumbles
by Aurelia Butler 22 October 2024, 19:43
All images courtesy of Rodrigo Oñate Roco, shared with permission
Energetic Characters Collide in Roco’s Bold, Cartoonish Jumbles
October 22, 2024
Art
Grace Ebert
Share
Pin
Email
Bookmark
Rodrigo Oñate, a.k.a. Roco, marries the visual languages of graffiti, comics, and pop culture in his energetic paintings. Splitting his time between Chicago and Querétaro, Mexico, the artist works on walls and canvases, mish-mashing a flurry of characters along with simple patterns, squiggles, and the occasional surreal detail, like a gloved hand embedded with an eye.
Roco describes his process as entirely intuitive and almost like graffiti writing. “I throw some lines and from there. I start staging characters and elements adding textures and intricate forms,” he says. “I like movement and fluid forms, (and I’m) also always looking for a good balance of color and texture in the composition.”
Several cartoonish characters recur throughout the spirited works and often emerge from personal connections. Birds, for example, come from Roco’s mother telling him that the animals flocking to their family garden were ancestors visiting from another realm, while dogs mimic his three dogs.
Other creatures have broader symbolism, like the jaguars and large cats recalling the spiritual guides of Mexican mythology. And the primates? They’re included because they bring a sense of play and joy, the two feelings the artist hopes to convey with each work.
Prints and other goods are available in Roco’s shop, and you can find more on Instagram.
Do stories and artists like this matter to you? Become a Colossal Member now, and support independent arts publishing.
Hide advertising
Save your favorite articles
Get 15% off in the Colossal Shop
Receive members-only newsletter
Give 1% for art supplies in K-12 classrooms
Join us today!
$7/month
$75/year
Explore membership options
Next article More
150 Shares99 Views
in Art
From Reviled to Revered, an Enormous Pigeon Perches Atop the High Line
by Aurelia Butler 21 October 2024, 18:37
“Dinosaur.” All photos by Timothy Schneck, courtesy of the High Line, shared with permission
From Reviled to Revered, an Enormous Pigeon Perches Atop the High Line
October 21, 2024
ArtNature
Grace Ebert
Share
Pin
Email
Bookmark
The latest sculpture to grace New York City’s High Line is a monumental tribute to an unlikely creature.
Perched above 10th Avenue, a hyper-realistic pigeon stops to rest in the outdoor pavilion. The work of artist Iván Argote (previously), the hand-painted, aluminum bird is titled “Dinosaur” and looms 21 feet in the air, rivaling the enormous proportions of some of its ancestors.
Argote is known for questioning the role of monuments and statues, particularly as they relate to colonial histories and power imbalances. For this work, he upends the human-animal relationship and notions of migration and value as the common street bird is vaulted into a glorified figure, peering down on pedestrians and drivers. The artist says in a statement:
The name “Dinosaur” makes reference to the sculpture’s scale and to the pigeon’s ancestors who millions of years ago dominated the globe, as we humans do today… the name also serves as a reference to the dinosaur’s extinction. Like them, one day we won’t be around anymore, but perhaps a remnant of humanity will live on—as pigeons do—in the dark corners and gaps of future worlds.
Despite their ubiquity throughout North American cities, pigeons aren’t native to the continent. The birds were initially brought from Europe as a barnyard animal and food source, but as they escaped into the wild, they grew into the scavenging flocks they are today. No longer domesticated and not quite wild, pigeons occupy a unique position.
Argote’s work is a cheeky nod to the birds and suggests they’re more deserving of appreciation than some of the figures we’ve collectively honored in the past. Standing tall and confident atop a concrete plinth, the sculpture also serves as a reminder that “everyone is an immigrant,” a statement says. “Even the pigeon, a New York fixture, initially migrated here and made the city their home, like millions of other ‘native’ New Yorkers.”
“Dinosaur” will be on view through spring. Find more from Argote on Instagram.
Do stories and artists like this matter to you? Become a Colossal Member now, and support independent arts publishing.
Hide advertising
Save your favorite articles
Get 15% off in the Colossal Shop
Receive members-only newsletter
Give 1% for art supplies in K-12 classrooms
Join us today!
$7/month
$75/year
Explore membership options
Next article More
175 Shares189 Views
in Art
Eight Pairs of Woven Shoes Fit for Cranes Roost in a Field of Pebbles
by Aurelia Butler 17 October 2024, 21:04
All photos by Ahina, courtesy of the artist and Real DMZ Project, shared with permission
Eight Pairs of Woven Shoes Fit for Cranes Roost in a Field of Pebbles
October 17, 2024
ArtCraftNature
Grace Ebert
Share
Pin
Email
Bookmark
If a white crane were to choose a pair of boots, would he gravitate toward knee-high lace-ups or balance his talons in yellow tabi stilettos?
Young In Hong fashioned a collection of shoes with these long-legged birds in mind. Titled “White Cranes and Snowfall,” the playful sculptures are made from woven sedges and nested in a shallow field of pebbles, intertwining references to avian life and endangered craft traditions.
Based in Bristol, Hong visited Korea in the winter of 2023 and witnessed a flock of rare cranes migrating to the demilitarized zone dividing the peninsula. “The once blood-stained DMZ has now become an ecological paradise for the cranes,” she shares. “When nature is left alone it can replenish its lives, and when we as humans observe other species more carefully, we can learn something from them that alters our way of being in the world.”
Researchers estimate that in the seven decades since the zone was established, about “1,200 plant species, 83 fish varieties, 51 different mammals, and numerous birds, insects, and microorganisms” have thrived in the area, many of which were previously endangered or threatened.
Observing the birds inspired the latest series in Hong’s growing collection of avian footwear. Each references jipsin, flat sandals woven from straw and largely worn by farmers and the working class throughout Korea. Affordable and widely available, the shoes would wear down quickly—a long day’s walk could burn through a pair—and people across the socioeconomic order knew how to make them. Straw is biodegradable, too, making jipsin naturally sustainable.
To learn the craft practiced for generations, Hong began working with Choong Kyung Lee, a straw-weaving master from Asan in 2021. Together, they created numerous projects, including shoes fit for a baby elephant, giraffe, kangaroo, heron, gorilla, and bear. “For me, the collaboration with Lee was a journey to open up my eyes towards natural fibre weaving, a part of the history of Korea that has not been thoroughly written about,” Hong shared.
For “White Cranes and Snowfall,” the artist pulled out specific personalities to inspire each design rather than thinking of the birds as anonymous entities. Displayed together, the sculptures become a stand-in for community and gathering—and perhaps a cheeky and yet urgent plea to imagine oneself in another’s shoes, even if those shoes belong to another species. The artist adds:
For me, fictionalising the collective white cranes, and visualising them through humorously designed shoes, is to remind us of the fact that birds are like us, expressing tastes and preferences, also by having individually different characters and personalities.
“White Cranes and Snowfall” is on view through November 7 at Secession in Vienna. Two of Hong’s textile works are also on view this month as part of the 7th Changwon Sculpture Biennale, and she’s currently preparing for two solo shows, one opening at Art Sonje Center in May and another at PKM Gallery in September. Peruse an archive of her works on her website and Instagram.
Do stories and artists like this matter to you? Become a Colossal Member now, and support independent arts publishing.
Hide advertising
Save your favorite articles
Get 15% off in the Colossal Shop
Receive members-only newsletter
Give 1% for art supplies in K-12 classrooms
Join us today!
$7/month
$75/year
Explore membership options
Next article More

birds

Latest story

Magical Realism Permeates Christian Ruiz Berman’s Labyrinthine Paintings

More stories

Natural Motifs Entwine the Monumental Figures of Robert Pruitt’s Divine Portraits

Formidable Bronze Crowns by Marianna Simnett Conjure Myth and the Sublime Feminine

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

Tropical Birds Burst to Life in the Intricate Paper Cutouts of ‘The Parrot Project’

Swans, Plants, and Fragmented Figures Warmly Embrace in Yool Kim’s Paintings

Energetic Characters Collide in Roco’s Bold, Cartoonish Jumbles

From Reviled to Revered, an Enormous Pigeon Perches Atop the High Line

Eight Pairs of Woven Shoes Fit for Cranes Roost in a Field of Pebbles

ITALIAN LANGUAGE

ENGLISH LANGUAGE