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    Maxwell Mustardo’s Fluorescing Ceramics Merge Ancient Craft with Contemporary Style

    Group of vessels in the ‘Anthropophorae’ series. All images courtesy of Maxwell Mustardo, shared with permission

    Maxwell Mustardo’s Fluorescing Ceramics Merge Ancient Craft with Contemporary Style

    December 11, 2024

    ArtCraft

    Kate Mothes

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    Merging disparate reference points like cartoonish figures, fluorescent pigments, and classical vessels, Maxwell Mustardo’s Anthropophorae and Gadroons glow with personality. The New Jersey-based artist (previously) continues to revisit ancient forms that have been endlessly studied and reimagined over subsequent centuries, like amphorae, kraters, and gadrooning that celebrate tapered shapes.

    “Searching for new forms is mostly rediscovering old forms,” Mustardo tells Colossal. “One of my favorite aspects of ceramics, and the crafts more broadly, is the evolution of surfaces and forms through their constant appropriation in the aggressive exchange that occurs between individuals, studios, cultures, and time periods.”

    ‘Gadroons’

    The artist often turns to archetypes, from mugs and bottles to mathematical shapes—like the torus—to explore myriad relationships between geometry, material, history, and utility. He adds, “Each form provides various constraints that I can push around against and a web of references to tangle with.”

    Mustardo is currently working in the studio of the late Toshiko Takaezu (1922-2011), helping the artist’s foundation to establish a residency program for ceramists, fiber artists, and painters. Find more on his website.

    “Orange Amphora”

    “Blue & White Krater”

    Detail of “Orange Mug”

    Installation view of ‘Quasi-Neoclassical-ish’ at Odem Atelier. Photo by Nikodem Calcyznski

    “Green Amphora.” Photo by Nikodem Calczynski

    Detail of “Blurple Mug”

    The artist in his studio in August 2024

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    Colossal’s Top Articles of 2024

    Image courtesy of Wally Dion

    Colossal’s Top Articles of 2024

    December 10, 2024

    ArtColossalDesignHistoryNaturePhotography

    Colossal

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    Throughout 2024, we were awed by archaeological finds, vibrant paintings, striking sculptures, remarkable photography, immersive installations, and so much more. It’s tough to choose only 10 top articles for the year!

    Lucky for us, dear Colossal readers, you’ve helped pick the best. Below, dive into our most-read stories on the site during the past twelve months, and find hundreds more in the archive.

    “Untitled (after François Gérard)” (2023), oil on canvas, 100 x 80 centimeters. Images © Ewa Juszkiewicz, courtesy of Almine Rech

    Ewa Juszkiewicz’s Reimagined Historical Portraits of Women Scrutinize the Nature of Concealment

    From elaborate hairstyles to hypertrophied mushrooms, an array of unexpected face coverings feature in Ewa Juszkiewicz’s portraits. Drawing on genteel likenesses of women primarily from the 18th and 19th centuries, the artist superimposes fabric, bouquets of fruit, foliage, and more, over the women’s faces.

    Image courtesy of Greg Jensen

    A Rare Cross-Section Illustration Reveals the Infamous Happenings of Kowloon Walled City

    At its height in the 1990s, Kowloon Walled City in Hong Kong housed about 50,000 people. Its population is unremarkable for small cities, but what set Kowloon apart from others of its size was its density. For a now out-of-print book titled Kowloon City: An Illustrated Guide, artist Hitomi Terasawa drew a meticulous cross-sectioned rendering of the urban phenomenon to preserve its memory.

    Image © Isak Finnbogason

    Remarkable Drone Footage Captures a New Volcanic Eruption in Iceland

    In January, photographer and drone pilot Isak Finnbogason captured stunning footage of an eruption on Iceland’s Reykjanes peninsula in December, documenting the nearly two-mile-long lava vent on the first day it was active. 

    “Water Lilies in Bloom” (2023), oil on canvas. Image courtesy of Erin Hanson

    Landscapes Radiate Light and Drama in Erin Hanson’s Vibrant Oil Paintings

    In vivid pinks, blues, and greens, radiant landscapes emerge in Erin Hanson’s impressionistic oil paintings. The artist is based in Oregon’s Willamette Valley, where the rolling hills and surrounding mountain ranges cradle miles of vineyards.

    Image © Richard Johnson

    Framed by Frozen Lakes, Richard Johnson’s ‘Ice Huts’ Capture Wintertime Communities in Canada

    Every year, Ontario’s 279-square-mile Lake Simcoe draws more people for its ice fishing than any other lake in North America, attracting upwards of 4,000 huts each year. The colorful villages caught the eye of Toronto-based architectural photographer Richard Johnson (1957-2021), who captured hundreds of the structures, from the artistic to the ad-hoc, in a series of bold portraits taken between 2007 and 2019.

    Image courtesy of the Italian Ministry of Culture / AFP Photo

    Archaeologists Discover an Extraordinary 2,100-Year-Old Mosaic Near the Colosseum

    Early this year, we shared news that the Italian Ministry of Culture had a remarkable find in the heart of Rome. In the late Republican era, a luxurious townhouse had been laden with designs made from shells, glass, white marble, and Egyptian blue tiles. A large “rustic” mosaic dating to the last decades of the 2nd century B.C.E.—a little over 2,100 years ago—was likely inspired by the decorative styles of Near East monarchies.

    ‘The Whole Booke of Psalmes.’ London: Company of Stationers, 1643. Image courtesy of The Grolier Club

    Spanning Seven Centuries, ‘Judging a Book by its Cover’ Celebrates an Enduring Art

    The Grolier Club’s exhibition, Judging a Book by its Cover, highlighted some of the most unique editions within its collection, including a pigskin- and brass-bound Jewish Antiquities and the Jewish War created for a Benedictine monastery in Bavaria around 1473—the oldest in the club’s library. The collection also features several religious texts, like the miniature book of psalms shown above, made by women at the Royal Exchange in London with a variety of silk and gold threads.

    Image courtesy of Wally Dion, shared with permission

    Vivid, Translucent Quilts by Wally Dion Stitch Together Indigenous Culture and Making Traditions

    For many rural and economically strapped communities throughout history, quilting was a necessity. Tattered clothing and blankets were cut up and refashioned into new blankets, their patchwork styles evidence of the fabrics’ earlier uses. For Indigenous people, though, quilts “hold a particularly important cultural value,” says artist Wally Dion, “appearing as gifts, ceremonial objects, and celebratory markers.”

    “লয় [Loy]” (2019), Arjunpur Amra Sabai Club, Kolkata. Photo by Vivian Sarky. Image courtesy of Asim Waqif

    Immersive Bamboo Installations by Asim Waqif Whirl and Heave in Monumental Motion

    In his monumental, swirling structures, Delhi-based artist Asim Waqif merges tenets of architecture and sculpture into sweeping site-specific compositions. Using natural materials like bamboo and pandanus leaves, he often incorporates found objects, scaffolding, sound elements, cloth, and rope.

    “Animal in the Wind” (2014), clay, 36.7 x 20.8 x 30 centimeters. Image courtesy of JiSook Jung

    From Fire to Wind, JiSook Jung’s Ceramic Sculptures Animate the Elements

    JiSook Jung has long been drawn to clay for its inherent malleability. “Clay has the advantage of being able to quickly mold an image in my head into a visual form because it is soft and plastic,” the Seoul-based artist tells Colossal. “In that sense, I think clay is an intuitive and instinctive material.”

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    Vipoo’s Exuberant Porcelain Characters Emanate Optimism and Togetherness

    All images courtesy of Vipoo, shared with permission

    Vipoo’s Exuberant Porcelain Characters Emanate Optimism and Togetherness

    December 6, 2024

    ArtCraft

    Kate Mothes

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    Born and raised in Thailand, Vipoo Srivilasa—who often goes simply by Vipoo—moved to Melbourne more than two decades ago, where he’s created ceramic works that engage with concepts like queerness, migration, and spirituality.

    Vipoo emphasizes community, accessibility, and unwavering optimism in elegant yet playful porcelain sculptures (previously). In a range of glazes, from cobalt to gold luster to bright red, his dynamic characters gesture with their fingers in a “V” shape, usually denoting hopeful messages like “peace” or “victory.” Others appear to dance, wave, or cheer.

    “Albert” (2022)

    Titles like “Salutaris, the Patron of Well-being” or “Calma, the Spirit of Tranquility,” designate many of the figures with protective or uplifting roles. Vipoo taps into universal tenets of strong relationships and communities, like trust, fairness, and togetherness.

    The artist’s solo exhition re/JOY at the Australian Design Centre highlights a wide range of stories about people’s migration to different parts of Australia. Drawing on personal stories and mementos collected from strangers around the country, he shares diverse experiences that contribute to a collective story.

    re/JOY continues through February 19 in Darlinghurst, just outside of Sydney. And accompanying the show, a vibrant new monograph titled Positive Art Work celebrates 25 years of the artist’s career. Find more on Vipoo’s website and Instagram.

    “Circle of Trust” (2023)

    “Salutaris, the Patron of Well-being” (2024)

    “Calma, the Spirit of Tranquillity” (2024)

    “Shadowed Ally” and “White Blossoms” (2023)

    “Temporus, the Master of Time” (2024)

    Detail of a sculpture from ‘re/JOY’

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    Nature Alights on Cheerful Faces in Abi Castillo’s Ceramic Sculptures

    All images courtesy of Abi Castillo, shared with permission

    Nature Alights on Cheerful Faces in Abi Castillo’s Ceramic Sculptures

    December 3, 2024

    ArtCraft

    Kate Mothes

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    Whether sprouting flowers for spectacles or summoning bluebirds, Abi Castillo’s playful characters mirror our inner selves, one another, and the world around us.

    “When I was little, they called me ‘Big Eyes,’ a name I received with pride, since it is an inheritance from my paternal grandmother, whom I barely knew but who stood out for her big eyes and powerful gaze,” Castillo (previously) says in a statement. “Carrying this legacy makes me aware of the importance of knowing where I come from and where I belong.”

    Through standalone sculptures and functional objects, Castillo emphasizes the act of seeing. Eyes are everywhere, looking back at the viewer as a reminder to reflect on what the artist describes as “this ephemeral, hectic, and hostile life.” She adds, “Each of my characters also holds a reflection of myself, of my connection with nature and of that little girl that I still carry inside…”

    Castillo is looking forward to moving to a larger studio soon, and she is currently busy making new sculptures, experimenting with different techniques to explore new shapes and formats, like jewelry. Find more on her website, and stay up-to-date on Instagram.

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    Fantastical Totems Emerge from Clay in Yu Maeda’s Vibrant Sculptures

    All images courtesy of Yu Maeda, shared with permission

    Fantastical Totems Emerge from Clay in Yu Maeda’s Vibrant Sculptures

    November 25, 2024

    Art

    Kate Mothes

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    “I enjoy the freedom of shaping clay directly with my hands… creating forms that express spontaneity,” says Yu Maeda. Based near Tokyo, the artist began experimenting with ceramics after a career focused on painting when he started transforming animals and imaginary beings into vibrant, lighthearted sculptures.

    Maeda is influenced by the bold lines and graphic iconography of pop art, blending abstract forms and traditional Japanese imagery into eclectic works. Skulls, birds, and other creatures suggest a sacred or spiritual dimension.

    The artist’s totem-like pieces merge ideas relating to ecosystems, nature’s cycles, and geometry, including timeless motifs like botanicals, insects, and the sun. As if recently unearthed with their bright pigments intact, his sculptures nod to ancient cultures, our reverence for nature, and our dependence on other animals and the environment to not only survive but thrive.

    Discover more work, including the artist’s paintings, on Instagram.

    Photo by Yuya Saito

    Photo by Yuya Saito

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    Idiosyncratic Ceramic Sculptures by Janny Baek Evoke Nature and Desire

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

    “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

    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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