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Amiee Byrne’s Realistic Ceramic Sculptures Underscore the Charm of Discarded Goods

by Aurelia Butler 29 April 2025, 15:32

All images © the artist, shared with permission

Amiee Byrne’s Realistic Ceramic Sculptures Underscore the Charm of Discarded Goods

April 29, 2025

Art

Jackie Andres

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Australian artist Amiee Byrne is drawn to everyday objects that are “so normal, they’ve become invisible,” she says. Meticulously sculpting clay into life-sized representations of their counterparts, Byrne highlights the tender charm and understated significance of forgotten and discarded goods.

Creating an accurate portrayal involves the conscientious embrace of imperfections and defects. Take, for instance, Byrne’s bear sculpture. Splooted on its belly as if frozen in time after being dropped onto the ground, the well-loved teddy bear’s fluffy yet matted fur remains slightly discolored in some areas, as well as its snout. Details of authenticity ultimately cue a poignant emotional response. “This object is getting a second chance and I like to celebrate the flaws,” she says.

Technically speaking, the Los Anegles-based artist has developed a distinct knack for producing hyperrealistic textures. While it can be particularly challenging to accomplish lifelike surfaces with ceramic pieces, Byrne employs several underglazes to achieve the perfect sheen or flat finish atop each object.

Often times scrolling the internet for hours, searching for tools to execute such precise textures, Byrne also explains that she is fond of experimenting with different items around the house. “My favorite tool is a dustpan broom,” she says. “I’m always bashing clay with it to create different effects.”

Find other projects from the artist on her website, and see more work on Instagram.

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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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From Porcelain Buttercream to Bruises, Jessica Stoller Examines the Gendered Body
by Aurelia Butler 5 March 2025, 20:01
Detail of “Seeing Red” (2024), porcelain, glaze, china paint, lustre, 9 x 92 1/4 x 92 1/4 inches. All images courtesy of the artist and P·P·O·W, shared with permission
From Porcelain Buttercream to Bruises, Jessica Stoller Examines the Gendered Body
March 5, 2025
Art
Grace Ebert
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The early 1780s produced a medical training tool that today seems unusually macabre and unsettling: the Anatomical Venus. A waxen model with real human hair and strings of pearls around her neck, the reclined figure appeared incredibly realistic, although pulling back the plate on its abdomen or chest revealed a series of internal organs and systems.
As Ian Shank writes, modern viewers see the Anatomical Venus as discordant given the tension between the figure’s idealized beauty—and its inherent sensuality—and its function as an educational model.
“Untitled (crown)” (2021), porcelain, glaze, china paint, wood, 24 x 16 x 2 inches. Photo by JSP Art Photography
Jessica Stoller takes this dissonance as a starting point in “Seeing Red,” a floor-based sculpture of more than 150 individual ceramic objects. Atop the square tableaux are oversized white orbs that overshadow the mottled pink base. Fragmented body parts, seashells, leaves, a bent coat hanger, snakes, pottery shards, and more spread throughout.
Reflecting on the continued push to strip protections for bodily autonomy in the U.S., “Seeing Red” separates the female form into distinctive parts and places them at the lowest position possible. As the oppressive pearls loom over the rest of the components, the unnerving work directly challenges who has a right to self-determination and control over their body.
The grotesque and disturbing play an important role throughout Stoller’s practice as she frequently incorporates human anatomy with porcelain and ceramic traditions. “Untitled (close up #3),” for example, features delicate pink and purple blossoms that frame what appears to be a series of large, purple bruises.
Similarly, “Untitled (sugar still life)” comprises a sweet spread that stretches across an elaborate display. Tucked in the seemingly saccharine work, though, are unsavory elements like a skeletal hand reaching from piped ribbons and medical devices stabbed into various confections.
“Seeing Red” (2024), porcelain, glaze, china paint, lustre, 9 x 92 1/4 x 92 1/4 inches
Rebelling against patriarchal priorities, Stoller continually confronts romanticized notions of the body through surreal, even monstrous compositions. Instead, her works are bold and unabashed as they examine the feminine figure, rooting out stereotypes and historical injustices while emphasizing the potency of the unseemly.
Many of the works shown here are on view in New York for Stoller’s solo show Split, which continues through April 5 at P·P·O·W. Find more from the artist on Instagram.
Detail of “Seeing Red” (2024), porcelain, glaze, china paint, lustre, 9 x 92 1/4 x 92 1/4 inches
“Skin to Scale” (2023), porcelain, glaze, china paint, wood, 22 1/2 x 14 1/2 x 2 1/2 inches
“Untitled (close up #3)” (2020), porcelain, glaze, china paint, lustre, wood, 19 x 15 x 2 inches
“Silphium” (2024), porcelain, glaze, china paint, lustre, 19 x 8 1/2 x 4 1/2 inches
“Yellow Wallpaper” (2025), porcelain, glaze, china paint, wood, 23 x 17 1/2 x 3 inches
“Untitled (sugar still life)” (2018), porcelain, glaze, china paint, lustre, enamel, and wood, 60 x 36 x 22 inches. Photo by JSP Art Photography
Detail of “Untitled (sugar still life)” (2018), porcelain, glaze, china paint, lustre, enamel, and wood, 60 x 36 x 22 inches. Photo by JSP Art Photography
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Lena Guberman’s Emotive Sculptures Call Upon Childhood Social Anxiety
by Aurelia Butler 12 February 2025, 17:00
All images courtesy of Lena Guberman, shared with permission
Lena Guberman’s Emotive Sculptures Call Upon Childhood Social Anxiety
February 12, 2025
ArtCraft
Kate Mothes
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For any of us who are shy or anxious about interacting with others in the outside world, we might think of the face we “put on” that enable us to feel less fearful. For Lena Guberman (previously), a recent series of ceramic sculptures titled INS_IDE_OUT delves into her childhood experiences with social anxiety and the uncertainties of the unknown.
“The mask provides a protective shell and presents a ‘perfect’ appearance to the outside world but fails to stop the fears and emotions from bursting out,” Guberman tells Colossal.
Each piece is modeled on the same melancholy face of a young, brown-haired girl, with painted and sculpted elements that range from spikes to arrows to a dead bird. Emotionally evocative and sometimes slightly unsettling, her sculptures explore the spectrum of feelings associated with anxiety.
Guberman is currently planning a project that expands upon her use of ceramics by adding other materials. See more work on her website, Instagram, and Behance.
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Announcing Joy Machine, a New Art Gallery in Chicago
by Aurelia Butler 10 February 2025, 10:00
Abi Castillo, “Blooming” and “Blue Caterpillar” (2025), ceramic
Announcing Joy Machine, a New Art Gallery in Chicago
February 10, 2025
Art
Grace Ebert and Christopher Jobson
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As Colossal prepares to turn 15 this year, we’ve been thinking a lot about what it means to be part of a creative community. During the last decade and a half, we’ve spoken with thousands of artists, designers, and makers and cultivated a vast network of friends and colleagues around the globe. Publishing has been one of the greatest joys of our lives and demonstrated again and again how art can connect us all.
We’re incredibly excited to share that we’re expanding our footprint right here in our home of Chicago. Our new art gallery, Joy Machine, opens on February 21.
Michael McGrath, “Night Ride, Spring Gods” (2025), colored pencil on wood panel, 10 x 8 inches
A year in the making, Joy Machine is built around the belief that amid deep uncertainty and upheaval, joy becomes an indispensable gateway to hope. As we navigate this incredibly difficult time, we’re interested in coming together to expand our power to feel and process experiences good and bad.
Our first exhibition, Light Preserver, features nine artists who cultivate and ritualize joy through humor, nostalgia, vibrancy, and excitement for new possibilities. Whether reflecting on childhood fun or invoking art’s ability to rescue us from depression, each artist taps into our shared humanity—not to evade difficult realities but to find meaning and purpose amid chaos. In this way, joy becomes an essential antidote to despair and a fundamental lifeline to keep us all afloat.
Light Preserver features work by many artists you’re probably familiar with, including Moises Salazar Tlatenchi, David Heo, Liz Flores, Peter Frederiksen, Danym Kwon, Lisa Congdon, Michael McGrath, Jeff Rubio, and Abi Castillo.
Colossal will continue publishing independently as it always has, and when Joy Machine’s projects fit Colossal’s mission, we’ll be sure to share them with you all here.
If you’re in Chicago, please join us to celebrate Joy Machine’s opening on February 21. You can follow the gallery on Instagram, and sign up for the newsletter on the website.
Danym Kwon, “When Small Happiness Found Us” (2025), acrylic and acrylic gouache on canvas, 18 x 18 inches
David Heo, “Mamihlapinatapai” (2024), mixed media on paper mounted on panel, 11 x 28 inches
“Red Boots” (2025), acrylic on wood, framed in hemlock, 18 x 24 inches
Peter Frederiksen, “Sharing Secrets” (2022), freehand machine embroidery on linen, 6 x 8 inches
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Whimsical Ceramic Sculptures by En Iwamura Evoke Ancient Traditions and Childlike Curiosity
by Aurelia Butler 6 February 2025, 16:07
“Neo Jomon: Green Mask” (2024), glazed ceramic, 35 3/8 x 30 1/4 x 28 3/4 inches. Photos by Grace Dodds. All images courtesy of the artist and Ross + Kramer, Gallery, New York, shared with permission
Whimsical Ceramic Sculptures by En Iwamura Evoke Ancient Traditions and Childlike Curiosity
February 6, 2025
Art
Kate Mothes
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In Japanese philosophy, the concept of Ma emphasizes the relationships between time and space and how moments, intervals, and distance provide the basis for how we experience the world around us. Derived from the word Ma, or “間,” which translates to “pause” or “gap,” the idea of negative space is viewed as a fundamental element of art and architecture.
For En Iwamura, who lives and works near Kyoto, working from the perspective of Ma forms a significant tenet of his sculpture practice (previously). He examines scale, the sense of one’s surroundings, and comfort in proximity to others. “People constantly read and measure different Ma between themselves, and finding the proper or comfortable Ma between people or places can provide a specific relationship at a given moment,” the artist says in a statement.
“Neo Jomon: Black/White Mask” (2024), glazed ceramic, 38 1/4 x 34 5/8 x 29 1/2 inches
In Mask, Iwamura’s solo exhibition at Ross+Kramer Gallery, he delves into the cultural, conceptual, and symbolic significance of the titular objects. Drawing on childhood memories of visiting the National Museum of Ethnology in Osaka, where he saw masks from around the world, the artist evokes the sense of mystery he felt upon viewing the works and curiosity about their origins.
Masks have been used for centuries in cultures all around the globe, predominantly associated with religious ceremonies, funerary customs, festivals, dramatic performances, and other rituals of social importance. We don masks to protect us from inclement weather or to provide a layer of safety in certain sports or recreational activities. In 2020, the mask took on a new significance in the global effort to prevent the spread of coronavirus.
Iwamura’s playful, gentle, sometimes wistful ceramic sculptures reference the historical nature of masks while reflecting their role in our contemporary world. “A driving force behind this collection of work is a reconnection to child-like senses of curiosity, wonderment, and creativity,” says an exhibition statement.
In this exhibition, Iwamura presents numerous sculptures from his ongoing Neo Jomon series, drawing on details characterizing earthenware of the ancient Jōmon culture, which existed in what is modern-day Japan from around 14,000 to 300 B.C.E. The name literally means “cord-marking” after a style of pottery scholars attribute to the period.
“Neo Jomon: Mask and Eyes” (2024), glazed ceramic, 31 7/8 x 31 7/8 x 28 inches
Soft forms complement vibrant hues and a variety of textures in Iwamura’s sculptures, which range in size from a little over a foot tall to more than five feet. “To achieve these intricate surfaces, the artist allows his hand-built forms to air dry slightly before drawing various tools across the surface of the clay,” the gallery says. The textures recall rake-like patterns of Buddhist Zen gardens and cord-marking, a technique of pressing a twisted cord into wet clay.
“While serving as a meditation on parenthood, this series is also an encouragement to reunite with one’s inner child,” the gallery says. Mask continues through March 26 in New York City. Find more on the artist’s website and Instagram.
“Neo Jomon: Red Mask” (2024), glazed ceramic, 46 x 46 1/2 x 31 1/8 inches
“Neo Jomon: Stacking Neighbor” (2024), glazed ceramic, 20 1/8 x 7 7/8 x 7 7/8 inches
“Neo Jomon: Pink Mask (Beret)” (2024), glazed ceramic, 36 x 40 x 7 1/4 inches
“Neo Jomon: Stacking Neighbor” (2024), glazed ceramic, 16 7/8 x 11 3/4 x 11 3/4 inches
“Neo Jomon: Black Mask (Crack)” (2024), glazed ceramic and gold, 31 x 31 x 9 inches
“Neo Jomon: Stacking Neighbor” (2024), glazed ceramic, 15 x 9 7/8 x 6 3/4 inches
“Neo Jomon: Blue Mask” (2024), glazed ceramic and gold, 23 x 36 x 14 5/8 inches
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Naomi Peterson Channels a Sweet Tooth and Sense of Togetherness in Her Vibrant ‘Cup-Cakes’
by Aurelia Butler 4 February 2025, 10:00
“Mud Pies.” All images courtesy of Naomi Peterson, shared with permission
Naomi Peterson Channels a Sweet Tooth and Sense of Togetherness in Her Vibrant ‘Cup-Cakes’
February 4, 2025
ArtCraftFood
Kate Mothes
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Frosted sponge and overstuffed pies are just a few of the sweet treats Naomi Peterson crafts from clay. Her playful “cup-cakes” take confectionery as a starting point, adding layers reminiscent of fondant, ice cream scoops, berries, and sprinkles.
Many of Peterson’s pieces are functional, incorporating lids or handles to be used as vessels or coffee mugs. “I’m drawn to visual sweetness, imagining the potential enjoyment of confectioneries rather than physically consuming them,” she tells Colossal. “I actually prefer savory and salty foods to sweet ones!”
“Topiary Jar 2”
Flowers complement playful lattice patterns in vibrant hues, sometimes leaning into a garden theme with topiary forms. Peterson relies on an intuitive approach that combines wheel-thrown techniques with hand-building methods like coils, slabs, and pinching. “I construct different forms and plan surfaces later,” she says. “I find if I pre-plan the surface and shape from the beginning, the process becomes too controlled, limiting spontaneity.”
Once the basic form is complete, Peterson adds or removes elements through darting—cutting wedge-shaped pieces from a cylinder of clay—and embellishing with sprig or press molds. “My surfaces require many applications and separate firings to achieve vibrant, layered effects,” she says. “Before ceramics, I spent many years painting mainly with oils, influencing much of my surface decisions.”
We often think of confectionery as a token of joy, celebration, and togetherness. Every cake and bon bon reflects Peterson’s interest in relationships and the way our actions and emotions entwine us with others and our communities. The spaces in between the dot patterns are essential, “not to keep each element distant but to connect them,” she says. “Although not physically connected, each of us is important as part of a whole.”
Peterson’s work will be part of Dirt Folk: Planted, a pop-up exhibition running concurrently with the 2025 National Council on Education for the Ceramic Arts conference in March in Salt Lake City. If you’re on the East Coast, you’ll be able to see her work in Lines and Patterns from March 22 to May 24 at Baltimore Clayworks. Find more on the artist’s website and Instagram.
Assorted “Cakes”
“Flower Pot”
Assorted “Bon Bons”
“Bloom Cake 2”
Assorted “Bon Bons”
“Pluff Jar”
Confectionery-inspired mugs
“Harmonia”
Assorted “Cakes”
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Through Ceramics, Stephanie Shih Considers the Disillusioning Price of Domestic Bliss
by Aurelia Butler 27 January 2025, 14:03
“Nuclear Family” (2024). Photo by Robert Bredvad courtesy of the artist and Alexander Berggruen, shared with permission
Through Ceramics, Stephanie Shih Considers the Disillusioning Price of Domestic Bliss
January 27, 2025
ArtSocial Issues
Jackie Andres
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Nothing says true love like arguing about who left the cap off the toothpaste, right? From a darkly comedic perspective, Stephanie Shih explores the multiple meanings of “domestic bliss” in a social landscape fraught with consumerism and clashing politics.
It all started with the 1998 self-help book, Divorce for Dummies. The sardonic humor of a goofy cartoon character exclamatorily holding up a finger offering counsel to one’s broken marriage—for the totally reasonable price of $19.99—was a catalyst for Shih’s interest in the capitalist absurdity that came with the divorce boom of the 1980s and ’90s.
“Chores” (2024). Photo by Robert Bredvad
Shifting social and cultural factors, such as the introduction of no-fault divorce laws and emergent waves of feminism, drastically impacted the outlook on divorce in America. Rising individualism, disillusionment with the idea of a nuclear family, and the reclamation of feminine independence all played a part in annulment rates doubling for those aged over 35.
In Shih’s solo exhibition aptly titled Domestic Bliss, the Brooklyn-based artist spotlights what the gallery, Alexander Berggruen, describes as “artifacts of a single household.” The array of objects evoke the reality of a time when materialism, distorted expectations, and self-loathing created a perfect storm.
A Thigh Master one likely ordered from QVC in the deep hours of night sits alone on a pedestal, epitomizing the ways in which consumer culture preyed upon insecurities, only to sell women the illusion of control. Prisoner of Desire rests face-down on an ironing board to hold one’s place as escapism is interrupted by the mediocrity of chores. TV dinners stack atop a glowing microwave to signify power dynamics, a substantial portion of Hungry Man reserved for the father and the smallest box reserved for the mother.
Expanding upon her previous domestic sculptures, each ceramic object evokes a sense of realism, thanks to the artist’s thoroughness. As the exhibition text explains, Shih “scoured eBay listings for photo references and exact dimensions of discontinued packaging in order to faithfully sculpt each object in its era-appropriate likeness.” A range of materials and techniques are then applied to each form, such as hand-painted underglaze, dyed resin, and even electrical elements like lighting. Every step of the way, the artist skillfully instills the mundane with liveliness.
Domestic Bliss is on view at Alexander Berggruen in New York City through February 26. Find much more on Shih’s Instagram and website.
“Dissolution” (2024). Photo by Robert Bredvad
Photo by Robert Bredvad
“Jagged Little Pill” (2024). Photo by Robert Bredvad
Installation of “Domestic Bliss” (2024). Photo by Dario Lasagni
“Happy Meal” (2024). Photo by Robert Bredvad
“Hot Pockets” (2024). Photo by Robert Bredvad
Installation of “Domestic Bliss” (2024). Photo by Dario Lasagni
Installation of “Domestic Bliss” (2024). Photo by Dario Lasagni
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Asya Marakulina Sculpts Poignant Ceramic Portraits of Demolished Homes
by Aurelia Butler 22 January 2025, 12:33
All images courtesy of Asya Marakulina, shared with permission
Asya Marakulina Sculpts Poignant Ceramic Portraits of Demolished Homes
January 22, 2025
ArtSocial Issues
Kate Mothes
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Prior to the 20th century, apartment buildings and row houses were often built with shared walls between adjoining properties. Intrigued by these aging structures, Vienna-based artist Asya Marakulina began cataloging examples she first noticed on walks around her former home in St. Petersburg, Russia.
“Since houses in the 19th century were built without gaps between them, when one house is torn down, the neighboring house often bears traces of the demolished one,” Marakulina tells Colossal. These remnants of decor, plumbing, and other signs of human habitation form the basis of her ongoing ceramic series, There Was a Home.
When Marakulina moved to Vienna, she noticed a similar phenomenon in the remains of older buildings that had been demolished there, too. Fragments of floor still clung to the walls and the outlines of painted or papered rooms were suddenly—somewhat uncomfortably—external. The ease of a warm interior and its associated domesticity was upended.
“What touches and affects me the most in images of ruined houses are the traces of wallpaper, tiles, and children’s rooms, which suddenly become visible to the entire street,” the artist says, sharing that the sight evokes a deep sadness. “These spaces were never meant to be seen in such a way.”
Marakulina likens houses to the bodies of living organisms, imbued with emotions, memories, and layered histories. The ceramic cross-sections take on a portrait-like quality, capturing straightforward views of multistory edifices that are simultaneously immediate and intimate. “Maybe that’s why these images captivate me so much because a part of someone’s inner, domestic life is suddenly turned inside-out and put on public display,” she says.
The houses in There Was a Home are typically drawn from real buildings, photographs of which she captures herself or finds on the internet. Marakulina also considers the impacts of war and is profoundly moved by the current conflicts in Ukraine and the Middle East, where thousands of homes have been destroyed and their inhabitants killed or displaced. The half-standing homes simultaneously represent lives lost and the hope of one day being able to rebuild.
Rather than straightforward copies of the buildings she encounters, Marakulina takes liberties with wall colors, sometimes adding graffiti or words she sees on the streets or derives from the news. She scores the clay to create the textures of tile and concrete or delineate lintels and former doorways. The resulting reliefs become collage-like, merging locations and motifs.
If you’re in Belgium, you can see the artist’s work in Ceramic Brussels, which opens today and continues through January 26. In London, Marakulina created a site-specific installation for a solo show at The Smallest Gallery in Soho, which continues through mid-February, and later that month, she will exhibit with Vienna Collectors Club. Find more on the artist’s website and Instagram.
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ceramics

Latest story

Amiee Byrne’s Realistic Ceramic Sculptures Underscore the Charm of Discarded Goods

More stories

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

From Porcelain Buttercream to Bruises, Jessica Stoller Examines the Gendered Body

Lena Guberman’s Emotive Sculptures Call Upon Childhood Social Anxiety

Announcing Joy Machine, a New Art Gallery in Chicago

Whimsical Ceramic Sculptures by En Iwamura Evoke Ancient Traditions and Childlike Curiosity

Naomi Peterson Channels a Sweet Tooth and Sense of Togetherness in Her Vibrant ‘Cup-Cakes’

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