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

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    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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      Folk Traditions, Quotidian Items, and Spiritual Symbolism Merge in Haegue Yang’s Sensory Sculptures

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      “Sonic Intermediates – Triad Walker Trinity” (2020), powder-coated steel and handles, casters, nickel and brass-plated bells, metal rings, plastic twine, turbine vents, artificial plants, pine cones, and foam. Photo by Nick Ash. Image courtesy of kurimanzutto, Mexico City / New York. All images courtesy of the artist, shared with permission

      Folk Traditions, Quotidian Items, and Spiritual Symbolism Merge in Haegue Yang’s Sensory Sculptures

      March 6, 2025

      Art

      Kate Mothes

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      “Abstraction is not a…simplified way of thinking: it’s a leap—a leap into a dimension that cannot otherwise be understood,” says Haegue Yang, whose multimedia installations and sculptures explore a wide array of material associations, immersing the senses. Series such as Light Sculptures and Sonic Sculptures defy genres, often combining ready-made, mass-produced items with industrially created substances.

      At the Nasher Sculpture Center in Dallas, Yang’s solo exhibition Lost Lands and Sunken Fields engages viewers in a “dialectic of contrasts: light and dark, aerial and grounded, buoyant and heavy, spare and dense, interior and exterior,” a statement says. The show follows the artist’s first major survey in the U.K. at London’s Hayward Gallery, which embarked on a collage-forward celebration of work created during the past 20 years.

      “Frosted Scales Mermaid Queen – Mesmerizing Mesh #218” (2023), Hanji, washi, and origami paper on alu-dibond, framed, 24 3/8 x 24 3/8 inches. Image courtesy of kurimanzutto, Mexico City / New York

      Working between Seoul and Berlin, Yang hybridizes folk customs and craftsmanship, everyday items, and vernacular techniques in pieces that combine sculpture, installation, collage, text, video, wallpaper, and sound. “Sonic Intermediates – Triad Walker Trinity,” for example, coats steel frames in tiny bells, metal rings, plastic twine, and more, which evoke vaguely animalistic forms that move around on casters.

      Time and geography collapse in an abstracted visual language that merges the modern and the pre-modern, art history and literature, and themes of displacement, migration, forced exile, and global diasporas. Her works “link various geopolitical contexts and histories in an attempt to understand and comment on our own time,” says a statement from kurimanzutto, which represents the artist.

      The gallery also presents a concurrent exhibition titled Arcane Abstractions, including two-dimensional collage works complemented by an archival display of pieces by Mexican artisans. Yang continues to investigate cultural heritage and ritualistic symbolism through materials as she forwards “a proposal to live our lives today with a holistic view of mobility and technology, respect for spirituality, as well as contemplation on the resilient adaptability of both nature and humans,” says a statement. 

      Arcane Abstractions continues through April 5 in Mexico City, and Lost Lands and Sunken Fields runs through April 27 in Dallas.

      “Airborne Paper Creatures – Flutterers” (2025), birch plywood, wood stain, stainless steel components, Hanji, washi, origami paper, marbled paper, honeycomb paper balls, beads, metal bells, plastic crown flowers, parandy, Punjabi earrings and ornaments, stainless steel chains, split rings, steel wire ropes, and swivels, 47 3/4 x 22 x 25 1/2 inches, 21 3/4 x 12 1/2 x 9 1/2 inches, and 36 1/2 x 23 1/2 x 23 1/2 inches (three parts). Photo by Studio Haegue Yang. Image courtesy of the Nasher Sculpture Center

      Detail of “Airborne Paper Creatures – Flutterers.” Image courtesy of the Nasher Sculpture Center

      Installation view of ‘Haegue Yang: Leap Year’ (2024). Photo by Mark Blower. Image courtesy of the artist and the Hayward Gallery, London

      Installation view of ‘Haegue Yang: Leap Year’ (2024). Photo by Mark Blower. Image courtesy of the artist and the Hayward Gallery, London

      “Aztec Underwater Wanderer – Mesmerizing Mesh #214” (2023), Hanji and washi on alu-dibond, framed, 24 3/8 x 24 3/8 inches. Image courtesy of kurimanzutto, Mexico City / New York

      “Radial Tousled Epiphyte” (2025), birch plywood, wood stain, acrylic board, powder-coated stainless steel wall mount, stainless steel components, Hanji, and marbled paper, 54 3/4 x 54 3/4 x 8 1/4 inches. Photo by Studio Haegue Yang. Image courtesy of the Nasher Sculpture Center

      Detail of “Radial Tousled Epiphyte.” Image courtesy of the Nasher Sculpture Center

      “Sonic Clotheshorse–Dressage #3” (2019), powder-coated aluminum frame, mesh and handles, casters, brass-and nickel- plated bells, split rings, 60 1/4 x 22 x 30 3/4 inches, and “Sonic Clotheshorse–Dressage #4” (2019), powder-coated aluminum frame, mesh and handles, casters, brass-and nickel-plated bells, and split rings, 50 1/4 x 19 1/4 x 33 3/4 inches. Installation view of ‘Haegue Yang: Emergence’ at the Art Gallery of Ontario, Toronto, Canada, 2020. Photo by Craig Boyko, AGO

      “Aqua-Respirating Soul Sheet – Mesmerizing Mesh #263” (2024), Hanji, washi, and origami paper on alu-dibond, framed, 24 3/8 x 24 3/8 inches. Image courtesy of kurimanzutto, Mexico City / New York

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      Intimacy Centers in Nia Winslow’s Nostalgic Paper Collages Highlighting Black Experiences

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      “Child’s Olay” (2023), paper collage, 32 x 40 inches. All images courtesy of the artist and SHEER, shared with permission

      Intimacy Centers in Nia Winslow’s Nostalgic Paper Collages Highlighting Black Experiences

      February 11, 2025

      Art

      Kate Mothes

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      From torn pieces of paper, Nia Winslow constructs vibrant scenes that evoke togetherness and nostalgia, often harkening back to the mid-20th century. The Brooklyn-based artist taught herself to create mixed-media collages using paper adhered to wood panels, which draw on narratives, moods, and memories.

      Winslow predominantly focuses on the African diaspora, tracing stories of the lives of Black individuals in America. Through collages made with a variety of textures, cuttings, and clippings, she illuminates young people playing outdoors, sitting with their parents, and spending time with one another.

      “Steady” (2025), paper collage on birchwood panel, 40 x 30 inches

      The artist enjoys combining her passion for style with storytelling. She draws inspiration from artists like Romare Bearden, Kerry James Marshall, Faith Ringgold, and Jacob Lawrence, often portraying Black figures during everyday activities and in informal, leisurely settings.

      “Mundane or complex, each piece is created to capture the essence of life through the lens of someone who experiences it,” she says in a statement. Cars, urban architecture, garments, and hairstyles emerge in vivid, intimate portraits of community, support, and self-love.

      Winslow’s work “Steady” will be on view at Affordable Art Fair from March 19 to 23 in New York City, presented by SHEER. Find more on the artist’s website and Instagram.

      “Secret Keeper” (2023), paper collage, 24 x 36 inches

      “Muvah” (2022), paper collage, 40 x 30 inches

      “License to Loiter” (2021), paper collage on birchwood, 24 x 36 inches

      “Muvah & Me” (2024), paper collage on birchwood panel, 30 x 24 inches

      “The Fainting Couch” (2022), mixed media paper collage on birchwood panel, 24 x 36 inches

      “We Real Cool” (2024), paper collage on birchwood panel, 40 x 30 inches

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      Announcing Joy Machine, a New Art Gallery in Chicago

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      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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      Lauren Halsey’s ’emajendat’ Is an Energetic Celebration of South Central Los Angeles

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      Installation view of ’emajendat’ at Serpentine South. Installation photos by Hugo Glendinning, © Lauren Halsey, courtesy of Serpentine, shared with permission

      Lauren Halsey’s ’emajendat’ Is an Energetic Celebration of South Central Los Angeles

      January 14, 2025

      ArtSocial Issues

      Kate Mothes

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      Inspired by the South Central neighborhood of Los Angeles, where Lauren Halsey’s family has lived for generations, vibrant sculptures and site-specific installations vividly reflect the artist’s community.

      At Serpentine South, a large-scale, maximalist exhibition titled emajendat highlights Halsey’s self-described obsession with material culture, her interest in remixing messages and symbols, and the need to confront issues that affect people of color, the queer community, and the working class.

      Installation view

      Halsey gathers photographs, posters, flyers, commercial signs, and found objects that relate to her communities’ activism, highlighting “a sense of civic urgency and free-flowing imagination,” says David Kordansky Gallery, which co-represents the artist with Gagosian. “Inspired by Afrofuturism and funk, as well as the signs and symbols that populate her local environments, Halsey creates a visionary form of culture that is at once radical and collaborative.”

      Past, present, and future merge in the artists exploration of how idols, architecture, history, and communication fuel how we perceive identities and society. She draws on the imagery of ancient Egypt, the African diaspora, Black and queer icons, and the visionary design associated with funk to construct a kind of ever-evolving archive.

      In a monumental rooftop installation titled “the eastside of south central los angeles hieroglyph prototype architecture (I),” Halsey nods to palatial, ancient Egyptian architecture, placing the faces of notable Black figures on the columns’ capitals, such as activist Susan Burton and ethnomusicologist Dr. Rachel Eubanks.

      Halsey’s eclectic “funkmound” sculptures also encompass numerous found items, harboring miniature dioramas and objects that appear as though they are emerging from heaps of cotton candy. Throughout emajendat, seemingly endless collages, sculptures, reflections, prismatic color, patterns, messages, and textures welcome the viewer into an enthusiastically immersive experience.

      Installation view of ‘The Roof Garden Commission: Lauren Halsey,’ “the eastside of south central los angeles hieroglyph prototype architecture (I)” (2022). Photo by Hyla Skopitz, © Lauren Halsey, courtesy of the artist; David Kordansky Gallery and The Metropolitan Museum of Art

      The social element of Halsey’s work is amplified by a community center she founded in 2019 called Summaeverythang, located adjacent to her studio in South Central. The nonprofit initiative is “dedicated to the empowerment and transcendence of Black and Brown folks socio-politically, economically, intellectually, and artistically.”

      emajendat continues through February 23 in Kensington Gardens, London. Plan your visit on the gallery’s website.

      Foreground: “keepers of the krown (susan burton)” (2024), glass fiber, reinforced concrete, and mixed media, 261 3/4 x 48 1/8 x 48 1/8 inches. Background: “keepers of the krown (dr. rachel eubanks)” (2024), glass fiber, reinforced concrete, and mixed media 261 3/4 x 48 1/8 x 48 1/8 inches. Photo by Andrea Avezzù, © Lauren Halsey, courtesy of the artist, David Kordansky Gallery, and Gagosian

      Installation view

      Installation detail

      Installation view

      Installation detail

      Installation collage detail

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      A Changing Community and Lived Experiences Converge in Leroy Johnson’s Mixed-Media Houses

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      All images courtesy of Margot Samel, shared with permission

      A Changing Community and Lived Experiences Converge in Leroy Johnson’s Mixed-Media Houses

      December 23, 2024

      Art

      Kate Mothes

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      From collaged and painted found materials merged with elements of photography and ceramics, Leroy Johnson (1937-2022) created an eclectic vision of life in his hometown of Philadelphia. Through layered, multi-dimensional portraits of houses, the artist represents loci of family life and community in conceptual assemblages that also confront racism, poverty, and gentrification.

      In the first exhibition of his work in New York City, Margot Samel presents Leroy Johnson, a collection of the artist’s house sculptures made “with a documentarian’s eye but a poet’s gaze,” says a gallery statement. His pieces capture a city in transition, peering into its past to underscore the myriad experiences of its present.

      “Spirit House” (c. 2005–2010) mixed media, found object, and collage, 19 1/4 x 20 x 13 1/2 inches

      Through his occupations as a social worker, teacher of disabled youth, rehab counselor, and school administrator, Johnson “surveyed the pleasures, hardships, and contradictions within the Philadelphia neighborhoods where he spent his life,” Margot Samel says, and he “pierced the fabric of collective human experience more deeply than most.”

      Johnson’s abstract, mixed-media houses often feature photographs of people and gatherings, graffiti and text, and swishes of paint or residual imagery from found objects. The gallery adds, “As an African American artist who witnessed the civil rights movement and the impact of racist policies on communities he loved, Johnson took particular pleasure in depicting the richness of Black life.”

      Leroy Johnson runs from January 10 to February 9 in New York. Learn more and plan your visit on the gallery’s website.

      “You Been Had” (c. 2000–2005), mixed media, found object, and collage, 17 x 16 1/2 x 8 inches

      “Heart of Darkness” (c. 1995–2000), mixed media, found object, and collage, 13 x 11 x 6 inches

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      Cozy Homes and Woodland Wonders Abound in Julie Liger-Belair’s Collages

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      “cottage bubble.” All images courtesy of Julie Liger-Belair, shared with permission

      Cozy Homes and Woodland Wonders Abound in Julie Liger-Belair’s Collages

      December 10, 2024

      Art

      Kate Mothes

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      From flowery headdresses to botanical guises to houses perched on the tippy-top of tree stumps, Julie Liger-Belair’s collages (previously) invite us into a whimsical world. In paper and found objects, she dives into personal stories and the emotional connections binding us to nature, place, and a sense of belonging.

      In her Scrappy Blablah series, for example, the artist compiles various cutouts into playful compositions that provide a way of processing external information, coming about “when the paper scraps on my table decide to embody my feelings about the world outside my studio,” she says. “But they also provide the antidote.”

      “Vietnam 1”

      Liger-Belair and her family recently visited Vietnam, spurred by their eldest daughter, who was adopted from the country and hadn’t been back since. New works inspired by the trip include larger collages with painted elements on wood panels, in addition to found objects, vintage photos, and snapshots the artist took on the trip.

      She continues themes of home and comfort through the motif of the house, which often encompasses figures, flowers, patterns, and vines that unfurl beyond their confines. In other compositions, the house shrinks in size, as giant mushrooms and blossoms coexist alongside woodland creatures in fanciful landscapes.

      Liger-Belair has also revisited ideas from earlier assemblage work, making small, three-dimensional pieces in sardine tins and other found boxes. “I have always loved collecting things and using them in pieces,” she tells Colossal. “My experiments with resin and ceramics have also made their way into this series (called) tinned stories, and they are more fun, dreamlike pieces.”

      Find much more on Liger-Belair’s website, Instagram, and Behance.

      “the upside of down” from the ‘tinned stories’ series

      “forest blablah”

      “blablah in the garden”

      “house bubble 14”

      “house bubble 18”

      “mountain landscape” from the ‘tinned stories’ series

      “wide awake,” plus another piece from the studio

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      Hollie Chastain Lands a Playful Series of Collaged UFOs

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      All images courtesy of Hollie Chastain, shared with permission

      Hollie Chastain Lands a Playful Series of Collaged UFOs

      November 20, 2024

      ArtCraft

      Kate Mothes

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      From paper, thread, and gouache, Chattanooga-based artist Hollie Chastain (previously) combines ephemera and found materials into vibrant collages. Strips of paper are cut, woven, and stitched into playful, abstract compositions.

      The artist’s recent extraterrestrial-inspired series emerged somewhat by accident. “I was playing around with scraps and some abstract surface design, and it ended up vaguely UFO-shaped, so I ran with it,” the artist tells Colossal.

      “Green Valley”

      Chastain’s playful series uses a limited palette of five colors, in addition to vintage printed matter and a thin maple veneer for visual warmth. “Creating such a big collection with limited materials and colors is both challenging and extremely satisfying,” Chastain says. “I am not overwhelmed with options, yet have to stretch myself to make them each unique.”

      Some of the pieces of more intentionally UFO-shaped than others, and Chastain titles each one after the name of a global city where UFO activity has been reported. “I blame David Duchovny,” she says.

      Chastain is currently working toward a solo exhibition in late 2025 at Townsend Atelier in Chattanooga. And if you’re in Colorado, you can see her work—including several of the UFOs—in Moons Out, Goons Out at Ah Haa School for the Arts in Telluride through November 30. Find more on her website and Instagram.

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

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      “Carré Fleuri, antique samples of hand-painted flower patterns for dress fabric, France, 1841” (2023), collage, hand-cut, Japanese paper, paper weaving, gold leaf, and acrylic painting, 26 x 26 inches

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

      November 19, 2024

      ArtCraft

      Kate Mothes

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      From found vintage newspapers and hand-painted designs, Myriam Dion composes remarkably detailed collages. Known for reimagining newspapers into sculptural, geometric works, the Montréal-based artist (previously) has recently begun experimenting with a range of found materials, like gouache-painted samples of antique textile patterns and pages from old garden books.

      The stories Dion chooses to highlight often revolve around women and their accomplishments. “It is interesting to see how women are documented in the media,” she says, “especially at a time when newspapers were written by men for men and how this evolves and sometimes regresses depending on the subjects,” the artist says.

      Detail of “Carré Fleuri, antique samples of hand-painted flower patterns for dress fabric, France, 1841”

      Through a painstaking process of cutting and weaving tiny strips of material, Dion adheres gold leaf and adds drawing and painting details. “I also include folding techniques that allow me to create relief and a textile look to the paper,” she says. “Drawing allows me to develop patterns through repetition and is conducive to larger installations.”

      The artist currently has work on view in Timelines, her solo exhibition at Arsenal Contemporary in New York City, which emphasizes her interest in milestones like women’s labor rights and suffrage throughout the 20th century, especially in the U.S.

      “These themes are expressed through headlines in a dated language as evocative as the homespun crafts that Dion elevates,” says a gallery statement. “By exploiting the metaphoric potential of ephemera, she underscores the vulnerability of these rights while offering a timely reminder of their importance.”

      “Miss Marion Cassidy, Daring Canadian Aviatrix, New Mexico, Wednesday, May 21, 1919” (2024), collage and weaving of newspaper and hand-cut Japanese paper, acrylic paint, pencil drawing, and gold leaf, 47 x 47 inches

      Dion has recently become fascinated by darning samplers, which like other embroidery samplers, were historically used to showcase one’s knowledge and skills with different stitches. In terms of darning, a method of mending, the patterns often mimicked different weaves or knitting to show that the sampler’s maker was capable of mending a variety of fabrics.

      “These are objects rich in know-how and history—they are magnificent and very inspiring for me, both formally and conceptually,” Dion says. “These objects evoke repair and care, which give a second life to damaged fabrics. They are linked to women, indeed: traditional crafts and artisanal virtuosity, elements to which I am sensitive and which greatly influence my creative process.”

      Dion is particularly drawn to the samplers’ geometric characteristics, which she incorporates into her own compositions. Patterns and floral motifs intertwine in meticulously detailed pieces, often transforming into ornate framing devices for intimately scaled photographs of women snipped from the newspaper.

      The artist recently won a commission for a large public artwork inspired by darning samplers, which will be installed in a new hospital in Vaudreuil-Soulanges, Québec, in 2027. Another public work will be installed at the Santa-Cabrini Hospital in Montréal next summer.

      Timelines continues through December 14. Find more on Dion’s website and Instagram.

      “Girl in Knicks on the Links, Miss McMillan, The Brooklyn Daily Eagle, New York, Monday, May 8, 1922” (2024), collage of hand-cut newspaper and Japanese paper, drawing, painting, paper weaving, and gold leaf, 116.5 cm x 108.5 centimeters

      Detail of “Girl in Knicks on the Links, Miss McMillan, The Brooklyn Daily Eagle, New York, Monday, May 8, 1922”

      “Women Workers, Daily Republican Eagle, Red Wing, Minnesota, Friday, October 2, 1942” (2024), collage and weaving of newspaper and hand-cut Japanese paper, acrylic paint, pencil drawing, and gold leaf, 40 x 40 inches

      Detail of “Women Workers, Daily Republican Eagle, Red Wing, Minnesota, Friday, October 2, 1942”

      “Marie Curie, Radium discoverer to visit America, February 10, 1921” (2024), collage and weaving of newspaper and hand-cut Japanese paper, acrylic paint, felt, and gold leaf, 42 1/2 x 43 inches

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