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Enigmatic Phenomena and Galactic Shapes Revolve in Shane Drinkwater’s Cosmic Systems

by Aurelia Butler 2 June 2025, 17:58

All images © Shane Drinkwater, shared with permission

Enigmatic Phenomena and Galactic Shapes Revolve in Shane Drinkwater’s Cosmic Systems

June 2, 2025

Art

Kate Mothes

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For Queensland-based artist Shane Drinkwater, self-imposed restrictions provide a key starting point for works he creates in ink, pen, acrylic, and collage—always in a square format measuring about 50 by 50 centimeters. Arrows, crosses, dots, and numbers build linear elements and patterns, while primary colors provide the foundation for the occasional green or gradient.

Drawing on a lifelong love for maps, ciphers, and astronomical charts, Drinkwater continues to explore the possibilities of fictional cosmic networks (previously). In some pieces, concentric circles resemble diagrams of the Solar System, while in others, references to comets or esoteric systems suggest the imaginary workings of atomic phenomena or alchemical experiments.

Drinkwater’s work was recently included in the book Elements: Chaos, Order and the Five Elemental Forces, published by Thames & Hudson. He is currently preparing work for art fairs this fall in Copenhagen and Paris, along with a group show at Gagné Contemporary in Toronto. Find more on the artist’s website and Instagram.

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In ‘Passing Time,’ Seth Clark’s Jumbled Old Houses Play, Leap, and Explore
by Aurelia Butler 2 June 2025, 14:58
All images courtesy of Seth Clark and Paradigm Gallery + Studio, Philadelphia, shared with permission
In ‘Passing Time,’ Seth Clark’s Jumbled Old Houses Play, Leap, and Explore
June 2, 2025
Art
Kate Mothes
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Crumbling shingle roofs, peeling plywood, and fragmented framing characterize much of Seth Clark’s recent work, in which spheres or mounds of dilapidated houses serve as studies of texture, material, time, and neglect. In new work on view this week in his solo exhibition Passing Through at Paradigm Gallery + Studios, he’s made one mindful addition: limbs.
The Pittsburgh-based artist’s collaged paper paintings, pastel and ink transfer drawings, and sculptures reflect his interest in the chaotic aesthetic of collapsing houses. More recently, his jumbled compositions have sprouted legs, strolling or running and adding a sense of both urgency and playfulness to the architectural forms.
Drawing on daily observations and photographs, especially of Pittsburgh’s suburban row houses, Clark assembles references for window frames, siding, gables, roof lines, and more to emphasize various states of deterioration. Found materials and papers provide the paintings’ layered textures, which he then ages with ink washes, charcoal, graphite, pastel, and acrylic. His new works are dollhouse-like and a smidge brighter than in the past, with the addition of cheerful pinks, yellows, and purples to complement darker browns and grays.
Clark’s anthropomorphized constructions suggest the nature of inhabiting—something akin to the soul of a place in addition to its physical makeup. The artist “attributes this change to recently becoming a father and developing an urge to instill hope into crumbling houses and broken window panes,” the gallery says. “What was first a sobering reminder of mortality has now become a message of how, even in states of chaos and decay, there can still be enough joy found in dark places to pick up the pieces and create something new.”
Passing Through runs from June 6 to June 29 in Philadelphia. See more on the artist’s website and Instagram.
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Across 92 Screens in Times Square, Yuge Zhou’s ‘Trampoline Color Exercise’ Celebrates Global Unity
by Aurelia Butler 27 May 2025, 13:19
All images © Yuge Zhou, courtesy of Times Square Arts, shared with permission
Across 92 Screens in Times Square, Yuge Zhou’s ‘Trampoline Color Exercise’ Celebrates Global Unity
May 27, 2025
Art
Kate Mothes
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Spanning a gridded background of rectangular, pink trampolines, hundreds of gymnasts mesmerizingly flip and twist, shapeshifting as they tuck and tumble. “Trampoline Color Exercise,” a monumental digital video collage installation by Chicago-based artist Yuge Zhou, takes a bird’s-eye view of athletes at peak form while abstracting their bodies and movements into undulating ripples of color.
Born in China, Zhou has long explored the emotional, psychological, and geographic distance between her chosen home in the Midwest and the country of her birth. Themes of separation, loyalty, and cultural contrasts undergird much of her multidisciplinary work. She initiated her series of Moon Drawings, for example, during the pandemic when she was unable to travel the long distance to to Beijing to visit family.
For “Trampoline Color Exercise,” Zhou interrogates colors in their role as national symbols. Pulling from archival Olympics footage, she collages gymnasts wearing primary colors in a nod to global national flags, literally and figuratively fluctuating in a reflection of our ever-evolving geopolitical reality.
“‘Trampoline Color Exercise’ was created over the past few years amid intense political and international divisions, and now it feels especially timely,” Zhou says in a statement. “At its heart, the work is a celebration of globalization and a reflection on allegiance.”
Co-presented by Times Square Arts and artnet, the monumental work will be screened across 92 electronic billboards in the legendary New York City intersection. Part of Times Square Arts’ Midnight Moment series, the city’s largest public art program, visitors will be able to see Zhou’s three-minute work every night between June 1 and 30, starting at 11:57 p.m.
Explore more on Zhou’s website.
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Gregory Euclide Explores the Anthropocene in Verdant Mixed-Media Collages
by Aurelia Butler 12 May 2025, 13:34
“Torn Spin” (2025). All images courtesy of the artist and Hashimoto Contemporary, shared with permission
Gregory Euclide Explores the Anthropocene in Verdant Mixed-Media Collages
May 12, 2025
ArtNature
Kate Mothes
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Smeared, flattened, and rough around the edges, Gregory Euclide’s mixed-media collages explore nature through the lens of human experience. Organically meandering outlines suggest shallow reliefs; foraged prairie botanicals complement human-made materials; and abstracted landscapes emerge from drawings, photographs, ripped paper, paint, and more.
“The artist tears and layers these elements to build a new pictorial space which more accurately resembles the way he takes in the land,” says a gallery statement for Assembled Lands, Euclide’s solo exhibition opening later this week with Hashimoto Contemporary.
“Torn: Double Sun” (2025)
Breaking down his observations of nature into its fundamental parts, Euclide merges overviews of trees, shrubs, meadows, and the horizon with the intimate details of leaves or branches. One might approach his subject matter through the lens of the Anthropocene, which describes our present era of accelerating changes to the environment due to humans’ unrelenting impact.
Each collage (previously) merges recognizable forms and terrain with abstract shapes and compositional spirals or whorls. The effect toys with perception and our understanding of relationships between flatness and depth, land and sky, and nature and ourselves.
Assembled Lands runs from May 17 to June 14 in New York City. See more on the artist’s website.
“Washed Up On The Beach 2” (2025)
“Plat Map” (2025)
“Torn: Silhouette” (2025)
“Random Invader Memory” (2025)
“Torn Landscape Spun” (2025)
“Torn: Forest Silhouette” (2025)
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In Vivid Reliquaries, Stan Squirewell Layers Anonymous Portraits and Patterned Textiles
by Aurelia Butler 28 March 2025, 15:30
All images courtesy of Stan Squirewell and Claire Oliver Gallery, shared with permission
In Vivid Reliquaries, Stan Squirewell Layers Anonymous Portraits and Patterned Textiles
March 28, 2025
ArtPhotography
Grace Ebert
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Through intimate, mixed-media collages, Stan Squirewell excavates the stories of those who might otherwise be lost in anonymity. The artist gathers images from the Smithsonian’s archives and from friends and family that he then reinterprets with vibrant prints and patterns. Layering unknown pasts with present-day additions, Squirewell explores how everyday traditions and rituals remain through generations.
His new body of work, Robitussin, Hotcombs & Grease, invokes ubiquitous items like the over-the-counter decongestant and hair care. “Growing up, I was shaped by elders around me, and everyday objects like Robitussin, hotcombs, and grease became vessels for the rituals that anchored me to my heritage,” the artist says. “These items transcend their mundane uses: they embody traditions passed down through generations, grounding me in a collective identity.”
“Girls on Saturn” (2025)
Squirewell cuts and collages images and fabrics from his collection before photographing the composition, which then undergoes a digital editing process. An elaborate frame complements each piece with charred shou sugi ban edges—a Japanese burning technique—and hand-carved details. The sides bear various inscriptions connecting past and present, including lines from Langston Hughes’ poems and glyphs from ancestral African languages that have fallen out of use.
Because the identities and histories of many of the subjects are unknown, Squirewell’s work adds a new relevance to their images. How have daily, domestic practices and the legacies of previous generations informed the present? And how do these traditions create a broader collective experience? Rooted in these questions, the dignified works become reliquaries that honor what’s been passed down and how that continues to inform life today.
Robitussin, Hotcombs & Grease is on view through May 24 at Claire Oliver Gallery in Harlem. Find more from Squirewell on Instagram.
“Teddy” (2024), artist-printed photos collaged with paint and glitter in a hand-carved shou sugi ban frame, 43 x 35 x 3 inches
“Teddy’s Lil Sisters” (2024), artist-printed photos collaged with paint and glitter in a hand-carved shou sugi ban frame, 29 x 24 x 2 inches
“Girls on Saturn” (2025)
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Folk Traditions, Quotidian Items, and Spiritual Symbolism Merge in Haegue Yang’s Sensory Sculptures
by Aurelia Butler 6 March 2025, 13:10
“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
by Aurelia Butler 11 February 2025, 17:39
“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
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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Lauren Halsey’s ’emajendat’ Is an Energetic Celebration of South Central Los Angeles
by Aurelia Butler 14 January 2025, 12:56
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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collage

Latest story

Enigmatic Phenomena and Galactic Shapes Revolve in Shane Drinkwater’s Cosmic Systems

More stories

In ‘Passing Time,’ Seth Clark’s Jumbled Old Houses Play, Leap, and Explore

Across 92 Screens in Times Square, Yuge Zhou’s ‘Trampoline Color Exercise’ Celebrates Global Unity

Gregory Euclide Explores the Anthropocene in Verdant Mixed-Media Collages

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

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

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

Announcing Joy Machine, a New Art Gallery in Chicago

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