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    ‘Imagining the Future’ Honors Aleksandra Kasuba’s Trailblazing Installations and Environments

    “Spectrum. An Afterthought” (1975–2014), synthetic fabric, neon lamps, colored filters, steel, aluminum, plywood, and plastic,
    40 x 105.6 x 53.9 meters. Photo by Antanas Lukšėnas. Image courtesy of The Lithuanian National Museum of Art, Estate of Aleksandra Kasuba

    ‘Imagining the Future’ Honors Aleksandra Kasuba’s Trailblazing Installations and Environments

    February 10, 2025

    ArtDesign

    Kate Mothes

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    From immersive fabric installations and sculptures to photography, landscape design, and architecture, the work of Aleksandra Kasuba (1923-2019) merges myriad ideas about how we experience the world around us. The intersection of technology and nature enchanted the late Lithuanian artist, and she often experimented with a variety of materials and the effects of light, hue, and tension to explore relationships between ourselves and notions of shelter and place.

    The first major exhibition of her work in Europe, Imagining the Future at Carré d’Art—Musée d’Art Contemporain, explores the incredible breadth of Kasuba’s artistry.

    “Shell Dwellers III” (1989), paper and collage, 35 × 43.5 centimeters. Image courtesy of The Lithuanian National Museum of Art, Estate of Aleksandra Kasuba

    Born to an aristocratic family, Kasuba enrolled in art school in 1941, focusing primarily on sculpture and textiles. She married artist Vytautas Kašuba, with whom she fled Lithuania in 1944 in the wake of the Nazi occupation of the country. They landed in a displaced-persons camp in Germany where they stayed until making their way to New York in 1947, and her experience as a refugee and an immigrant significantly affected her work.

    In the U.S., Kasuba found employment in crafts and design and began laying the foundations for her future artistic practice, which merged applied and functional arts with abstraction. Her interdisciplinary practice took shape in earnest the 1950s and 1960s and was deeply influenced by tenets of modernism and the era of space exploration, which cast humanity’s existence on Earth in a new light.

    Mid-20th century scholarship on vernacular architecture also inspired Kasuba, and she was moved by a visit to Bernard Rudofsky’s 1964 exhibition Architecture Without Architects at the Museum of Modern Art in New York. He took a broader view of global architecture than the field typically covered and emphasized the ingenuity and beauty of structures built by Indigenous cultures.

    Rudofsky suggested that modernism—particularly modern architecture—had lost touch with the real needs of society, and he urged viewers to pay attention to artistic, idiosyncratic, culturally rich local styles free from elitist design rules.

    “Rock Hill House” (2002). Image courtesy of The Lithuanian National Museum of Art, Estate of Aleksandra Kasuba

    Kasuba’s artistic practice blended with daily life in her own living spaces, too, from her New York City home in the 1970s to Rock Hill House, a sculptural dwelling in the New Mexico desert she completed between 2001 and 2005.

    The convergence of sculpture and environmental design also fascinated the artist, spurring unique material combinations in large-scale public interventions and spatial installations. Concerned with how we move through places and are affected by our surroundings, she was also commissioned to create numerous public wall installations using materials like brick, marble, and granite.

    Kasuba explored the relationships between transparency, color, and light in works like “Spectrum,” privileging organic shapes and an immersive passageway made from stretched nylon. Her Space Shelters series, composed of fabric in curving forms without ninety-degree angles, exemplifies her desire to harmonize nature, people, and technology.

    Imagining the Future continues through March 23 in Nîmes, France. Learn more on the museum’s website.

    “Dreaming III” (1963), white marble, 103 x 91 centimeters. Photo Antanas Luksenas. Image courtesy of The Lithuanian National Museum of Art, Estate of Aleksandra Kasuba

    Installation view of ‘Imagining the Future’ at Carré d’Art, Nîmes, France. Photo by Cédrick Eymenier

    “Live-In Environment, 43W90, NYC” (1971–1972). From the digital archive of Aleksandra Kasuba. Image courtesy of The Lithuanian National Museum of Art, Estate of Aleksandra Kasuba

    Installation view of ‘Imagining the Future’ at Carré d’Art, Nîmes, France. Photo by Cédrick Eymenier

    Installation view of ‘Imagining the Future’ at Carré d’Art, Nîmes, France. Photo by Cédrick Eymenier

    “Rock Hill House” (2005). Image courtesy of The Lithuanian National Museum of Art, Estate of Aleksandra Kasuba

    Installation view of ‘Imagining the Future’ at Carré d’Art, Nîmes, France. Photo by Cédrick Eymenier

    “Shell Dwellers VI” (1989), paper and collage, 35 × 43.5 centimeters. Image courtesy of The Lithuanian National Museum of Art, Estate of Aleksandra Kasuba

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    Visit Dozens of Incredible Artist-Built Environments, Homes, and Studios Around the U.S.

    Prophet Isaiah Robertson’s Second Coming House, Niagara Falls, New York. All images courtesy of the artists, foundations, and the National Trust for Historic Preservation, shared with permission

    Visit Dozens of Incredible Artist-Built Environments, Homes, and Studios Around the U.S.

    February 6, 2025

    ArtDesignHistory

    Kate Mothes

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    Whether a self-taught artisan or a contemporary art titan, one can make artwork just about anywhere. As the saying goes, the only limit is your imagination. And when art and life intersect, sometimes the distinction between the two disappears.

    As the National Trust for Historic Preservation can tell you, homes and studios from rural Kansas to the hubbub of Manhattan have been the locus of eclectic, quirky, and innovative ideas that illustrate how creativity and daily existence are one and the same.

    Grandma Prisbrey’s Bottle Village, Simi Valley, California

    Last month, the NTHP announced the addition of 19 new property members to its Historic Artists’ Homes and Studios program. Comprising locations that range from houses and workspaces to quarries and hand-assembled fantasylands, the new spaces bring the total number of network participants to 61 across the U.S.

    Colossal readers might be familiar with one of last month’s additions, the Kosciusko, Mississippi, home of L.V. Hull (1942–2008), which was included in the National Register of Historic Places last summer. The designation was the first to honor the residence of an African American woman visual artist, and it was also the first time a home art environment by any African American was on the list.

    Women feature prominently in this year’s announcement, including Pope’s Museum in Ochlocknee, Georgia, which is distinguished as the oldest surviving artist-built environment by a woman in the U.S. A self-taught maker, Laura Pope Forester (1873–1953) created elaborate exterior installations, including murals and other works that pay tribute to women’s achievements, military veterans, and literary figures. The crochet-like white facade is composed of sewing machine parts.

    Additional places include the homes of groundbreaking women artists Louise Bourgeois and Carolee Schneemann, along with remarkable creations like Grandma Prisbey’s Bottle Village in Simi Valley, California, and Mary Nohl’s unique environment in Fox Point, Wisconsin.

    Plan your visits on the Historic Artists’ Homes and Studios website.

    Pope’s Museum, Ochlocknee, Georgia

    Shigeko Kubota Video Art Foundation, New York City

    Spiral House Park, Saugerties, New York

    “Enchanted Garden” and entrance to the “Troglodyte Cavern” at Valley of the Moon, Tucson, Arizona

    Mary Nohl Art Environment, Fox Point, Wisconsin

    Interior of the Mary Nohl Art Environment, Fox Point, Wisconsin

    Dog Mountain, Home of Stephen Huneck Gallery, St. Johnsbury, Vermont

    Interior of Reuben Hale House, West Palm Beach, Florida

    Interior of Prophet Isaiah Robertson’s Second Coming House, Niagara Falls, New York

    Interior view of Grandma Prisbrey’s Bottle Village, Simi Valley, California

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    Uncanny Objects by Joyce Lin Blur Distinctions Between Reality and the Fantastical

    “Fir Mignon” (2023), wood, epoxy clay, oil paint, 8.75 x 8.75 x 3 inches. All images courtesy of Joyce Lin, shared with permission

    Uncanny Objects by Joyce Lin Blur Distinctions Between Reality and the Fantastical

    January 21, 2025

    ArtDesign

    Kate Mothes

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    Whether enclosed in clear acrylic or seemingly sliced from a single tree, Joyce Lin’s sculptures examine themes of interconnectedness and the Anthropocene, which describes our planet’s most recent epoch and the way humans significantly impact its ecosystems and climate.

    “I am both disturbed and captivated by the paradoxes of industrialized society,” Lin says in a statement, “where modes of production and disposal are often obscured to the public, yet people have more technology than ever to make their imagined worlds a reality.”

    “Wood Chair in Fir” (2024), oil paint, epoxy clay, plywood, MDF, and wood, 16.5 x 16.25 x 34.75 inches

    Lin’s uncanny pieces meld form and function, taking the recognizable shapes of furniture and food and transforming them into playful meditations on mass production and consumption. She often uses organic materials like wood, augmenting the surfaces with synthetic mediums like epoxy, resin, and oil paint to preserve their appearance in perpetuity. Some works, like the Wooden Chair series, are entirely composed of engineered materials.

    “I love to dissect and understand things, and my works often feature objects—usually a chair—sliced open to expose an inner structure; to express an inner truth, so to speak,” Lin tells Colossal. She manipulates the structures extensively, blurring the reality of what she describes as the “insides” and the “outsides,” so the composition takes on a fantastical quality.

    “I don’t think they’re so convincing when you really zoom in, so it’s interesting to see people assume they’re somehow grown or AI-generated, even though they take an incredible amount of manual labor and time to create,” Linn adds. “I often think about distortions in our perception of reality, (which is) probably why people keep sending me those is-it-cake videos.”

    The artist is currently working toward a solo exhibition later this year at R & Company, and you can explore more on her website and Instagram.

    “Exploded Chair” (2019), maple and acrylic, 16 x 16 x 35 inches

    “Woodnanas” (2024) wood, steel, polyester resin, and epoxy clay

    “Wood Chair in Ash” (2024), oil paint, epoxy clay, plywood, MDF, and wood. Beetles: epoxy, wire, 16.5 x 16.25 x 34.75 inches

    Detail of “Wood Chair in Ash”

    “Root Chair” (2023), found driftwood and walnut stain, 29 x 30 x 34 inches

    “Wood Stool”

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    Vibrant, Immersive Installations by Poh Sin Studio Emphasize Vulnerability as a Strength

    “Projection: Kite” (2019) at night. Photo by David Yeow. All images courtesy of Poh Sin Studio, shared with permission

    Vibrant, Immersive Installations by Poh Sin Studio Emphasize Vulnerability as a Strength

    January 15, 2025

    ArtDesign

    Kate Mothes

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    From vibrant rope to metal frames to acrylic panels, the chromatic installations of Poh Sin Studio invite viewers into glowing thoroughfares and sprawling pavilions. Founded by Pamela Poh Sin Tan, the studio emphasizes public art as a means of fostering relationships between people, their communities, and their surroundings.

    Tan’s immersive works blur the boundaries between disciplines, evoking a sense of curiosity and discovery. “I’m particularly drawn to engaging the public through art and creating experiences that inspire dialogue and connection,” she tells Colossal. “I believe public art is a powerful catalyst for urban renewal and psychological well-being, providing moments of reflection, joy, and connection.”

    Detail of “Crimson Cloud”

    For example, the artist shares that her most recent installation, “Structural Resonance,” explores the interplay between art and architecture, embodying layers of spatial and experiential narratives.” She is interested in how physical spaces interact with their environment and affect us visually and emotionally.

    Embracing fragility as a form of strength is central to Tan’s practice, manifesting in the way soft materials, like rope, complement those associated with resilience and permanence, like metal. “I find inspiration in overlooked details, such as plant veins, diatoms, mechanical and electrical systems, or even the skeletal framework of objects like a piano,” she says. “These hidden elements hold quiet beauty and complexity that I love to bring to light.”

    Art and architecture are inherently intertwined in Tan’s view. Design and engineering provides structure, context, and utility, while the artistic aspect adds compelling narrative and emotion. “Together, they reveal hidden dimensions, evoke movement, and connect deeply with viewers,” she says.

    Explore more on Poh Sin Studio’s website and Instagram.

    “Structural Resonance” (2024)

    “Projection: Kite.” Photo by David Yeow

    Detail of “Projection: Kite” (2019). Photo by David Yeow

    “Sunnyside Up” (2023) at MRT Pasar Seni, Kuala Lumpur, Malaysia

    “Sunnyside Up” (2023)

    “Crimson Cloud” (2022), at Pavilion Kuala Lumpur, Malaysia

    Detail of “Crimson Cloud”

    “Eden”

    “Structural Resonance”

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    Near Liverpool, a One-of-a-Kind Art Environment by Ron Gittins Is Saved

    “The Minotaur Room.” All images courtesy of Historic England, shared with permission

    Near Liverpool, a One-of-a-Kind Art Environment by Ron Gittins Is Saved

    January 3, 2025

    ArtDesignHistory

    Kate Mothes

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    Behind the unassuming red brick facade of a gable-roofed flat in Birkenhead, England, sits a home like no other. The only clue passersby would have had, until recently, was a pair of hand-sculpted figurative columns that flanked the wooden front door. But to step inside this corner flat near Liverpool is to be transported into the imaginative world of Ron Gittins.

    A gifted artist who also dabbled in local acting groups and music, Gittins was a complex character. He took day jobs here and there, but he was much more inclined to work for himself, on his own terms. Anecdotally, he was known for his zest for life and determination to do great things; his sister recounts that he once exclaimed to their brother, “I will not be ignored!” His creativity shone through in every facet of his life, and his home is no exception.

    Hallway

    In a ground floor rented flat, which he let in 1986, Gittins created monumental hearths in the shapes of a lion, minotaur, and relief-adorned Roman altar. He painted bright murals inspired by ancient Greece, Rome, and Egypt, including a central hallway adorned with hieroglyphs. The columns at the front door were reminiscent of palatial stone depictions of pharaohs and deities.

    Gittins turned to the era of English romantic portraiture in one room’s Georgian era-inspired murals, which feature framed paintings in a row above an ornate hearth. And in the bathroom, the walls swim with aquatic-themed images.

    “Although Ron was extremely proud of his artwork, he generally refused entry to landlords, maintenance staff, and any kind of officialdom in order to protect the fantasy world he had created for himself,” says a statement from Wirral Arts & Culture Community Land Trust, which now owns and manages the property. It adds, “After all, not every property owner would allow their tenant to build an epic concrete lion fireplace in their living room.”

    Gittins’ tenancy agreement permitted him to “decorate the interior of the property to his own taste and the external porch in classical style without the prior written consent of the Landlord.” He also had access to the garden, which he was able to landscape at his own expense.

    “The Lion Room”

    Few people were granted the privilege of seeing Gittins’ creations during his lifetime, as he was protective of his art and preferred to maintain his privacy. He continued to collect unique objects and transform his home into his ultimate fantasy, his self-described “villa.” Then, following his unexpected death in 2019, its fate was suddenly uncertain.

    In December 2021, artist Jan Williams—who is also Gittins’ niece—along with Chris Teasdale of The Caravan Gallery, launched a campaign to save the flat. Along with a dedicated team of volunteers comprising family, friends, and experts in arts and heritage, a last-minute purchase at auction was successful in March 2023. Since then, the team has continued caring for the installations and sifting through the artist’s eclectic collection of books, magazines, videos, clothes, furniture, and trinkets.

    The Wirral Arts & Culture Community Land Trust continues to catalogue Gittins’ belongings and work to preserve this unique environment for years to come. Learn more and take a virtual tour on the organization’s website.

    “The Georgian Room”

    Ceiling of “The Georgian Room”

    The “Roman Altar” in the kitchen

    Bathroom

    “The Minotaur Room”

    “The Georgian Room”

    Exterior of Gittins’ flat in Birkenhead, England

    Front door columns

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    Beams of Light Lance Monumental Architecture in Jun Ong’s Astral Installations

    “STAR/BUTTERWORTH.” Photo by Ronaldas Buozis. All images courtesy of the artist, shared with permission

    Beams of Light Lance Monumental Architecture in Jun Ong’s Astral Installations

    December 30, 2024

    ArtDesign

    Kate Mothes

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    In artist Jun Ong’s luminous installations, rays of light pierce through concrete, stone, and steel. In his ongoing Stars series features LED strips that intersect with the human-built environment in monumental, illuminated geometries.

    Ong’s latest piece, “HALO,” relies on an existing architectural structure to provide a site-specific framework. Beams of light appear to permeate stone and concrete, simultaneously contained by the buildings yet impervious to their solidity.

    “HALO.” Photo by YueJin Art Museum

    Exploring themes of time and space, “HALO” radiates from within the Xiu De Bai Pavilion, a former Buddhist temple in Yan Shui, Tainan, Taiwan. “Built in 1919, the temple has history tracing back to the Qing dynasty and was pivotal in supporting the community,” Ong says.

    “Light in Buddhism is an important metaphor for enlightenment—the awakening or the understanding of truth,” says a statement from YueJin Art Museum. Just as Buddha, in addition to sacred figures in other religions, is often portrayed with a bright aura or halo around the head or body, Ong envisions the burst of light as a means of illuminating our surroundings and our past.

    “HALO” builds upon a work titled “STAR/BUTTERWORTH,” which he installed in Penang, Malaysia, in 2015. The artist was inspired by the idiosyncratic designs of Buckminster Fuller, like his geodesic domes, and M.C. Escher’s optical illusions.

    He says, “Using only two materials—tensile steel cables and LED strips—I manipulated light and architecture to create a colossal object that seemingly burst out of the building like a glitch in time.”

    Detail of “HALO”

    For “HALO,” Ong created a starburst form that can also be interpreted as a ring of light, reimagining a 2022 piece called “STAR/KL,” which he installed in brutalist interior in Kuala Lumpur. “I hope that the Star series continues to emerge across different cities and cultures and possibly also in interesting terrains, like caves, the desert, or even forests,” Ong says.

    Commissioned by for the 2024 Yuejin Art Museum Festival, “HALO” remains on view through February 16. If you’re in The Netherlands, you can also see Ong’s piece “POLARIS” on view as part of the Amsterdam Light Festival through January 19. Find more on the artist’s website and Instagram.

    Detail of “STAR/BUTTERWORTH.” Photo by Ronaldas Buozis

    “POLARIS”

    Detail of “HALO”

    “HALO.” Photo by YueJin Art Museum

    “POLARIS.” Photo by Merce Wouthuysen

    Detail of “STAR/BUTTERWORTH.” Photo by Ronaldas Buozis

    Detail of “HALO.” Photo by YueJin Art Museum

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    Döppel Studio’s ‘Néophore’ Vessels Illuminate Ancient Pottery Traditions with Neon

    Photos by Ophélie Maurus. All images courtesy of Döppel Studio and ToolsGalerie, shared with permission

    Döppel Studio’s ‘Néophore’ Vessels Illuminate Ancient Pottery Traditions with Neon

    December 18, 2024

    ArtCraftDesign

    Kate Mothes

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    In ancient Greece, amphorae were commonly used for carrying or storing liquids and grains like wine, oil, or cereal. A narrow neck and a large, oval body were easily moved with handles on each side. For Paris-based Döppel Studio, a collaboration between Lionel Dinis Salazar and Jonathan Omar, a millennia-old form inspires a contemporary collection.

    Néophore is a series of terracotta and enamel vessels intersected with looping, handle-like tubes of glowing neon. Situated between sculpture, vessel, and lamp, the series takes a sophisticated yet playful approach to the relationship between form and function.

    Salazar and Omar teamed up with ceramicist Aliénor Martineau, who specializes in mineral-based natural glazes, to customize a reflective enamel that would come alive under the light. Find more on Döppel Studio’s website, and if you’re in Paris, you can see Néophore at ToolsGalerie through January 11.

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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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