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    Fragments of the Chinese Diaspora Converge in Stephanie Shih’s Mosaic Sculptures

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    “Toy Building (1915–1939)” (2025), Chinese export porcelain, crowdsourced and found objects, archaeological ceramic fragments from a Chinese fishing village on Monterey Bay (c. 1850–1906), stained glass, ceramic, polished stones, glass rods, resin, enamel, and grout on ferrocement, steel, and polystyrene. Image courtesy of the artist and John Michael Kohler Arts Center

    Fragments of the Chinese Diaspora Converge in Stephanie Shih’s Mosaic Sculptures

    September 15, 2025

    ArtFood

    Grace Ebert

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    Known for trompe l’oeil ceramic sculptures of pantry staples and domestic life, Stephanie Shih has further entrenched her largely culinary-focused repertoire in material culture. In two exhibitions, the Brooklyn-based artist (previously) embraces mosaic as she nests small glass fragments and pottery sherds into vivid compositions that explore production and labor.

    Shih’s architectural work on view at the John Michael Kohler Arts Center in Sheboygan, Wisconsin, draws on the Midwestern grotto tradition with a pagoda-style structure. Broken porcelain dinnerware, polished stone, and ceramic sherds uncovered in a Chinese fishing village on Monterey Bay cloak the facade, while hundreds of crowd-sourced knick-knacks and figures embellish the rooftop.

    Titled “Toy Building (1915–1939),” the six-story sculpture reinterprets a historic spot in downtown Milwaukee that a Chinese immigrant owned and once housed a dancehall, restaurant, and various businesses. A collective portrait of the Chinese diaspora, Shih’s work pieces together archaeological, vintage, and contemporary objects into an eclectic array that bridges the mundane and divine.

    Detail of “Carolina’s Pride Peaches” (2025), stained glass and cement mortar on aluminum, 18 x 48 inches

    The artist continues her more recent venture into mosaic in Invisible Hand, a solo exhibition opening this week at SOCO Gallery. A wide, produce promotional in colorful stained glass, “Carolina’s Pride Peaches” depicts a woman marveling at the ripe fruit. As a statement from the gallery says, Shih directs us to consumption, portraying the luscious commodity once it’s been harvested by an unacknowledged laborer.

    Invisible Hand pairs the vintage-style advertisement with the artist’s ceramic fare. Included are typical grocery store finds like a carton of Tropicana and Smucker’s jelly, along with popular fast food remnants like a box from Kentucky Fried Chicken. The seemingly mundane nature of the objects lends itself to one of the artist’s enduring questions: who’s behind the conveniences and sustenance we’ve come to expect and rely on?

    As conversations about immigration and labor take center stage, Shih’s work reflects the long history of U.S. policy targeting essential workers. She references the Chinese Exclusion Act of 1882, which barred Chinese immigration for 10 years and largely targeted those who would occupy low-wage jobs. “This act set the stage for a broader pattern of racialized labor exploitation that continues to shape the U.S.’s immigration and labor policies today,” the artist adds.

    Invisible Hand runs from September 18 to November 8 in Charlotte. If you’re in Sheboygan, you can see “Toy Building (1915–1939)” as part of A Beautiful Experience: The Midwest Grotto Tradition through May 10, 2026. Explore more of the artist’s work on her website and Instagram.

    A collection of works from ‘Invisible Hand’

    “Carolina’s Pride Peaches” (2025), stained glass and cement mortar on aluminum, 18 x 48 inches

    Detail of “Carolina’s Pride Peaches” (2025), stained glass and cement mortar on aluminum, 18 x 48 inches

    Detail of “Toy Building (1915–1939)” (2025), Chinese export porcelain, crowdsourced and found objects, archaeological ceramic fragments from a Chinese fishing village on Monterey Bay (c. 1850–1906), stained glass, ceramic, polished stones, glass rods, resin, enamel, and grout on ferrocement, steel, and polystyrene. Image courtesy of the artist and John Michael Kohler Arts Center

    “Kentucky Fried Chicken” (2025), ceramic, 9 x 9 x 7 inches

    “Whitman’s Sampler” (2025), ceramic, 2.5 x 9 x 5.5 inches

    “Campbell’s Condensed Soups” (2025), ceramic, 12 x 10.5 x 3 inches

    “McCormick Spices” (2025), ceramic, 5 x 9 x 1.5 inches

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      in Art

      African Mythology and Ancestry Merge in Zak Ové’s Exuberant Sculptures

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      “The Mothership Connection” (2022), stainless steel, bronze, resin, and mixed media, 9 x 1.8 meters. Images courtesy of Zak Ové and Library Street Collective shared with permission

      African Mythology and Ancestry Merge in Zak Ové’s Exuberant Sculptures

      June 20, 2025

      Art

      Kate Mothes

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      Merging themes of interstellar travel and cultural convergences, Zak Ové creates large-scale sculptures and multimedia installations that explore African ancestry, traditions, and history. The British-Trinidadian artist’s practice is deeply rooted in the narratives of the African diaspora, focusing on traditions of masquerade. He delves into its role in performance and ceremony, as well as masks as potent instruments for self-emancipation and cultural resistance.

      Ové’s interdisciplinary work spans sculpture, painting, film, and photography, exploring links between mythology, oral histories, and speculative futures. “His sculptures often incorporate symbols, iconography, and materials drawn from African, Caribbean, and diasporic traditions, merging them with modern aesthetics to celebrate the continuity and adaptability of culture,” his studio says.

      Detail of “Black Starliner” (2025), stainless steel, aluminium, fiberglass, and resin, 40 x 22.6 x 27.4 feet

      Ové often delves into the relationship between contemporary lived experiences and the spirit world, like in “Moko Jumbie” or a glass mosaic installation in London titled “Jumbie Jubilation.” In these works, the artist brings an ancestral spirit rooted in African and Caribbean folklore known as a Jumbie to life as a spectral dancer, cloaked in banana leaves with a torso of a golden, radiant face.

      The motif of rockets has emerged in Ove’s recent installations, like “The Mothership Connection” and “Black Starliner,” which feature totem-like stacks of African tribal masks and lattice-like Veve symbols—intricate designs employed in the Vodou religion to represent spiritual deities known as Lwa.

      “The Mothership Connection” combines architectural elements referencing the Capitol Building in Washington, D.C., and a ring of Cadillac lights nodding to Detroit, “Motor City.” The crowning element is a giant Mende tribal mask that glows when the 26-foot-tall sculpture is illuminated at night, with a pulsing rhythm suggestive of a heartbeat.

      The title is also a reference to the iconic 1975 album by Parliament-Funkadelic, Mothership Connection, in with outer space is a through-line in the group’s celebration of what BBC journalist Frasier McAlpine described as a response to the waning optimism of the post-civil rights era. Mothership Connection soared at a time when “flamboyant imagination (and let’s be frank, exceptional funkiness) was both righteous and joyful,” he wrote.

      “The Mothership Connection” (2022), stainless steel, bronze, resin, and mixed media, 9 x 1.8 meters. Installed at Frieze London 2023

      Ové echoes this exuberance through vibrant colors, repetition, and monumental scale. Library Street Collective, which exhibited “The Mothership Connection” on the grounds of The Shepherd in Detroit late last year, describes the work as a nod “to a future where Black people are included in all possible frames of reference.”

      In a monumental assembly of African masked figures titled “The Invisible Man and the Masque of Blackness,” Ové conceived of 40 graphite sculptures organized in a militaristic grid, each six-and-a-half feet tall, that have marched across the grounds of Somerset House, Yorkshire Sculpture Park, San Francisco City Hall, and Los Angeles County Museum of Art.

      The title of this piece references two groundbreaking works in Black history—Ralph Ellison’s 1952 novel Invisible Man, which was the first novel by a Black author to with the National Book Award, and Ben Jonson’s 1605 play The Masque of Blackness, noteworthy for being the first time blackface makeup was used in a stage production.

      “Invisible Man and the Masque of Blackness” (2016), graphite. Installed at Yorkshire Sculpture Park

      Ové reclaims and reframes dominant narratives about African history, culture, and the diaspora, interrogating the past to posit what he calls “potential futures,” where possibilities transform into realities. “By fusing ancestral wisdom with Afrofuturist ideals, Ové ensures that the voices of the past remain integral to shaping the futures we envision,” his studio says.

      “The Mothership Connection” will be exhibited later this summer and fall at 14th Street Square in New York City’s Meatpacking District, accompanied by a gallery show at Chelsea Market. Dates are currently being confirmed, and you can follow updates on Ové’s Instagram.

      “Moko Jumbie” (2021), mixed media, overall 560 centimeters

      Detail of “Moko Jumbie” (2021), mixed media, overall 560 centimeters, installed at Art Gallery of Ontario, commissioned with funds from David W. Binet and Ray & Georgina Williams, 2021. Photo courtesy of AGO

      “Jumbie Jubilation” (2024), glass mosaic panels, dimensions vary around 11.5 x 1.2 meters per panel

      Detail of “Jumbie Jubilation” (2024)

      “Virulent Strain” (2022), graphite, 22-carat gold leaf, and bronze, 120 centimeters in diameter

      “Invisible Man and the Masque of Blackness” (2016), graphite. Installed at Somerset House, London

      “Black Starliner” (2025), stainless steel, aluminium, fiberglass, and resin, 40 x 22.6 x 27.4 feet. Installed at Louvre Abu Dhabi

      “The Mothership Connection” (2022), stainless steel, bronze, resin, and mixed media, 9 x 1.8 meters. Photo courtesy of Library Street Collective

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    • 150 Shares179 Views

      in Art

      Embellished Vodou Flags by Myrlande Constant Spotlight ‘The Spiritual World of Haiti’

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      “Ceromine Bois Caiman” (date unknown), beads and sequins on fabric, 52 x 82 inches. All images © Myrlande Constant, courtesy of the artist and Fort Gansevoort, New York, shared with permission

      Embellished Vodou Flags by Myrlande Constant Spotlight ‘The Spiritual World of Haiti’

      January 28, 2025

      ArtHistorySocial Issues

      Kate Mothes

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      When Myrlande Constant (previously) was a teenager, she worked alongside her mother in a commercial wedding dress factory in Port-au-Prince. There, she learned the tambour embroidery technique, which utilizes a hook to create chain stitches with beads and sequins on fabric.

      “By foregrounding her specialized skills honed in the fashion industry, Constant’s approach to drapo has broken gender barriers and elevated the overlooked creative labor of Haitian female factory workers to the realm of fine art,” says a statement from Fort Gansevoort, which will present the artist’s work next month in a solo exhibition titled The Spiritual World of Haiti.

      “Marasah-Cai Leh-Créole-Marasah-Guinin-Marasah-bois” (date unknown), beads and sequins on fabric, 74 x 55.25 inches

      Drapo, or drapo Vodou, typically describes a style of embroidered flag embellished with beads or sequins, but the term can also be applied to a wide range of art forms like painting, clothing, assemblages, and sculptures. Constant’s pieces, which she has been renowned for since the 1990s, highlight a variety of materials, colors, textures, and all-over compositions brimming with ritual activity and symbols.

      Haitian Vodou, an African diasporic religion that developed between the 16th and 19th centuries, merged Western and Central African traditions with Roman Catholicism. Its divine creator, Bondye, is inaccessible to humans, so spirits known as lwa‘s serve as intermediaries that can be invoked during ceremonies by possessing individuals, enabling communication with Bondye and transmission of advice, admonishment, or healing.

      “Though she considers her art-making to be rooted in spirituality, Constant does not create her works for the purpose of display in Vodou temples, preferring instead to exhibit them in museums and galleries internationally,” a statement says.

      For Constant, art-making is a statement of resistance within the context of Haiti’s extreme political and economic instability. The nation’s current unrest was spurred by protests against high fuel prices in 2018 and a demand that then-president Jovenel Moïse resign. He refused to step down but was assassinated in 2021, further escalating tensions. A federation of gangs continues to clash with the government, spawning more protests, violence, and perpetuating an evolving humanitarian crisis.

      Detail of “Au nom de 29 points cimetiere par pou voir Baron Samedi”

      “Marinette Bois Chèche” is the earliest work that will be on view in the exhibition and depicts the martyrdom of Vodou lwa Marinette. According to folklore, Vodou lwa Marinette was burned alive for fighting against slavery and participating in a paradigm-shifting Bwa Kayiman ceremony in 1791, which spawned the 12-year Haitian Revolution.

      The insurrection, an uprising of enslaved people against French colonial rule, is unique in history because it led to the founding of a state ruled by former captives and non-white people and free from slavery—although it still permitted forced labor. Constant’s title translates to something like “Marinette of the dry wood,” evoking the ceremony that typically takes place around a bonfire and calling upon a momentous period in Haiti’s history.

      The artist’s drapo are densely beaded and often much larger than their traditional counterparts. The most recent work on view in the exhibition, “Devosyon Makaya” spans ten feet wide and took around three years to create. Constant describes her process as “painting with beads,” transforming fabric and findings into elaborate narratives evoking time-honored Haitian customs.

      The Spiritual World of Haiti opens on February 27 and continues through April 26 in New York City.

      “Au nom de 29 points cimetiere par pou voir Baron Samedi” (date unknown), beads and sequins on fabric, 58 x 70 inches

      “Marinette Bois Chéche” (1994), beads and sequins on fabric, 33 x 37 inches

      “Par pou voir torit les saints torit les morts torit armes ou purgatoir bó manman ak bo papa
      maternel et paternal en non digr cela mizerricorde” (date unknown), beads, sequins, and tassels on fabric, 76.5 x 96 inches

      Detail of “Par pou voir torit les saints torit les morts torit armes ou purgatoir bó manman ak bo papa
      maternel et paternal en non digr cela mizerricorde”

      Detail of “Ceromine Bois Caiman”

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    • 150 Shares159 Views

      in Art

      Evoking West-African Masks, Faces Emerge from Cast-Iron Skillets by Artist Hugh Hayden

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      Art
      Food

      #cooking
      #diaspora
      #masks
      #sculpture

      August 12, 2020
      Grace Ebert

      “Jazz 10” (2020), cast iron, 16 1/2 x 11 3/4 x 3 1/8 inches. All images © Hugh Hayden, courtesy of Lisson Gallery
      New York-based artist Hugh Hayden (previously) visualizes the ways African traditions are embedded into multiple facets of American culture through a series of cast-iron skillets. Part of a larger exhibition titled American Food, the 26 pans are molded to reveal facial impressions that evoke West African-style masks, blending the cooking tool and cultural object.
      Generally established by cooks who were enslaved, southern food includes many of the flavors, techniques, and ingredients prevalent in African cuisine, forming what Hayden sees as one of the foremost culinary traditions distinct to the United States. This direct impact is evident in the physical artworks—the expressive masks literally emerge from the pans—although it transcends the effects on the kitchen. As he writes about “The Cosby’s” (shown below) on Instagram, “I made this triptych as an homage to the indelible cultural impact of the African diaspora on the creation of American entertainment, food, industry, and society.”
      Hayden creates the skillets through sand casting, a manufacturing technique that utilizes the granular substance as a mold, which the artist employs as a way to recognize “the imperfectness of the materials, their colonial histories, and the inherent loss of detail in the reproduction process.” He also parallels the sculpting process to the diaspora, considering how the original object is obscured and imbued with cultural significance when it’s finished. Ultimately, American Food celebrates “the indebtedness to African origins in the cooking—as a form of creation of America, Western culture, and Modern Art,” a statement says.

      “Jazz 19” (2020), cast iron, 21 1/4 x 12 x 5 1/2 inches
      “The Cosby’s” (2020), cast iron, three skillets, 12 1/8 x 8 1/4 x 5 7/8 inches, 14 1/2 x 10 5/8 x 4 1/4 inches, 18 7/8 x 14 1/8 x 2 1/2 inches
      “Jazz 15” (2020), cast iron, 16 7/8 x 11 3/8 x 6 1/4 inches
      Left: “The Cosby’s” (2020), cast iron, three skillets, 12 1/8 x 8 1/4 x 5 7/8 inches, 14 1/2 x 10 5/8 x 4 1/4 inches, 18 7/8 x 14 1/8 x 2 1/2 inches. Right: “Jazz 17” (2020), cast iron, 16 1/4 x 10 3/8 x 7 inches
      “Jazz 18” (2020), cast iron, 19 5/8 x 9 5/8 x 5 inches

      #cooking
      #diaspora
      #masks
      #sculpture

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