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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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In ‘The Junior Classic,’ Michael Ezzell Builds an Uncanny World from Vintage Books
by Aurelia Butler 27 May 2025, 16:00
“Decoy Boy.” All images © Michael Ezzell, shared with permission
In ‘The Junior Classic,’ Michael Ezzell Builds an Uncanny World from Vintage Books
May 27, 2025
ArtIllustration
Kate Mothes
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It’s not too often that a high school art project morphs into a through-line in an artist’s professional practice, but for illustrator and printmaker Michael Ezzell, that’s exactly how his ongoing series The Junior Classic was born. Tearing pages from vintage books, he experiments with a range of media, compositional elements, and narratives that then inspire further paintings and prints.
“When I was starting out, I would just paint over the text of the page and create something brand new from some mundane book I had,” Ezzell tells Colossal. “Eventually, it evolved into using the page’s illustration or ornate chapter headings as a jumping-off point for what I would create on the page.”
“Cloudmaker”
Among many others, Ezzell especially graviates toward illustrations in the Alice in Wonderland series, originally drawn by Sir John Tenniel and reimagined during subsequent decades by more than half a dozen other artists like Mabel Lucie Attwell, Gwynedd M. Hudson, Maria L. Kirk, and even Salvador Dalí.
“I’ve gotten my book-hunting more down to a science now,” the artist says. “I look for weird and obscure manuals or children’s books with lots of pictures or funky text formatting. Anything that could have strange connotations when taken out of context is what I’m drawn to.” He approaches each page’s inherent qualities—a printed phrase or a small drawing—like a prompt or a call-and-response, which taps into a refreshingly different kind of problem-solving than working on a large, blank canvas.
Ezzell is particularly interested in world-building and immersive stories, and his motifs and characters take cues from tarot, Surrealism, playing cards, and early-20th-century fashion. The title of the series nods to a set of 10 books titled The Junior Classics, first published in 1912, which were intended for young readers as a counterpart to the Harvard Classics series.
The Junior Classic consists of more than 400 pieces (and growing), and Ezzell is currently working on his own tarot deck, which in turn is inspiring more narrative possibilities. See more on the artist’s website and Instagram.
“Two Rivers”
“Now Here”
“Three Phases of Mitsy Diller”
“Mind Over Matter”
“Love Makes the World Go Down”
“The Escapist”
“The Great Cassino”
“The Duchess”
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A Unique Portfolio of Hilma af Klint’s Botanical Drawings Communes with Nature’s Spiritual Side
by Aurelia Butler 21 May 2025, 15:01
“Woodrush, Viola, Golden Saxifrage, Field Horsetail, Marsh Marigold, Lesser Celandine, Sedge (Frylet, Violen, Gullpudran, Åkerfräknet, Kabelöken, Svalörten, Starrgräset)” from the portfolio ‘Dornach Nature Studies’ (1919), watercolor, pencil, and ink on paper from a portfolio of 46 drawings, sheet: 19 5/8 × 10 9/16 inches. All images courtesy of The Museum of Modern Art, New York, shared with permission
A Unique Portfolio of Hilma af Klint’s Botanical Drawings Communes with Nature’s Spiritual Side
May 21, 2025
ArtHistoryNature
Kate Mothes
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With the Industrial Revolution in full swing at the turn of the 20th century, jobs and opportunities attracted people to burgeoning cities. New technologies were being developed at breakneck speed and discoveries within the natural sciences introduced people to invisible yet potent concepts like radio waves and X-rays.
During this period of social transformation, philosophical or occult religious movements like Spiritualism and Helena Blavatsky’s Theosophy offered ways to not only connect within a like-minded community but to explore the afterlife—the so-called spirit world—and the very fabric of the universe.
“Sunflower (Solrosen)” from the portfolio ‘Dornach Nature Studies’ (1919), watercolor, pencil, ink, and metallic paint on paper from a portfolio of 46 drawings, sheet: 19 3/4 × 10 9/16 inches
For Hilma af Klint (1862–1944), like many who sought refuge and inspiration in these belief systems, a spiritual link to her surroundings united her with the natural world during “a period of massive change…as people from all levels of society were searching for something new to hold on to,” Johan af Klint and Hedvig Ersman wrote about the Swedish artist’s spiritual journey.
Now on view at The Museum of Modern Art in New York, Hilma af Klint: What Stands Behind the Flowers highlights the institution’s recent acquisition of a phenomenal, 46-leaf portfolio called Nature Studies.
During the spring and summer of 1919 and 1920, af Klint recorded Sweden’s seasonal flora, from lilies of the valley and sunflowers to violets and cherry blossoms. Beyond traditional botanical studies, the artist incorporates her characteristic abstractions and diagrams, surrounding each rendering with esoteric annotations and geometries.
“One has to think of the realm of the nature spirits as the realm of thought; these entities hover around us, some like driving winds, others like soft summer breezes,” af Klint once said.
“Lily of The Valley, Water Avens, Common Milkwort (Liljekonvaljen, Fårkummern, Jungfrulinet)” from the portfolio ‘Dornach Nature Studies’ (1919), watercolor, pencil, ink, and metallic paint on paper from a portfolio of 46 drawings, sheet: 19 5/8 × 10 5/8 inches
Grids with unique color relationships or energetic spirals accompany renderings of field woodrush or marsh marigold, and tree specimens are paired with dotted checkerboards. “Through these forms, af Klint seeks to reveal, in her words, ‘what stands behind the flowers,’” the museum says, “reflecting her belief that studying nature uncovers truths about the human condition.”
What Stands Behind the Flowers continues through September 27 and is accompanied by a catalogue that is slated for release on Tuesday. Find your copy on Bookshop, and plan your visit to MoMA on the museum’s website.
“Yellow Star-of-Bethlehem, Lungwort, Coltsfoot, Nailwort, Pasqueflower (Vårlöken, Lungörten, Hästhoförten, Nagelörten, Backsippan)” from the portfolio ‘Dornach Nature Studies’ (1919), watercolor, pencil, and ink on paper from a portfolio of 46 drawings, sheet: 19 5/8 × 10 9/16 inches
“Common Lime (Linden)” from the portfolio ‘Dornach Nature Studies’ (1919), watercolor, pencil, ink, and metallic paint on paper from a portfolio of 46 drawings, sheet: 19 5/8 × 10 5/8 inches
“Tulip (Tulpanen)” from the portfolio ‘Dornach Nature Studies’ (1920), watercolor, pencil, ink, and metallic paint on paper from a portfolio of 46 drawings, sheet: 19 5/8 × 10 5/8 inches
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Metaphysical Interactions Unfold in Moonassi’s Surreal ‘Mind Illustrations’
by Aurelia Butler 12 May 2025, 18:00
“Same difference” (2024), ink and acrylic on Hanji, 72.7 x 60.6 centimeters. All images courtesy of the artist, shared with permission
Metaphysical Interactions Unfold in Moonassi’s Surreal ‘Mind Illustrations’
May 12, 2025
Art
Kate Mothes
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Through ink on hanji paper that juxtaposes deep blacks with delicate cross-hatching, surreal scenes unfold in the drawings of Seoul-based artist Moonassi (previously). Through the dramatic use of chiaroscuro and simple yet elegantly delineated faces, hands, and limbs, the artist constructs dreamlike worlds in which figures commune and explore.
Moonassi’s use of meok, a traditional Korean inkstick ground with water against a stone to produce a liquid, results in a deep black medium achieved through a meditative process. He refers to his work as “mind illustration,” delving into the emotional and psychological bonds between pairs, small groups, and otherworldly surroundings.
“Meme” (2024), ink and acrylic on Hanji, 130.3 x 193.9 centimeters
Recent pieces like “Same difference” explore dualities like opaqueness and transparency, weight and lightness, and unity and individuality. Moonassi’s compositions are often intrinsically introspective, as the figures interact with others that may or may not be versions of themselves or figments of their own imaginations.
Repetition and scale play significant roles in the artist’s work, like in “Meme,” in which a central figure crouches onto the ground and gently cups another tiny figure in their hands, who in turn does the same. At some point, it dawns on us that the main figure is also framed by enormous hands, akin to an otherworldly Matryoshka nesting doll. Moonassi’s scenes challenges our senses of perspective, presence, care, and the spiritual world.
Find more on the artist’s website.
“Mineral Wait” (2024), ink on Hanji, 76 × 145 centimeters
“Acrobat IV” (2024), ink and acrylic on Hanji, 72.7 x 60.6 centimeters
“Becoming Nature” (2024), ink and acrylic on Hanji, 72.7 x 60.6 centimeters
“The feeling aligned for us” (2024), ink and acrylic on Hanji, 130.3 x 190.4 centimeters
“Rippled and sparkled” (2024), ink on Hanji, 130.3 x 193.9 centimeters
“Feeling Kintsugi” (2024), ink and acrylic on Hanji, 72.7 x 60.6 centimeters
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Hundreds of Fantastic Creatures Inhabit a Sprawling Universe by Vorja Sánchez
by Aurelia Butler 8 April 2025, 20:19
Detail of “Late At Night.” All images courtesy of Vorja Sánchez, shared with permission
Hundreds of Fantastic Creatures Inhabit a Sprawling Universe by Vorja Sánchez
April 8, 2025
Art
Grace Ebert
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In Organic Harmony, curious, hybrid insects and wide-eyed furry creatures populate a world of natural textures and surreal intrigue. Vorja Sánchez (previously) has been dreaming up the fanciful series for the last year and a half, which he debuts at Beinart Gallery later this month.
Inspired by the diversity of the forest and the vivid drawings of German biologist Ernst Haeckel, Sánchez imagines a vast ecosystem. He’s particularly drawn to patterns and employs similar motifs to create cohesion across multiple pieces. Soft, fluffy fur, slender leaves with curled tips, and gleaming eyes attached to unexpected body parts appear in several of his works.
“Ancient Tales”
Sánchez shares that by studying recurring patterns in nature, he’s learned to identify the biological purpose of many shapes and forms, which influence how he selects a particular characteristic for a single creature. The artist adds:
There’s a harmony in what might seem like randomness, and above all, nature doesn’t care about scale or importance—everything exists on the same level and is balanced. It’s a concept that fascinates me and serves as a profound metaphor for life.
A mix of graphite, ink, watercolor, gouache, spray paint, and more layer together in this sprawling collection to create what Sánchez calls “a fluid dialogue” between the materials and motifs. “There were moments when the creative process for each piece was like trying to remember a dream,” he says. “When you attempt to complete these hazy images, your memory transforms into something more intricate and elusive.” Rather than impose an aesthetic direction on the creatures, the artist prefers to let the blotting, drippy nature of the materials prevail.
Organic Harmony runs from April 26 to May 18 in Brunswick. Find more on Instagram.
“Insect Dialogue”
Detail of “Insect Dialogue”
“The Sound of Cotton”
Detail of “The Sound of Cotton”
“Organic Findings”
“Late At Night”
Detail of “Organic Findings”
“Elixir”
“Hazy Memories of Nocturnal Visitors”
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Wondrous and Mischievous Misfits Populate Rhea Mack’s Bubblegum Daydreams
by Aurelia Butler 4 April 2025, 20:40
All images courtesy of Rhea Mack, shared with permission
Wondrous and Mischievous Misfits Populate Rhea Mack’s Bubblegum Daydreams
April 4, 2025
ArtIllustration
Grace Ebert
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On candy-colored paper, Rhea Mack draws a world in which all misfits are welcome. The Massachusetts-based artist lovingly renders curious characters with three heads, flowers growing from their palms, or a penchant for plump, strawberry hats.
Mack has a soft spot for these strange oddballs who develop organically, often springing from her Sunday morning sessions seemingly on their own accord. “I usually start drawing, and they just kind of develop over a few hours. I sometimes have a certain feeling or pose in mind, but mostly I am just making it up as I go,” she says.
This intuitive, accommodating attitude influences much of her process, including the decision to draw on pink paper simply “because it made sense,” she says. Mack chooses other materials similarly. “The colored pencil pinks I use in my drawings are very buttery and just feel nice to draw with,” she adds.
As if emerging from a favorite fairytale—creating a children’s book is on Mack’s mind—the drawings twist common plants and animals like dogs and daisies into surreal fantasies. Each is packed with small moments of intrigue and playful patterns like stripes and dots.
In one work, for example, a full human skeleton and dozens of single eyes float from a figure’s gaze, while a pink pup leaps overhead. Another features a quintet bound by a rainbow dress, their bulbous, beige coifs fused together like the clouds above.
Mack’s solo exhibition Massachusetts Dreaming opens next week at Kyst Gallery in Dragor, Denmark, and is on view through May 8. Find prints in her shop, and follow her work on Instagram. (via WePresent)
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Otherworldly Flowers Emerge from Darkness in Clara Lacy’s Meticulous Graphite Drawings
by Aurelia Butler 1 April 2025, 19:55
“Hypnos.” All images courtesy of Clara Lacy, shared with permission
Otherworldly Flowers Emerge from Darkness in Clara Lacy’s Meticulous Graphite Drawings
April 1, 2025
ArtNature
Kate Mothes
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Nature has always been a subject of fascination for Clara Lacy, who roamed the fields and streams around her home in Hampshire when she was young, spurring an interest in studying biology. Art also emerged as a way for her to channel her interest in animals and plants, tapping into the long-held tradition of artists documenting flora and fauna for science.
As she moved around to different parts of the world, with stints in Hong Kong and Sydney before returning to the U.K., Lacy absorbed each place’s variations in botanical life, weather, and light, inspiring a body of work that reflects on climate change, species loss, and “the need to find balance between humans and nature,” she says.
“Thanatos”
The World Has Dropped Its Petals is a series of elaborately detailed graphite drawings illuminating the world of flowers. In heavily contrasted grayscale, the blooms are devoid of the bright colors we typically associate with their petals and foliage, instead highlighted by an array of textures and naturally occurring patterns.
“I’ve always been drawn to monotone work for its subtle tonal variations, offering a contrast to the bombardment of colour and light around us, all vying for our attention,” Lacy tells Colossal. She was drawn to graphite because its limited palette helps the subject to stand out through contrasts like delicate lines or deep blacks. She’s also interested in how graphite is often overlooked in fine art, classified typically as a sketching material rather than a standalone medium.
Lacy titles her pieces after characters in Greek myth like Thanatos, the personification of death, and twin brothers Nyx (Night) and Hypnos (Sleep). She uses her own photos for reference, collaging and layering components in Photoshop until she finds an overall composition that resonates. The World Has Dropped Its Petals draws inspiration from stills lifes of the Dutch Golden Age, too, characterized by dark backgrounds from which flowers or fruit appear to pop in brilliance.
The series is on view through April 13 at James Gorst Architects in London. Lacy has also started working on a new project exploring time and aging, which emphasizes zoomed-in views of flower fragments. Find more on the artist’s website and Instagram.
“Heimarmene”
“Helios”
“Nephele”
“Selene”
“Elpis”
“Nyx”
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Nøne Futbol Club’s ‘Hot Wheels’ Drive at the Dualities of Systems and Society
by Aurelia Butler 13 February 2025, 10:00
Detail of “Work n°144 : Hot Wheels” from the series ‘Wheeling and dealing’ (2017), charred plane wood, 59 x 59 x 21 centimeters each. All images © ADAGP, Paris, 2025, courtesy of Nøne Futbol Club, shared with permission
Nøne Futbol Club’s ‘Hot Wheels’ Drive at the Dualities of Systems and Society
February 13, 2025
Art
Kate Mothes
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Combining sculpture and performative interventions, Nøne Futbol Club—sometimes referred to as Nonefutbolclub—expresses conceptual messages through ephemeral objects and time-based actions. The name is the alias of Colas Claisse, who co-founded the project as a collective but now works solo under the moniker. The initiative continues to delve into potent dichotomies like tragedy and humor, vulnerability and security, disruption and calm, and politics and fiction.
“Nøne Futbol Club’s work may sometimes make you smile, but it can also be serious,” says a statement. “It highlights the violence inherent in our world, where speed and productivity are seen as all-powerful.” The artist describes the project’s role as one that “takes hold of our immediate environment,” expressing social divides and examining socio-political issues with a spark of wry humor.
Installation view of “Work n°144 : Hot Wheels” from the series ‘Wheeling and dealing’ (2017), charred plane wood, 59 x 59 x 21 centimeters each
An ongoing series of sculptures assume the form of tires fashioned from wooden rings. Scorched with fire, the series Wheeling and dealing includes multimedia works all titled “Work nº144: Hot Wheels.” The pieces appear in the guise of Cooper or Pirelli racing tires, yet upon closer inspection, they reveal their surprising composition. Layered meanings emerge through the flames, which initially create, and in some cases destroy, the works.
Each life-size wooden object is made from sliced tree trunks that have been carbonized, producing the rich, black texture and facets redolent of treads. “Since a tree does not grow from its core but from the periphery of its trunk, the cracks resulting from combustion are created concentrically,” the artist says, describing how the resulting patterns mimic brand new, rubber car tires.
A double entendre in the sense that the sculptures refer to the American toy brand of the same name and the literal temperature of the pieces as they burn, the artist plays with perception by creating a material that pretends to be another.
Nøne Futbol Club continues to revel in this subtle deception, trapping the spectator in the simulacrum: “Subjected to form but destroying function, Wheeling and dealing introduces the silent unease of a double game: real tire or wood? Voluntary combustion or fatal car accident?”
Detail of “Work n°144 : Hot Wheels”
The series also spawns drawings made from charcoal chipped off of the sculptures when handled. Video works, such as the half-hour piece included below, chronicle the tires’ destruction in atmospheric landscapes. Bespoke molds cast tire shapes in plaster, aluminum, and—coming full circle—rubber. And later pieces incorporate puddles of metal underneath the tires, symbolizing overheating as the rims melt and serve as a display pedestal. Literally and figuratively a loop, the pieces define the cyclical nature of much of Nøne Futbol Club’s practice.
The artist describes his approach as a “systematic hijacking or reversal of the system,” tapping into the powerful symbolism of objects that are burned or smashed amidst revolt. “Faced with a sense of powerlessness, car vandals and rioters seek an accessible way to convey a radical message,” he says. “As the embodiment of a comfortable and cushioned system, the car is a perfect target.”
Nøne Futbol Club is slated to show work at Iconoscope Gallery in May in Montpellier and at MacBar in September in Lyon. Find more on his website and Instagram.
“Work nº144: Hot Wheels” from the series ‘Wheeling and dealing’ (2017), burnt wood on paper, 100 x 77 centimeters
“Work n°144 : Hot Wheels” from the series ‘Wheeling and dealing’ (2017), charred plane wood, 59 x 59 x 21 centimeters each
“Work n°144 : Hot Wheels” from the series ‘Wheeling and dealing’ (2017), charred plane wood, 59 x 59 x 21 centimeters
“Work nº144: Hot Wheels” from the series ‘Wheeling and dealing’ (2017), burnt wood on paper, 100 x 77 centimeters
Still from “Work nº144: Hot wheels (Dompcevrin I)” (2017), video, 18 minutes, 23 seconds
“Work nº144: Hot Wheels” from the series ‘Wheeling and dealing’ (2017), burnt wood, 28 x 82 x 103 centimeters
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Three Women Artists Gather for The Jaunt and Hashimoto Contemporary’s ‘Winter Camp’
by Aurelia Butler 12 December 2024, 13:02
Seonna Hong, “Rest as an Act of Defiance” (2024), acrylic, oil pastel, and tape on raw canvas, 51 x 65 inches. All images courtesy of The Jaunt and Hashimoto Contemporary, shared with permission
Three Women Artists Gather for The Jaunt and Hashimoto Contemporary’s ‘Winter Camp’
December 12, 2024
Art
Kate Mothes
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Through a unique collaboration between The Jaunt and Hashimoto Contemporary, three women artists spent a week together in the small town of Shelton, south of Olympia National Park.
Hiking, delving into the area’s history, and learning about each other’s work, Bianca Nemelc, Genevieve Cohn, and Seonna Hong participated in the first Winter Camp. Given space and time away from their daily routines, the artists were invited to find inspiration from their new surroundings.
Genevieve Cohn, “We Sow a Softness” (2024), acrylic on canvas, 36 x 24 inches
The Jaunt was founded in 2013 by Jeroen Smeets, who curates the project and facilitates travel for artists to destinations worldwide. The program doesn’t assign a specific agenda or brief; the primary goal is to provide new experiences that inspire the creative process.
Cohn, Hong, and Nemelc focused predominantly on painting and works on paper, responding to the act of gathering and the lush, natural environment of the Pacific Northwest.
“Sharing common threads and divergent paths amongst each other’s experiences as artists and women navigating the world, the week-long residency allowed artists from different locales, backgrounds, and generations to create community,” says a statement about the program.
Winter Camp is on view at Hashimoto Contemporary’s San Francisco location through December 21. Find more on the gallery’s website, and you can also explore more from The Jaunt.
Bianca Nemelc, “Sun Catcher” (2024), acrylic on canvas, 50 x 60 inches
Seonna Hong, “Get Your Bag” (2024), acrylic and oil pastel on raw canvas, 30 x 24 inches
Genevieve Cohn, “To Hold, To Harbor” (2024), acrylic on canvas, 48 x 36 inches
Bianca Nemelc, “Flower in Breeze” (2024), acrylic on canvas, 30 x 24 inches
Genevieve Cohn, “Exercises in Attention” (2024), acrylic and conté on paper, 30 x 22 inches
Seonna Hong, “Investigations” (2024), acrylic and oil pastel on raw canvas, 30 x 24 inches
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drawing

Latest story

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

More stories

In ‘The Junior Classic,’ Michael Ezzell Builds an Uncanny World from Vintage Books

A Unique Portfolio of Hilma af Klint’s Botanical Drawings Communes with Nature’s Spiritual Side

Metaphysical Interactions Unfold in Moonassi’s Surreal ‘Mind Illustrations’

Hundreds of Fantastic Creatures Inhabit a Sprawling Universe by Vorja Sánchez

Wondrous and Mischievous Misfits Populate Rhea Mack’s Bubblegum Daydreams

Otherworldly Flowers Emerge from Darkness in Clara Lacy’s Meticulous Graphite Drawings

Nøne Futbol Club’s ‘Hot Wheels’ Drive at the Dualities of Systems and Society

Three Women Artists Gather for The Jaunt and Hashimoto Contemporary’s ‘Winter Camp’

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