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    Ant Hamlyn’s Vibrant, Smushed Still Lifes Preserve the Impermanent

    “Chandelier.” All images courtesy of the artist and Moosey

    Ant Hamlyn’s Vibrant, Smushed Still Lifes Preserve the Impermanent

    October 9, 2025

    Art

    Kate Mothes

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    Known for his squishy flowers and foliage made of polyurethane-coated fabrics, often encased-slash-smushed behind panels of clear acrylic, Ant Hamlyn has a sense of humor when it comes to art history.

    Nodding to genres in Western art like vanitas still-life paintings, he creates textile reliefs that tap into our contemporary condition. From fast food to houseplants to a vibrant bar cart, his compositions playfully explore themes of indulgence, impermanence, beauty, and the quotidian.

    “Greasy Spoon”

    Until recently, Hamlyn has focused predominantly on cartoonish botanicals, and he now delves further into the still-life genre. Works like “Greasy Spoon,” “Shelf Life,” and “Drive-Thru” incorporate motifs of food and trendy home decor evocative of quirky snapshots one might see on Instagram, with people just out of frame.

    The works seen here were recently presented by Moosey, and you can find more of Hamlyn’s work on his website and Instagram.

    “Potwash (I Ought to Give You a Lesson in How to Clean Tables, Boy!”

    “Drive-Thru”

    “Berry and Rye”

    “Shelf Life”

    “Soft Vanitas”

    “Megadeal”

    “Houseplant”

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    Twelve Trailblazing Women Artists Transform Interior Spaces in ‘Dream Rooms’

    Aleksandra Kasuba, “Spectral Passage” (1975), reconstruction of Haus der Kunst München, 2023. Adapted reconstruction for the spaces of M+, 2025. Photo by Dan Leung, © Estate of Aleksandra Kasuba. All images courtesy of M+, Hong Kong, shared with permission

    Twelve Trailblazing Women Artists Transform Interior Spaces in ‘Dream Rooms’

    October 6, 2025

    Art

    Kate Mothes

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    With its roots in the conceptual and immersive experiments of the Dadaists and Surrealists in the early 20th century, installation art emerged as its own genre in the late 1950s. The approach gained momentum during the next couple of decades, usually revolving around site-specific responses to interior spaces. Taking many forms, installations sometimes incorporate light, sound, projections, performances, and participatory or immersive elements.

    “While many of these works were made by women, histories of art havetended to focus on male artists,” says a statement from M+ in Hong Kong, which is currently presenting Dream Rooms: Environments by Women Artists 1950s-Now. The show “addresses this imbalance by foregrounding the visionary contributions of women artists.”

    Pinaree Sanpitak, “The House Is Crumbling” (2017/2025), © Pinaree Sanpitak

    Dream Rooms features 12 room-scale installations created by artists located across four continents. Originating at Haus der Kunst München in 2023 with the title Inside Other Spaces, the exhibition then traveled to M+, where the artworks have been reconstructed.

    Some pieces date back several decades, like Yamazaki Tsuruko’s “Red (shape of mosquito net)” from 1956 and Aleksandra Kasuba’s “Spectral Passage” from 1975. “The exhibition explores forms and ideas that speak to their time, while also encouraging visitors to explore, laugh, wonder, or embrace feelings of unease,” the museum says.

    Three new works have been commissioned from three Asian artists specifically for this exhibition. These include Pinaree Sanpitak’s “The House Is Crumbling,” which was first conceived in 2017 and is reimagined for Dream Rooms. Chiharu Shiota’s “Infinite Memory” features a cascade of the artist’s signature red string, and Kimsooja’s atmospheric “To Breathe” is composed of translucent film on window that diffracts the light into prismatic patterns around the museum.

    Dream Rooms continues through January 18, 2026. Find more on the museum’s website. You might also enjoy exploring more site-specific work by women artists featured in Groundswell: The Women of Land Art.

    Yamazaki Tsuruko, “Red (shape of mosquito net)” (1956), © Estate of Tsuruko Yamazaki. Photo by Agostino Osio–Alto Piano, courtesy of Haus der Kunst München

    Kimsooja, “To Breathe” (2022), © Kimsooja, courtesy of Studio Kimsooja

    Aleksandra Kasuba, “Spectral Passage” (1975), © Estate of Aleksandra Kasuba. Photo by Constantin Mirbach, courtesy of Haus der Kunst München

    Chiharu Shiota, “Internal Line” (2024). Image © VG Bild-Kunst, Bonn and Chiharu Shiota, courtesy of the artist

    Judy Chicago, “Feather Room” (1966), © Chicago Woodman LLC, Judy Chicago. Photo by Lok Cheng

    Pinaree Sanpitak, “The House Is Crumbling” (2017/2025), © Pinaree Sanpitak

    Marta Minujín, “¡Revuélquese y viva!” (1964), © Marta Minujín

    Lea Lublin, “Penetración / Expulsión (del Fluvio Subtunal)” (1970)

    Marta Minujín, “¡Revuélquese y viva!”
    (1964), © Marta Minujín.
    Photo by Lok Cheng, courtesy of M+, Hong Kong

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    Monumental Tapestries by Jacqueline Surdell Invoke Forests as Portals to the Divine

    “Suddenly, she was hell-bent and ravenous (after Giotto)” (2024), nylon cord, steel, polyester fabric, steel spool top, steel chain and meat hooks, 165 (body) x 252 (pole to pole) x 7 inches. All images courtesy of Secrist | Beach, shared with permission

    Monumental Tapestries by Jacqueline Surdell Invoke Forests as Portals to the Divine

    October 1, 2025

    Art

    Grace Ebert

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    Jacqueline Surdell (previously) likens her process of looping and knotting rope to painting. She considers a roving line of interwoven fiber to be that of a gesture, one that might surge and swell across a canvas.

    A lifelong athlete, Surdell gravitates toward a demanding, physical practice that often turns her body into a shuttle as she weaves on an oversized loom from a lift. Monumental steel bars stretching more than 20 feet wide hold the resulting hefty compositions of industrial nylon and cotton cording, which the artist creates through repetitive movement not unlike that which goes into training for competition.

    Detail of “Suddenly, she was hell-bent and ravenous (after Giotto)” (2024), nylon cord, steel, polyester fabric, steel spool top, steel chain, and meat hooks, 165 (body) x 252 (pole to pole) x 7 inches

    Surdell incorporates a range of influences into her latest body of work on view at Secrist | Beach in Chicago. For her solo exhibition, The Conversion: Rings, Rupture, and the Forest Archive, the artist takes transformation and reverence as a starting point. In particular, she draws on what she calls “a cosmic connection” to her great uncle Paul, with whom she shares a birthday and who died in a forested area during the Battle of the Bulge.

    Connecting nature to narrative, the artist also loops in her Catholic upbringing and biblical undertones, particularly as it relates to places of epiphany. She considers forests to be “sacred thresholds,” and in this line of thinking, her dynamic works become portals to the divine. “Looking out into the forest is very different from a painting of the forest because it is more about storytelling and mythmaking,” she shares in a video interview.

    Printed polyester fabric makes several appearances in this new body of work. A photographic snapshot of sunlight streaming through a lush forest canopy augments the darkened “Penance of Leaves,” while “Paul” features a vivid sunset. Nature, for Surdell, is not passive. Instead, it’s an active participant in preserving collective memory and an inviting site for transcendence.

    The Conversion is on view through November 15. Find more from Surdell on Instagram.

    “Paul” (2025), nylon cord, cotton cord, polyester fabric, and steel, 90 x 140 x 12 inches

    Detail of “Penance of Leaves” (2025), nylon cord, cotton cord, polyester fabric, and steel, 74 x 81 x 15 inches

    “Penance of Leaves” (2025), nylon cord, cotton cord, polyester fabric, and steel, 74 x 81 x 15 inches

    Detail of “My Roman Empire” (2025), cotton cord, nylon cord, and steel, 74 x 90 x 12 inches

    “Desire Path” (2025), nylon cord, cotton cord, polyester fabric, steel, 49 x 73 x 7 inches

    “My Roman Empire” (2025), cotton cord, nylon cord, and steel, 74 x 90 x 12 inches

    Detail of “Suddenly, she was hell-bent and ravenous (after Giotto)” (2024), nylon cord, steel, polyester fabric, steel spool top, steel chain, and meat hooks, 165 (body) x 252 (pole to pole) x 7 inches

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    Tenderness and Empathy Prevail in Bisa Butler’s Nostalgic and Vibrant Quilts

    “Hold Me Close (My Starship)” (2025), after
    Steve Edson, Untitled (1974), cotton, silk, lace, sequins, netting, vinyl, faux fur, and velvet, quilted and appliquéd, 90.5 x 54 inches. All images courtesy of the artist and Jeffrey Deitch, shared with permission

    Tenderness and Empathy Prevail in Bisa Butler’s Nostalgic and Vibrant Quilts

    September 23, 2025

    ArtCraft

    Kate Mothes

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    Harnessing the power of empathy, Bisa Butler presents a tender, evocative suite of new works in her current exhibition, Hold Me Close at Jeffrey Deitch. The artist is known for her chromatic, multi-patterned quilted artworks exploring Black history, identity, and craft traditions. Her elaborate pieces combine materials like printed cotton, silk, sequins, beads, and velvet to create both large-scale tapestries and intimate vignettes.

    The work in Hold Me Close centers around the need for mutual respect, love, and togetherness in a society that has become increasingly factious. “This body of work is a visual response to how I am feeling as an African American woman living in 2025,” Butler says in a statement for the show. Deeply moved by our current era of division and violence, in which hard-won civil rights are being challenged and overturned, she taps in the past to shed light on our current moment.

    “Down, down baby” (2024), after Gorden Parks, “Girls Playing in Water” (1956), cotton, silk, vinyl, velvet, lace netting, and polyester, quilted and appliquéd, 107 x 105 inches

    Hold Me Close draws on imagery from trailblazing Black photographers like Gordon Parks, Jean Depara, and Gerald Cyrus, who captured street scenes depicting Black figures going about their daily lives and enjoying one another’s company. Parks, for example, was a staunch civil rights advocate who documented racial segregation and oppression of Black people to boldly illustrate the societal disparities in the 1940s and 1950s.

    In his two-decade role at Life magazine, Parks captured some of his most significant work, ranging from celebrity portraits to the iconic March on Washington in 1963. Along with numerous other photographers—and acclaimed artists like Faith Ringgold and Kerry James Marshall—that Butler turns to for reference imagery, Parks’ images elucidate the evolving diversity of American culture and experience.

    Butler renders her figures in brilliant, mixed-media textures and vivid patterns that draw attention to expressions and interactions. The artist describes her recent work as a “visual diary,” which she turns to for solace. “Protections and programs for non-white Americans, women, queer people, poor people, and people with disabilities are under attack, and it has left me feeling destabilized,” she says.

    In the face of uncertainty, the artist summons affection and care. “Les Amoureux du Kinshasa,” after a photo titled “Amoureux Au Nightclub” by Jean Depara, celebrates young love by depicting a couple on a night out. More works like “Be Mine” and “My Cherie Amour” capture tender portraits of people who lean close together.

    “Les Amoureux du Kinshasa” (2025), after Jean Depara, “Amoureux Au Nightclub” (1951-1975), cotton, silk, lace, sequins, netting, vinyl, glass rhinestones, plastic beads, and velvet, quilted and appliquéd, 95 x 59 inches

    Butler’s compositions also explore familial endearment and the innocence and ease of children at play together. In “The Guardian,” a father warms his daughter inside of his large coat, and in “Down, down baby,” two young girls have an impromptu tea party in a puddle.

    Most of Butler’s new works start with a base of jet black cotton or black velvet, onto which she layers colors and textures. “Using a dark base pushed me to incorporate more fabrics with shimmer and reflective qualities,” she says. Three-dimensional textures like beads and rhinestones create the illusion of depth, encouraging us to look beyond the immediate surface. This poetically parallels how, in order to identify and connect with others in our daily lives, we must do the same. Butler says, “This collection is my visual declaration that we need love over hate.”

    Hold Me Close continues at Jeffrey Deitch’s Los Angeles location through November 1. Find more on the artist’s website and Instagram.

    Detail of “Down, down baby”

    “My Cherie Amour” (2025), cotton, silk, lace, sequins, netting, vinyl, glass rhinestones and plastic beads, and velvet, quilted and appliquéd, 44 x 31. 5 inches

    “The Guardian” (2024), after Earlie Hudnall Jr., “The Guardian” (1990), cotton, silk, wool, velvet, faux fur, sequins, rhinestones, and vinyl, quilted and appliquéd, 94 x 60 inches

    “Be Mine” (2025), cotton, silk, lace, sequins, netting, vinyl, glass rhinestones and plastic beads, velvet, and faux fur, quilted and appliquéd, 45 x 45 inches

    “Coco With Morning Glories” (2024), after Dana Lixenberg, “Coco” (1993), cotton, silk, lace, netting, tulle, sequins, glitter, beads, glass gems, metal beads, silk and polyester woven fabric, and velvet, quilted and appliquéd, 84 x 55 inches

    “Strawberry Letter #23” (2025), after Gordon Parks, “Man With Straw Hat, Washington D.C,” (1942), cotton, silk, lace, sequins, netting, vinyl, glass rhinestones, plastic beads, and velvet, quilted and appliquéd, 46 x 34 inches

    Detail of “Strawberry Letter #23”

    “La Negra Tiene Tumbao” (2025), after Gerald Cyrus, “Barbara and Alencar, Itaparica, Brazil” (2002), cotton, silk, lace, sequins, netting, vinyl, and velvet, quilted and appliquéd, 89 x 53 inches

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    Cultural Narratives and Craft Converge in the 2025 World of WearableArt Competition

    Faris Fairusham (Victoria University of Wellington, Malaysia), “Wau Bulan.” Photos by Stephen A’Court. All images courtesy of World of WearableArt, shared with permission

    Cultural Narratives and Craft Converge in the 2025 World of WearableArt Competition

    September 22, 2025

    ArtDesign

    Kate Mothes

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    Wellington’s extravagant World of WearableArt is back for 2025, including pieces by 85 finalists that showcase today’s most elaborate and fanciful costumes. One hundred designers from 17 countries competed for a prize pool of more than $200,000 New Zealand dollars across 25 awards. The competition culminates in an elaborate performance, with this year’s top honor, known as the WOW Supreme Award, handed to design duo Dawn Mostow and Ben Gould.

    The U.S.-based designers have been finalists several times since 2017, and this marks their first win. Mostow and Gould’s piece “Tsukumogami” draws on Mostow’s time living in Japan, nodding to the country’s folklore and craft traditions through a reference to mythological tools that can be imbued with a spirit, or a kami. Two figures completely covered in blue-and-white latex stand like elaborate classical vases, with ikebana flower arrangements on their heads.

    This year’s runner-up is Fifi Colston’s “Meine Erste Liebe,” a title which means “my first love” in German. The wearer is transformed into a medusa, with an elaborate bodice and globular headdress, plus an elaborate, bell-like skirt embellished with detailed jellyfish.

    2025 World of WearableArt Show: RISE performances continue through October 5 at TSB Arena in Wellington. Explore more, including an archive of pieces from earlier shows, on the contest’s website.

    Dawn Mostow and Ben Gould (United States), “Tsukumogami”

    Fifi Colston (New Zealand), “Meine Erste Liebe”

    Evita Camilleri and Dan Draper (Australia), “Fractilians”

    Catherine Anderton (New Zealand), “Autumn King”

    Vanshika Jain (Indian Institute of Art and Design, India), “Stripy Mischief”

    Katherine Bertram (New Zealand), “Drift”

    Abhishek Chauhan (India), “Thaliora”

    Xuan Jiang, Yuxin Zhou, and Yuhan Lin (Donghua University, China), “Ember”

    Anna Hayes-Moeau (New Zealand), “Ko Au Ko Harakeke, Ko Harakeke Ko Au”

    Tracey Murphy and Isabel Costley (New Zealand), “See Me in Tokyo”

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    In ‘Aqueous Renaissance,’ Christy Lee Rogers Conjures Beauty and Interconnectivity Under Water

    “Harmony.” All images © Christy Lee Rogers, courtesy of Art Labor Gallery, shared with permission

    In ‘Aqueous Renaissance,’ Christy Lee Rogers Conjures Beauty and Interconnectivity Under Water

    September 2, 2025

    ArtPhotography

    Kate Mothes

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    Born in Hawai’i, Christy Lee Rogers was fascinated by water from an early age. “For me, water has always been both chaos and freedom,” the artist says. “It strips away control and asks us to see ourselves in a different light. That’s where my stories begin.”

    Rogers is known for her large-scale, maximalist photographs shot completely under water, suspending figures in the midst of billowing garments. Using a range of lighting effects and vibrant fabrics to compose dramatic images, her style is evocative of Baroque or Rococo paintings and murals.

    “Candy”

    Aqueous Renaissance, the artist’s forthcoming solo exhibition at Art Labor Gallery, showcases Rogers’ unique exploration of underwater photography throughout the last two decades. Tapping into the term “renaissance” as a period of revival or rebirth, she aims to highlight beauty and grace in our contemporary era marked by factions and division.

    Rogers’ photos are achieved by submerging her subjects in dark water, which she illuminates with a range of lights. As the figures twist and turn, the light creates a dreamlike, painterly effect. “Her underwater visions are not escapist fantasies but mirrors of our collective condition—fragile, fluid, and searching for meaning,” the gallery says.

    Aqueous Renaissance runs from September 6 through October 26 in Shanghai. See more on the artist’s website and Instagram.

    “A Dream Blossomed Right in Front of My Eyes”

    Image from Lavazza Calendar

    “Our Hopes and Expectations”

    “Tenderness”

    “A Dream Dreamed in the Presence of Reason”

    “Candy”

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    In ‘Bourdon Street Chippy,’ Lucy Sparrow Celebrates a British Culinary Institution in Felt

    Photos by Alun Callender for JBPR. All images courtesy of the artist and Lyndsey Ingram, shared with permission

    In ‘Bourdon Street Chippy,’ Lucy Sparrow Celebrates a British Culinary Institution in Felt

    August 7, 2025

    ArtCraftFood

    Kate Mothes

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    From fried cod to red saveloy sausage to the carb-lover’s chip butty—a simple sandwich made with chunky fries on a buttered roll—the menu at Bourdon Street Chippy resembles what you’d expect to see at a traditional British fish and chips shop. The only real difference, despite the delectable-looking cones of deep-fried treats and perfectly formed pies, is that everything from the jarred, picked eggs to the battered haddock to the wall decor is made from felt.

    The brainchild of artist Lucy Sparrow (previously), Bourdon Street Chippy is the latest in a series of elaborate, large-scale, interactive installations highlighting quotidian places like supermarkets, pharmacies, and bodegas that we visit all the time but rarely think of much in the way of aesthetics. Crafted in soft fiber, many of the artist’s renditions of merchandise and food sport cute, smiling expressions while faithfully replicating iconic dishes and products.

    Bourdon Street Chippy is presented by Lyndsey Ingram Gallery, which is located on Bourdon Street in London. While the scampi and chips that Sparrow whips up aren’t edible, they are available for purchase. Visitors are welcome to peruse the menu and order their takeaway directly from the artist. “As much theatre as art, the familiarity of…these spaces disarms the viewer, taking them to a playful, often nostalgic place,” the gallery says.

    The exhibition includes handmade banquette seating and a wall-to-wall gallery of sewn portraits of the chippy’s famous patrons. Read fabric menus, have an even tougher time than usual getting ketchup to come out of the Heinz bottles, and be reminded not to feed the seagulls. All in all, the installation includes more than 65,000 individual felt pieces, including 15 chip shapes in different colors.

    The exhibition continues through September 14. Find more on the artist’s website and Instagram.

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    From Velvet and Vintage Textiles, Larysa Bernhardt Embroiders Otherworldly Moths

    All images courtesy of Larysa Bernhardt, shared with permission

    From Velvet and Vintage Textiles, Larysa Bernhardt Embroiders Otherworldly Moths

    July 7, 2025

    ArtCraftNature

    Kate Mothes

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    “Mythology and folklore surrounding moths and butterflies carries complex and sometimes contradictory symbolism,” artist Larysa Bernhardt says. “I was always attracted to their paradoxical nature.” While on one hand, she dreads certain types of the winged creatures turning up in her house because of the risk they pose to textiles, she is fascinated by their variations and loves to see them thrive.

    Dualities abound in Bernhardt’s sculptural, embroidered textile moths. Her creative process begins outdoors in a seemingly unrelated aspect of the studio—her garden. The artist tends to a “moon garden” every summer, comprising fragrant botanicals like tobacco, moonflower, datura, and jasmine that perfume the air and blossom with small white flowers that “glow in the dark like stars,” the artist says. Sphinx and luna moths often visit, accompanied by thousands of fireflies.

    When the sun comes up, the garden transforms into a riot of color, with zinnias, poppies, and roses attracting daytime pollinators like butterflies and bees. “It’s the duality of it—night and day, sun and moon, moths and butterflies” that fascinates Bernhardt. She adds, “It’s an incredibly complex balancing act I am forever mesmerized by.”

    Mirroring the supple fuzziness of the insects’ wings, the artist enjoys working with velvet to achieve the moths’ elegance and whimsy. It’s a challenging material because the pile can be unforgiving; make a mistake and the ghost of the stitch will remain as a mark on the fabric. Bernhardt stitches freehand when applying motifs to the wings, starting with a loose sketch but allowing intuition to guide her in creating star-like patterns and symbolic objects like vases or eyes.

    Bernhardt also loves working with vintage needlepoints and old tapestries. “I find textile pieces in dusty corners of antique stores; I love these discoveries,” she says. “And I love giving them another chance to go back up on a wall and be admired again, cherished.”

    The artist’s work is currently included in Daughters of Eve at Quirky Fox in Taranaki, New Zealand, and Beyond the Sea at Nanny Goat Gallery in Petaluma, California. In August, Bernhardt will be part of a show with Beinart Gallery in Melbourne, and she’s currently working toward a solo exhibition at Haven Gallery in Long Island, New York. Find more on her website and Instagram.

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