fiber art

Subterms

    Latest story

    113 Shares71 Views

    Isabelle D’s Lush Crocheted Landscapes Intertwine Pain and Pleasure

    by

    From the ‘Bruise’ series. All images courtesy of Gallery Nosco, shared with permission

    Isabelle D’s Lush Crocheted Landscapes Intertwine Pain and Pleasure

    May 6, 2025

    ArtCraft

    Grace Ebert

    Share

    Pin

    Email

    Bookmark

    At seven years old, Isabelle D learned to crochet as a means of supporting her family. Taking lessons from her grandmother, the young artist crafted various items to sell at local markets and set herself on a path she continues to follow today.

    From silk, cotton, viscose, and other fibers, Isabelle D crochets innumerable forms evocative of coral, sea sponges, anemones, flowers, molds, spores, and more. Each work comprises a diverse array of sculptural pieces, which nest together in broad landscapes brimming with myriad colors and textures.

    “A Officinalis”

    The artist’s childhood ingenuity has instilled a commitment to care and resilience that appears both materially and metaphorically in her practice. In her new A Officinalis series, the medicinal, anti-inflammatory properties of the marshmallow plant become a symbol for healing and regeneration. Soft, supple forms in pale pinks and blues are met by fuzzy structures in creamy white yarn, creating a quiet, meditative garden for recovery.

    Composed of vibrant reds and purples, the Bruise series takes a converse approach. Color is always critical to Isabelle D’s practice, and these works rely on vibrant, saturated reds, purples, and blues to mimic a damaged body. While the pieces evoke injury, they’re markedly beautiful and a sort of homage to the strength that emerges from trauma.

    In the way that crochet requires an even tension to achieve stitches that aren’t too loose or too tight, Isabelle D strives for a similar balance in her practice and rejects the fast pace at which today’s world moves. Instead, she crafts each piece by hand without the help of assistants, immersing herself in the slow, methodical process of inserting the hook and looping it through the yarn.

    If you’re in Brussels, stop by Gallery Nosco to see the artist’s solo exhibition, Hanging by a Thread, which runs through May 24.

    From the ‘Bruise’ series

    From the ‘Bruise’ series

    Detail of “A Officinalis”

    Detail of “A Officinalis”

    Detail of “Mensonge et Vérité”

    Detail of “Mensonge et Vérité”

    “Mould”

    From the ‘Bruise’ series

    Do stories and artists like this matter to you? Become a Colossal Member now, and support independent arts publishing.

    Hide advertising

    Save your favorite articles

    Get 15% off in the Colossal Shop

    Receive members-only newsletter

    Give 1% for art supplies in K-12 classrooms

    Join us today!

    $7/month

    $75/year

    Explore membership options

    Previous articleNext article More

    More stories

    • 138 Shares117 Views

      in Art

      Architectural Textiles by Sarah Zapata Explore Material Culture and Intersecting Identities

      by

      “Part of the tension (from earthen pits) II” (2024), handwoven cloth, natural and synthetic fiber, and hand coiled rope, 50 x 14 x 14 inches. All images © Sarah Zapata, courtesy of the artist, Kasmin, and Sargent’s Daughters, shared with permission

      Architectural Textiles by Sarah Zapata Explore Material Culture and Intersecting Identities

      May 1, 2025

      Art

      Kate Mothes

      Share

      Pin

      Email

      Bookmark

      In vibrant patchworks of woven patterns and fuzzy fiber ends, Sarah Zapata’s sculptures (previously) emerge as wall-hung tapestries, standalone pieces, and forest-like installations. Through the convergence of architectural structures, soft textiles, and myriad patterns and textures, her site-specific works examine the nature of layered identities shaped by her Peruvian heritage, queerness, her Evangelical upbringing in South Texas, and her current home in New York.

      Zapata balances time-honored craft practices with contemporary applications, highlighting the significance of Indigenous Peruvian weaving, for example, as a means of communication. Symbols and patterns composed into cloth traditionally provided a means of sharing knowledge and cosmological beliefs.

      Installation view of ‘Beneath the Breath of the Sun’ (2024) at ASU Art Museum, Tempe, Arizona. Commissioned by CALA Alliance

      In abstract sculptures that often merge with their surroundings, Zapata incorporates unexpected and vibrant color combinations with woven fabrics and tufted textures. Resisting easy categorization, her pieces are neither functional nor purely decorative, although they play with facets of both.

      Zapata consciously holds back from creating work that is too “beautiful,” inviting a remarkable, tactile exploration of relationships between craft, lineage, community, and memory.

      Some of the works shown here are included in Support Structures at Sargent’s Daughters, which continues through through May 3. Find more on Zapata’s website and Instagram.

      “How often they move between the planets” (2022), handwoven cloth, natural and synthetic fiber, 144 x 60 inches

      Detail of “How often they move between the planets”

      “Part of the tension (from earthen pits) I” (2024), handwoven cloth, natural and synthetic fiber, and hand coiled rope, 49 x 14 x 14 inches

      Installation view of ‘To strange ground and high places,’ Galleria Poggiali, Milan. Photo by Michele Alberto Sereni

      “Towards and ominous time III” (2022), handwoven cloth, natural and synthetic fiber, 144 x 60 inches

      Installation view of ‘To strange ground and high places,’ Galleria Poggiali, Milan. Photo by Michele Alberto Sereni

      Detail of “Part of the tension (from earthen pits) II”

      Do stories and artists like this matter to you? Become a Colossal Member now, and support independent arts publishing.

      Hide advertising

      Save your favorite articles

      Get 15% off in the Colossal Shop

      Receive members-only newsletter

      Give 1% for art supplies in K-12 classrooms

      Join us today!

      $7/month

      $75/year

      Explore membership options

      Next article More

    • 138 Shares110 Views

      in Art

      ‘Of Salt and Spirit’ Celebrates the Legacy of Black Southern Quilters

      by

      Hystercine Rankin (1929–
      2010), “Memory Quilt” (ca. 1994), fabric; appliquéd, hand-embroidered, and hand-quilted, 88 x 82 inches. All images courtesy of Mississippi Museum of Art, shared with permission

      ‘Of Salt and Spirit’ Celebrates the Legacy of Black Southern Quilters

      April 23, 2025

      ArtCraft

      Kate Mothes

      Share

      Pin

      Email

      Bookmark

      You may have heard of the remarkable quilters of Gee’s Bend, but do you know about the Crossroads Quilters, like Gustina Atlas? Or Hystercine Rankin? Mary Mayfair Matthews? You’re in luck if you have a chance to visit Of Salt and Spirit: Black Quilters in the American South at the Mississippi Museum of Art, which shines a light on dozens of incredible Black Southern quilters and takes a celebratory approach to showcasing their myriad styles and techniques.

      MMA is home to one of the South’s largest collections of quilts, from which more than 50 handmade and machine-stitched examples were drawn for this expansive exhibition. Merging research, interpretation, and community engagement, curator Dr. Sharbreon Plummer aimed for “a cohesive, experiential study of American art through a Black feminist lens.” The show parses cultural narratives around the art form, spotlighting the impact of the craft across generations and geography.

      Emma Russell, “Star Quilt” (1978), cotton blend; hand-pieced, appliquéd, and hand-quilted, 81 x 77 inches

      A wide range of contemporary and historic pieces converge in Of Salt and Spirit, including figurative and narrative works alongside vibrant geometric compositions. Many of the works were acquired by the museum from Roland L. Freeman (1936-2023), a photographer who documented African-American craftspeople and guilds in his work as a stringer for Time magazine and Magnum Photos.

      Freeman collected more than 100 quilts, made several of his own, and published a couple of books on the subject. “Quilts have the power to create a virtual web of connections—individual, generational, professional, physical, spiritual, cultural, and historical,” he says in his second book, A Communion of the Spirits (1996).

      In conjunction with the exhibition, the museum also highlights the large-scale, ongoing AIDS Memorial Quilt project, which was initiated in 1985 at the height of the epidemic. Paralleling Of Salt and Spirit’s focus on creative expression, identity, and strength, the AIDS quilt—which will be on display at MMA for a two-week period beginning May 5—honors quilting for its role in resistance and remembrance.

      Of Salt and Spirit continues through May 18 in Jackson. Plan your visit on the museum’s website. You may also enjoy a look back at Souls Grown Deep Like the Rivers, a monumental survey recognizing the artistic traditions of Black artists.

      Mary Mayfair Matthews, “Folk Scenes Quilt” (1992), rayon, cotton polyester blend, lace, lamé, and buttons; hand-pieced and appliquéd, 86 1/4 x 74 inches

      Annie Dennis (designed by Roland L. Freeman), “Voodoo Quilt” (1987), fabric; hand-pieced, appliquéd, hand-embroidered, and hand-quilted, 83 1/2 x 64 inches

      Detail of “Voodoo Quilt”

      Gustina Atlas, “Variation on Dresden Plate Quilt” (1998), cotton; machine- pieced and hand-quilted, 81 1/2 x 80 inches

      Clancy McGrew, quilted and appliquéd by Jeraline Nicholas, “Storytime at the Library” (2004), fabric; machine-pieced, appliquéd, embroidered, and hand-quilted, 41 3/4 x 83 1/8 inches

      Mabel Williams, “Improvisational Strip Quilt” (1968), cotton, polyester, wool, twill; hand-pieced and hand- quilted with appliquéd and embroidered backing, 85 x 65 inches

      Clancy McGrew, quilted by Tammy McGrew, “Clancy’s Beauty Salon” (2004), fabric; machine-pieced, appliquéd, and hand-quilted, 67 5/8 x 49 1/2 inches

      Roland Freeman, “Maya Angelou, Author, Educator, and Quilter (top left and bottom right); Dolly McPherson, Maya Angelou, and Beverly Guy-Sheftall (top right and bottom left), Winston-Salem, North Carolina, November 1992” (1992), Chromogenic print with quilted mat (1996) by Anita Knox, 36 x 36 inches

      Roland Freeman, “Catherine Gill with Sunburst Quilt (left) Made by Her Mother, Classy Blaylock, fromDecatur, Mississippi, Flagstaff, Arizona, April 1993″ (1993), Chromogenic print, 27 x 38 inches

      Do stories and artists like this matter to you? Become a Colossal Member now, and support independent arts publishing.

      Hide advertising

      Save your favorite articles

      Get 15% off in the Colossal Shop

      Receive members-only newsletter

      Give 1% for art supplies in K-12 classrooms

      Join us today!

      $7/month

      $75/year

      Explore membership options

      Next article More

    • 175 Shares193 Views

      in Art

      With 60 Artists, ‘The Golden Thread’ Weaves Together a Survey of Contemporary Fiber Art

      by

      Ana María Hernando, “El intento del agua/The Intent of Water” (2025), tulle, wood, metal lattice, felt, velvet. All images courtesy of BravinLee, shared with permission

      With 60 Artists, ‘The Golden Thread’ Weaves Together a Survey of Contemporary Fiber Art

      April 17, 2025

      ArtCraft

      Grace Ebert

      Share

      Pin

      Email

      Bookmark

      The monumental textile exhibition that took over an 18th-century warehouse last spring is back for a second iteration.

      In the South Street Seaport area of Manhattan, The Golden Thread 2: A Fiber Art Show returns with more than 100 artworks made by 60 artists from around the globe. As with the first iteration, this reprisal includes eight site-specific installations that respond to the former mercantile space.

      Tomo Mori, “(we) keep going” (2025), donated fabrics, used clothes and linens, acrylic and cotton fillings, and anodized aluminum wires

      Organized by BravinLee, The Golden Thread is a sweeping survey of contemporary fiber art encompassing a vast array of materials, aesthetics, and subject matter. Several artists connect textiles’ historical association with femininity and domesticity, including Ana María Hernando’s pair of cascading tulle works. Frequently working with the gossamer fabric, Hernando sees her sculptures as an act of rebellion in which “softness becomes less a discreet quality and more a function of power, both formally and symbolically.”

      Similarly, Diana Weymar presents “American Sampler,” a collection of embroidered, typographic works made during a five-year period. Created to showcase a woman’s skill and literacy throughout the 18th century, samplers have a long history as sites of feminine expression. Weymar draws on this legacy for this patchwork tapestry, which is part of her ongoing Tiny Pricks Project created in 2018 in response to Donald Trump’s tumultuous first term.

      Colossal readers will recognize several artists in this second exhibition, including Caitlin McCormack, Rima Day, Willie Cole, and Ulla-Stina Wikander. The Golden Thread is on view through May 16.

      Tiny Pricks Project (Diana Weymar), “American Sampler” (2020-2025), vintage textiles and cotton floss

      Detail of Tiny Pricks Project (Diana Weymar), “American Sampler” (2020-2025), vintage textiles and cotton floss

      Caitlin McCormack, “Babylon Rec Room,” vintage wallpaper on salvaged drywall with crochet cotton string and glue embellishment

      Ali Dipp, “Concession No 3 (Trumbull, Capitol)” (2024), manually stitched threads on denim jeans, 79 x 117 inches

      Left: Fran Siegel, “Medicine Wheel” (2020), cyanotype, scrim, embroidery, sewing, string, and mounted on bar, 90 x 60 x 10 inches. Right: Manju Shandler, “The Elephant in the Room” (2024), mixed media soft sculpture, 6 x 6 x 9 feet

      Traci Johnson. Left: “Lil Femme,” yarn on cloth, 12.5 x 22 inches. Right: “Love Me in a Place Where There’s no Space or Time” (2023), yarn on cloth, 7.5 x 7.2 feet

      Sam Dienst, “Clutter Conundrum” (2024), hand-woven tapestry with yarn, beads, paint, and felt, 56 x 57 x .25 inches

      Do stories and artists like this matter to you? Become a Colossal Member now, and support independent arts publishing.

      Hide advertising

      Save your favorite articles

      Get 15% off in the Colossal Shop

      Receive members-only newsletter

      Give 1% for art supplies in K-12 classrooms

      Join us today!

      $7/month

      $75/year

      Explore membership options

      Previous articleNext article More

    • 150 Shares159 Views

      in Art

      Delight in Heather Rios’s Delectable Cakes Made from Polymer Clay and Embroidery

      by

      All images courtesy of Heather Rios, shared with permission

      Delight in Heather Rios’s Delectable Cakes Made from Polymer Clay and Embroidery

      March 17, 2025

      ArtCraftFood

      Kate Mothes

      Share

      Pin

      Email

      Bookmark

      While Heather Rios’s slices of layer cake look ready to stick a fork into, you may want to think twice. Formed of polymer clay and finished with embroidery, the artist pairs the sweets with a vintage plate—and sometimes a fork—in playful trompe l’oeils.

      Enveloped in realistic frosting and decorated with berries, blossoms, and sprinkles, each work evokes pieces you’d be ready to dig into at a birthday or wedding. Rios meticulously embroiders each sponge element, fashioning patterned layers in thread on a hoop before transferring the finished panel to the sculpture.

      In addition to freestanding forms, Rios embellishes small paintings with shallow reliefs of cakes on canvas, emphasizing vibrant color and the fluffy texture of the exposed interiors.

      Many of Rios’s cakes would be exceedingly difficult to achieve in reality, like detailed floral designs or motifs from blue-and-white porcelain. Lucky for us, we can have our cake and keep it, too. Find more on the artist’s Instagram, and purchase a slice from her Etsy shop.

      A sponge embroidery in progress

      Do stories and artists like this matter to you? Become a Colossal Member now, and support independent arts publishing.

      Hide advertising

      Save your favorite articles

      Get 15% off in the Colossal Shop

      Receive members-only newsletter

      Give 1% for art supplies in K-12 classrooms

      Join us today!

      $7/month

      $75/year

      Explore membership options

      Previous articleNext article More

    • 113 Shares129 Views

      in Art

      Melissa Calderón Preserves Neighborhood Memories in Bold Textured Thread

      by

      “Out Here (we is)” (2025), cotton and metallic thread hand embroidered on linen, 16 x 20 inches. All images courtesy of Melissa Calderón, shared with permission

      Melissa Calderón Preserves Neighborhood Memories in Bold Textured Thread

      March 13, 2025

      ArtCraft

      Grace Ebert

      Share

      Pin

      Email

      Bookmark

      On expanses of beige linen, Melissa Calderón immortalizes pockets of a neighborhood or domestic space. Combining imagery from her childhood in the Bronx with her family’s native Puerto Rico, the artist translates familiar landscapes and sights into vivid embroideries, preserving her memories in thread.

      The intimate compositions capture how neighborhoods and communities change, particularly as long-time residents are displaced. Her current body of work, titled Gentrified Landscapes, explores “a place that once was but is now between the two spurts of gentrified-led divestment and revitalization and how this particularly affects the Bronx and Puerto Rico.”

      “Villa Nueva (I’d Still be Puerto Rican even if born on the Moon)” (2024), cotton, nylon, and chenille hand embroidered on linen, 24 x 24 inches

      Calderón embraces the potential of thread to add texture and emphasize the more conceptual elements of her work. “Villa Nueva (I’d Still be Puerto Rican even if born on the Moon),” for example, drapes soft, green chenille across the composition like a lush cluster of vines. “Prone IV | My Underemployed Life series” features a green sofa unraveling into tangled fibers that spill off the canvas.

      In her studio, Calderón focuses on the meditative, entrancing process of stitching. Works begin with a drawing that’s transferred to a pattern and freehand rendered onto the linen. She enjoys the slow, methodical movements, which remind her “of times I sewed with my grandmother, making Cabbage Patch Kids clothes to sell on the playground before school started for the day.  Embroidery takes me to a calm place where only the process matters.”

      Currently, Calderón is working on a few commissions and preparing for a solo exhibition in Puerto Rico. She also recently began a large-scale work titled “Bodega Miles” that will stretch 40 inches wide and take more than a year to complete. You can follow her progress on Instagram.

      “Prone IV | My Underemployed Life series” (2023), cotton and satin thread hand embroidered on linen, 16 x 20 inches

      A work in progress

      “Coming Soon” (2023), cotton and metallic thread hand embroidered on linen, 16 x 20 inches

      “El Tiempo Muerto (The Dead Times)” (2023), cotton, and metallic thread hand embroidered on linen, 24 x 24 inches

      Detail of “Coming Soon” (2023), cotton and metallic thread hand embroidered on linen, 16 x 20 inches

      Do stories and artists like this matter to you? Become a Colossal Member now, and support independent arts publishing.

      Hide advertising

      Save your favorite articles

      Get 15% off in the Colossal Shop

      Receive members-only newsletter

      Give 1% for art supplies in K-12 classrooms

      Join us today!

      $7/month

      $75/year

      Explore membership options

      Previous articleNext article More

    • 150 Shares179 Views

      in Art

      Regal Portraits Evoke Myth and Power in Simone Elizabeth Saunders’ Hand-Tufted Textiles

      by

      “Girl with Butterflies” (2024), silk and wool yarn on muslin warp, 50 x 40 inches. All images courtesy of the artist and Claire Oliver Gallery, shared with permission

      Regal Portraits Evoke Myth and Power in Simone Elizabeth Saunders’ Hand-Tufted Textiles

      March 12, 2025

      ArtCraft

      Kate Mothes

      Share

      Pin

      Email

      Bookmark

      Emblazoned with vibrant patterns and words like “TRUTH” and “LOVE,” Simone Elizabeth Saunders explores Black identity in relation to kinship, power, and survival. Her hand-tufted textiles (previously) merge cultural narratives and history with mythology, nostalgia, and personal experiences.

      Saunders predominantly focuses on women, who she portrays in bold portraits and within fantastical, empowering scenarios. In recent works like “Girl with Butterflies” and “She Manifests Her Destiny,” figures embrace and commune with totem-like snakes, insects, and plants.

      “She Reveals” (2022), hand-tufted velvet, acrylic, and wool yarn on rug warp, 65 x 60.5 x 1 inches

      Rooted in the myriad histories of the global Black diaspora and rich textile traditions throughout countless cultures, Saunders employs a craft technique historically relegated to a role “beneath” fine art in order to turn the tables on how we comprehend influence, identity, and artistic expression.

      Saunders is represented by Claire Oliver Gallery, and you can explore more work on the artist’s Instagram.

      “(Be)Longing IV” (2023), hand-tufted acrylic, cotton, wool, and metallic yarn on cotton rug warp, 20 x 1 x 30 inches

      “Girl with Hummingbirds” (2024), silk and wool yarn on muslin warp, 50 x 40 inches

      “Internal Reflections” (2022), hand-tufted velvet, acrylic, and wool yarn on rug warp, 66 x 62.5 x 1 inches

      “(Be)Longing VIII” (2024), hand-tufted acrylic, cotton, wool, and metallic yarn on cotton rug warp, 20 x 1 x 30 inches

      “Release in Darkness” (2022), hand-tufted velvet and acrylic yarn on muslin warp, 66 x 55 inches

      “She Manifests Her Destiny” (2024), silk and wool yarn on textile backing, 50 x 40 inches

      “Break Away at Dawn” (2023), hand-tufted velvet, acrylic, and wool yarn on muslin warp, 66 x 56 x 1 inches

      Do stories and artists like this matter to you? Become a Colossal Member now, and support independent arts publishing.

      Hide advertising

      Save your favorite articles

      Get 15% off in the Colossal Shop

      Receive members-only newsletter

      Give 1% for art supplies in K-12 classrooms

      Join us today!

      $7/month

      $75/year

      Explore membership options

      Previous articleNext article More

    • 150 Shares199 Views

      in Art

      Join Us for a Colossal x Joy Machine Workshop with Peter Frederiksen

      by

      “Not Taking Any Chances” (2022), freehand machine embroidery on linen, 8 x 6 inches

      Join Us for a Colossal x Joy Machine Workshop with Peter Frederiksen

      February 11, 2025

      ArtColossalWorkshops

      Grace Ebert

      Share

      Pin

      Email

      Bookmark

      We’re excited to share that we’re hosting an embroidery workshop next month with Chicago-based artist Peter Frederiksen. Join us at Joy Machine on March 2 for Frederiksen’s signature Stitch Circle.

      The three-hour workshop will unpack his unique approach to image-making and teach the basics of embroidery. All skill levels are welcome.

      This workshop coincides with Joy Machine’s inaugural exhibition, Light Preserver, which features Frederiksen’s embroideries alongside works by eight artists who cultivate and ritualize joy.

      There are only a handful of tickets left, so get yours before they sell out. And if you’re a Colossal Member, don’t forget to use the discount code in your account for $5 off.

      Do stories and artists like this matter to you? Become a Colossal Member now, and support independent arts publishing.

      Hide advertising

      Save your favorite articles

      Get 15% off in the Colossal Shop

      Receive members-only newsletter

      Give 1% for art supplies in K-12 classrooms

      Join us today!

      $7/month

      $75/year

      Explore membership options

      Previous articleNext article More

    • 100 Shares189 Views

      in Art

      Signe Emdal’s Chromatic Weavings Manifest Wonder and Joy

      by

      Detail of “Fantasia” (2023). All artwork photos by Kristine Funch, courtesy of the artist, shared with permission

      Signe Emdal’s Chromatic Weavings Manifest Wonder and Joy

      February 10, 2025

      ArtCraft

      Kate Mothes

      Share

      Pin

      Email

      Bookmark

      Twenty years ago, Signe Emdal founded a business that focused on making unique textile objects and garments, drawing on her background in jacquard weaving, fabric printing, and a range of other techniques. By 2021, though, she was feeling hemmed in and longed for a way to express herself through a more intuitive, less functional creative direction.

      “It was time to free myself from a frame I no longer fit and make a new one,” she tells Colossal. “I had no idea what the new frame would look like, but I trusted that life would bring me something better if I said goodbye to a setup that didn’t bring me joy anymore.”

      “Maison” (2023)

      A self-described “textile composer,” Emdal views the loom as a window where warp and weft interact to create storage vessels for memories. She is also deeply influenced by exploring new locations. “Art allows me to travel in a completely new way because I get to be in a creation process while spending time with or (being) in other cultures,” she says. Many works she makes on-site, influenced by her surroundings.

      Process is central to Emdal’s artistic education and continues to be the primary influence in her practice. “Everything is process, and everything is changing all the time,” she says. “Nothing is ever going to be finished!” She shares that through textiles, she learned to hone her concentration on both physical and metaphysical levels, finding that the meditative methodology of weaving echoes how she views art-making and life more broadly.

      Emdal’s related series Touch and Loop comprise sculptural, loom-woven wool in vibrant colors. From radiating puffs of vibrating color to elegant, draping details, her pieces are inspired by science fiction, feminism, art history, and music. “The sculptures are layers of delicate memories,” she says, embodying fragility, resilience, sophistication, and joy.

      Emdal’s work will be included in the Textile Art Biennial Slovenia, which runs from May 31 to August 14 across five cities. Find more on Emdal’s website and Instagram.

      “Dreams of Gaia” (2024)

      Detail of “Dreams of Gaia”

      “Heart of Nebula” (2024)

      “Fantasia” (2023)

      “Acqua 4 ever/Evigheden” (2024)

      “Spirit of Green” (2024)

      Detail of “Spirit of Green”

      “Murex 4ever” (2023)

      “Silky Way” (2023)

      Do stories and artists like this matter to you? Become a Colossal Member now, and support independent arts publishing.

      Hide advertising

      Save your favorite articles

      Get 15% off in the Colossal Shop

      Receive members-only newsletter

      Give 1% for art supplies in K-12 classrooms

      Join us today!

      $7/month

      $75/year

      Explore membership options

      Previous articleNext article More