flowers Archivi ~ art-news.space - All about the world of art and culture!

Latest story

113 Shares38 Views

Krzysztof Grzybacz’s ‘Floral Compositions’ Are Tender Portrayals of Togetherness

by Aurelia Butler 27 March 2025, 15:00

“Yellow, White, Orange, Pink, Blue, Yellow, White” (2025), diptych, oil on canvas, 200 × 320 centimeters. Photos by Bartosz Zalewski. All images courtesy of Krzysztof Grzybacz and Galeria Dawid Radziszewski, Vienna, shared with permission

Krzysztof Grzybacz’s ‘Floral Compositions’ Are Tender Portrayals of Togetherness

March 27, 2025

Art

Kate Mothes

Bookmark

Arranged by size and hue, the blooms in Krzysztof Grzybacz’s large-scale oil paintings appear in comfortable togetherness, each individual’s features amplified by its placement next to those that differ. His Floral Compositions series organizes the flowers against swaths of green fabric, exploring their potent symbolism.

Grzybacz taps into the age-old tradition of flowers in oil, rendering their petals and stems in vibrant hues that capture their unique outlines and textures. Rooted in still life, his compositions are underpinned by abstraction and the artist’s fascination with layering and perspective.

“Yellow” (2025), oil on canvas, 200 × 160 centimeters

The works in Grzybacz’s current solo exhibition at Galeria Dawid Radziszewski also reference the queer community. “Flowers are like people: they pose, search for their own space, and mark out boundaries,” says a statement from the gallery. The artist nods to the role of order and systems, while also emphasizing the importance of celebrating diversity.

Grouped together in front of textile folds, oblique grids, or distorted human features, the artist invokes the power of alliances through a sense of tenderness, curiosity, and pliability.

Floral Compositions continues through March 29 in Vienna. Find more on Grzybacz’s website and Instagram.

“Blue, yellow, orange, white, pink” (2025), oil on canvas, 100 × 80 centimeters

“Orange, blue, pink, yellow, white, maroon, purple” (2025), oil on canvas, 200 × 160 centimeters

“White, Yellow, Orange, Blue, Purple” (2025), oil on canvas, 200 × 160 centimeters

“Blue, White, Yellow, Orange, Pink” (2025), oil on canvas, 100 × 80 centimeters

“White, maroon, orange, yellow, blue” (2025), oil on canvas, 70 × 60 centimeters

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

More stories

150 Shares36 Views
in Art
Tropical Flowers and Prickly Cacti Leap from Lili Arnold’s Vibrant Block Prints
by Aurelia Butler 26 March 2025, 14:22
“Strelitzia Reginae, a.k.a. Bird of Paradise III.” All images courtesy of Lili Arnold, shared with permission
Tropical Flowers and Prickly Cacti Leap from Lili Arnold’s Vibrant Block Prints
March 26, 2025
ArtIllustrationNature
Kate Mothes
Share
Pin
Email
Bookmark
Every year, Lili Arnold’s mother would block-print holiday cards to send to family and friends. When she was old enough to wield a carving tool, Arnold began to make her own, too. But it wasn’t until college, when she took an Intro to Printmaking class, that she became enthralled with the practice’s myriad methods.
Block printing specifically captured Arnold’s attention because of its relatively simple components and technique—no giant presses required. The block can expand in scale, incorporate different colors, or be layered with numerous pressings.
“Strelitzia Reginae, a.k.a. Bird of Paradise”
“I think what I love most about the process is seeing my first print after so many hours of sketching, planning, carving, and troubleshooting,” Arnold tells Colossal. “There’s a lot of thought and time invested in the steps before the actual print becomes real, so when I see that first reveal, it’s both terrifying and thrilling.”
Arnold’s compositions often revolve around natural subjects, especially botanicals like cacti and tropical flowers. She is fascinated by the environment’s infinite interaction of colors, textures, patterns, and symmetry.
“There’s such vast diversity of plant life out there, each ecosystem encapsulating unique details and wonders,” she says. “We as artists and botanical patrons have the pleasure of translating and expressing our appreciation of this beauty through our artwork, writing, gardening, exploring, and beyond.”
Follow updates on Arnold’s Instagram, and browse prints available for purchase in her shop.
“Zantedeschia Albomaculata, a.k.a. Spotted Calla Lily III”
“Palm Study III”
“Emergence of Spring”
“Opuntia Ficus-Indica, a.k.a. Prickly Pear”
Blocks ready for printing
Pulling “Opuntia Ficus-Indica, a.k.a. Prickly Pear”
Block for “Banksia Prolata”
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
188 Shares144 Views
in Art
Lauded Dutch Golden Age Painter Rachel Ruysch Gets Her First Major Survey in the U.S.
by Aurelia Butler 11 March 2025, 21:14
“Flowers in a Glass Vase” (1704), oil on canvas, 33 × 26 3/8 inches. Image courtesy of Detroit Institute of Arts. All images shared with permission
Lauded Dutch Golden Age Painter Rachel Ruysch Gets Her First Major Survey in the U.S.
March 11, 2025
Art
Kate Mothes
Share
Pin
Email
Bookmark
Many of us are familiar with titans of the Dutch Golden Age like Frans Hals, Johannes Vermeer, Rembrandt, Jan Steen, and more. Yet fewer of us have probably heard of Rachel Ruysch (1664-1750), renowned during her lifetime for her original style but under-acknowledged through the centuries in the canon of Western art history.
Co-organized by the Toledo Museum of Art, the Museum of Fine Arts, Boston, and the Alte Pinakothek, Munich, the first major U.S. exhibition of the artist’s work, Rachel Ruysch: Nature into Art, introduces audiences to the breadth of her remarkable paintings.
“Posy of Flowers, with a Beetle, on a Stone Ledge” (1741), oil on canvas, 7 7/8 × 9 5/8 inches. Image courtesy of Kunstmuseum Basel
During her seven-decade career, Ruysch was the first woman admitted to the Confrerie Pictura, The Hague painters’ society, and she was appointed court painter in Düsseldorf to Johann Wilhelm, Elector Palatine. She rose to become one of the highest-paid artists of her day. In a foreword for the exhibition catalog, the directors explain that “Ruysch achieved fame across Europe in her lifetime, but her oeuvre was little studied by art historians in subsequent centuries. She has never been the subject of a major exhibition—until now.”
Art historians consider Ruysch to be among the most talented still life artists of the era, and by the time she died at 86, she had produced hundreds of paintings. Nature into Art includes more than 90 international loans, including 48 of her most significant works.
The artist was born in The Hague, The Netherlands, to parents with backgrounds in science and design. Her father was a professor of botany and anatomy, and her mother was the daughter of an architect. The artist began painting when she was around 15, copying flower and insect specimens from her father’s collection.
As her artistic faculty grew, Ruysch taught her father and her sister Anna how to paint. She merged modern scientific observation with an incredible aptitude for capturing light, composition, and form, and she typically dated her paintings when she signed them, giving art historians a clear record of stylistic shifts and subject matter over time.
“Flowers and Fruit in a Forest” (1714), oil on canvas, 38 × 48 1/2 inches. Image courtesy of Städtische Kunstsammlungen & Museen Augsburg
Ruysch’s success during her lifetime is attributed to both her unmistakable talent and the 17th-century Dutch fondness for flowers and gardening. Still life paintings of floral arrangements and tables heaping with food highlighted the beauty of nature and the gifts of plenty. The vanitas genre also sprung from the style, interpreting memento mori, Latin for “remember you must die,” into subtle, well-versed visual cues.
Motifs like skulls, insects, rotting fruit, or wilting flowers were symbolic reminders of the futility of pleasure, power, or wealth after death. For example, in Ruysch’s “Posy of Flowers, with a Beetle, on a Stone Ledge,” beetles and flies crawl over a spray of peonies and wildflowers that will soon wilt, and water droplets signify purity and the fleetingness of life.
Nature into Art runs from April 12 to July 17 in Toledo, traveling on to Boston afterward, where it opens on August 23.
“Flowers” (1715), oil on canvas, 29 2/3 × 23 3/4 inches. Photo by Photo: Nicole Wilhelms, courtesy of Bayerische Staatsgemäldesammlungen—Alte Pinakothek Munich
Illustration from ‘Observations of a Surinam Toad,’ graphite on paper, 8 x 11 in. Image © The Royal Society, London
Anna Ruysch (Dutch, active from 1685, died after 1741), “A Still Life of Flowers on a Marble Table Ledge” (1685), oil on canvas, 13 × 11 3/4 inches. Photo by Erin Croxton, courtesy of a private collection and Birmingham Museum of Art
“Flower Still Life” (about 1716-20), oil on canvas, 29 3/4 × 23 7/8 inches. Image courtesy of Toledo Museum of Art
Rachel Ruysch and Michiel van Musscher (Dutch, 1645–1705), “Rachel Ruysch (1664–1750)” (1692), oil on canvas, 30 × 25 inches. Image courtesy of the Metropolitan Museum of Art
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
125 Shares144 Views
in Art
Vasilisa Romanenko’s Lush Portraits Wrap Common Birds in Decadent Patterns
by Aurelia Butler 11 March 2025, 17:14
“American Crow” (2025),
acrylic on canvas, 8 x 8 inches. All images courtesy of Vasilisa Romanenko and Arch Enemy Arts, shared with permission
Vasilisa Romanenko’s Lush Portraits Wrap Common Birds in Decadent Patterns
March 11, 2025
ArtNature
Grace Ebert
Share
Pin
Email
Bookmark
Beauty and nature’s resilience are at the core of Vasilisa Romanenko’s work. The Connecticut-based artist paints faithful depictions of common yet dignified birds amid clusters of fruits and flowers, exploring the power of opulence in times of upheaval.
A stately crow poses amid rust-colored roses, a great blue heron poses amid clusters of tangerines and lilies, and a small warbler perches amid pink poppies. Referencing the defiantly decorative works of English textile designer William Morris (1834–1896), Romanenko embraces the entrancing nature of decadent patterns.
“Great Blue Heron” (2025), acrylic on canvas, 22 x 28 inches
“I want my work to feel like an escape from everyday life, like taking a moment to be still and appreciate nature,” she says about her solo exhibition, BIRDS & BLOOMS, at Arch Enemy Arts. Enveloped by flora at full bloom, the winged subjects exude a sense of calm and strength as they perch and prepare for their next flight.
BIRDS & BLOOMS is on view through March 30 in Philadelphia. Find more from Romanenko on her website and Instagram.
“Northern Mockingbird” (2025), acrylic on canvas, 11 x 14 inches
“Black-capped Chickadee” (2025), acrylic on canvas, 5 x 7 inches
“Orange-crowned Warbler” (2025), acrylic on canvas, 5 x 7 inches
“Dark-eyed Juncos” (2025), acrylic on canvas, 9 x 12 inches
“Palm Warbler” (2025), acrylic on canvas, 8 x 10 inches
“Brewer’s Blackbird” (2025), acrylic on canvas, 9 x 12 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 Shares154 Views
in Art
From Porcelain Buttercream to Bruises, Jessica Stoller Examines the Gendered Body
by Aurelia Butler 5 March 2025, 20:01
Detail of “Seeing Red” (2024), porcelain, glaze, china paint, lustre, 9 x 92 1/4 x 92 1/4 inches. All images courtesy of the artist and P·P·O·W, shared with permission
From Porcelain Buttercream to Bruises, Jessica Stoller Examines the Gendered Body
March 5, 2025
Art
Grace Ebert
Share
Pin
Email
Bookmark
The early 1780s produced a medical training tool that today seems unusually macabre and unsettling: the Anatomical Venus. A waxen model with real human hair and strings of pearls around her neck, the reclined figure appeared incredibly realistic, although pulling back the plate on its abdomen or chest revealed a series of internal organs and systems.
As Ian Shank writes, modern viewers see the Anatomical Venus as discordant given the tension between the figure’s idealized beauty—and its inherent sensuality—and its function as an educational model.
“Untitled (crown)” (2021), porcelain, glaze, china paint, wood, 24 x 16 x 2 inches. Photo by JSP Art Photography
Jessica Stoller takes this dissonance as a starting point in “Seeing Red,” a floor-based sculpture of more than 150 individual ceramic objects. Atop the square tableaux are oversized white orbs that overshadow the mottled pink base. Fragmented body parts, seashells, leaves, a bent coat hanger, snakes, pottery shards, and more spread throughout.
Reflecting on the continued push to strip protections for bodily autonomy in the U.S., “Seeing Red” separates the female form into distinctive parts and places them at the lowest position possible. As the oppressive pearls loom over the rest of the components, the unnerving work directly challenges who has a right to self-determination and control over their body.
The grotesque and disturbing play an important role throughout Stoller’s practice as she frequently incorporates human anatomy with porcelain and ceramic traditions. “Untitled (close up #3),” for example, features delicate pink and purple blossoms that frame what appears to be a series of large, purple bruises.
Similarly, “Untitled (sugar still life)” comprises a sweet spread that stretches across an elaborate display. Tucked in the seemingly saccharine work, though, are unsavory elements like a skeletal hand reaching from piped ribbons and medical devices stabbed into various confections.
“Seeing Red” (2024), porcelain, glaze, china paint, lustre, 9 x 92 1/4 x 92 1/4 inches
Rebelling against patriarchal priorities, Stoller continually confronts romanticized notions of the body through surreal, even monstrous compositions. Instead, her works are bold and unabashed as they examine the feminine figure, rooting out stereotypes and historical injustices while emphasizing the potency of the unseemly.
Many of the works shown here are on view in New York for Stoller’s solo show Split, which continues through April 5 at P·P·O·W. Find more from the artist on Instagram.
Detail of “Seeing Red” (2024), porcelain, glaze, china paint, lustre, 9 x 92 1/4 x 92 1/4 inches
“Skin to Scale” (2023), porcelain, glaze, china paint, wood, 22 1/2 x 14 1/2 x 2 1/2 inches
“Untitled (close up #3)” (2020), porcelain, glaze, china paint, lustre, wood, 19 x 15 x 2 inches
“Silphium” (2024), porcelain, glaze, china paint, lustre, 19 x 8 1/2 x 4 1/2 inches
“Yellow Wallpaper” (2025), porcelain, glaze, china paint, wood, 23 x 17 1/2 x 3 inches
“Untitled (sugar still life)” (2018), porcelain, glaze, china paint, lustre, enamel, and wood, 60 x 36 x 22 inches. Photo by JSP Art Photography
Detail of “Untitled (sugar still life)” (2018), porcelain, glaze, china paint, lustre, enamel, and wood, 60 x 36 x 22 inches. Photo by JSP Art Photography
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
125 Shares199 Views
in Art
Felines Evoke ‘A Floating World’ in Tùng Nâm’s Whimsical Illustrations
by Aurelia Butler 19 February 2025, 19:00
All images © Tùng Nâm, shared with permission
Felines Evoke ‘A Floating World’ in Tùng Nâm’s Whimsical Illustrations
February 19, 2025
ArtIllustration
Kate Mothes
Share
Pin
Email
Bookmark
Accompanied by delicate insects and social betta fish, the cats in Tùng Nâm’s illustrations (previously) alternate between curiosity, serenity, friskiness, and determination. The artist portrays a diversity of feline natures, merging their likenesses with flowers, waves, foliage, and clouds.
Nâm’s characters are playfully anthropomorphized, donning patterned kimonos and hair ornaments. The series emerged organically from practice sketches of flowers in the ukiyo-e style.
“I felt like it was missing something, so I tried to add a cat as the protagonist,” Nâm tells Colossal. “Somehow it still doesn’t feel right, so I think of adding a companion—fishes, butterfly, dragonfly—like they were encountering each other in a specific moment.” Fittingly, he called the series An encounter.
An accompanying collection, A Floating World, takes further inspiration from the genre, directly referencing the Japanese word ukiyo. The term describes a hedonistic lifestyle in Edo—now called Tokyo—in the 1600s, spawning a style of art that captured the mood and interests of the period. Famed artists like Hokusai or Hiroshige focused on woodblock printing and painting to represent scenes from history, folk tales, kabuki actors, flora and fauna, landscapes, and more.
For Nâm, ukiyo-e provides the starting point for exploring a range of subject matter. He’s currently exploring ideas for further illustrations that incorporate different animals and visual cultures.
Find more on the artist’s Behance and Instagram.
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
88 Shares189 Views
in Art
Matt Roussel’s Textured Woodcuts Metamorphose into Paintings
by Aurelia Butler 18 February 2025, 19:16
All images courtesy of Matt Roussel, shared with permission
Matt Roussel’s Textured Woodcuts Metamorphose into Paintings
February 18, 2025
Art
Kate Mothes
Share
Pin
Email
Bookmark
From elaborate portraits to overflowing florals to playful animals, the woodcuts of Matt Roussel (previously) tell a wide range of enigmatic stories. For his large-scale works, Roussel begins by carving wooden panels, but rather than using the blocks to make prints, he applies acrylic paint to the surfaces to create bold, textured paintings. Portraits of women wearing unique garments are complemented by goldfish that metamorphose into birds and giant scarab beetles cloaked in giant flowers.
Roussel’s work will be on view in several forthcoming art3f fairs throughout Europe, with Strasbourg, Nantes, and Lyon coming up in late February and March. Find more on the artist’s website and Instagram.
“Three Flowers Scarab,” acrylic on carved wood
Detail of “Three Flowers Scarab”
“Métamorphose,” acrylic on carved wood, 60 x 60 centimeters
“Fleur de Zhou,” acrylic on carved wood
“Poisson pipe,” acrylic on carved wood, 60 x 80 centimeters
“La grande fleur,” acrylic on carved wood, 120 x 80 centimeters
“Golden dance,” acrylic on carved wood, 60 x 80 centimeters
“3 cimes,” acrylic on carved wood, 120 x 80 centimeters
Detail of “3 cimes”
“La falaise,” acrylic on carved wood, 60 x 80 centimeters
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
163 Shares169 Views
in Art
An Otherworldly Garden of Lights Emerges from Hemp and Resin by Ross Hansen
by Aurelia Butler 12 February 2025, 23:17
‘Of Human Feelings’ installation view. All images courtesy of the artist and Volume Gallery, shared with permission
An Otherworldly Garden of Lights Emerges from Hemp and Resin by Ross Hansen
February 12, 2025
ArtDesign
Kate Mothes
Share
Pin
Email
Bookmark
Evoking marigolds, prairie clover, and milk thistle, Ross Hansen’s ongoing series of ethereal lighting fixtures dissect assumptions about design and function. The Los Angeles-based artist and designer’s unique sculptural forms combine hemp, bio-resin, and aluminum to create otherworldly floor lamps.
Hansen draws on a background in landscape design, inspired by organic textures and forms found in nature. In his recent exhibition Of Human Feelings at Volume Gallery, clusters of lights resemble larger-than-life fungi or microscopic organisms. Strips of cloth are enrobed in plant-based resin for rigidity, and the illuminated bulbs diffuse within the fabric.
Volume Gallery will present Hansen’s work at Felix Art Fair in Los Angeles next weekend. Find more on the artist’s website.
Detail of “Milk Thistle”
‘Of Human Feelings’ installation view
“Dalea” (2024), hemp, bio-resin, wood, epoxy resin, paint, and lighting components, 70 x 16 x 16 inches
‘Of Human Feelings’ installation view
‘Of Human Feelings’ installation view
“Marigold” (2024), hemp, bio-resin, aluminum, and lighting components, 85 x 18 x 18 inches
Detail of “Marigold”
Base detail of “Dalea”
“Milk Thistle” (2024), hemp, bio-resin, aluminum, and lighting components, 81 x 18 x 18 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
138 Shares179 Views
in Art
Bees and Irridescent Bubbles Infiltrate Still-Life Traditions in Marc Dennis’ Paintings
by Aurelia Butler 7 February 2025, 19:11
Detail of “Happily Ever After” (2024), oil on linen, 70.5 x 57.25 inches. All images courtesy of Harper’s, New York, shared with permisison
Bees and Irridescent Bubbles Infiltrate Still-Life Traditions in Marc Dennis’ Paintings
February 7, 2025
Art
Grace Ebert
Share
Pin
Email
Bookmark
During the Dutch Golden Age, vanitas grew in popularity as a genre of memento mori that emphasized life’s transience. The opulent paintings were steeped in symbolism and foregrounded the futility of ambition and worldly pleasures.
Marc Dennis draws on this 17th-century tradition as he refashions the still life for a contemporary audience. In a recent oil painting, “Happily Ever After,” hordes of honeybees and hornets descend on a lush bouquet. Kaleidoscopic bubbles float across the five-foot canvas, reflecting the surrounding colors and distorting clear viewers of nearby flowers and fruit.
“Happily Ever After” (2024), oil on linen, 70.5 x 57.25 inches
The insects and glossy orbs add another layer of impermanence to the already fleeting imagery, while also reflecting on the tenuous relationship between the organic and human-made. Similar tensions appear in “Allegory of the Readymade,” which suffocates and warps a seemingly vibrant painting with thick layers of plastic wrap. Each of the works clings to a brief moment in time, capturing both life at its prime and serving as a bold reminder of its inevitable end.
Dennis’ paintings are on view in I’m Happy You’re Here through March 1 at Harper’s Gallery in New York. Find more from the artist on Instagram.
“Based on a True Story” (2024), oil on linen, 70.75 x 55 inches
Detail of “Based on a True Story” (2024), oil on linen, 70.75 x 55 inches
“Superstar” (2024), oil on linen, 70.5 x 55 inches
“Portrait of the Artist as a Juvenile Delinquent” (2024), oil on linen, 72 x 58 inches
“Allegory of the Readymade” (2024), oil on linen, 48.75 x 37 inches
“Giotto’s Fly” (2024), oil on linen, 72.5 x 96 inches
“Dracula” (2024), oil on linen, 71.5 x 56 in
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

flowers

Latest story

Krzysztof Grzybacz’s ‘Floral Compositions’ Are Tender Portrayals of Togetherness

More stories

Tropical Flowers and Prickly Cacti Leap from Lili Arnold’s Vibrant Block Prints

Lauded Dutch Golden Age Painter Rachel Ruysch Gets Her First Major Survey in the U.S.

Vasilisa Romanenko’s Lush Portraits Wrap Common Birds in Decadent Patterns

From Porcelain Buttercream to Bruises, Jessica Stoller Examines the Gendered Body

Felines Evoke ‘A Floating World’ in Tùng Nâm’s Whimsical Illustrations

Matt Roussel’s Textured Woodcuts Metamorphose into Paintings

An Otherworldly Garden of Lights Emerges from Hemp and Resin by Ross Hansen

Bees and Irridescent Bubbles Infiltrate Still-Life Traditions in Marc Dennis’ Paintings

ITALIAN LANGUAGE

ENGLISH LANGUAGE