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    An Animated Guide to Using Art to Get in Touch with Your Emotions

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    All images courtesy of Gaia Alari

    An Animated Guide to Using Art to Get in Touch with Your Emotions

    September 30, 2025

    AnimationArtFilm

    Grace Ebert

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    Say you visit a highly anticipated exhibition one Saturday afternoon and find yourself in a crowded gallery, shoulder-to-shoulder with a pack of rabid art goers. As you stealthily maneuver toward your viewing target, an over-stimulated (or, depending on the show, perhaps under-stimulated) child begins to melt down. You suddenly overhear an unreasonably heated conversation about brunch plans. Your heartbeat quickens, and soon, art gallery panic sets in. How do you return to the piece in front of you while also reclaiming your peace of mind?

    A collaborative film by animator Gaia Alari and therapist Emily Price visualizes how art can help us get in tune with our senses and emotions. Paired with Alari’s dynamic drawings, Price guides viewers through an exercise designed to focus our attention even in the most anxious or gloomy of situations. Put your hands on your heart and stomach, she suggests, or imagine yourself protected in a cloche or invisibility cape, allowing yourself to feel calm and safe.

    “How does your body react to art?” is produced by MoMA, which also released a long-form interview with Price that dives into the psychology of a museum visit. For more from Alari, visit Vimeo.

    You also might enjoy a similarly meditative project by Bryana Bibbs, which invites viewers to contribute to a collective weaving as a response to an exhibition about mental health and wellness.

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      in Art

      ‘No One Knows All It Takes’ Invites Community Healing at the Haggerty Museum of Art

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      All images courtesy of Haggerty Museum of Art, Marquette University, shared with permission

      ‘No One Knows All It Takes’ Invites Community Healing at the Haggerty Museum of Art

      September 8, 2025

      ArtColossalPartnerSocial Issues

      Grace Ebert

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      A core component of the Colossal-curated exhibition, No One Knows All It Takes, is community participation. Each of the artists—Bryana Bibbs, Raoul Deal, Maria Gaspar, and Swoon (previously)—is deeply engaged with the people they portray and collaborate with, a commitment that inspires nuanced, insightful projects and a truly communal process.

      As part of the exhibition at the Haggerty Museum of Art, we’ve considered how to reflect this mode of working through programming and a participatory project. The final piece in the show is Bibbs’ “Weaving Stories,” which consists of a large loom mounted on the gallery wall, along with threads, a paper shredder, and other materials nearby. Once viewers have considered each of the artists’ works, they’re invited to contribute to a collective tapestry on the loom or create a smaller, individual piece to take home.

      Installation view of “Weaving Stories”

      Attuned to the sensitive subject matter of the exhibition, Bibbs asks participants to explore their own feelings and memories in response to the artworks. Viewers can even write down their thoughts and interlace their shredded notes into the final work.

      In addition to “Weaving Stories,” No One Knows All It Takes also offers an opportunity to engage with Gaspar’s “Disappearance Jail (Wisconsin)” in a public event on October 9. Following a discussion about the intersection of art and incarceration with Dr. Robert S. Smith, the artist will lead attendees in a “punch party,” a workshop in which participants use a hole punch to obscure images of jails, prisons, and detention facilities. The completed works will then be re-hung in the gallery.

      And lastly, Colossal will also be hosting a conversation with Deal and Dr. Sergio M. González about immigration, wellbeing, and making art in this increasingly precarious moment. We encourage attendees to spend time with Deal’s works in the exhibition prior to joining us for that discussion, which will be held on September 24.

      No One Knows All It Takes is on view through December 20 in Milwaukee, with an opening reception on September 11. Find all of the programming on the museum’s website.

      Installation view of two works by Raoul Deal

      Installation view of Bibbs’ works

      Detail view of Gaspar’s “Disappearance Jail (Wisconsin)”

      Installation view of Gaspar’s “Disappearance Jail (Wisconsin)”

      Installation view of works by Raoul Deal

      Installation view of works by Raoul Deal

      Installation view of Swoon’s “Medea”

      Installation view of Swoon’s “Medea” and Bibbs’ works

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      in Art

      In Milwaukee, Four Artists Unravel Trauma to Move Toward Collective Wellness

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      Swoon, “Medea” (2017), wood, hand cut paper, laser cut paper, linoleum block print on paper, acrylic gouache, cardboard, lighting elements

      In Milwaukee, Four Artists Unravel Trauma to Move Toward Collective Wellness

      August 21, 2025

      ArtColossalSocial Issues

      Grace Ebert

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      In a world riddled with injustice and predicated on privilege for the few at the expense of the many, what does it mean to be well? An exhibition opening Friday at the Haggerty Museum of Art in Milwaukee considers the effects of concealed trauma and the inextricable ties between personal health and collective wellness.

      No One Knows All It Takes invites four artists—Bryana Bibbs, Raoul Deal, Maria Gaspar, and Swoon (previously)—who utilize art-making to grapple with complex emotions, imagine solutions to widespread problems, and share their stories and those of others. The timely exhibition, curated by Colossal, brings forth pressing issues like addiction, incarceration, immigration, and a lack of support for caregivers, conveyed through visually arresting works across media.

      Bryana Bibbs, “1.25.24-1.26.24” (2024), handwoven Papa George hospital blanket, Papa George playing cards, gifted pants, 11.5 x 14.5 inches

      No One Knows All It Takes opens with portraits by Deal, intimate renderings made through hours of conversations with the subjects. Paired with his wooden sculptures, the elaborate carvings explore the central role of immigration in American history and culture. Bibbs’ weavings and monotype prints—created while she cared for her dying grandparents with many of their belongings— follow as a sort of ghostly archive of what remains after death.

      Swoon’s “Medea” fills the fourth gallery space, a deeply personal installation that the artist made, in part, to confront her mother’s lifelong struggle with addiction and mental illness. An exposed tarantula mother, portraits of Swoon’s own family, wooden windows, and audio elements layer personal artifacts with recurring motifs about intergenerational trauma.

      The Wisconsin iteration of Gaspar’s Disappearance Jail series tucks into a smaller, more confined space at the end of the exhibition. Featuring images of 113 prisons, jails, and juvenile and immigrant detention facilities throughout the state, the project invites visitors to use hole punches to literally remove and obscure the carceral spaces. Because incarceration has historically been the only manner in which society addresses harm and trauma, Gaspar’s work tasks each person with the abolitionist exercise of imagining other possibilities.

      Raoul Deal, “Trenzas” (2023), woodcut with deckled edge, 28 x 42 inches

      The title, No One Knows All It Takes, came from a conversation with Bibbs, in which she described the emotional, mental, and physical toll of caring for her grandparents in their final months. Referencing the intersecting and multilayered effects of trauma, the phrase is also multivalent: it invokes the immense amount of energy needed to function while ill, the wide-reaching impacts of trauma on an individual’s life, and the social, political, and cultural costs of unaddressed issues.

      No One Knows All It Takes will be on view from August 22 to December 20. The Haggerty Museum of Art is located at Marquette University in Milwaukee.

      Maria Gaspar, Disappearance Jail series (detail), (2021-ongoing), hundreds of perforated archival Inkjet prints on rice paper, 5 x 7 inches each

      Raoul Deal, “Immigration Series #8” (2013), woodcut, 40 x 26 1/4 inches

      Swoon, “Medea” (2017), wood, hand cut paper, laser cut paper, linoleum block print on paper, acrylic gouache, cardboard, lighting elements

      Bryana Bibbs, “12.27.23” (2023), handwoven Papa George casino playing cards, Papa George hospital blanket, 14 x 9.25 inches

      Bryana Bibbs, “8.26.24” (2024), handwoven Papa George athletic tee, Papa George gifted pajama pants, Mema decor flowers, 25 x 9 inches

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    • 163 Shares169 Views

      in Art

      Chinese Herbs Suspended in Resin Usher in Healing in Wen Liu’s Skeletal Sculptures

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      “Ouroflora” (2025),
      prescribed herbal medicine, epoxy clay, resin, acrylic, varnish, 34 x 46 x 1 1/2 inches. All images courtesy of Wen Liu, shared with permission

      Chinese Herbs Suspended in Resin Usher in Healing in Wen Liu’s Skeletal Sculptures

      June 3, 2025

      Art

      Grace Ebert

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      “In traditional Chinese medicine, treatments are prescribed through dialogue—how well one can communicate internal pain becomes a condition for healing,” says Wen Liu. Particularly difficult in moments of agony and discomfort, accurately describing our bodily sensations is essential for receiving treatment, and yet, as Liu points out, it’s also an act of translation that can feel nearly impossible while suffering and speaking a second or third language.

      The Shanghai-born artist, who is now based in Brooklyn, draws on this reality for her sculptural works that suspend dried herbs in tinted resin. Liu began incorporating these natural prescriptions into her practice when her father died “as a way to metabolize grief and explore healing through cultural connection,” she adds.

      “In Light, Where Edges Yield” (2025), prescribed herbal medicine, epoxy clay, resin, acrylic, varnish, stainless steel, 65 x 65 x 3 1/2 inches

      Painted in pale purples and greens or silver, the molded-clay structures are architectural and skeletal, while the herbal portions evoke both stained-glass windows often seen in churches and cathedrals and vulnerable membranes of the body. Many works are affixed to the wall, although the human-sized “In Light, Where Edges Yield” stands freely on four legs with a spinal column at its center.

      Liu is intrigued by the way light filters through these surfaces and appears on the other side as a sacred, distorted beam of color. “This refracted illumination offers a sensory language beyond speech, mirroring the project’s exploration of emotions like grief, the processes of healing, and the inadequacy of language in capturing lived experience,” she adds.

      Continually mixing Eastern and Western traditions, Liu instills a sense of harmony and balance in her works. She gravitates toward symmetry and presents her sculptures almost like a Rorschach test, inviting viewers into a delicate dialogue of healing.

      Antidote is on view through June 21 at Gaa Gallery in New York. Liu is currently working toward an exhibition opening this month at Tang Contemporary Art Beijing, and you can explore more on her website and Instagram. (via Young Space)

      “Inarticulate Trace No1.” (2023), prescribed herbal medicine, epoxy clay, resin, paint, UV resistant varnish, 37 x 32 x 1.5 inches

      “Silhouette of a Dose” (2022), prescribed herbal medicine, epoxy clay, resin, paint, UV resistant varnish, 43 x 41 x 1.5 inches

      Detail of “Silhouette of a Dose” (2022), prescribed herbal medicine, epoxy clay, resin, paint, UV resistant varnish, 43 x 41 x 1.5 inches

      Detail of “In Light, Where Edges Yield” (2025), prescribed herbal medicine, epoxy clay, resin, acrylic, varnish, stainless steel, 65 x 65 x 3 1/2 inches

      “Inarticulate Trace No2.” (2024), prescribed herbal medicine, epoxy clay, resin, paint, UV resistant varnish, 40 x 43 x 1.5 inches

      “Inarticulate Trace No3.” (2024), prescribed herbal medicine, epoxy clay, resin, paint, UV resistant varnish, 43.5 x 40.5 x 1.5 inches

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    • 175 Shares129 Views

      in Art

      In a Retrofitted School Bus at the U.S.-Mexico Border, Guadalupe Maravilla Heals Through Vibrations

      by

      All images from the Art21 “New York Close Up” film, “Guadalupe Maravilla’s ‘Mariposa Relámpago,’” © Art21, shared with permission

      In a Retrofitted School Bus at the U.S.-Mexico Border, Guadalupe Maravilla Heals Through Vibrations

      February 26, 2025

      ArtFilm

      Grace Ebert

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      Guadalupe Maravilla’s multi-disciplinary practice is rooted in a simple premise: sound is medicine.

      The artist is known for works that merge sculpture, performance, instruments, and healing, one such project being the elaborately retrofitted school bus titled “Mariposa Relámpago.” Part of Maravilla’s Disease Throwers series, the large-scale coach is devoid of bench seats and ubiquitous yellow paint and instead features an open cab lined with chrome panels. More than 700 found objects adorn its body, from cutlery and a worn pair of sandals to large gongs. More

    • 113 Shares189 Views

      in Art

      Guadalupe Maravilla’s Volcanic Rock Sculptures Invoke Resilience and Regeneration

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      “Dream Backpack 1” (2023), volcanic rock and objects collected from a ritual of
      retracing the artist’s original migration route, 16 1/4 x 12 1/4 x 4 1/2 inches. All photos by JSP Art Photography, courtesy of Guadalupe Maravilla and P·P·O·W, shared with permission

      Guadalupe Maravilla’s Volcanic Rock Sculptures Invoke Resilience and Regeneration

      December 13, 2024

      Art

      Grace Ebert

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      With the region’s smallest geographic footprint, El Salvador boasts the second-highest number of volcanos in Central America. The country is located on the Ring of Fire, a tectonic band that encircles the Pacific Ocean and houses about two-thirds of all volcanos worldwide. Given its eruptive landscape, much of the soil is rich in ash.

      In a series of sculptures, Guadalupe Maravilla (previously) draws on his home country as he sculpts backpacks and enlarged hands from volcanic rock. The works reference the artist’s migration from civil war-era El Salvador as an unaccompanied minor, a traumatic journey that remains a central theme in his practice.

      “Luz y Fuerza” (2024), oil on volcanic rock, 14 x 14 x 4 inches

      A trio of pieces, titled Dream Backpacks, refers to “how we immigrate to the U.S. by land and carry everything we own in a backpack in search of the American Dream,” Maravilla writes in a statement. Embellished with pink, purple, and blue paints, the poignant works display a variety of charms—feathers, a small cat figure, and metal details like a spigot—the artist collected while retracing his childhood route.

      Other works take the form of a burly hand cradling smooth shapes featuring pieces redolent of retablos, small devotional paintings often invoking protection during times of hardship. Lightning bolts, stars, and snakes recur throughout the compositions, along with references to the artist’s colon cancer diagnosis, which he has long linked to the trauma he suffered as a child.

      December 12 is special to Maravilla and titles one recent work featuring linked wishbones, crystals, and the children’s rhyme “Sana, sana, colita de rana,” which translates to “heal, heal, little frog’s tail.” As Maravilla shares on Instagram, “On 12/12/12 I found out I had cancer. 12/12/13 I overcame cancer. Today, I am starting a new chapter 12/12/24 with a special meditation.” Similarly, a cake with a “0” candle appears in “Luz y Fuerza,” which resembles a pastry the artist once used to celebrate both his birthday and what he considers his rebirth as cancer-free.

      Citing resilience amid struggle, Maravilla’s sculptures call on healing and regeneration. Volcanic ash, after all, is one of the most potent natural fertilizers and a key factor in sparking new growth.

      Maravilla is represented by P·P·O·W Gallery in New York, where you can find more of his work.

      “12/12/24” (2024), oil on volcanic rock, 13 3/8 x 13 3/8 x 4 1/8 inches

      “Dream Backpack 3” (2023), volcanic rock and objects collected from a ritual ofretracing the artist’s original migration route, 16 1/4 x 12 x 4 3/4 inches

      “Self Love” (2024), oil on volcanic rock, 13 3/8 x 13 3/4 x 4 7/8 inches

      “Heal Seven Years Back” (2024), oil on volcanic rock, 13 3/8 x 13 3/4 x 5 1/2 inches

      “Dream Backpack 2” (2023), volcanic rock and objects collected from a ritual of retracing the artist’s original migration route, 16 1/2 x 12 1/4 x 4 1/4 inches

      “Sana 7 Años Atras” (2024), oil on volcanic rock, 14 1/8 x 14 x 4 3/4 inches

      “Si No Sanas Hoy Sanarás Mañana” (2024), oil on volcanic rock, 13 3/8 x 14 1/8 x 4 3/8 inches

      “Sana Sana Colita de Rana” (2024), oil on volcanic rock, 14 1/8 x 13 3/4 x 4 7/8 inches

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    • 188 Shares139 Views

      in Art

      Through Totemic Sculptures and Sound Art, Guadalupe Maravilla Explores the Therapeutic Power of Indigenous Ritual

      by

      
      Art
      Documentary
      Music

      #health
      #installation
      #performance art
      #sculpture
      #sound
      #video

      August 11, 2021
      Grace Ebert

      
      In 1984, eight-year-old Guadalupe Maravilla left his family and joined a group of other children fleeing their homes in El Salvador. The Central American country was in the midst of a brutal civil war, a profoundly traumatic experience that’s left an indelible impact on the artist and one that guides his broad, multi-disciplinary practice to this day.
      Now based in Brooklyn, Maravilla works across painting, sculpture, and sound-based performances all veiled with autobiography, whether informed by the Mayan architecture and stone totems that surrounded him as a child or his cancer diagnosis as a young adult. His pieces are predominately therapeutic and rooted in Indigenous ritual and mythology, recurring themes the team at Art21 explores in a new documentary.

      “Guadalupe Maravilla & the Sound of Healing” follows the artist as he prepares for his solo exhibition on view through September 6 at Socrates Sculpture Park in Long Island City. Titled Planeta Abuelx, or Grandparent Planet—Maravilla expands on the often-used idea of Mother Nature to broaden its scope—the outdoor show is comprised of the artist’s trademark Disease Throwers, towering headdresses and shrines made of recycled aluminum. Allusions to Central American culture bolster the monumental works, with imprints of corn cobs, wooden toys, and other found objects planted throughout.
      Covering the surrounding grass are chalky white markings, a signature component of the artist’s practice that delineate every space where he installs a piece. The abstract patterns evoke Tripa Chuca, one of Maravilla’s favorite childhood games that involves players drawing lines between corresponding numbers to create new intertwined motifs.

      In Planeta Abuelx, Maravilla pairs his visual works with meditative performances that are based on the sound baths he used for pain management while undergoing chemotherapy. These healing therapies are designed to reduce anxiety and tension that often trigger stress-induced diseases and date back to ancient Tibetan traditions. Using gongs and glass vessels, the palliative remedy has been the foundation of workshops the artist hosts for undocumented immigrants and others dealing with cancer that more deeply connect his totemic artworks to the viewers.
      “Having a community that has gone through similar experiences can be really empowering,” he says. “Making these elaborate Disease Throwers is not just about telling a story from my past, but it’s also about how this healing ritual can continue in the future, long after I’m gone.”
      If you’re in New York, Maravilla is hosting a sound bath to mark the close of Planeta Abuelx on September 4, and you can see more of his multivalent projects on Instagram. For a larger archive of documentaries exploring the lives and work of today’s most impactful artists, like this visit to Wangechi Mutu’s Nairobi studio, check out Art21’s site.

      #health
      #installation
      #performance art
      #sculpture
      #sound
      #video

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      in Art

      Sentrock Captures the Sights of Chicago’s Pilsen Neighborhood in a New Series About Mental Health

      by

      
      Art
      Illustration

      #birds
      #Chicago
      #health

      June 3, 2021
      Grace Ebert

      All images © Sentrock, shared with permission
      In honor of Mental Health Month this May, Chicago artist Joseph Perez, who works as Sentrock, created an illustrated series celebrating the people and scenes around his studio in the city’s Pilsen neighborhood. “I started doing it just for myself, to take an hour or two and share my thoughts or reflections for that day or the day prior,” he tells Colossal.
      Lively, expressive, and deeply empathetic, the resulting illustrations draw on Sentrock’s background as a graffiti artist and his connection to those around him. They tell a story about the neighborhood that’s historically been rich with Latinx culture and portray the sights and experiences shared by the community through a distinctly personal lens. The artist explains:
      I started allowing myself to reflect on the past, present, the current situations I found myself in. I allowed myself to reflect on my everyday life, whether boring, exciting, or just my imagination of the moment. I started to capture the people outside my studio, whether friends or strangers. My purpose for this was to initiate a connection with the people around me, the community.
      Sentrock began with reference photos of friends, family, and community members before reinterpreting them in bright, vivid renditions of his signature bird character. Usually depicted as a beaked mask, the recurring image is Sentrock’s analogy “to humanity: a person who is able to find or escape to their freedom by placing them in a different reality.” In the new works, the character travels from person to person, sometimes worn by kids skateboarding down 18th Street and others by the artist himself, like in the moving portrait of him and his mother.
      Head to Instagram to see the full series and original images, and if you’re in Chicago, keep an eye out for the designs, which Sentrock plans to wheat paste around the city.

      Portrait of the artist with his mother

      Self-portrait

      #birds
      #Chicago
      #health

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