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

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    All images courtesy of Seth Clark and Paradigm Gallery + Studio, Philadelphia, shared with permission

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

    June 2, 2025

    Art

    Kate Mothes

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    Crumbling shingle roofs, peeling plywood, and fragmented framing characterize much of Seth Clark’s recent work, in which spheres or mounds of dilapidated houses serve as studies of texture, material, time, and neglect. In new work on view this week in his solo exhibition Passing Through at Paradigm Gallery + Studios, he’s made one mindful addition: limbs.

    The Pittsburgh-based artist’s collaged paper paintings, pastel and ink transfer drawings, and sculptures reflect his interest in the chaotic aesthetic of collapsing houses. More recently, his jumbled compositions have sprouted legs, strolling or running and adding a sense of both urgency and playfulness to the architectural forms.

    Drawing on daily observations and photographs, especially of Pittsburgh’s suburban row houses, Clark assembles references for window frames, siding, gables, roof lines, and more to emphasize various states of deterioration. Found materials and papers provide the paintings’ layered textures, which he then ages with ink washes, charcoal, graphite, pastel, and acrylic. His new works are dollhouse-like and a smidge brighter than in the past, with the addition of cheerful pinks, yellows, and purples to complement darker browns and grays.

    Clark’s anthropomorphized constructions suggest the nature of inhabiting—something akin to the soul of a place in addition to its physical makeup. The artist “attributes this change to recently becoming a father and developing an urge to instill hope into crumbling houses and broken window panes,” the gallery says. “What was first a sobering reminder of mortality has now become a message of how, even in states of chaos and decay, there can still be enough joy found in dark places to pick up the pieces and create something new.”

    Passing Through runs from June 6 to June 29 in Philadelphia. See more on the artist’s website and Instagram.

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      in Art

      In ‘Electric Garden,’ Ricky Boscarino Leads a Tour of His Whimsical Handbuilt Home

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      © 2024 Stockton University

      In ‘Electric Garden,’ Ricky Boscarino Leads a Tour of His Whimsical Handbuilt Home

      March 24, 2025

      ArtFilm

      Kate Mothes

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      In December 1988, artist Ricky Boscarino was on the hunt for real estate. Not just any property would do, though. “It was really my boyhood ambition to built my dream house, where literally all my dreams could come true,” he says in the short documentary “Electric Garden.” Little did he know that over the course of the next four decades, a dilapidated hunting cabin would transform into a veritable way of life.

      Luna Parc emerged on a wooded six-acre parcel in northwestern New Jersey and has been in progress continually since 1989. “Family lore is that we were carpenters for many, many generations,” Boscarino says. “My whole life became about making things with metal, wood, glass, fabric, concrete.”

      With numerous additions and labyrinthine levels, Luna Parc includes a kind of living museum, where Boscarino adds new work all the time, plus studios devoted to various mediums, living spaces, and an expansive sculpture garden. At 5,000 square feet, the self-described “madcap” artist’s vibrant, elaborately ornamented home evokes a fairytale dwelling or a whimsical, Tim Burton-esque construction.

      Boscarino continues to add new details to Luna Parc, whether electrifying a concrete sculpture garden with colored lights or adding new works to the museum. The house occasionally opens to the public during the summer months, and you can learn more and plan your visit on Boscarino’s website. Watch the documentary in full on Vimeo.

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    • 150 Shares189 Views

      in Art

      Visit Dozens of Incredible Artist-Built Environments, Homes, and Studios Around the U.S.

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      Prophet Isaiah Robertson’s Second Coming House, Niagara Falls, New York. All images courtesy of the artists, foundations, and the National Trust for Historic Preservation, shared with permission

      Visit Dozens of Incredible Artist-Built Environments, Homes, and Studios Around the U.S.

      February 6, 2025

      ArtDesignHistory

      Kate Mothes

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      Whether a self-taught artisan or a contemporary art titan, one can make artwork just about anywhere. As the saying goes, the only limit is your imagination. And when art and life intersect, sometimes the distinction between the two disappears.

      As the National Trust for Historic Preservation can tell you, homes and studios from rural Kansas to the hubbub of Manhattan have been the locus of eclectic, quirky, and innovative ideas that illustrate how creativity and daily existence are one and the same.

      Grandma Prisbrey’s Bottle Village, Simi Valley, California

      Last month, the NTHP announced the addition of 19 new property members to its Historic Artists’ Homes and Studios program. Comprising locations that range from houses and workspaces to quarries and hand-assembled fantasylands, the new spaces bring the total number of network participants to 61 across the U.S.

      Colossal readers might be familiar with one of last month’s additions, the Kosciusko, Mississippi, home of L.V. Hull (1942–2008), which was included in the National Register of Historic Places last summer. The designation was the first to honor the residence of an African American woman visual artist, and it was also the first time a home art environment by any African American was on the list.

      Women feature prominently in this year’s announcement, including Pope’s Museum in Ochlocknee, Georgia, which is distinguished as the oldest surviving artist-built environment by a woman in the U.S. A self-taught maker, Laura Pope Forester (1873–1953) created elaborate exterior installations, including murals and other works that pay tribute to women’s achievements, military veterans, and literary figures. The crochet-like white facade is composed of sewing machine parts.

      Additional places include the homes of groundbreaking women artists Louise Bourgeois and Carolee Schneemann, along with remarkable creations like Grandma Prisbey’s Bottle Village in Simi Valley, California, and Mary Nohl’s unique environment in Fox Point, Wisconsin.

      Plan your visits on the Historic Artists’ Homes and Studios website.

      Pope’s Museum, Ochlocknee, Georgia

      Shigeko Kubota Video Art Foundation, New York City

      Spiral House Park, Saugerties, New York

      “Enchanted Garden” and entrance to the “Troglodyte Cavern” at Valley of the Moon, Tucson, Arizona

      Mary Nohl Art Environment, Fox Point, Wisconsin

      Interior of the Mary Nohl Art Environment, Fox Point, Wisconsin

      Dog Mountain, Home of Stephen Huneck Gallery, St. Johnsbury, Vermont

      Interior of Reuben Hale House, West Palm Beach, Florida

      Interior of Prophet Isaiah Robertson’s Second Coming House, Niagara Falls, New York

      Interior view of Grandma Prisbrey’s Bottle Village, Simi Valley, California

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    • 113 Shares99 Views

      in Art

      Asya Marakulina Sculpts Poignant Ceramic Portraits of Demolished Homes

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      All images courtesy of Asya Marakulina, shared with permission

      Asya Marakulina Sculpts Poignant Ceramic Portraits of Demolished Homes

      January 22, 2025

      ArtSocial Issues

      Kate Mothes

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      Prior to the 20th century, apartment buildings and row houses were often built with shared walls between adjoining properties. Intrigued by these aging structures, Vienna-based artist Asya Marakulina began cataloging examples she first noticed on walks around her former home in St. Petersburg, Russia.

      “Since houses in the 19th century were built without gaps between them, when one house is torn down, the neighboring house often bears traces of the demolished one,” Marakulina tells Colossal. These remnants of decor, plumbing, and other signs of human habitation form the basis of her ongoing ceramic series, There Was a Home.

      When Marakulina moved to Vienna, she noticed a similar phenomenon in the remains of older buildings that had been demolished there, too. Fragments of floor still clung to the walls and the outlines of painted or papered rooms were suddenly—somewhat uncomfortably—external. The ease of a warm interior and its associated domesticity was upended.

      “What touches and affects me the most in images of ruined houses are the traces of wallpaper, tiles, and children’s rooms, which suddenly become visible to the entire street,” the artist says, sharing that the sight evokes a deep sadness. “These spaces were never meant to be seen in such a way.”

      Marakulina likens houses to the bodies of living organisms, imbued with emotions, memories, and layered histories. The ceramic cross-sections take on a portrait-like quality, capturing straightforward views of multistory edifices that are simultaneously immediate and intimate. “Maybe that’s why these images captivate me so much because a part of someone’s inner, domestic life is suddenly turned inside-out and put on public display,” she says.

      The houses in There Was a Home are typically drawn from real buildings, photographs of which she captures herself or finds on the internet. Marakulina also considers the impacts of war and is profoundly moved by the current conflicts in Ukraine and the Middle East, where thousands of homes have been destroyed and their inhabitants killed or displaced. The half-standing homes simultaneously represent lives lost and the hope of one day being able to rebuild.

      Rather than straightforward copies of the buildings she encounters, Marakulina takes liberties with wall colors, sometimes adding graffiti or words she sees on the streets or derives from the news. She scores the clay to create the textures of tile and concrete or delineate lintels and former doorways. The resulting reliefs become collage-like, merging locations and motifs.

      If you’re in Belgium, you can see the artist’s work in Ceramic Brussels, which opens today and continues through January 26. In London, Marakulina created a site-specific installation for a solo show at The Smallest Gallery in Soho, which continues through mid-February, and later that month, she will exhibit with Vienna Collectors Club. Find more on the artist’s website and Instagram.

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    • 150 Shares199 Views

      in Art

      A Changing Community and Lived Experiences Converge in Leroy Johnson’s Mixed-Media Houses

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      All images courtesy of Margot Samel, shared with permission

      A Changing Community and Lived Experiences Converge in Leroy Johnson’s Mixed-Media Houses

      December 23, 2024

      Art

      Kate Mothes

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      From collaged and painted found materials merged with elements of photography and ceramics, Leroy Johnson (1937-2022) created an eclectic vision of life in his hometown of Philadelphia. Through layered, multi-dimensional portraits of houses, the artist represents loci of family life and community in conceptual assemblages that also confront racism, poverty, and gentrification.

      In the first exhibition of his work in New York City, Margot Samel presents Leroy Johnson, a collection of the artist’s house sculptures made “with a documentarian’s eye but a poet’s gaze,” says a gallery statement. His pieces capture a city in transition, peering into its past to underscore the myriad experiences of its present.

      “Spirit House” (c. 2005–2010) mixed media, found object, and collage, 19 1/4 x 20 x 13 1/2 inches

      Through his occupations as a social worker, teacher of disabled youth, rehab counselor, and school administrator, Johnson “surveyed the pleasures, hardships, and contradictions within the Philadelphia neighborhoods where he spent his life,” Margot Samel says, and he “pierced the fabric of collective human experience more deeply than most.”

      Johnson’s abstract, mixed-media houses often feature photographs of people and gatherings, graffiti and text, and swishes of paint or residual imagery from found objects. The gallery adds, “As an African American artist who witnessed the civil rights movement and the impact of racist policies on communities he loved, Johnson took particular pleasure in depicting the richness of Black life.”

      Leroy Johnson runs from January 10 to February 9 in New York. Learn more and plan your visit on the gallery’s website.

      “You Been Had” (c. 2000–2005), mixed media, found object, and collage, 17 x 16 1/2 x 8 inches

      “Heart of Darkness” (c. 1995–2000), mixed media, found object, and collage, 13 x 11 x 6 inches

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