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In Surreal Portraits, Rafael Silveira Tends to the Garden of Consciousness

by Aurelia Butler 29 May 2025, 14:15

“Magnetic” (2025), oil on canvas, 23.62 × 23.62 inches. All images courtesy of the artist and DCG Contemporary, shared with permission

In Surreal Portraits, Rafael Silveira Tends to the Garden of Consciousness

May 29, 2025

Art

Kate Mothes

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With scenic vistas for faces, blossoms for eyes, or nothing but coral above the shoulders, Rafael Silveira’s surreal portraits summon aspects of human consciousness that span the spectrum of the wonderful and the weird. The Brazilian artist describes his work as “a profound dive into the human mind,” merging flowers, landscapes, and uncanny hybrid features into visages that channel humor with a slightly sinister undertone.

Silveira’s forthcoming solo exhibition, Agricultura Cósmica at DCG Contemporary, traverses “the fertile terrain of the subconscious,” the gallery says. “With a nod to pop surrealism and the uncanny, his work imagines the mind as a garden where thoughts are seeds and images (are) the wildflowers that sprout.”

“PLEEESE” (2025), oil on canvas, 23.62 × 23.62 inches

Silveira works predominantly in oil, using panel or canvas as a surface and occasionally surrounding his works with ornate, hand-carved wooden frames. The sculptural details of the frames, like an anatomical heart in “Eyeconic Couple” or an all-seeing eye topping “A Crocância do Tempo” — “the crunchiness of time” in Portuguese — read like talismans.

Many of Silveira’s compositions begin with a traditional head-and-shoulders portrait composition as a starting point, but instead of skin we see a distant horizon, like in “Magnetic,” or a figure’s head supplanted by a stalk of coral or a column of fire. Other pieces omit the human outline altogether in amusing arrangements of vivid flowers, which suggest wide eyes and addled expressions. While human forms shed their emotional autonomy as they converge with their surroundings, the flora in works like “OMG” and “PLEEESE” are a profusion of awe and desire.

Agricultura Cósmica opens in London on June 12 and continues through July 10. The show runs concurrently alongside an exhibition titled Plural by embroidery artist Flavia Itiberê. See more on the artist’s website and Instagram.

“Eyeconic Couple” (2025), oil on panel and hand-carved frame, 15.75 × 35.43 inches

“Inside Out” (2025), oil on canvas, 35.4 x 31.5 inches

“A Crocância do Tempo” (2025), oil on panel and hand-carved frame, 35.4 x 31.5 inches

“The Artifice of Eternity” (2025), oil on canvas, 23.62 × 31.5 inches

“OMG” (2025), oil on canvas, 23.62 × 23.62 inches

“Paixão Ardente” (2025), oil on panel and hand-carved frame, 35.4 x 31.5 inches

“The Roots of Reality” (2025), oil on canvas, 35.4 x 31.5 inches

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With Remarkable Precision, Lito Cuts Playful Compositions from Single Leaves
by Aurelia Butler 28 May 2025, 15:31
All images courtesy of Lito Leaf Art, shared with permission
With Remarkable Precision, Lito Cuts Playful Compositions from Single Leaves
May 28, 2025
Art
Kate Mothes
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From delicate, single leaves, Lito conjures meticulously detailed and playful compositions. The Japanese artist began applying paper-cutting techniques to leaves in 2020 as a way to navigate his ADHD and concentrate on something constructive and uplifting. His work quickly went viral on social media, and he has been creating tiny, often humorous narratives that focus on animals and cartoonish characters ever since.
If you’re in Fukushima, you can stop by a entire museum dedicated to Lito’s unique pieces. Explore more work on his website and Instagram.
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A Rippling Townhouse Facade by Alex Chinneck Takes a Seat in a London Square
by Aurelia Butler 22 May 2025, 19:06
Photos by Charles Emerson. All images courtesy of Alex Chinneck Studio, shared with permission
A Rippling Townhouse Facade by Alex Chinneck Takes a Seat in a London Square
May 22, 2025
ArtDesign
Kate Mothes
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It takes a real knack for design to make something as hefty and industrial as steel and bricks appear weightless or even playful. But British artist Alex Chinneck (previously) is no stranger to monumental projects that reimagine urban infrastructure and buildings into striking public installations.
As part of London’s Clerkenwell Design Week, Chinneck unveiled “A week at the knees,” a new sculpture in Charterhouse Square that takes its cue from an iconic predecessor. The artist installed the “From the Knees of my Nose to the Belly of my Toes” in 2013 on a dilapidated townhouse in Margate, appearing as though the entire front of the building had simply slid right off. On view through June in London, his new work boasts a frame made from 320 meters of repurposed steel and 7,000 bricks.
“A week at the knees” playfully anthropomorphizes a classic Georgian facade, with its lower two levels rippling over a pathway as if seated in the park with its knees up. London is famous for its green squares and gardens, and Chinneck’s work invites visitors to pass through a unique portal that calls upon the history of its surroundings, complete with downspout and lamps flanking the arched front door.
Chinneck fabricated the sculpture in collaboration with numerous British companies to source and create bespoke steel beams, curving windows, and bricks. At five meters tall and weighing 12 tons, the piece mimics a life-size building while sporting a thickness of only 15 centimeters. The effect lends itself to the experience of a hefty, architectonic structure with a graceful, lightweight personality.
Explore more on Chinneck’s website and Instagram.
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‘Level Up’ by GAFFA Transports Us to an Uncanny Parking Garage
by Aurelia Butler 12 May 2025, 15:30
Installation view of ‘Level Up.’ Photos by Ladina Bischof. All images courtesy of GAFFA and Kunsthalle Arbon, shared with permission
‘Level Up’ by GAFFA Transports Us to an Uncanny Parking Garage
May 12, 2025
Art
Kate Mothes
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When you think of an orange safety cone, you might imagine rows of the small reflective objects placed around temporarily parked vehicles or, say, next to potholes. But a stroll through GAFFA’s recent exhibition, Level Up at Kunsthalle Arbon, and the everyday sight took the form of an unmissably imposing, monumental structure.
GAFFA is a collective founded nine years ago by Wanja Harb, Linus Lutz, Dario Forlin, and Lucian Kunz. Through a signature blend of humor, irony, and an interdisciplinary approach involving zines, collages, photography, sculpture, and installation, the group challenges our perceptions of physical space, history, and society.
In their sometimes absurd installations, GAFFA often brings the outdoors in, like importing a beach chair and umbrella into a concrete room or constructing an enormous brown slug that slid across a gallery floor. In Level Up, traffic serves as the primary focus—both its symbols and the fine line between regulation and chaos.
GAFFA transformed the Swiss art gallery into a parking garage containing an extra-long stretch limo, an entry ticket, orange cone, and double-arrow directional sign. We don’t know to whom the car belongs or where they are.
Viewers are transported into a kind of Alice in Wonderland experience where the scale of everything feels befuddling and incongruent. The car, though life-size, is made of cardboard, and the yellow sign is an oil painting.
“Underground garages and parking garages are places we usually only notice in passing,” the gallery says in a statement. “They are purpose-built ‘non-places’ to which hardly anyone pays attention, yet they have their own aesthetics: the strict geometry of the parking spaces, the rhythmic movement of the barriers, the seemingly random arrangement of the holes on a parking ticket.”
Anyone who has driven into a large garage knows the anxieties of a gate not opening when it’s supposed to or the ticket machine not working. Within the large yet controlled space of the Kunsthalle Arbon, Level Up begged the question: how does one get out of here? Explore more on the collective’s website.
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Nøne Futbol Club’s ‘Hot Wheels’ Drive at the Dualities of Systems and Society
by Aurelia Butler 13 February 2025, 10:00
Detail of “Work n°144 : Hot Wheels” from the series ‘Wheeling and dealing’ (2017), charred plane wood, 59 x 59 x 21 centimeters each. All images © ADAGP, Paris, 2025, courtesy of Nøne Futbol Club, shared with permission
Nøne Futbol Club’s ‘Hot Wheels’ Drive at the Dualities of Systems and Society
February 13, 2025
Art
Kate Mothes
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Combining sculpture and performative interventions, Nøne Futbol Club—sometimes referred to as Nonefutbolclub—expresses conceptual messages through ephemeral objects and time-based actions. The name is the alias of Colas Claisse, who co-founded the project as a collective but now works solo under the moniker. The initiative continues to delve into potent dichotomies like tragedy and humor, vulnerability and security, disruption and calm, and politics and fiction.
“Nøne Futbol Club’s work may sometimes make you smile, but it can also be serious,” says a statement. “It highlights the violence inherent in our world, where speed and productivity are seen as all-powerful.” The artist describes the project’s role as one that “takes hold of our immediate environment,” expressing social divides and examining socio-political issues with a spark of wry humor.
Installation view of “Work n°144 : Hot Wheels” from the series ‘Wheeling and dealing’ (2017), charred plane wood, 59 x 59 x 21 centimeters each
An ongoing series of sculptures assume the form of tires fashioned from wooden rings. Scorched with fire, the series Wheeling and dealing includes multimedia works all titled “Work nº144: Hot Wheels.” The pieces appear in the guise of Cooper or Pirelli racing tires, yet upon closer inspection, they reveal their surprising composition. Layered meanings emerge through the flames, which initially create, and in some cases destroy, the works.
Each life-size wooden object is made from sliced tree trunks that have been carbonized, producing the rich, black texture and facets redolent of treads. “Since a tree does not grow from its core but from the periphery of its trunk, the cracks resulting from combustion are created concentrically,” the artist says, describing how the resulting patterns mimic brand new, rubber car tires.
A double entendre in the sense that the sculptures refer to the American toy brand of the same name and the literal temperature of the pieces as they burn, the artist plays with perception by creating a material that pretends to be another.
Nøne Futbol Club continues to revel in this subtle deception, trapping the spectator in the simulacrum: “Subjected to form but destroying function, Wheeling and dealing introduces the silent unease of a double game: real tire or wood? Voluntary combustion or fatal car accident?”
Detail of “Work n°144 : Hot Wheels”
The series also spawns drawings made from charcoal chipped off of the sculptures when handled. Video works, such as the half-hour piece included below, chronicle the tires’ destruction in atmospheric landscapes. Bespoke molds cast tire shapes in plaster, aluminum, and—coming full circle—rubber. And later pieces incorporate puddles of metal underneath the tires, symbolizing overheating as the rims melt and serve as a display pedestal. Literally and figuratively a loop, the pieces define the cyclical nature of much of Nøne Futbol Club’s practice.
The artist describes his approach as a “systematic hijacking or reversal of the system,” tapping into the powerful symbolism of objects that are burned or smashed amidst revolt. “Faced with a sense of powerlessness, car vandals and rioters seek an accessible way to convey a radical message,” he says. “As the embodiment of a comfortable and cushioned system, the car is a perfect target.”
Nøne Futbol Club is slated to show work at Iconoscope Gallery in May in Montpellier and at MacBar in September in Lyon. Find more on his website and Instagram.
“Work nº144: Hot Wheels” from the series ‘Wheeling and dealing’ (2017), burnt wood on paper, 100 x 77 centimeters
“Work n°144 : Hot Wheels” from the series ‘Wheeling and dealing’ (2017), charred plane wood, 59 x 59 x 21 centimeters each
“Work n°144 : Hot Wheels” from the series ‘Wheeling and dealing’ (2017), charred plane wood, 59 x 59 x 21 centimeters
“Work nº144: Hot Wheels” from the series ‘Wheeling and dealing’ (2017), burnt wood on paper, 100 x 77 centimeters
Still from “Work nº144: Hot wheels (Dompcevrin I)” (2017), video, 18 minutes, 23 seconds
“Work nº144: Hot Wheels” from the series ‘Wheeling and dealing’ (2017), burnt wood, 28 x 82 x 103 centimeters
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Join Us for a Colossal x Joy Machine Workshop with Peter Frederiksen
by Aurelia Butler 11 February 2025, 13:33
“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
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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.
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A Provocative Photography Exhibition Invites You to Experience ‘Chromotherapia’
by Aurelia Butler 28 January 2025, 15:12
Maurizio Cattelan and Pierpaolo Ferrari, “Toiiletpaper.” Image courtesy of ‘Toiletpaper.’
A Provocative Photography Exhibition Invites You to Experience ‘Chromotherapia’
January 28, 2025
ArtBooksPhotography
Kate Mothes
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In the world of photography, the color image has long held an inferior reputation to black-and-white, which connoisseurs historically deemed to be more dignified. Today, vibrant images are embraced in a wide range of fields, from fine art and fashion to advertising and journalism.
Championing the potential of the medium, artist Maurizio Cattelan and French Academy in Rome—Villa Medici director Sam Stourdzé curated Chromotherapia: The Feel-Good Color Photography.
Martin Parr, “Common Sense.” Image © Magnum Photos
Color therapy, though deemed a pseudoscience, has its roots in color theory, which focuses on interactions between hues and how they affect our moods and emotions.
Cattelan and Stourdzé emphasize ebullient hyperreality, humor, and the absurd through works like Juno Calypso’s “Chicken Dogs,” in which an anonymous figure lies face-down next to a can of hot dogs, or Walter Candoha’s expressive pets. And in “Toiletpaper,” by Cattelan and Pierpaolo Ferrari, who co-founded a magazine of the same name in 2010, a man sits on a tan couch, wearing a matching suit, covered in spaghetti.
In total, twenty artists explore a range of approaches in the exhibition, from portraits of people and animals to food and uncanny tableaux. “Many have freed themselves from the documentary function of the photographic medium to explore the common roots of the image and the imaginary, flirting with pop art, surrealism, bling, kitsch, and the baroque,” says a statement.
Chromotherapia opens February 28 and continues through June 9 in Rome, and an accompanying catalogue published by Damiani is slated for release in March in the U.K. and May in the U.S. Pre-order your copy in the Colossal Shop.
Cover of ‘Chromotherapia’ (2025). Featured image by Walter Chandoha, “New Jersey” (1962). Image ©️ Walter Chandoha Archive
Juno Calypso, “Chicken Dogs” (2015), archival pigment print. Image © Courtesy the artist and TJ Boulting
William Wegman, “Ski Patrol” (2017). Image courtesy of Galerie George-Philippe & Nathalie Vallois
The back cover of Damiani’s catalogue for the exhibition ‘Chromotherapia: The Feel-Good Color Photography,’ featuring a photo by Walter Chandoha
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Uncanny Objects by Joyce Lin Blur Distinctions Between Reality and the Fantastical
by Aurelia Butler 21 January 2025, 18:00
“Fir Mignon” (2023), wood, epoxy clay, oil paint, 8.75 x 8.75 x 3 inches. All images courtesy of Joyce Lin, shared with permission
Uncanny Objects by Joyce Lin Blur Distinctions Between Reality and the Fantastical
January 21, 2025
ArtDesign
Kate Mothes
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Whether enclosed in clear acrylic or seemingly sliced from a single tree, Joyce Lin’s sculptures examine themes of interconnectedness and the Anthropocene, which describes our planet’s most recent epoch and the way humans significantly impact its ecosystems and climate.
“I am both disturbed and captivated by the paradoxes of industrialized society,” Lin says in a statement, “where modes of production and disposal are often obscured to the public, yet people have more technology than ever to make their imagined worlds a reality.”
“Wood Chair in Fir” (2024), oil paint, epoxy clay, plywood, MDF, and wood, 16.5 x 16.25 x 34.75 inches
Lin’s uncanny pieces meld form and function, taking the recognizable shapes of furniture and food and transforming them into playful meditations on mass production and consumption. She often uses organic materials like wood, augmenting the surfaces with synthetic mediums like epoxy, resin, and oil paint to preserve their appearance in perpetuity. Some works, like the Wooden Chair series, are entirely composed of engineered materials.
“I love to dissect and understand things, and my works often feature objects—usually a chair—sliced open to expose an inner structure; to express an inner truth, so to speak,” Lin tells Colossal. She manipulates the structures extensively, blurring the reality of what she describes as the “insides” and the “outsides,” so the composition takes on a fantastical quality.
“I don’t think they’re so convincing when you really zoom in, so it’s interesting to see people assume they’re somehow grown or AI-generated, even though they take an incredible amount of manual labor and time to create,” Linn adds. “I often think about distortions in our perception of reality, (which is) probably why people keep sending me those is-it-cake videos.”
The artist is currently working toward a solo exhibition later this year at R & Company, and you can explore more on her website and Instagram.
“Exploded Chair” (2019), maple and acrylic, 16 x 16 x 35 inches
“Woodnanas” (2024) wood, steel, polyester resin, and epoxy clay
“Wood Chair in Ash” (2024), oil paint, epoxy clay, plywood, MDF, and wood. Beetles: epoxy, wire, 16.5 x 16.25 x 34.75 inches
Detail of “Wood Chair in Ash”
“Root Chair” (2023), found driftwood and walnut stain, 29 x 30 x 34 inches
“Wood Stool”
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The Dog Did It! Stephen Morrison’s Trompe-l’œils Brim with Canine Character
by Aurelia Butler 16 January 2025, 20:41
“Housework Won’t Kill You, But Why Take a Chance” (2024), oil on canvas, 48 x 48 inches. All images courtesy of Stephen Morrison and Hashimoto Contemporary, shared with permission
The Dog Did It! Stephen Morrison’s Trompe-l’œils Brim with Canine Character
January 16, 2025
Art
Kate Mothes
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To say that Stephen Morrison’s work is inspired by dogs would be an understatement. Through sculptural assemblages and paintings of puppy faces tucked in foliage or morphing from household items, Morrison evokes the timeless love for our pets.
“I think I’ve always been a bit of a hedonist and kind of set up to love the life of a dog, of doing whatever you want when you want to do it,” Morrison recently told Hyperallergic in an interview. “That’s why making work with dogs feels so natural because it’s deeply a part of my character.”
“Every Direction at Once” (2025), oil on panel, 20 x 16 inches
Morrison also draws inspiration from his beloved pit bull mix, Tilly, who was the ring bearer at his wedding and died three years ago. Her curious visage lives on in the artist’s idiosyncratic compositions, bringing expressive life to everything from birdhouses to table lamps.
In the artist’s forthcoming solo exhibition at Hashimoto Contemporary, Morrison continues to channel canine personalities in Dog Show #4: House Broken.
Trompe-l’œil paintings portray the supports on the backs of canvases, teeming with botanicals, stuffed animals, magazine clippings, and fruit. Likewise, a series of sculptures made from epoxy clay, resin, paper, and oil paint appear like assemblages of seemingly disparate items.
In “Clump Spirit #5 (Study),” for example, a puppy’s face emerges from the front of a violin hanging from a hook, and “Clump Spirit #1 (Living Room)” displays a happy dog on a TV screen, stacked high with other objects that also feature distinctive eyes and snouts. Everything appears in a state of joyful yet barely contained disarray.
“Clump Spirit #1 (Living Room)” (2024), television, silicone, textile, resin, and epoxy clay, 12 x 21 x 12 inches
“This show reflects on the chaotic messiness of home life, inspired by the lively and dysfunctional environment I grew up in,” Morrison says. “Our house was filled with dancing, yelling, slapdash crafting, and a constant swirl of half-finished projects. Amid all the noise, there was an odd harmony—moments where the chaos seemed to hum along just right, as if disorder itself had a rhythm.”
Dog Show #4: House Broken runs from January 18 to February 8 in New York City. Find more on the artist’s website and Instagram.
“Build a Little Birdhouse in Your Soul” (2024), oil on panel, 24 x 24 inches
“Clump Spirit #4 (Study)” (2025), epoxy clay, paper, resin, and oil paint, 26 x 10 x 5 1/2 inches
“The Council of Plastic Limbs” (2025), oil on panel, 24 x 36 inches
“Clump Spirit #3 (Bedroom)” (2025), epoxy clay and oil paint, 15 x 8 x 7 inches
“Thank You for Your Business” (2025), oil on panel, 48 x 36 inches
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humor

Latest story

In Surreal Portraits, Rafael Silveira Tends to the Garden of Consciousness

More stories

With Remarkable Precision, Lito Cuts Playful Compositions from Single Leaves

A Rippling Townhouse Facade by Alex Chinneck Takes a Seat in a London Square

‘Level Up’ by GAFFA Transports Us to an Uncanny Parking Garage

Nøne Futbol Club’s ‘Hot Wheels’ Drive at the Dualities of Systems and Society

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

A Provocative Photography Exhibition Invites You to Experience ‘Chromotherapia’

Uncanny Objects by Joyce Lin Blur Distinctions Between Reality and the Fantastical

The Dog Did It! Stephen Morrison’s Trompe-l’œils Brim with Canine Character

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