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In ‘The Junior Classic,’ Michael Ezzell Builds an Uncanny World from Vintage Books

by Aurelia Butler 27 May 2025, 16:00

“Decoy Boy.” All images © Michael Ezzell, shared with permission

In ‘The Junior Classic,’ Michael Ezzell Builds an Uncanny World from Vintage Books

May 27, 2025

ArtIllustration

Kate Mothes

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It’s not too often that a high school art project morphs into a through-line in an artist’s professional practice, but for illustrator and printmaker Michael Ezzell, that’s exactly how his ongoing series The Junior Classic was born. Tearing pages from vintage books, he experiments with a range of media, compositional elements, and narratives that then inspire further paintings and prints.

“When I was starting out, I would just paint over the text of the page and create something brand new from some mundane book I had,” Ezzell tells Colossal. “Eventually, it evolved into using the page’s illustration or ornate chapter headings as a jumping-off point for what I would create on the page.”

“Cloudmaker”

Among many others, Ezzell especially graviates toward illustrations in the Alice in Wonderland series, originally drawn by Sir John Tenniel and reimagined during subsequent decades by more than half a dozen other artists like Mabel Lucie Attwell, Gwynedd M. Hudson, Maria L. Kirk, and even Salvador Dalí.

“I’ve gotten my book-hunting more down to a science now,” the artist says. “I look for weird and obscure manuals or children’s books with lots of pictures or funky text formatting. Anything that could have strange connotations when taken out of context is what I’m drawn to.” He approaches each page’s inherent qualities—a printed phrase or a small drawing—like a prompt or a call-and-response, which taps into a refreshingly different kind of problem-solving than working on a large, blank canvas.

Ezzell is particularly interested in world-building and immersive stories, and his motifs and characters take cues from tarot, Surrealism, playing cards, and early-20th-century fashion. The title of the series nods to a set of 10 books titled The Junior Classics, first published in 1912, which were intended for young readers as a counterpart to the Harvard Classics series.

The Junior Classic consists of more than 400 pieces (and growing), and Ezzell is currently working on his own tarot deck, which in turn is inspiring more narrative possibilities. See more on the artist’s website and Instagram.

“Two Rivers”

“Now Here”

“Three Phases of Mitsy Diller”

“Mind Over Matter”

“Love Makes the World Go Down”

“The Escapist”

“The Great Cassino”

“The Duchess”

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Wondrous and Mischievous Misfits Populate Rhea Mack’s Bubblegum Daydreams
by Aurelia Butler 4 April 2025, 20:40
All images courtesy of Rhea Mack, shared with permission
Wondrous and Mischievous Misfits Populate Rhea Mack’s Bubblegum Daydreams
April 4, 2025
ArtIllustration
Grace Ebert
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On candy-colored paper, Rhea Mack draws a world in which all misfits are welcome. The Massachusetts-based artist lovingly renders curious characters with three heads, flowers growing from their palms, or a penchant for plump, strawberry hats.
Mack has a soft spot for these strange oddballs who develop organically, often springing from her Sunday morning sessions seemingly on their own accord. “I usually start drawing, and they just kind of develop over a few hours. I sometimes have a certain feeling or pose in mind, but mostly I am just making it up as I go,” she says.
This intuitive, accommodating attitude influences much of her process, including the decision to draw on pink paper simply “because it made sense,” she says. Mack chooses other materials similarly. “The colored pencil pinks I use in my drawings are very buttery and just feel nice to draw with,” she adds.
As if emerging from a favorite fairytale—creating a children’s book is on Mack’s mind—the drawings twist common plants and animals like dogs and daisies into surreal fantasies. Each is packed with small moments of intrigue and playful patterns like stripes and dots.
In one work, for example, a full human skeleton and dozens of single eyes float from a figure’s gaze, while a pink pup leaps overhead. Another features a quintet bound by a rainbow dress, their bulbous, beige coifs fused together like the clouds above.
Mack’s solo exhibition Massachusetts Dreaming opens next week at Kyst Gallery in Dragor, Denmark, and is on view through May 8. Find prints in her shop, and follow her work on Instagram. (via WePresent)
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Daniel Martin Diaz Encodes Cosmic Questions into Geometric Paintings and Prints
by Aurelia Butler 2 April 2025, 17:00
“Celestial Harmonics.” All images courtesy of Daniel Martin Diaz, shared with permission
Daniel Martin Diaz Encodes Cosmic Questions into Geometric Paintings and Prints
April 2, 2025
ArtIllustration
Kate Mothes
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In his ongoing “quest to articulate the ineffable,” Arizona-based artist Daniel Martin Diaz (previously) creates large-scale works that merge metaphysical, scientific, and technological phenomena into vibrant geometric compositions.
Diaz’s current solo exhibition, UNIVERSAL CODES at the Everhart Museum of Natural History, Science, and Art, presents recent work drawing on a wide range of influences, from Mexican religious iconography and arcane religious sigils to Early Netherlandish painters and Gothic decorative motifs.
“Cross Species Interface”
Diaz’s work often investigates concepts of death and religion “as he seeks to pose questions but not answer them,” says an exhibition statement. Juxtaposing esoteric symbols and messages with scientific diagrams and spiritual iconography, the artist explores the surreality of cosmic forces.
UNIVERSAL CODES continues through April 27 in Scranton, Pennsylvania. Find more on Diaz’s Instagram, and peruse a range of prints, apparel, and home accessories in his shop.
“Temporal Soul”
“Chrono”
“Beyond the Self”
“Astral Projection”
“Conscious Universe”
“Codex”
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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
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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”
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Intricate Postage Stamp Tattoos by Ash Aurich Are an Ode to Art History
by Aurelia Butler 10 March 2025, 13:11
All images courtesy of Ash Aurich, shared with permission
Intricate Postage Stamp Tattoos by Ash Aurich Are an Ode to Art History
March 10, 2025
ArtIllustration
Kate Mothes
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As the saying goes, if one knows very little about something, their knowledge could fit on the back of a postage stamp. But for tattoo artist Ash Aurich, the minuscule format provides a readymade canvas and frame ripe for experimentation, intrigue, and beauty.
Using a fine line technique with delicate shading, Aurich outlines the unmistakable scalloped edges of the ubiquitous, tiny adhesives, filling rectangular compositions with Renaissance-inspired romantic and religious figures.
A deep appreciation for iconic artworks inspired Aurich to create tiny odes to art history. “I wanted to be able to capture the essence of these masterpieces in a unique and engaging way,” she tells Colossal. “Having the opportunity to tattoo these designs on others who appreciate art is a rewarding experience.”
Aurich’s preferred subject matter is people, especially the dramatic and often symbolic figures in art historical masterworks by the likes of Johannes Vermeer or Caravaggio. “The attention to detail, use of light and shadow, and mastery of human anatomy create stunning, lifelike representations that translate beautifully into tattoos,” the artist says. She shares that it’s important for the emotions and narratives of each portrait to resonate with the wearer, especially at their small scale.
Currently in residency at Atelier Eva, Aurich has opened her books for March and April in New York City. The tattoos seen here are all flash designs, but she creates custom compositions, too. See more on Instagram.
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Fantastical Figures Illuminate Urban Buildings in Amanda Lobos’ Murals and Installations
by Aurelia Butler 20 February 2025, 19:18
“Ventura” (2024), Festa da Luz, Belo Horizonte, Minas Gerais, Brazil. All images courtesy of Amanda Lobos, shared with permission
Fantastical Figures Illuminate Urban Buildings in Amanda Lobos’ Murals and Installations
February 20, 2025
ArtDesignIllustration
Kate Mothes
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Vibrant contrasts, eye-opening patterns, and mischievous creatures are just a few of the characteristics of Brazilian artist Amanda Lobos’ beguiling scenes. Based in Vila Velha, about an eight-hour drive up the coast from Rio de Janeiro, Lobos works extensively across a range of mediums, from graphic and product design to murals and public installations.
A large-scale inflatable work titled “Ventura” was installed last year on the top of a building in the city of Belo Horizonte. Lobos calls upon the philosophy of Indigenous Brazilian environmentalist and philosopher Ailton Krenak, who posits that humankind should live in harmony with nature rather than trying to control it.
Mural for Festival Nalata (2023), 5 x 8 meters. Av. Faria Lima nº822, São Paulo, Brazil
Lobos’ all-seeing “Ventura,” which translates to “fortune,” perches on a corner of a tall building and oversees its domain, double-faced with two eyes on each side and one of its legs curled up casually on the ledge.
This work “is about the agony and dilemma of returning a star to the sky,” Lobos says in a statement, describing “Ventura” as “condemned to the duality of the fantastic and the real.”
Much of the artist’s work is intentionally left open to interpretation. “I believe that what I want to communicate to viewers is already embedded in my work visually, allowing them to interpret it however they wish—that’s the beauty of it!” Lobos tells Colossal. “I don’t like to be too literal or overly serious with my concepts; I enjoy the creative process and the freedom it gives me.”
In vivid murals, Lobos applies a similar juxtaposition of mystery and play, as coy characters dance within colorful panels or long walls illuminate the joys of learning. An expansive mural at a school in the Jardim Limoeiro neighborhood of Serra celebrates science, art, curiosity, and play.
MC.Arte mural for the Penélope Municipal Early Childhood Education Center in Jardim Limoeiro, Serra, Espírito Santo, Brazil (2023). Photo by Ana Luzes
“My favorite thing about painting murals—besides seeing them come to life on a large scale from an initial sketch on paper or a 30-centimeter canvas—is the process itself,” Lobos tells Colossal. She adds:
Executing the piece and watching it unfold is truly special. The feeling of applying paint with no “Ctrl+Z” is humbling, and working on such a large surface teaches you to embrace mistakes and adapt in new ways. Every wall is a fresh learning experience.
Lobos is soon heading to Mexico to paint her first mural outside of Brazil looking forward to collaborating with two other artists on a pair of murals for the Movimento Cidade festival in August.
We’ve shared a handful of public art projects here, but you can head over to Behance or Instagram to see a wide range of the designer’s vibrant product collaborations and commissions.
Three illustrated tarot cards created for the publishing company TAG Livros, referencing iconic authors
“Ventura”
“Tropical Transformation” mural for brand activation of Devassa beer at the Casa7 event venue, Vitória, Espirito Santo, Brazil
Six illustrated tarot cards created for the publishing company TAG Livros, referencing iconic authors
Interior mural for CASACOR Espírito Santo
MC.Arte mural in progress for the Penélope Municipal Early Childhood Education Center
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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
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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.
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Turn-of-the-Century Tactile Graphics Illustrate Nature for People Who Are Blind
by Aurelia Butler 23 January 2025, 15:21
Insects and crustaceans. Image licensed from the Perkins School for the Blind Archives
Turn-of-the-Century Tactile Graphics Illustrate Nature for People Who Are Blind
January 23, 2025
ArtHistoryIllustrationNature
Kate Mothes
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In the Alsace-Lorraine region, bordering northeastern France and western Germany, the town of Illzach was once home to an institute for the blind. Martin Kunz (1847-1923) directed the school at the turn of the century and produced a remarkable series of embossed graphics that visually impaired students could use to learn about nature and geography.
Accompanied by braille descriptions, Kunz’s educational aids depict a wide range of plants, animals, and maps. To create each page, he hand-carved two wood pieces that formed a mold, into which he sandwiched paper to produce raised illustrations.
Crocodile chasing a man. Image licensed from Perkins School for the Blind Archives
The material was typically thick, and Kunz soaked it in water before placing it between the blocks so that the natural fibers would soften and stretch into shape. Leaves, fish, herons, crocodiles, crustaceans, and more comprise a wide array of designs that he mass-produced and made available to blind students all over the world.
The library of the Perkins School for the Blind holds a collection of dozens of Kunz’s late-19th and early-20th-century tactile graphics, and you can explore more examples from the collection on the Perkins Library’s Flickr.
Below, learn more about Kunz’s process in a video from the Museum of the American Printing House for the Blind, presented by director Mike Hudson. And keep an eye on the APH’s website for news about The Dot Experience, the organization’s museum expansion set to open in 2026 in Louisville, Kentucky, that applies inclusive design standards and brings disability access to the fore.
Various plants. Image licensed from Perkins School for the Blind Archives
Birds. Image licensed from Perkins School for the Blind Archives
Flying fish. Image licensed from Perkins School for the Blind Archives
Tuna and swordfish. Image licensed from Perkins School for the Blind Archives
Squid. Image licensed from Perkins School for the Blind Archives
Birds. Image licensed from Perkins School for the Blind Archives
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Dreamlike Creatures and Spiritual Symbols Merge in Lou Benesch’s Watercolors
by Aurelia Butler 31 October 2024, 19:00
All images courtesy of the artist and Hashimoto Contemporary, shared with permission
Dreamlike Creatures and Spiritual Symbols Merge in Lou Benesch’s Watercolors
October 31, 2024
ArtIllustration
Kate Mothes
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Cosmic phenomena, spiritual symbolism, and the stuff of dreams embellish Lou Benesch’s mystical watercolor paintings. From a trio of blackbirds hovering over a giant bed on a ragged coastline or a many-faced ram bearing bells and birds, the Paris-based artist (previously) draws on the iconography of folklore, fairytales, Greek myths, and symbols of spirituality.
A Comforting Invisible, opening soon at Hashimoto Contemporary, marks the artist’s first solo show with the gallery and brings together a collection of otherworldly illustrations that begin with reality but morph into unearthly, imaginary beings.
In often semi-symmetric compositions, hybrid animals and unique interactions nod to metamorphosis and metaphysical experiences in surreal landscapes. The edges of each piece of paper have also darkened or faded with age, emphasizing the element of time or—as in dreams—timelessness.
Benesch explores what the gallery describes as the “existence of a second, invisible realm accessed only through the portal of dreams.” Stage-like settings, archways, and niches reveal emblems like eyes, a miniature labyrinth, the sun and moon, eggs, and a range of geometric shapes.
Eggs, for example, represent hope, fertility, and rebirth. People have revered the sun and moon since time immemorial, symbolizing duality, balance, and transition. Benesch adds that the addition of a maze provides a way to “access this universe of contemplation… with an invisible hand guiding us along the paths that we forget to see.”
A Comforting Invisible runs from November 9 to 30 in Los Angeles. Find more on the artist’s website and Instagram.
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illustration

Latest story

In ‘The Junior Classic,’ Michael Ezzell Builds an Uncanny World from Vintage Books

More stories

Wondrous and Mischievous Misfits Populate Rhea Mack’s Bubblegum Daydreams

Daniel Martin Diaz Encodes Cosmic Questions into Geometric Paintings and Prints

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

Intricate Postage Stamp Tattoos by Ash Aurich Are an Ode to Art History

Fantastical Figures Illuminate Urban Buildings in Amanda Lobos’ Murals and Installations

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

Turn-of-the-Century Tactile Graphics Illustrate Nature for People Who Are Blind

Dreamlike Creatures and Spiritual Symbols Merge in Lou Benesch’s Watercolors

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