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    A Monumental Immersive Installation by ENESS Prompts Joy and Togetherness

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    “Forest Dancer.” All images courtesy of ENESS, shared with permission

    A Monumental Immersive Installation by ENESS Prompts Joy and Togetherness

    February 24, 2025

    ArtDesign

    Kate Mothes

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    A nine-meter-tall passageway made of eight individual arches enticed visitors into ENESS’s latest installation (previously). Last month at Quoz Arts Fest 2025 in Dubai, Forest Dancer comprised a monumental entry and an immersive exhibition of illuminated inflatable forms inside a contemporary building.

    With mushroom-like proportions, pixellated patterns, and a slew of changing hues, ENESS’s work encompasses a central character surrounded by psychedelic trees, mountains, insects, and boulder-like bean bags.

    “As artists, we work in many contexts—inside galleries and museums, in (the) public realm and even creating small art pieces for the home,” said ENESS founder Nimrod Weis. “This approach of ‘art is everywhere’ means that we responded to the inspiring architecture by creating an artwork that is at once a conversation with the built form and an installation in its own right.”

    This year’s festival was curated around the theme of an Arabic proverb meaning “a hut holds a thousand friends,” inspiring creative responses that center bringing people of all ages together and promoting interactivity.

    A statement says, “The entire exhibition, spanning over 600 square meters, is an ode to the power and importance of creativity in the face of online obsession, geopolitical upheaval, and the rise of dark forces taking us far from the soulfulness of art, human connection, and gentle contemplation,” says a statement.

    Find more on ENESS’s website.

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

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      “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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      in Art

      Matt Bua’s ‘Repurposed City’ in Upstate New York Just Hit the Market

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      The interior of Matt Bua’s cabin in Catskill, New York. Photo by Photo by Kevin Witte Productions. All images courtesy of Matt Bua, shared with permission

      Matt Bua’s ‘Repurposed City’ in Upstate New York Just Hit the Market

      February 13, 2025

      ArtDesign

      Kate Mothes

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      On nearly 27 wooded acres outside the town of Catskill, New York, artist Matt Bua has been hard at work on a creative compound like no other. For two decades, he has constructed an artist-built environment from salvaged materials comprising numerous living spaces and work areas. Recently listed for sale for $269,000, the off-grid property known as “B-Home” could be yours.

      Bua’s project originated with the idea to “build one of every type of dwelling we could with materials that were easily at hand,” the artist tells Colossal. From repurposed vinyl records, bottles, and reclaimed wood, a sprawling “repurposed city” emerged as painted signs, sculptures, and one-of-a-kind structures popped up over time.

      Bua describes his approach as “intuitive building,” working in response to the natural terrain, found materials, and vernacular structures of the northeast. He wrote a book titled Talking Walls, which focuses on the region’s tens of thousands of miles of historic stone walls and considers history and material culture merge in the ways we understand “place.”

      Bua lived in Brooklyn when he purchased the property. “All I wanted to do was go up there and build,” he recently told Artnet. He was inspired by self-sustaining communities like Drop City in Colorado, an artists’ commune formed in 1960 with a reputation for remarkable hand-built homes. Incidentally, he also used to maintain Catskill’s quirky Catamount People’s Museum, an installation of an enormous bobcat made from scraps of wood.

      Along with a cohort of friends who have contributed freestanding artworks and functional structures over the years, Bua approached “B-Home” as a collaborative experiment “informed by the needs and desires of our surrounding community.”

      Learn more about Bua’s work on his website.

      All images courtesy of Matt Bua, shared with permission

      Map of “B-Home” More

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      in Art

      ‘Imagining the Future’ Honors Aleksandra Kasuba’s Trailblazing Installations and Environments

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      “Spectrum. An Afterthought” (1975–2014), synthetic fabric, neon lamps, colored filters, steel, aluminum, plywood, and plastic,
      40 x 105.6 x 53.9 meters. Photo by Antanas Lukšėnas. Image courtesy of The Lithuanian National Museum of Art, Estate of Aleksandra Kasuba

      ‘Imagining the Future’ Honors Aleksandra Kasuba’s Trailblazing Installations and Environments

      February 10, 2025

      ArtDesign

      Kate Mothes

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      From immersive fabric installations and sculptures to photography, landscape design, and architecture, the work of Aleksandra Kasuba (1923-2019) merges myriad ideas about how we experience the world around us. The intersection of technology and nature enchanted the late Lithuanian artist, and she often experimented with a variety of materials and the effects of light, hue, and tension to explore relationships between ourselves and notions of shelter and place.

      The first major exhibition of her work in Europe, Imagining the Future at Carré d’Art—Musée d’Art Contemporain, explores the incredible breadth of Kasuba’s artistry.

      “Shell Dwellers III” (1989), paper and collage, 35 × 43.5 centimeters. Image courtesy of The Lithuanian National Museum of Art, Estate of Aleksandra Kasuba

      Born to an aristocratic family, Kasuba enrolled in art school in 1941, focusing primarily on sculpture and textiles. She married artist Vytautas Kašuba, with whom she fled Lithuania in 1944 in the wake of the Nazi occupation of the country. They landed in a displaced-persons camp in Germany where they stayed until making their way to New York in 1947, and her experience as a refugee and an immigrant significantly affected her work.

      In the U.S., Kasuba found employment in crafts and design and began laying the foundations for her future artistic practice, which merged applied and functional arts with abstraction. Her interdisciplinary practice took shape in earnest the 1950s and 1960s and was deeply influenced by tenets of modernism and the era of space exploration, which cast humanity’s existence on Earth in a new light.

      Mid-20th century scholarship on vernacular architecture also inspired Kasuba, and she was moved by a visit to Bernard Rudofsky’s 1964 exhibition Architecture Without Architects at the Museum of Modern Art in New York. He took a broader view of global architecture than the field typically covered and emphasized the ingenuity and beauty of structures built by Indigenous cultures.

      Rudofsky suggested that modernism—particularly modern architecture—had lost touch with the real needs of society, and he urged viewers to pay attention to artistic, idiosyncratic, culturally rich local styles free from elitist design rules.

      “Rock Hill House” (2002). Image courtesy of The Lithuanian National Museum of Art, Estate of Aleksandra Kasuba

      Kasuba’s artistic practice blended with daily life in her own living spaces, too, from her New York City home in the 1970s to Rock Hill House, a sculptural dwelling in the New Mexico desert she completed between 2001 and 2005.

      The convergence of sculpture and environmental design also fascinated the artist, spurring unique material combinations in large-scale public interventions and spatial installations. Concerned with how we move through places and are affected by our surroundings, she was also commissioned to create numerous public wall installations using materials like brick, marble, and granite.

      Kasuba explored the relationships between transparency, color, and light in works like “Spectrum,” privileging organic shapes and an immersive passageway made from stretched nylon. Her Space Shelters series, composed of fabric in curving forms without ninety-degree angles, exemplifies her desire to harmonize nature, people, and technology.

      Imagining the Future continues through March 23 in Nîmes, France. Learn more on the museum’s website.

      “Dreaming III” (1963), white marble, 103 x 91 centimeters. Photo Antanas Luksenas. Image courtesy of The Lithuanian National Museum of Art, Estate of Aleksandra Kasuba

      Installation view of ‘Imagining the Future’ at Carré d’Art, Nîmes, France. Photo by Cédrick Eymenier

      “Live-In Environment, 43W90, NYC” (1971–1972). From the digital archive of Aleksandra Kasuba. Image courtesy of The Lithuanian National Museum of Art, Estate of Aleksandra Kasuba

      Installation view of ‘Imagining the Future’ at Carré d’Art, Nîmes, France. Photo by Cédrick Eymenier

      Installation view of ‘Imagining the Future’ at Carré d’Art, Nîmes, France. Photo by Cédrick Eymenier

      “Rock Hill House” (2005). Image courtesy of The Lithuanian National Museum of Art, Estate of Aleksandra Kasuba

      Installation view of ‘Imagining the Future’ at Carré d’Art, Nîmes, France. Photo by Cédrick Eymenier

      “Shell Dwellers VI” (1989), paper and collage, 35 × 43.5 centimeters. Image courtesy of The Lithuanian National Museum of Art, Estate of Aleksandra Kasuba

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      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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    • 150 Shares115 Views

      in Art

      Ernesto Neto Crochets an Enormous Snake to Slither Inside Le Bon Marché

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      All images © Stephane Aboudaram | we are content(s), shared with permission

      Ernesto Neto Crochets an Enormous Snake to Slither Inside Le Bon Marché

      January 31, 2025

      Art

      Grace Ebert

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      “If Adam and Eve had not eaten the Divine Apple, they would still be in paradise, wouldn’t they? And us? Where would we be?” asks Ernesto Neto in relation to his latest project.

      At Le Bon Marché Rive Gauche in Paris, the Brazilian artist (previously) presents his signature crocheted installations. A 28-foot snake coils up through the atrium for “Le La Serpent,” a monumental project evoking the creation myth of Adam, Eve, and the snake.

      Rather than view the story from the perspective of sin, Neto chooses to see the animal as a life-giving force that transcends the Abrahamic story. Utilizing both male and female articles, the title positions the serpent as exceeding gender and instead as a joyful, spiritual force that can connect mind and body. The artist notes that many cultures, from Mesoamerica to Cambodian mythology to ancient Greek, viewed the serpent as god. Given that the Lunar New Year recently ushered in the Year of the Snake, the project also has a timely tie to Eastern traditions.

      Although Neto frequently incorporates bold colors into his installations, the yarn in this project uses white to celebrate Aristide and Marguerite Boucicaut, the founders of Le Bon Marché who encouraged artists to use the color in their works in the 19th century.

      A collaborative, meditative space awaits visitors on the second floor. Neto composed a song that plays throughout the room, while a large tee stands at the center. Dried leaves, turmeric, and cumin fill the trunk, adding an earthy, spiced scent to the air. The chalkboard-style walls are designed for visitors to draw and leave notes for future viewers.

      “I want to remind people that they have a body—that they can feel it,” the artist said. “Scents activate memory and help us reconnect with our own essence.”

      If you’re in Paris, see “Le La Serpent” through February 22.

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    • 150 Shares189 Views

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      Vibrant, Immersive Installations by Poh Sin Studio Emphasize Vulnerability as a Strength

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      “Projection: Kite” (2019) at night. Photo by David Yeow. All images courtesy of Poh Sin Studio, shared with permission

      Vibrant, Immersive Installations by Poh Sin Studio Emphasize Vulnerability as a Strength

      January 15, 2025

      ArtDesign

      Kate Mothes

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      From vibrant rope to metal frames to acrylic panels, the chromatic installations of Poh Sin Studio invite viewers into glowing thoroughfares and sprawling pavilions. Founded by Pamela Poh Sin Tan, the studio emphasizes public art as a means of fostering relationships between people, their communities, and their surroundings.

      Tan’s immersive works blur the boundaries between disciplines, evoking a sense of curiosity and discovery. “I’m particularly drawn to engaging the public through art and creating experiences that inspire dialogue and connection,” she tells Colossal. “I believe public art is a powerful catalyst for urban renewal and psychological well-being, providing moments of reflection, joy, and connection.”

      Detail of “Crimson Cloud”

      For example, the artist shares that her most recent installation, “Structural Resonance,” explores the interplay between art and architecture, embodying layers of spatial and experiential narratives.” She is interested in how physical spaces interact with their environment and affect us visually and emotionally.

      Embracing fragility as a form of strength is central to Tan’s practice, manifesting in the way soft materials, like rope, complement those associated with resilience and permanence, like metal. “I find inspiration in overlooked details, such as plant veins, diatoms, mechanical and electrical systems, or even the skeletal framework of objects like a piano,” she says. “These hidden elements hold quiet beauty and complexity that I love to bring to light.”

      Art and architecture are inherently intertwined in Tan’s view. Design and engineering provides structure, context, and utility, while the artistic aspect adds compelling narrative and emotion. “Together, they reveal hidden dimensions, evoke movement, and connect deeply with viewers,” she says.

      Explore more on Poh Sin Studio’s website and Instagram.

      “Structural Resonance” (2024)

      “Projection: Kite.” Photo by David Yeow

      Detail of “Projection: Kite” (2019). Photo by David Yeow

      “Sunnyside Up” (2023) at MRT Pasar Seni, Kuala Lumpur, Malaysia

      “Sunnyside Up” (2023)

      “Crimson Cloud” (2022), at Pavilion Kuala Lumpur, Malaysia

      Detail of “Crimson Cloud”

      “Eden”

      “Structural Resonance”

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      Lauren Halsey’s ’emajendat’ Is an Energetic Celebration of South Central Los Angeles

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      Installation view of ’emajendat’ at Serpentine South. Installation photos by Hugo Glendinning, © Lauren Halsey, courtesy of Serpentine, shared with permission

      Lauren Halsey’s ’emajendat’ Is an Energetic Celebration of South Central Los Angeles

      January 14, 2025

      ArtSocial Issues

      Kate Mothes

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      Inspired by the South Central neighborhood of Los Angeles, where Lauren Halsey’s family has lived for generations, vibrant sculptures and site-specific installations vividly reflect the artist’s community.

      At Serpentine South, a large-scale, maximalist exhibition titled emajendat highlights Halsey’s self-described obsession with material culture, her interest in remixing messages and symbols, and the need to confront issues that affect people of color, the queer community, and the working class.

      Installation view

      Halsey gathers photographs, posters, flyers, commercial signs, and found objects that relate to her communities’ activism, highlighting “a sense of civic urgency and free-flowing imagination,” says David Kordansky Gallery, which co-represents the artist with Gagosian. “Inspired by Afrofuturism and funk, as well as the signs and symbols that populate her local environments, Halsey creates a visionary form of culture that is at once radical and collaborative.”

      Past, present, and future merge in the artists exploration of how idols, architecture, history, and communication fuel how we perceive identities and society. She draws on the imagery of ancient Egypt, the African diaspora, Black and queer icons, and the visionary design associated with funk to construct a kind of ever-evolving archive.

      In a monumental rooftop installation titled “the eastside of south central los angeles hieroglyph prototype architecture (I),” Halsey nods to palatial, ancient Egyptian architecture, placing the faces of notable Black figures on the columns’ capitals, such as activist Susan Burton and ethnomusicologist Dr. Rachel Eubanks.

      Halsey’s eclectic “funkmound” sculptures also encompass numerous found items, harboring miniature dioramas and objects that appear as though they are emerging from heaps of cotton candy. Throughout emajendat, seemingly endless collages, sculptures, reflections, prismatic color, patterns, messages, and textures welcome the viewer into an enthusiastically immersive experience.

      Installation view of ‘The Roof Garden Commission: Lauren Halsey,’ “the eastside of south central los angeles hieroglyph prototype architecture (I)” (2022). Photo by Hyla Skopitz, © Lauren Halsey, courtesy of the artist; David Kordansky Gallery and The Metropolitan Museum of Art

      The social element of Halsey’s work is amplified by a community center she founded in 2019 called Summaeverythang, located adjacent to her studio in South Central. The nonprofit initiative is “dedicated to the empowerment and transcendence of Black and Brown folks socio-politically, economically, intellectually, and artistically.”

      emajendat continues through February 23 in Kensington Gardens, London. Plan your visit on the gallery’s website.

      Foreground: “keepers of the krown (susan burton)” (2024), glass fiber, reinforced concrete, and mixed media, 261 3/4 x 48 1/8 x 48 1/8 inches. Background: “keepers of the krown (dr. rachel eubanks)” (2024), glass fiber, reinforced concrete, and mixed media 261 3/4 x 48 1/8 x 48 1/8 inches. Photo by Andrea Avezzù, © Lauren Halsey, courtesy of the artist, David Kordansky Gallery, and Gagosian

      Installation view

      Installation detail

      Installation view

      Installation detail

      Installation collage detail

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    • 125 Shares199 Views

      in Art

      Annie Duncan’s Ceramic Sculptures Expand Upon the Modern Feminine Experience

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      Detail of “Material Girl” (2023). All images © Annie Duncan, shared with permission

      Annie Duncan’s Ceramic Sculptures Expand Upon the Modern Feminine Experience

      January 6, 2025

      ArtSocial Issues

      Jackie Andres

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      What objects are associated with femininity? Male-dominated art historical eras point to more traditional motifs such as flowers for fertility and dainty, domestic accoutrements like lace and porcelain. A more contemporary perspective might include everyday items from the drugstore, such as disposable shaving razors, claw clips, and lipstick.

      From centuries past to present day, do these objects ultimately embody similar messages about femininity that withstand the test of time? This overarching question is a catalyst for San Francisco-based artist Annie Duncan.

      Installation view from “Looking Glass” (2023)

      Within her work, sculptural assemblages of mascara tubes, necklaces, perfume bottles, and droopy flowers resemble the familiar surface of a cluttered vanity or overcrowded bathroom countertop. Although Duncan carefully places each sculpture in these compositions, their disorder achieves an air of authenticity. From uncapped cherry Chapstick tubes standing as if they were set down in a rush to discarded rings one decided not to wear after all, there is realism and relatability in each considered detail.

      Encountering common goods at an oversized scale prompts the viewer to confront the social impact each item holds. For instance, in “Material Girl,” an enlarged IUD implant is scattered among a variety of ubiquitous products, calling to the desensitization of challenges faced by those with female bodies. “Suddenly, the presence of these objects and everything they evoke—the burden, the beauty, the cultural magnitude that they possess—is too big to overlook,” the artist says.

      Duncan begins each piece by sculpting clay with a playful disposition. “It really is just grown-up play-dough or Sculpey,” she remarks. Also a painter, the artist hones in on brushwork during the glazing stage. Treating the bisque-fired surface as a canvas, her ceramic forms come to life with a lustrous sheen.

      Lately, the artist has been exploring the power of duality and how the idea of expectations versus reality can be communicated through her sculptures.

      “It’s become a really generative theme in my work; this sense that we’re carrying around our hopes and ambitions, and there’s always an adjustment that happens with the real thing. It doesn’t necessarily mean disappointment, but a sort of a flipping or altering of the plan,” Duncan explains. “To me, this feeling is deeply embedded in the feminine experience. Dialing down your initial vision, and learning to be ok with it; saying one thing while meaning another.”

      Duncan is currently working on a forthcoming group show that will take place in Seoul. Find her on Instagram for updates and check out her website for more artwork.

      Installation view from “Looking Glass” (2023)

      “Wilted Lily” (2023)

      “Biological Clock” (2022)

      “Pair of Razors” (2024)

      “Material Girl” (2023)

      “Instant Remedy” (2024)

      “Friendship Bracelet (Blue)” (2024), “Friendship Bracelet (Pink)” (2024)

      Installation view from “Looking Glass” (2023)

      “You’re Welcome” (2022)

      Installation view from “Looking Glass” (2023)

      Installation view from “Looking Glass” (2023)

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