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Discarded Packaging and Labels Find New Life in Kelly Kozma’s Vibrant Patchworks
by Aurelia Butler 2 May 2025, 17:04
“Magma & Reef” (2025). All images courtesy of Kelly Kozma and Paradigm Gallery + Studio, shared with permission
Discarded Packaging and Labels Find New Life in Kelly Kozma’s Vibrant Patchworks
May 2, 2025
Art
Kate Mothes
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From dozens of Chiquita banana labels to toothpaste packaging to color-coded quality control stickers, Kelly Kozma finds beauty in everyday ephemera. “Piece by piece, she saves any colorful or textured box that she encounters, even though most are expected to be discarded after their original use,” says Paradigm Gallery + Studio, which opens the artist’s solo exhibition Watch Me Backflip this weekend.
Kozma takes an archival and interdisciplinary approach to working with numerous found materials, combining a variety of media into two-dimensional wall works, expansive textile-inspired assemblages, and voluminous suspended installations. “Watch Me Backflip embraces ideas of reusing material, interconnectedness, and the significance of the smallest interaction on a much larger environment,” says an exhibition statement.
Installation view of ‘Watch Me Backflip’ at Paradigm Gallery + Studio
“Iguana & Myrrh” and “Magma & Reef” mark the largest compositions Kozma has created. The former spans 22 feet in circumference and comprises more than 30,000 hand-stitched circles cut from a wide variety of greeting cards, found packaging, and other colorful materials. Committed to a minimal-waste practice, the artist incorporates scraps and loose threads into a number of accompanying works in Watch Me Backflip.
“As she stitches these lovingly collected pieces, Kozma creates connections between the people in her life and the objects she interacts with, inspiring mindfulness against overconsumption and emotional apathy,” the gallery says.
Watch Me Backflip opens today and continues through June 1 in Philadelphia. See more on the artist’s Instagram.
“I See Your Beauty” (2025), process control patches and acrylic on panel
Installation view of ‘Watch Me Backflip’ at Paradigm Gallery + Studio
Detail of “Iguana & Myrrh”
Installation view of ‘Watch Me Backflip’ at Paradigm Gallery + Studio
“Peels So Good” (2025), banana stickers and acrylic on panel
Detail of “Iguana & Myrrh”
The artist working on the installation of “Magma & Reef”
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Architectural Textiles by Sarah Zapata Explore Material Culture and Intersecting Identities
by Aurelia Butler 1 May 2025, 21:13
“Part of the tension (from earthen pits) II” (2024), handwoven cloth, natural and synthetic fiber, and hand coiled rope, 50 x 14 x 14 inches. All images © Sarah Zapata, courtesy of the artist, Kasmin, and Sargent’s Daughters, shared with permission
Architectural Textiles by Sarah Zapata Explore Material Culture and Intersecting Identities
May 1, 2025
Art
Kate Mothes
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In vibrant patchworks of woven patterns and fuzzy fiber ends, Sarah Zapata’s sculptures (previously) emerge as wall-hung tapestries, standalone pieces, and forest-like installations. Through the convergence of architectural structures, soft textiles, and myriad patterns and textures, her site-specific works examine the nature of layered identities shaped by her Peruvian heritage, queerness, her Evangelical upbringing in South Texas, and her current home in New York.
Zapata balances time-honored craft practices with contemporary applications, highlighting the significance of Indigenous Peruvian weaving, for example, as a means of communication. Symbols and patterns composed into cloth traditionally provided a means of sharing knowledge and cosmological beliefs.
Installation view of ‘Beneath the Breath of the Sun’ (2024) at ASU Art Museum, Tempe, Arizona. Commissioned by CALA Alliance
In abstract sculptures that often merge with their surroundings, Zapata incorporates unexpected and vibrant color combinations with woven fabrics and tufted textures. Resisting easy categorization, her pieces are neither functional nor purely decorative, although they play with facets of both.
Zapata consciously holds back from creating work that is too “beautiful,” inviting a remarkable, tactile exploration of relationships between craft, lineage, community, and memory.
Some of the works shown here are included in Support Structures at Sargent’s Daughters, which continues through through May 3. Find more on Zapata’s website and Instagram.
“How often they move between the planets” (2022), handwoven cloth, natural and synthetic fiber, 144 x 60 inches
Detail of “How often they move between the planets”
“Part of the tension (from earthen pits) I” (2024), handwoven cloth, natural and synthetic fiber, and hand coiled rope, 49 x 14 x 14 inches
Installation view of ‘To strange ground and high places,’ Galleria Poggiali, Milan. Photo by Michele Alberto Sereni
“Towards and ominous time III” (2022), handwoven cloth, natural and synthetic fiber, 144 x 60 inches
Installation view of ‘To strange ground and high places,’ Galleria Poggiali, Milan. Photo by Michele Alberto Sereni
Detail of “Part of the tension (from earthen pits) II”
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In ‘I’m Listening,’ Barry McGee Celebrates Positivity in Amid Distress and Overwhelm
by Aurelia Butler 30 April 2025, 20:05
Installation view of ‘I’m Listening’ at Perrotin, Paris, 2025. Photos by Claire Dorn. All images © Barry McGee, courtesy of the artist and Perrotin, shared with permission
In ‘I’m Listening,’ Barry McGee Celebrates Positivity in Amid Distress and Overwhelm
April 30, 2025
Art
Kate Mothes
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“Barry McGee lives in San Francisco—he was born there and he lives there,” critic and curator Richard Leydier opens in an essay accompanying the artist’s current solo exhibition, I’m Listening, at Perrotin. “This fact is important because his art would be profoundly different had he chosen to move to another American city.”
McGee draws inspiration from the West Coast subculture he grew up within, surrounded by skaters, surfers, and street artists. He has long been interested in marginalized communities, societal outcasts, and those seen as subversive.
The artist is a key figure of the Mission School, which emerged in the early 1990s through the work of a number of artists who were connected to the now-defunct San Francisco Art Institute. Other influential artists include Margaret Kilgallen (1967-2001), Ruby Neri, Claire Rojas, and more, all of whom explore the intersections between urban realism, graffiti, American folk art, and “lowbrow” aesthetics undergirded by social activism.
McGee adopted monikers like “Twist” and “Lydia Fong” in his own graffiti writing and also explored painting and printmaking, which he still taps into in his expansive, multidisciplinary practice. He explores “dynamic panel assemblages, complex patterns reminiscent of op art, and immersive installations that explore the human condition,” the gallery says.
I’m Listening erupts with color, pattern, and texture through a bounty of sculptures, paintings, prints, and assemblages that reimagine everyday objects. Surfboards are cloaked in optical geometric patterns in acrylic paint, and McGee’s signature grimacing, cartoonish faces appear on collages or in place of labels on glass bottles.
“I focus on everything that is shitty on our little planet right now,” McGee says. Expressions of disgust or surprise are paired with playfulness, though. He adds, “I also celebrate all these incredible things that humans invent to stay positive and healthy.” I’m Listening continues through May 24 in Paris.
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To ‘Walk the House,’ Do Ho Suh Traverses Memory and Perceptions of Home
by Aurelia Butler 30 April 2025, 14:54
“Rubbing/Loving Project: Seoul Home” (2013-2022), installation view of ‘The Genesis Exhibition: Do Ho Suh: Walk the House.’
All images © Do Ho Suh, courtesy of the artist, Lehmann Maupin
New York, Seoul, and London, and Victoria
Miro. Photo by Jai Monaghan/Tate, shared with permission
To ‘Walk the House,’ Do Ho Suh Traverses Memory and Perceptions of Home
April 30, 2025
Art
Kate Mothes
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“Is home a place, a feeling, or an idea?” That’s the lofty yet immanently relatable question at the heart of Do Ho Suh’s major survey open now at Tate Modern. The London-based Korean artist (previously) explores notions of belonging, connection, comfort, security, and familiarity in large-scale installations that replicate his own homes in Seoul, London, and New York, among a range of vibrant multimedia works.
Suh is known for his use of gossamer fabric to create immersive, monumental installations. In The Genesis Exhibition: Do Ho Suh: Walk the House, the artist “examines the intricate relationship between architecture, space, the body, and the memories and moments that make us who we are,” the museum says.
“Nest/s” (2024), installation view of ‘The Genesis Exhibition: Do Ho Suh: Walk the House’
Visitors are invited to walk through “Nest/s,” for example, an expansive assemblage of colorful, sheer textile structures that link together to form a passageway or conduit. As the boundaries between interior and exterior are blurred, we’re invited to experience architecture from the perspective of movement and perception, highlighting how all of our interactions with other homes or places are inherently linked.
Issues around shelter, safety, and community are inextricably tied to how we perceive home, especially when for many around the world, those basic needs are in constant peril or upended without warning. “Suh asks timely questions about the enigma of home, identity, and how we move through and inhabit the world around us,” a statement says.
The Genesis Exhibition: Do Ho Suh: Walk the House continues in London through October 19. Plan your visit on the museum’s website, and follow updates on Suh’s Instagram.
Detail of “Nest/s.” Photo by Jeon Taeg Su
“Perfect Home: London, Horsham, New York, Berlin, Providence, Seoul” (2024), installation view of ‘The Genesis Exhibition: Do Ho Suh: Walk the House’
Still from “Robin Hood Gardens, Woolmore Street, London E14 0HG” (2018), commissioned by the Victoria and Albert Museum, London
“Nest/s” (2024), polyester and stainless steel, 410.1 x 375.4 x 2148.7 centimeters. Photo by Jeon Taeg Su
Detail of “Rubbing/Loving Project: Seoul Home” (2013-2022), installation view at Museum of Contemporary Art Australia, Sydney, Australia. Photo by Sebastian Mrugalski
“Home Within Home (1/9 Scale)” (2025), installation view of ‘The Genesis Exhibition: Do Ho Suh: Walk the House’
“Nest/s” (2024), installation view of ‘The Genesis Exhibition: Do Ho Suh: Walk the House’
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Get ‘H.A.P.P.Y’ with Liz West’s Immersive Installation Made of More Than 700 Colorful Discs
by Aurelia Butler 24 April 2025, 17:00
“H.A.P.P.Y.” All images courtesy of Liz West and Mercer Art Gallery, shared with permission
Get ‘H.A.P.P.Y’ with Liz West’s Immersive Installation Made of More Than 700 Colorful Discs
April 24, 2025
Art
Kate Mothes
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Spanning nearly the entire floor of the main space of Mercer Art Gallery in Harrogate, Liz West’s expansive new installation invites viewers to revel in color and brightness. The artist has reimagined the historic early-19th-century spa promenade room as a vibrant, sensory immersion.
West’s solo exhibition, H.A.P.P.Y, takes inspiration from a common malady known as seasonal affective disorder, or S.A.D., which is a form of depression that often manifests in the fall or winter when the days are shorter and the temperatures drop. It typically recedes in the summer and spring.
Continuing her interest in the effects of light, reflections, and chromatic relationships (previously), the artist created “Our Colour Reflection,” the centerpiece of H.A.P.P.Y, to highlight the emotional, psychological, and physical power of vibrancy and hue.
Composed of 765 multi-colored discs layered in low relief across the floor, the piece transforms the environment into a luminous experience that interacts with natural and artificial light and evolves throughout the day.
H.A.P.P.Y also includes a selection of paintings, drawings, and models for “Our Colour Reflection,” and the exhibition continues through October 5. See more on the artist’s website and Instagram.
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Hundreds of Huge Flowers Spring Forth in Carly Glovinski’s Monumental ‘Almanac’
by Aurelia Butler 24 April 2025, 14:56
“Almanac” (2024), installation view, acrylic on Mylar. Photos by Julia Featheringill. All images courtesy of Carly Glovinski, Morgan Lehman Gallery, and MASS MoCA, shared with permission
Hundreds of Huge Flowers Spring Forth in Carly Glovinski’s Monumental ‘Almanac’
April 24, 2025
ArtNature
Kate Mothes
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“Gardening gives one back a sense of proportion about everything—except itself,” author May Sarton (1912-1995) wrote in her book Plant Dreaming Deep (1968), a journal about discovering a love of tending to the land. For Carly Glovinski (previously), the sentiment incidentally frames something of a raison d’être for the artist’s remarkable large-scale floral installation at MASS MoCA.
Glovinski was especially moved by Sarton’s book The House by the Sea (1977), which traces the author’s move from New Hampshire to the seacoast of Maine. The vibrancy of gardens spurred the artist’s fascination with flowers, culminating recently in an expansive work titled “Almanac.”
Celebrating the diversity and dynamism of blooms, the piece explores ideas around placemaking and the passage of time. “For Glovinski, the garden is a metaphor for collapsed time and perishable memories,” says an exhibition statement. Along with Sarton, the artist also draws on poet Emily Dickinson’s love for plants, channeling literary reflections on connecting with the simple pleasures—and sublime chaos—of nature.
“Almanac” takes its name from the annual guide that forecasts weather and a provides calendars for astronomical events, tides, and planting. The piece took more than a year to complete and comprises hundreds of pressed flower paintings made with washy acrylic paint applied to both sides of semi-transparent mylar. The gestural brushstrokes on translucent material evoke a sense of lightness and delicacy, like real petals blown up to larger-than-life size. Above the installation, she’s labeled segments with the months the blooms appear.
Glovinski references pressed blossoms that she has grown, harvested, or collected from friends, nodding to Emily Dickinson’s love of the practice. (The poet created a stunning herbarium containing 424 specimens collected around her home in Amherst, Massachusetts.) “By observing, tending, and preserving flowers, ‘Almanac’ becomes both a visual record of the seasons and a commentary on the labor of care,” the museum says.
See more on Glovinski’s website and Instagram.
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Tiff Massey Celebrates Detroit Culture and Style in Monumental Mixed-Media Installations
by Aurelia Butler 23 April 2025, 14:20
“I’ve Got Bundles and I Got Flewed Out (Green)” (2023). All images courtesy of the artist and Detroit Institute of Arts, shared with permission
Tiff Massey Celebrates Detroit Culture and Style in Monumental Mixed-Media Installations
April 23, 2025
Art
Kate Mothes
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From larger-than-life double-bobble hair bands to a wall of elaborate braids, Tiff Massey spotlights distinctive Detroit style. Trained as a metalsmith, the artist employs the power of material and scale to highlight the city’s neighborhoods and Black identity and culture.
7 Mile + Livernois, Massey’s solo exhibition at the Detroit Institute of Arts, takes inspiration from the crossroads at the heart of the city’s Black business and fashion district, where the artist grew up. The area will soon be home to a new arts and community space that Massey is spearheading in an effort to guide and celebrate local kinship.
“Everyday Arsenal” (2018)
Personal adornment is central to the artist’s expression, which she channels through jewelry, sculptures, and mixed-media assemblages to underscore Black style with a focus on her hometown. “Whatupdoe” and “Everyday Arsenal,” for example, respectively transform a contemporary chain necklace and silver rings into monumental installations, creating terrains of portal-like tunnels and interlocked angles.
The “ancestral flyness” of the artist’s parents and previous generations also provides a limitless well of inspiration. “How they adorned themselves has definitely been influential not only to how I adorn myself but also to the ideas that I have within the works,” Massey says in an interview for the DIA exhibition catalogue. “Detroiters, when we step outside, we step outside. We want people to see it. We want people to see us. And that has left a tremendous impression on me.”
7 Mile + Livernois continues through May 11. Find more on the artist’s website and Instagram.
“Baby Bling” (2023)
“Whatupdoe” (2024)
Detail of “I’ve Got Bundles and I Got Flewed Out (Green)”
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With 60 Artists, ‘The Golden Thread’ Weaves Together a Survey of Contemporary Fiber Art
by Aurelia Butler 17 April 2025, 14:56
Ana María Hernando, “El intento del agua/The Intent of Water” (2025), tulle, wood, metal lattice, felt, velvet. All images courtesy of BravinLee, shared with permission
With 60 Artists, ‘The Golden Thread’ Weaves Together a Survey of Contemporary Fiber Art
April 17, 2025
ArtCraft
Grace Ebert
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The monumental textile exhibition that took over an 18th-century warehouse last spring is back for a second iteration.
In the South Street Seaport area of Manhattan, The Golden Thread 2: A Fiber Art Show returns with more than 100 artworks made by 60 artists from around the globe. As with the first iteration, this reprisal includes eight site-specific installations that respond to the former mercantile space.
Tomo Mori, “(we) keep going” (2025), donated fabrics, used clothes and linens, acrylic and cotton fillings, and anodized aluminum wires
Organized by BravinLee, The Golden Thread is a sweeping survey of contemporary fiber art encompassing a vast array of materials, aesthetics, and subject matter. Several artists connect textiles’ historical association with femininity and domesticity, including Ana María Hernando’s pair of cascading tulle works. Frequently working with the gossamer fabric, Hernando sees her sculptures as an act of rebellion in which “softness becomes less a discreet quality and more a function of power, both formally and symbolically.”
Similarly, Diana Weymar presents “American Sampler,” a collection of embroidered, typographic works made during a five-year period. Created to showcase a woman’s skill and literacy throughout the 18th century, samplers have a long history as sites of feminine expression. Weymar draws on this legacy for this patchwork tapestry, which is part of her ongoing Tiny Pricks Project created in 2018 in response to Donald Trump’s tumultuous first term.
Colossal readers will recognize several artists in this second exhibition, including Caitlin McCormack, Rima Day, Willie Cole, and Ulla-Stina Wikander. The Golden Thread is on view through May 16.
Tiny Pricks Project (Diana Weymar), “American Sampler” (2020-2025), vintage textiles and cotton floss
Detail of Tiny Pricks Project (Diana Weymar), “American Sampler” (2020-2025), vintage textiles and cotton floss
Caitlin McCormack, “Babylon Rec Room,” vintage wallpaper on salvaged drywall with crochet cotton string and glue embellishment
Ali Dipp, “Concession No 3 (Trumbull, Capitol)” (2024), manually stitched threads on denim jeans, 79 x 117 inches
Left: Fran Siegel, “Medicine Wheel” (2020), cyanotype, scrim, embroidery, sewing, string, and mounted on bar, 90 x 60 x 10 inches. Right: Manju Shandler, “The Elephant in the Room” (2024), mixed media soft sculpture, 6 x 6 x 9 feet
Traci Johnson. Left: “Lil Femme,” yarn on cloth, 12.5 x 22 inches. Right: “Love Me in a Place Where There’s no Space or Time” (2023), yarn on cloth, 7.5 x 7.2 feet
Sam Dienst, “Clutter Conundrum” (2024), hand-woven tapestry with yarn, beads, paint, and felt, 56 x 57 x .25 inches
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installation

More stories

Discarded Packaging and Labels Find New Life in Kelly Kozma’s Vibrant Patchworks

Architectural Textiles by Sarah Zapata Explore Material Culture and Intersecting Identities

In ‘I’m Listening,’ Barry McGee Celebrates Positivity in Amid Distress and Overwhelm

To ‘Walk the House,’ Do Ho Suh Traverses Memory and Perceptions of Home

Get ‘H.A.P.P.Y’ with Liz West’s Immersive Installation Made of More Than 700 Colorful Discs

Hundreds of Huge Flowers Spring Forth in Carly Glovinski’s Monumental ‘Almanac’

Tiff Massey Celebrates Detroit Culture and Style in Monumental Mixed-Media Installations

With 60 Artists, ‘The Golden Thread’ Weaves Together a Survey of Contemporary Fiber Art

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